Always excited when new nuggets roll out of the Frankie and the Witch Fingers cabal, and they don’t pull any punches with “Cavehead.” The song pounces on their smoke-choked psych end of the spectrum while adding in a delightful dose of playful rhythm. The guitars push far past the Hawkwind-huffer end of the bag of tricks — a leviathan letdown of face-melting space that tears through the wormhole at irresponsible speeds. The embrace of woodblock rhythms push the band as close to post-punk as they’ve ever been, but they’re not going angular just yet. There’s a dance in the DNA here but along with the psilocybin-induced visions of the video this one’s aiming for a higher echelon of disjointed shake. The build lulls the listener into the arms of trance before the Witch Fingers pop the accelerator and fuel their burn with a half-ton payload of amp-fried fury.
The band’s Dylan Sizemore sums up “Cavehead” for the curious “For us, the intention behind this song was to whittle down a 30-minute pattern we had been vamping into something a little more digestible and succinct. The pattern had a neat polyrhythmic nature to it that we really wanted to explore deeper to give it a lively (David) Bryne kind of World Music feel. While we were in the studio listening back to the main tracks, Shaughnessy [Star] and Josh [Menashe] started messing around with these Thai wooden blocks and playing a sort of call and response pattern in this perfect little tight pocket. We were all so excited to add that last little finishing touch that really brought it all home!
Lyrically the idea behind this song is about everyone being a process rather than a person or persona. You’re not Martha, you’re Martha-ing. With the right type of entrancing groove, sometimes you can get sucked into the essence of what Martha-ing is all about.” The 7” is the band’s first release split between their familiar harbor at Greenway Records and Austin’s Reverberation Appreciation Society.
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