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MRS. MAGICIAN

Mrs. Magician

Spiritual Hangover

San Diego’s Mrs. Magician has always bent surf music and punk into something delightfully off-kilter — sun-soaked, hook-heavy power pop with a lyrical fixation on life’s darker undercurrents. Their 2012 debut, 'Strange Heaven', was a nihilistic pop statement that grew into a cult classic. The 2016 follow-up, 'Bermuda', sharpened the edges with punchy, nervy songwriting. Both records were produced by John Reis (Rocket From The Crypt, Hot Snakes, Drive Like Jehu), cementing the band’s place in Southern California’s underground lineage.

Now, in 2026, Mrs. Magician reemerges with their long-awaited third LP, 'Spiritual Hangover'. Recorded at Dave Grohl’s Studio 606 and Singing Serpent Studios with producer Christian Cummings, 'Spiritual Hangover' finds songwriter Jacob Turnbloom trading youthful nihilism for something more reflective. Where earlier records wrestled with existential dread through anthemic defiance, this new collection embraces uncertainty — an admission of ignorance in the face of the human condition, paired with a genuine longing for connection and understanding.

The humor remains. The hooks are sharper than ever. But the perspective has shifted. These songs feel less like a declaration of dominance and more like a celebration of fragility — an acknowledgment that life is fleeting, confusing, and still worth enjoying.

The album features Andrew Montoya (drums) and Mark Rivera (bass) of The Sess, Ian Fowles (guitar) of The Aquabats, and John Reis (guitar).

'Spiritual Hangover' channels the bright urgency of late-’70s power pop through a distinctly Californian lens — warm, melodic, and irresistibly alive.

TRACK LISTING

1. Die In Cleveland
2. High Resolution
3. Don’t Wear Me Out
4. Fear Of The Living
5. Sanctuary
6. Dead Alive
7. Public Meltdown
8. Depression Song
9. One And Only Girl
10. Pill
11. The World Doesn’t Need Your Jive

Bermuda is the latest effort by San Diego’s dismal-pop outfit Mrs. Magician and their second full-length release on Swami Records. The album offers a concise collection of punk songs inspired by the big sounds of classic ’60s pop and rock ’n’ roll, with structures more associated with ’70s and ’80s power pop. Thomas Garcia’s blissed-out backwash guitar tones and fuck-it fuzz attack juxtapose the band’s dry and thudding foundation, creating a tropically depressed grog. Cutting through the lacquer with a glossy shimmer, producer Swami John Reis (Drive Like Jehu, Rocket From The Crypt, Hot Snakes) coaxes a tightly wound, rigid backdrop for vocalist Jacob Turnbloom’s morose-pop delivery.

Lyrically far more non-linear than their 2012 debut album Strange Heaven, Bermuda echoes the familiar selfdeprecating humor that is heavily present in the band’s prior work, but focuses less on interpersonal relationships, favoring broader inspirations of alienation and melodrama. Themes of gentrification, addiction, religion and the intoxicating aroma of modern day conspiracy theories wrestle against a bright and tight sonic terrain. This is the ghetto of Kokomo. Bermuda has a boozy and breezy island malaise on the surface. But once submerged, the listener is exposed to confusion, nihilism and the notion that even with all of our technology and omnipresence of big brother, essentially we are all still very lost.


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