Dig ‘in: Waco Brothers, Wednesday, FACS
Check out what the No Wristbands team is listening to and what’s in our show calendars this month on our latest Dig ‘in.
INCOMING
Waco Brothers - The Men That God Forgot (Plenty Tuff Records LP)
On the chorus of “Alone and Forsaken,” Hank Williams sings “Alone and forsaken / By fate and by man / Oh, lord if you hear me / Please hold my hand / Oh, Please understand.” Undoubtedly the Waco brethren are familiar with the song (it was plucked as a b-side for the Mekons’ “Hello Cruel World” 1986 single release) and profoundly relate to its depiction of desolation.
Throughout The Men That God Forgot, a theme of alienation pervades the band’s observations. Seven years removed from their last album, Going Down In History, the Wacos have plenty of fodder to dispense over the course of TMTGF’s 15 tracks. Vigilantism, white supremacy, blind justice, Big Pharma, PTSD and ecological ignorance are met with a jaundiced eye. They’re well aware that in a world detached from reality, fake news functions as populist propaganda. When ’nothing is true; everything is permitted,” but the wild western world doesn’t suit these good guys that don’t always wear white. Thank goodness for the men in black, godforsaken as they are. -Bruce Novak
Wednesday - Rat Saw God (Dead Oceans LP)
I know I’ve talked of this often, so reader please forgive me this indulgence when I say again that there are few things more exciting to me than a band leveling up. Who’s the most recent band in my mind that has leveled up you ask dear reader? Why it’s Asheville’s very own Wednesday. Wednesday started as the brainchild of lead singer/guitarist Karly Hartzman and has quickly established itself as the flag bearer of that ’90s grunge/guitar-rock with a mix of country for good measure. None of this should be too surprising given 2021’s Twin Plagues was great, as was guitarist MJ Lenderman’s 2022 album Boat Songs. Wednesday also laid their influences bare on 2022's cover album Mowing the Leaves Instead of Piling ’Em Up, showing their equal appreciation of power pop (Chris Bell), country (Gary Stewart), and ’90s grunge (The Smashing Pumpkins).
The thing that sticks with me on Rat Saw God is the writing. Hartzman’s gift is letting the listener into her world, offering a true glimpse into small-town life, captured perfectly in album highlight “Chosen to Deserve.” Hartzman tells stories stripped of any semblance of charm talking about drinking to excess and drug use, and the impacts of those events. The thing that makes this album a creative leap forward is the matching of Hartzman’s words with the perfect mixture of things that at first glimpse don’t seem cool musically right now—grunge and guitar-focused indie rock. The words have sharp edges, and so does their sound; every high is earned, and you’re allowed to feel the emotion of the words Hartzman sings. Please make sure you check out their headlining show at The Metro on June 26th and see guitarist MJ Lenderman’s set at Pitchfork Music Festival on July 22nd. -Mark Joyner
FACS - Still Life In Decay (Trouble In Mind LP)
Running down FACS’ recent album titles gives you a pretty fair approximation of where their headspace reside—Void Moments, Present Tense and now Still Life In Decay. Brian Case has pointed out how the band uses their music to process their feelings and hash out what reality is. On SLID their conclusion is that the truth is ugly, characterized by rampant greed and class warfare.
On the opener, “Constellation,” Case laments “I woke up / On the wrong side of time.” Musically the song pokes and probes to try to free itself from constraint and the line “The whole point of no return / Is don’t come back” leaves no doubt what direction they’re headed. When second guitarist Damon Carruesco exited Disappears in 2017, it opened up more sonic space for the newly-formed FACS to operate. The rhythm section of drummer Noah Leger and bassist Alianna Kalaba (since sub’d out with the return of Jonathan van Herik) provide a rock solid foundation for Case’s guitar to paint the corners and splatter drop for effect. FACS’ songs unfold more than they unleash—there’s a palatable discontent simmering underneath that rarely boils over. On the album’s closer, “New Flag,” the band contemplates picking up stakes for a more just reality. Their ensuing journey will certainly be one worth tracking. -Bruce Novak
UPCOMING
Rat Tally
Where: Golden Dagger / Directions
When: April 21, 7:30 PM
Addy Harris’ songs are attention grabbing in their depth of detail and emotion. In a quest to regain her sense of self she began penning her confessional missives back when she lived in Los Angeles, and continued doing so as she crossed the country to Portsmouth, NH and Richmond, VA before settling in Chicago. The resulting album, In My Car, came out last fall on 6131 Records, who also released Julien Baker’s Sprained Ankle debut in 2015. Harris created most of the material from her bedroom and then facilitated band meetings over zoom to hash out what each member would add to the recording on their own accord. The album unfolds like a travelog with references to LA, Colorado, Allston, MA and Chicago. Its title represents a refuge from the outside world; a cocoon environment conducive to self-analysis. Seeing Rat Tally on stage will feel akin to being along for the ride, surreptitiously eavesdropping from the backseat. -Bruce Novak
Bikini Kill
Where: Salt Shed / Directions
When: : April 22, 7:00 PM
When Bikini Kill made the decision to reunite after a 20 year separation, it wasn’t the lure of a financial windfall that motivated them, but rather admiration for the creative longevity of the Raincoats who were performing at The Kitchen in New York and had asked Tobi Vail to play a song as part of the festivities. Unsure of what she might contribute, Vail reached out to Kathi Wilcox, who lived in NY, to help her out. Wilcox, in turn, corresponded with Kathleen Hanna and plans were hatched for a surprise performance of “For Tammy Rae.”The present political climate makes Bikini Kill as relevant as ever. As troubling as it is that we’re a culture in reverse, it only reinforces the need to have their voices heard again. And unlike their first foray in the ’90s, their voices are reaching a greater audience who have ample motivation to go to battle against injustice and prejudice. Just as Bikini Kill derived inspiration from prior feminist icons like The Raincoats, there will undoubtedly be members in the present audience that will take up the future cause. Last time the band rolled into town was for a headlining slot at Riot Fest in 2019. That rise in visibility has coincided with it no longer being necessary for Hanna to utter “girls to the front” because being both seen and heard is something that Bikini Kill can rightly claim to have accomplished. -Bruce Novak
Shana Cleveland
Where: Old Town School of Folk Music / Directions
SPACE / Directions
When: April 27, 8:00 PM
April 29, 6:30 PM
Shana Cleveland has split her time judiciously between performing with Seattle-based La Luz and pursuing solo opportunities in between. Her third solo record, Manzanita, was released this March and was written during the period that she was pregnant and on through the time when her son was born. Her pregnancy and move to a rural region of California made her more attuned to the cycles of nature and enabled her to surrender control of preconceived notions about the direction of her life and creative output. Her nuanced songs are understated and ethereal; lush with her delicate finger picking and tender voice. Her domestic partner, Will Sprott (who also performs with Shannon & The Clams), is a versatile multi-instrumentalist, contributing an array of keyboards, dulcimer, glockenspiel and harpsichord to her latest record. La Luz were slated to play Lincoln Hall last year in March before having to cancel following Cleveland’s breast cancer diagnosis. After healing both physically and mentally since then, she will no doubt treasure being able to perform in a city she spent time in while attending school during her younger years. -Bruce Novak
UNCOVERED
The Julie Ruin - Hit Reset (Hardly Art LP)
Following the disintegration of Bikini Kill, Kathleen Hanna morphed into her alter-ego Julie Ruin and recorded a solo record in 1998 that captured her raw emotions and foretold a lo-fi electronic dance-punk direction that would provide the basis for her next band, Le Tigre. After an impactful three record run, Hanna’s chronic health condition attributed to Lyme disease forced her to the sidelines. When her struggles seemed to subside, she resurrected Julie Ruin as a full band with former Bikini Kill bassist Kathi Wilcox along with guitarist Sara Landeau, drummer Carmine Covelli and keyboardist Kenny Mellman. A relapse of her Lyme disease resulted in the band cancelling a 2014 tour in support of their Run Fast debut album. One of the cancellations was for an appearance at Chicago’s Pitchfork Music Festival, which the band was able to eventually fulfill the following year.
Hit Reset, released in 2016, was acutely impacted by Hanna’s health struggles. It found her jettisoning negative influences while also celebrating life-affirming relationships. Nowhere is that more apparent than on the tracks that bookend the record. The opening title track puts the terror of her abusive father behind her and the closing sparse piano ballad “Calverton” fondly recalls the encouragement she received from her burgeoning feminist mother. The record captures the most comprehensive overview of Hannah’s musical interests—’60s girl group harmonies, bubblegum pop, disco funk, surf riffs, new wave electronics and punk fervor intersect throughout. Finally free of the scourge of Lyme disease, Hit Reset jumpstarted a new creative phase for Hannah that has carried forth with two scheduled Chicago appearances this year; an April date with Bikini Kill and a July return with Le Tigre. Considering that, I certainly wouldn’t say that we’ve heard the last of The Julie Ruin either. -Bruce Novak
We recommend listening along over at our Spotify page. Here’s this week’s content: