#Frankie And The The Witch Fingers

[shanhorandraws]

FUTUREPHOBIC ⚡️❌

[ourladyofomega]

📸 source: unknown

[thebananaiscold]

Hello wanted to see how you doing and give you some cookies

[mfhunter]

Frankie & The Witch Fingers - New Album

[whatlurksbehindchannelz]

Frankie and the Witch Fingers - Empire (Official Video)

[rayvvision]

[idroveatank]

totally blew doors frankie & the witch fingers crystal ballroom somerville mass 9-26-23

[my-t4t-romance]

have I recommended this song to yall yet

well now I have. it fucking slaps

[enthesea]

YAAAY HERES MY FAVORITE ALBUMS OF 2023!!!

My top 5 are!

That! Feels Good! by Jessie Ware

3D Country by Geese

The Rise and Fall of a Midwest Princess by Chapell Roan

Data Doom by Frankie and the Witch Fingers

Roach by Miya Folick

The rest are under the cut!

These are in no particular order really! This year was great for music, here's to hoping for next year!

Fronzoli by Psychedelic Porn Crumpets

Intercepted Message by Thee Oh Sees

Starfucker by Slayyyter

Desire, I Want To Turn Into You by Caroline Polachek

Chronicles of a Diamond by Black Pumas

Self-Tape by Mouthbreathers

Petrodragonic Apocalypse etc. by King Gizzard

...In Times New Roman by Queens of the Stone Age

The Land is Inhospitable and So Are We by Mitski

The Book 3 by Yoasobi

Bewitched by Laufey

Unreal Unearth by Hozier

10000 Gecs by 100 Gecs

The Silver Cord by King Gizzard

The Death of Randy Fitzsimmons by The Hives

Heaven knows by pinkpantheress

nadie sabe lo que va a pasar mañana by Bad Bunny

Pointe by Hooveriii

God Games by The Kills

Parasocial by Brunch

[lagroupie]

Frankie and the Witch Fingers @ Palp Festival (Rocklette), Val de Bagnes, 05.08.2023

Yesterday I watched Frankie and the Witch Fingers kill it at Palp Festival for the Rocklette !! Their show and the new songs sounded so so good, what a joy to watch them perform again!! Thank you so much Frankie and the Witch Fingers and Palp for letting me do this!

I also took photos in the crowd and a couple friends!!

[myearspleasure]

VENDREDI 13 OCTOBRE 2023

ALLAH-LAS - ZUMA 85

FRANKIE AND THE WITCH FINGERS - ZAM

[tornbluefoamcouch]

Artista: Frankie And the Witch Fingers Álbum: Sidewalk Ano: 2017 Faixas/Tempo: 12/34min Estilo: Psychedelic Rock/Garage Rock Data de Execução: 22/08/2023 Nota: 4,5 Melhor Música: Sidewalk

[musickickztoo]

CONTRA2023 - 9 SUMMERTIME MELODIES

TRACKLIST:

Wireheads - Hook Echo Problem Patterns - Letter Of Resignation Palehound - My Evil The Low Spirits - You Lied Taxi Girls - Sunshine Osees - Goon Wombo - Slab KLINT - Adrenaline La Sécurité - Anyway Motorbike - Pressure Cooker Protomartyr - 3800 Tigers Frankie and the Witch Fingers - Mild Davis Stuck - Break The Arc Sparklehorse - Evening Star Supercharger Jacklen Ro - Over My Head Brad Marino - Ramones and Stones Spoon - Sugar Babies The Hives - Countdown To Shutdown

The 9th playlist of the year!

Listen: https://www.mixcloud.com/Contraflow/contra2023-9-summertime-melodies/

Try it, you might like it!!  

[bizarrobrain]

"Reaper" by Frankie and the Witch Fingers - From "Monsters Eating People Eating Monsters​.​.​." (2020)

[musicblogwales]

Frankie and the Witch Fingers - Futurephobic (Official Video)

Los Angeles psych-punk quartet Frankie and the Witch Fingers have shared new track “Futurephobic” alongside an official video. The song is taken from their seventh studio album Data Doom, due September 1 via The Reverberation Appreciation Society / Greenway Records. FLOOD Magazine gave the video an early debut, describing it as “in line with the album title’s vintage dystopian sci-fi connotations, swapping weed-smoke riffs for frigid new wave pulses and staccato vocal deliveries.”

“The main riff was an idea we came up with during the writing process for our album Monsters Eating People Eating Monsters… but we kept it in our back pockets, as it wasn’t quite fitting in with the theme of that album,” the band explains. “When we started writing Data Doom, it reemerged very organically and everyone latched onto the idea surprisingly fast and ran with it. We expanded on the main riff and came up with the other parts and overall arrangement while writing with our new lineup in our studio in LA. The whole process went surprisingly smoothly. We added backing vocals and overdubs while on tour last year in Europe, doing all the passes to complete the song from various apart-hotels, attics in France and Amsterdam.”

Though they’re currently in the midst of a massive trek across Europe, the band recently announced an extensive run of headline U.S. tour dates for this fall, which include performances at such esteemed venues as Warsaw in Brooklyn and The Troubadour in Los Angeles. See below for the full list of currently-announced dates.

Through six progressively expansive albums, innumerable live dates on an ever-expanding list of continents, and performances with the likes of Thee Oh Sees, Ty Segall, Cheap Trick, ZZ Top and more (to say nothing of their impressive headline dates), Frankie and the Witch Fingers have earned their throngs of global fans with their ecstatically wild live shows and layered, visionary recordings. With Data Doom, the band is poised to welcome even more uninitiated into the fold – it’s their most eclectic work yet, while remaining undeniably cohesive, and they’re supporting it with the biggest headline shows they’ve ever played. 

Over the past decade Frankie and the Witch Fingers have operated as an outright force of nature, offering up a revelatory form of psych-rock that hits on both a primal and ecstatically mind-bending level. In the making of their new album Data Doom, the Los Angeles-based four-piece forged a sublimely galvanizing sound informed by their love of Afrobeat and proto-punk—a potent vessel for their frenetic meditations on technological change run rampant, encroaching fascism, and corrosive systems of power. Animated by the explosive energy they’ve brought to the stage in sharing bills with such eclectic acts as Ty Segall and ZZ Top, the result is a major leap forward for one of the most adventurous and forward-thinking bands working today. 

Rooted in the cerebral yet viscerally commanding songwriting of co-founders Dylan Sizemore (vocals, guitar) and Josh Menashe (lead guitar, synth), Data Doom marks the first Frankie and the Witch Fingers album created with bassist Nikki “Pickle” Smith (formerly of Death Valley Girls) and drummer Nick Aguilar (previously a touring drummer for punk legend Mike Watt). In crafting their most rhythmically complex work to date, the band drew heavily from each new member’s distinct sensibilities: Smith tapped into her extensive background in West African drumming (an art form she first discovered thanks to her music-instructor parents), while Aguilar leaned into formative influences like longtime Fela Kuti drummer Tony Allen. Self-produced by the DIY-minded band and recorded direct to tape by Menashe, Data Doom ultimately took shape through countless sessions in their Southeast L.A. rehearsal space, with Frankie and the Witch Fingers allowing themselves unlimited time to explore their most magnificently strange impulses.

Once again showcasing the expansive and fantastically eccentric musicality of past efforts like 2020’s Monsters Eating People Eating Monsters..., Data Doom encompasses nine high-wattage songs constructed with both dizzying intricacy and unfettered imagination. On “Mild Davis,” for instance, the band shares a gloriously spaced-out track inspired by a piece from Miles Davis’s early-’70s electric period, cycling through a vast whirlwind of rhythms and textures and wildly spellbinding guitar parts. “We worked on that for two weeks straight, puzzle-piecing together different parts into one very weird and stream-of-consciousness song that’s mostly in a 7/4 time signature,” Menashe recalls. Meanwhile, Sizemore’s lyrics shift between savagely despairing the state of the world and resolutely dreaming of a brighter future. “I wrote the lyrics to ‘Mild Davis' in a moment of feeling pessimistic about what technology is doing to our society, especially as AI is creeping to the forefront more and more,” says Sizemore. “But then the bridge comes from a more optimistic perspective, where it’s questioning whether we could reboot the whole system and start all over.”

After opening on the epic majesty of “Empire,” Data Doom launches into the first song the band’s new lineup wrote together: “Burn Me Down,” an irresistibly jittery track that perfectly encapsulates the album’s transcendent collision of blistering riffs and polyrhythmic grooves. On “Electricide,” Frankie and the Witch Fingers unleash the LP’s most unabashedly punk offering, a bombastic rallying cry built on Aguilar’s breakneck drumming. One of several songs featuring Menashe on sax, “Syster System” slips into a hypnotically fluid tempo as Frankie and the Witch Fingers muse on the possibilities of partnership culture (a concept introduced by futurist Riane Eisler in her seminal book The Chalice and the Blade). “Riane Eisler talks about how our society has a very masculine energy that manifests as the need to exert power, which she refers to as dominator culture,” Sizemore explains. “The alternative to that is partnership culture, which has a feminine energy that’s more symbiotic with nature. The idea behind ‘Syster System’ is that if we could bring that energy into technology, it could help make everything more harmonious.” And on “Political Cannibalism,” Data Doom closes out with a dance-ready anti-anthem stacked with so many loopy details, such as a warped and otherworldly guitar part Menashe spontaneously composed in an attic in France.

To create the cover art for Data Doom (a co-release from Greenway Records and the Reverberation Appreciation Society), Frankie and the Witch Fingers reached out to Italian illustrator Carlo Schievano and UK-based graphic designer Jordan Warren, who then joined forces in assembling an elaborate mixed-media piece complete with its own language system and accompanying decoder. “It was really fascinating to see two different artistic voices working together to make something so unique, with all these hidden elements for people to figure out,” says Smith. Not only an echo of the album’s endlessly immersive quality, Data Doom’s visual component reflects the band’s devotion to unbridled collaboration in all aspects of the creative process. “There was no pressure and no real time constraint for this record, and because of that the creativity flowed in a very free way that probably wouldn’t have happened if we’d been on the clock in a studio,” says Sizemore. “It showed us that the more we take the time to communicate and share our ideas with each other, the more it feeds our creative energy and helps us to make something we’re all really excited about.”