On Friday, July 18th the Community Center for the Performing Arts proudly welcomes Frankie & The Witch Fingers, to the WOW Hall.
Los Angeles psych-punk shapeshifters Frankie and the Witch Fingers have spent the last decade mutating their sound into bold, electrifying new forms. Their latest release, Trash Classic (via Greenway Records and The Reverberation Appreciation Society), plunges into a sewer-slick fusion of proto-punk venom, fractured new wave, and industrial grime. Brimming with wiry synths, angular melodies, and grooves that squirm and bite, it’s all delivered with a sly, playful wink. Fueled by relentless global touring and a fierce DIY ethos, the band has shared stages with OFF!, Ty Segall, Oh Sees, Cheap Trick, and ZZ Top, cementing their place as one of the most unforgettable live acts around. Frankie and the Witch Fingers continue to morph, dragging listeners into whatever warped direction their experimental journey takes next.
About the new record, Trash Classic:
Hooks so infectious they rot on impact. Trash Classic marks a feral mutation for Frankie and the Witch Fingers—a record that snarls with proto-punk venom, angular melodies, and electronic textures that cough and sputter like dying neon lights under a poisoned sky.
This record pushes the Witch Fingers’ sound to a razor's edge. Wiry and twitching, it bends into synth-punk and fractured new wave, with fragments of industrial grime caked under its nails. Guitars detonate and slice like cinder blocks through glass, while gnashing basslines slither through the sludge, alive and seething. Buzzy synths take the forefront, driving relentless rhythms that crack and pop, drenched in a chemically saturated sheen—part bug-eyed speed-freak pogo, part dance-floor delirium. The vocals cut through like static-laced transmissions—balancing both smirk and sneer—layering playful unease over themes of escapism, decay, and overindulgence.
The songs were born in the grime of Vernon, Los Angeles—a wasteland littered with gutted RVs and rusting machinery, where the air tastes like asphalt and dog food. But the real alchemy happened in Oakland, at Tiny Telephone Studio, where producer Maryam Qudus (La Luz, Spacemoth) helped transmute the tracks into their final forms. Unhinged tones, unconventional recording experiments, and wild sonic detours transformed the songs into something alive and unpredictable.
Every day of recording began with cartoons blaring at full volume—a Looney Tunes ritual that turned the madness of the recording process into something child like. Late at night, sugar-fueled candy binges kept the energy spiking, pushing the sessions into a fever dream of jittery, spastic playfulness.
The result is a raw, twisted monument to rot and excess—toxic glamour and nihilistic salvation. Trash Classic isn’t just a record; it’s an auditory dumpster bible—a gutter gospel for those ready to dive into its filth.
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