Frankie And The Witch Fingers

Frankie And The Witch Fingers

Over the course of five years and four LPs, L.A. veterans, Frankie and the Witch
Fingers, have been mutating and perfecting their high-powered rock n’ roll sound.
After savagely touring the USA and Europe, this four-headed beast has shown no
signs of relenting—appearing like summoned daemons and dosing crowds with
cerebral party fuel.

The main attraction of Frankie and the Witch Fingers is their explosive performance.
With their rowdy and visceral approach to live shows, each member brings their own
devilry to induce an experience of bacchanal proportions.

Using absurd lyrical imagery—soaked in hallucination, paranoia, and lust—the
band’s M.O. strikes into dark yet playful territory. This sense of radical duality is astir
at every turn, in every time signature change. Airy vocal harmonies over heavily-
serrated riffs. Low-key shamanic roots under vivid high-strangeness. Rambling
stretches and punctuated licks. Cutting heads and kissing lips. All this revealing a
stereophonic schizophrenia that has flowed throughout their body of work: an ebb &
flow of flowery-poppy horror.

The band’s latest incarnation is primed to break new sonic ground, edging into the
funky and preternatural. Just when you think the trip couldn’t get any weirder,
Frankie and the Witch Fingers cranks up the dial, shatters the mundane, and
summons new visions.

Stonefield have been rendering their powerful mosaic of proto-psych, since they were only as tall as the smallest of the strange stone formations that surround their home town in Australia’s rural South-East. From within their stellar nebulae, the four Findlay sisters have pressed light years into days and agitated tidal patterns across the globe, for more than a decade.

Their sophomore record ‘As Above, So Below’ (2016) laid a Sabbath-strata, from which they’ve launched a legion of followers, festival dates and world tours, hitting the road with everyone from Meat puppets to Fleetwood Mac, they’ve traversed in ways that few others have.

In April 2017 the band spent two weeks recording at Downtown LA’s Ultrasound studios, following an East Coast U.S tour with King Gizzard & The Lizard. The result is their third studio album, and first release through Flightless Records, titled ‘Far From Earth’. Produced by Black Mountain’s Stephen McBean, this latest release dips in and out of the visible spectrum with a heavy dose of fuzzed out metal, firmly set in head nodding 70’s groove and prog frequencies.

The shift from the hardened psych pop of earlier records toward more prog and heavy metal is most prevalent on album opener and first single ‘Delusion’. Heavy waves of operatic synth and tubular bells ring below guitars with mellotron lines that warn you that humans don't belong in space.

‘Far From Earth’ is a conduit, A collection of sounds and imagery intended for future humans or whoever may find them.

Stonefield are:
Amy Findlay: Drums/Vocals
Hannah Findlay: Guitar
Sarah Findlay: Keys
Holly Findlay: Bass

King Eddie

King Eddie is a Denver-based psych rock & VR multimedia project fronted by Jay Mars. The band’s new album, Holographic Universe [Moon Magnet Records] uses Virtual Reality as a metaphor for self-delusion. Facing a grave family illness immediately after the birth of his daughter, Jay navigates this duality through a sort of zen futurism to ask: if reality is maya, or illusion, can we create our own hologram?

Jay relocated to Denver from Detroit to begin sessions for King Eddie’s second album, Holographic Universe, in 2016. The album debuted this winter on Colorado Public Radio’s Open Air with a brand new lineup including bassist Velvet Adams, guitarist Benjamin Buttice, drummer Linton Wright, and keyboardist Kevin Netz.

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