Frankie and the Witch Fingers - Trash Classic - RVRB102WIDE

Frankie and the Witch Fingers - Trash Classic - RVRB102CD

Frankie and the Witch Fingers - Trash Classic - RVRB102CASS

Trash Classic (Worldwide Wide Release Vinyl (Black Vinyl)) (Worldwide Wide Release Cassette)

Regular: £18.99

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Regular: £18.99

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Cat No: RVRB102WIDE

PRE-ORDER: This item will be shipped with the aim to deliver on release day.

Format Details: Worldwide Wide Release Vinyl (Black Vinyl)

Format Details: Worldwide Wide Release Cassette

Release Date: 06 June 2025

Label: Ras / Greenway / Reverberation Appreciation Soc

Packaging Type: Slip Sleeve (CD or Vinyl)

No of Units: 1

Barcode: 199066835616

Genres: Rock Psychedelic Rock

Release Date: 06 June 2025

Label: Ras / Greenway / Reverberation Appreciation Soc

Packaging Type: Digipak

No of Units: 1

Barcode: 195081615233

Genres: Rock Psychedelic Rock

Release Date: 06 June 2025

Label: Ras / Greenway / Reverberation Appreciation Soc

Packaging Type: Cassette Case

No of Units: 1

Barcode: 195081622965

Genres: Rock Psychedelic Rock

Description
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 cinderblocks 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 Studios, 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 almost childlike. 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.

Description
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 cinderblocks 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 Studios, 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 almost childlike. 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.

Description
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 cinderblocks 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 Studios, 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 almost childlike. 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.
Tracklisting
Tracklisting
Tracklisting