Back in 2012, Thee Oh Sees made their first appearance at Austin Psych Fest, performing an electrified set at Emo's East. The first of many Levitation appearances down in Austin, this show has been mixed by John Dwyer and mastered for vinyl by JJ Golden. Now immortalized on glorious 12" colored wax. "I think this was our first time at levitation but our millionth time in the amazing and tough as nails city of Austin, Texas. Brigid Dawson, Mike Shoun, Petey D and myself had already laid the live show out in front of crowds here, so it wasn't our first rodeo and certainly not my last. Our love is obvious here as we bring forth a short but sweet set of hits and deep cuts. This is also the version of the band with Lars "Fingers" Finberg of Intelligence fame as second banana drummer. So enjoy some primal and sensual double drumming and as a side note, no one died at this show. Thanks as always to Levitation for making shit happen" - John Dwyer 


The first Austin Psych Fest was held in March 2008, and expanded to a 3 day event the following year. The event quickly developed into an international destination for psychedelic rock fans, with lineups spanning the fringes of indie rock, from up-and-comers to vintage legends, and capped off with headline performances from co-founders The Black Angels, along with Tame Impala, The Flaming Lips, The Brian Jonestown Massacre, Thee Oh Sees (in various forms) and many more. LEVITATION helped spark a movement, inspiring the creation of similar events across the globe and a burgeoning psych scene that would soon ignite. The series captures key moments in psychedelic rock history, and live music in Austin, Texas, pressed on beautiful limited edition colorful vinyl pressings - each an eye popping visual representation of the music contained within. The artists and sets showcased on Live at LEVITATION have been chosen from over a decade of recordings at the world-renowned event, and document key artists in the scene performing for a crowd of their peers and fans who gather at LEVITATION annually from all over the world.

TRACK LISTING

1. The Dream
2. Devil Again
3. Tidal Wave
4. Enemy Destruct
5. Robber Barons
6. Block Of Ice
7. Meat Step Lively
8. Minotaur

What’s the first thing that comes to mind when someone mentions Thee Oh Sees? Probably their riot-sparking live show, right? Visions of a guitar-chewing, speaker-smothering, tongue-wagging John Dwyer careening across your cranium, chased by a wild-eyed wrecking crew that drives every last hook home like it’s a nail in the coffin of what one thought it meant to make 21st century rock ’n’ roll?

Yeah, that sounds about right. But it misses a more important point—how impossible Thee Oh Sees have been been to pin down since Dwyer launched it in the late ’90s as a solo break from such sorely missed underground bands as Pink and Brown and Coachwhips. That restlessness extends to everything from the towering, thirteen-minute title track of 2010’s Warm Smile LP to the mercurial moods of 2008’s The Master’s Bedroom Is Worth Spending a Night In. And then there’s the home-brewed symphonies of Castlemania and the high-wire hooks of Carrion Crawler / The Dream, which dropped a second drum set among sunburnt organs, dovetailing guitars and rail-jumping rhythms.

If one prefers a slightly more subtle musical awakening, there’s always Putrifiers II, the latest in a long line of Oh Sees albums that expands the group’s sound well past your friendly neighborhood garage band. So while the space-odyssey nods of “Wax Face” actually sound like they’re meant to melt one’s ears straight off, the record’s full of deviant detours, from the poison-tipped string parts and Eno-esque engineering of “So Nice” to the groove-locked Krautrock inclinations of “Lupine Dominus.”

The most noticeable element may be Dwyer’s melodies, however, as they reveal a softer side to his songwriting, one that makes perfect sense considering just how disparate his dust-clearing influences are. Scott Walker, The Velvet Underground, The Zombies and the experimental Japanese act Les Rallizes Denudes are but a small taste of what informed Thee Oh Sees this time around, as Dwyer returned to the multi-instrumental ways of Castlemania— full-band sessions for another record are already underway—and rounded out a fuller, drier sound with drummer / engineer Chris Woodhouse and special guests like Mikal Cronin (sax), Heidi Maureen Alexander (trumpet, vocals) and K Dylan Edrich (viola).

TRACK LISTING

1. Wax Face
2. Hang A Picture
3. So Nice
4. Cloud #1
5. Flood's New Light
6. Putrifiers II
7. Will We Be Scared?
8. Lupine Dominus
9. Goodnight Baby
10. Wicked Park

If you've followed the San Francisco underground for the past ten years, you might already be familiar with John Dwyer. Or — tastes depending — you might not know him at all. A friend and devotee of pre-eminent Providence noise rock act Lightning Bolt, the majority of Dwyer's repertoire falls on the indie spectrum's more visceral wavelengths. He was Pink in Pink and Brown, fronted Coachwhips, and played guitar in the dysfunctional Hospitals. Formed in the wake of his more volatile commitments, Thee Oh Sees started as an extension of Dwyer's softer side. Their early recordings were somber and beautiful. Last year, Thee Oh Sees made an unexpected turn, delivering their wildest, weirdest, hardest rocking record yet with "The Master's Bedroom Is Worth Spending A Night In". Now Thee Oh Sees have followed it with an even wilder, more hard-rocking record, "Help". Recorded by Chris Woodhouse (the A-Frames, Mayyors), "Help" draws straight, dark lines to both the British psychedelic rock of bands like The Creation and the caveman thud of The Troggs while a Cramps-like appreciation for rockabilly lies not far below. The album weaves Dwyer's signature AM radio howl with the catchiest of driving tunes, Brigid Dawson's gorgeous harmonies, heightened fidelity, thick spring-reverbed bombast, mighty drums, and an undeniable pull. The result is a sound somewhere beyond nostalgia, beyond the garage, beyond the fireside song and supposed goo-rock. Modern rock'n'roll records don't come much better than this and Thee Oh Sees are one of the best bands going.

Perched in the belfry of The Chapel we caught thee mighty Oh Sees, alive and in their natural element, with our shutters aflutter and our
tapes on a roll. After a short incubation period, the beast has reached full maturity and it is hideous. Over three nights they pummeled, and we’ve culled some great photographs, a wicked recording, and even a little live video action.

Castle Face is happy to announce the first double LP in the Live in San Francisco series, presented on two discs, in a handsome double
gatefold jacket.

Finally you depraved Oh Sees freaks have something to take home with you when you lose your shoes and your girlfriend at the show. Put it on at home and pretend to wait in line for the bathroom and it’s like you’re really there.

The thrash, the throb, the mob is all present and pushed to the front. Dual drummers synced in each ear, Tim Hellman rounding out the
bottom and Castle Face’s own John Dwyer up front on guitar, lasering young brains off and fomenting the crowd to a froth—it’s a great
band, in a great room, with a great crowd and it’s cooked to perfection…

Take a little bit of it with you this time.

TRACK LISTING

1. I Come From The Mountain
2. The Dream
3. Tunnel Time
4. Tidal Wave
5. Web
6. Man In A Suitcase
7. Toe Cutter Thumb Buster
8. Withered Hand
9. Sticky Hulks
10. Gelatinous Cube
11. Contraption

What’s the first thing you think of when someone mentions Thee Oh Sees? Probably their riot-sparking live show, right? Visions of a guitar-chewing, melody-maiming John Dwyer careening across your cranium, rounded out by a wild-eyed wrecking crew that drives every last hook home like it’s a nail in the coffin of what you thought it meant to make 21st-century rock ’n’ roll?

Yeah, that sounds about right. But it misses a more important point—how impossible Thee Oh Sees have been to pin down since Dwyer launched the project in the late ’90s as a solo break from such sorely missed underground bands as Pink and Brown and Coachwhips. (While Dwyer still records songs on his own, Thee Oh Sees is now a five-piece featuring keyboardist / singer Brigid Dawson, guitarist Petey Dammit, drummer Mike Shoun and multi-instrumentalist / singer Lars Finberg.) That restlessness extends to everything from the towering, thirteen-minute title track of 2010’s Warm Slime LP to the mercurial moods of 2008’s The Master’s Bedroom Is Worth Spending a Night In.

Now, Thee Oh Sees chase the home-brewed symphonies of Castlemania with the scrappy, high-wire hooks of Carrion Crawler / The Dream. Originally envisioned as two EPs, it was cut live to tape in less than a week at Chris Woodhouse’s Sacramento studio in June, reflecting the battering-ram bent of the band’s live show better than any bootleg ever could. “As I’m sure most would agree,” explains Dwyer, “Castlemania was more of a vocal tirade. This one’s meant to pummel and throb.”

That it does, whether one blasts the slow, speaker-bruising build of “The Dream,” the sunburnt organs and dovetailing guitars of “Crack in Your Eye” or the interstellar instrumental “Chem-Farmer,” a perfect example of what happens when one takes a well-oiled machine—a gang of rabid road warriors, really—and adds a second, groove-locked drum set to the mix. To listen is to realize that Dwyer’s music is as manic as the underground comic inclinations of his artwork; colorful and confusing in a way that’s more than welcome. It’s downright refreshing, like a slap in the face at 5:00 in the morning. Or, as Dwyer puts it, “You have to leave a mark somehow.”

TRACK LISTING

01. Carrion Crawler
02. Contraption/Soul Desert
03. Robber Barons
04. Chem-Farmer
05. Opposition
06. The Dream
07. Wrong Idea
08.Crushed Grasss
09. Crack In Your Eye
10. Heavy Doctor

San Francisco’s incredibly prolific Thee Oh Sees are back with another full-length album of original tracks plus a smattering of covers. While the group’s previous releases on In The Red, "Help" and "Warm Slime", showcase their amped-up, reverb-drenched garage-psych pummel, on "Castlemania", John Dwyer and company take a more low-key approach. Dwyer himself describes "Castlemania" as 'summer-y and poppy'; on many of the tracks, electric guitars are jettisoned for acoustic, and the normally echo-laden vocals are a bit clearer. Happy pop melodies, sweet and sombre tunes, psychedelic moves galore, cover versions of The Creation and the West Coast Pop Art Experimental Band, and at least one garage stomper all rub elbows on Thee Oh Sees’ 'sunshine pop' album.

Its release couldn’t be more perfectly suited to the time of the year when the sunny skies return and the flowers start blooming. Watch for Thee Oh Sees to return later this year with another full-length of pulverizing, heavy stomp. In the meantime, relax and enjoy "Castlemania".

TRACK LISTING

1. I Need Seed
2. Corprophagist (A Bath Perhaps)
3. Stinking Cloud
4. Corrupted Coffin
5. Pleasure Blimp
6. A Wall, A Century
7. Spider Cider
8. The Whipping Continues
9. Blood On The Deck
10. Castlemania
11. AA Warm Breeze
12. Idea For Rubber Dog
13. The Horse Was Lost
14. I Won’t Hurt You (by West Coast Pop Art Experimental Band)
15. If I Stay Too Long (by Big Wheel)
16. What Are We Craving? (by Norma Tanega)

The first two volumes of singles and B-sides from Thee Oh Sees!! Twenty-four songs, including the track “Tidal Wave” (featured in TV’s Breaking Bad), that run the gamut from very mellow stuff with strings to completely fried burners

TRACK LISTING

1. Carol Anne
2. Inquiry Perpetrated
3. Mincing Around The Frocks
4. Kingsmeat
5. The Freak Was Clean
6. Kids In Cars
7. Bloody Water
8. Hey Buddy (Aaron Aites Cover)
9. Comas (Aaron Aites Cover)
10. I Agree
11. Grave Blockers
12. Tidal Wave
13. Heart Sweats
14. Contraption (Demo)
15. Friends Defined
16. Blood In Your Ear
17. Schwag Rifles
18. The Drag (Ty Segall Cover)
19. 7484
20. Castiatic Tackle (Demo)
21. She Said To Me
22. Where People Do Drugs
23. In The Shadow Of Giants
24. Ichor

We all know the type: prolific bands that commit every loose thought, stray idea and 90-second song fragment to tape. Bands that pay no attention to little inconveniences like "release cycles" or "self-editing," and instead decide that quantity equals quality, creating a discography more labyrinthine, imposing and-ultimately-exhausting than the cast of creatures in a sci-fi novel. Here is why none of that applies to THEE OH SEES. Because each of the dozen-plus albums they've released since 2004 possesses a distinct personality and represents a different point along the path of JOHN DWYER's slow transformation from auteur of woozy, bare-bones four-track psychedelia to goggle-eyed garage rock marauder backed at long last by a band that both shares and stokes his singular vision. Because drop a needle on any record and-to their great credit-it takes several songs before you're convinced it's Thee Oh Sees. The seasick hundred-bottles-of-rum shanty "What the Driven Drink," from 2007's delirious Sucks Blood exists in a different galaxy than the rollercoastering "Chem-Farmer" from last year's Carrion Crawler / The Dream; the doomy doo-wop of "Blood on the Deck" hardly seems like the product of the same band that delivered the yelping "Ruby Go Home" in 2009. And the band that made last year's engrossing Putrifiers II seems like a distant cousin to the one delivering Floating Coffin-arguably the most varied and textured Oh Sees record to date. Chalk some of the group's cunning chameleonic ability to Dwyer's fifteen-year resume. The driving force behind such beloved and sonically disparate bands as Coachwhips and Pink and Brown, Dwyer's increased fidelity to Thee Oh Sees and only Thee Oh Sees is evidence of a newfound sense of purpose and focus. Where once Dwyer used to funnel his divergent artistic ideas through a host of different channels, lately he's been finding ways to make all of those impulses function within the framework of Thee Oh Sees-who have in turn grown closer and tighter and sharper with each eye-popping, jaw-dropping live show. That sense of unity is palpable throughout Floating Coffin, the next chapter in the story of Thee Oh Sees, the one where they fix their fury against the onrushing night. It's another blistering demonstration of Thee Oh Sees greatest trick: they're the only prolific band who doesn't put out records often enough. ? A gnarlier, heavier side of band with some juicy synth smoochie action joining the party ? Packaged with drawings by Matt Brinkman and cover photo by John Dwyer

Here we have a new batch from Thee Oh Sees for your absorption - nine muscular tunes primed to pummel to. Last year’s Drop was more schizophrenic, ranging from heavy to whimsical and back - Mutilator Defeated At Last has more in common with the monolithic hugeness of Floating Coffin - with only two slight reprieves in heaviness this is a record made to be played loudly and that demands bodily sacrifice inherently. Despite the plutonium heavy feel, Thee Oh Sees continue to be omnivorous - synths and acoustic guitars expertly wind their way throughout like veins of gold through granite - any and all that stands in its way will be devoured and assimilated. This is the sound of a band doing what they do best.

TRACK LISTING

01. Web
02. Withered Hand
03. Poor Queen
04. Turned Out Light
05. Lupine Ossuary
06. Sticky Hulks
07. Holy Smoke
08. Rogue Planet
09. Palace Doctor

“Thee Hounds of Foggy Notion / Live Performances Sans Stages And Whatnots With Thee Oh Sees (2008), is a film we made just over a decade ago, and this record is the soundtrack. I loved making it, and I love all that were involved. I’m honestly blissed-out proud to hear over the years that it somehow is loved by so many others, too. “I first met John Dwyer on Flag Day. I was blown away by a trio of roving Coachwhips guerrilla street shows that climaxed at the the scenic vista parking lot high above San Francisco atop Mt. Sutro. Amongst the gathered uninitiated hordes of souvenir sweatshirt selling families, and puzzled elderly global tourist translators, and a white weirdo tuxedo wedding party, was the sonic corruption of the Coachwhips...I’m certain that this exact event was the idea seed for Thee Hounds Of Foggy Notion, and that it saved my life a little bit. “When JPD asked me to consider making a video for Thee Oh Sees with the sole stipulation that he didn’t want to do anything fake-y to playback, my head started swimming. What we mutually agreed upon was to essentially reprise Flag Day, and film Thee Oh Sees performing live, but not on stages. “I rented a 15-passenger van, a generator, and the minimal cinematic equipment my trusted cinematographer friend James Wall deemed we needed. Everything sound wise was JPD territory and went through an ancient mixing board that Johnny had housed within a Samsonite suitcase. We ran all the plate mics from the drums, and the li’l pedestal mics from the amps through this old mixer, and we all believed that all would be well and swell.” — Brian Lee Hughes

TRACK LISTING

1. The Gilded Cunt
2. Island Raiders
3. Ship
4. Block Of Ice
5. Curtains
6. Dumb Drums
7. We Are Free
8. Thee Hounds Of Foggy Notion
9. Make Them Kiss
10. Golden Phones
11. If I Had A Reason
12. Highland Wife’s Lament
13. Dreadful Heart
14. Ghost In The Trees
15. Iceberg
16. Second Date

From the same misty mountaintop tape spool as August’s A Weird Exits, Thee Oh Sees bring the companion album An Odd Entrances.

Delving more towards the contemplative than the faceskinning aspects of its predecessor, this sister album is a cosmic exercise en plein aire with John Dwyer and company double-drum shuffling, lounging with cellos, following a flute around the groove, and spooling a few Grimm-dark lullabies along the way. Lurking in the grass are a snake or two, like the celestial facing instrumental buzz of “Unwrap The Fiend Pt. 1.”…But for the most part this is a relatively hushed affair, a morning rather than evening listen.

The band plans on donating half their profits from the first pressing to Elizabeth House, a local charity in Pasadena that specifically helps homeless women with children get back on their feet.

STAFF COMMENTS

Barry says: If this forms the Yang to 'A Weird Exit's Ying, there is between them a fully realised and startlingly broad palette of skills. Where 'Weird Exits' brought the fire, this brings the sweet, sweet burn cream. Rhythms are more pronounced, the distortion is turned down a little but still forms a brilliantly nuanced and fantastically executed whole. Superb.

TRACK LISTING

1. You Will Find It Here
2. The Poem
3. Jammed Exit
4. At The End, On The Stairs
5. Unwrap The Fiend, Pt. 1
6. Nervous Tech (Nah John) 

Emerging from the distant light is the new double-LP from John Dwyer’s Thee Oh Sees—the first studio recordings to capture the muscular rhythm section of twin drummers Ryan Moutinho and Dan Rincon with ringer bassist Tim Hellman cracking spines. The groove and bludgeon one has come to expect from the band’s live shows is captured seamlessly here—they go from zero to headsplitter, and on the rare occasions they do let up on the gas a bit, you’re treated to some locked-in hypnotizers, too. The guitar sounds more colossal and ethereal at the same time, riding roughshod over the vacuum- sealed rhythm section, spiraling skywards, and diving into the emerald depths so quick your guts tingle. Synths, strings and smokesoaked things crawl behind the scenes to make an extra far-out party platter, served on 45 RPM plates for most excellent listening quality. With amazing visuals (including a side-D etching by airbrush-vanart maestro Robert Beatty) and packed in vape-proof goatskin, it’s a beast and, come August 12th, it can be yours should you so choose.

TRACK LISTING

1. Dead Man's Gun
2. Ticklish Warrior
3. Jammed Entrance
4. Plastic Plant
5. Gelatinous Cube
6. Unwrap The Fiend Pt. 2
7. Crawl Out From The Fall Out
8. The Axis

Our lad John P. Dwyer has been lancing eardrums with Thee Oh Sees in an ever-escalating flurry of records for the past six years. Since the release of The Master’s Bedroom Is Worth Spending a Night In announced a new loud era (and excepting a few momentary detours into home-baked territory - Dog Poison and Castlemania, for example), Dwyer and company have pummelled a bit harder each time out, cementing their reputation as a live force to be reckoned with and leaving legions sweaty and bruised in the process. Late last year, after years of relentlessly touring the world, the word got out… Dwyer’s moving to Los Angeles (fear not, still California!) and Thee Oh Sees are taking a much-needed hiatus with a shifting of gears ahead and a new album on the way. This is that album.

Drop was recorded in a banana-ripening warehouse (no joke) with hair-farming studio warlock Chris Woodhouse playing drums; it’s also graced with the presence of talented gurus Mikal Cronin, Greer McGettrick and Casafis adding horns and vocals. The result pushes the familiar polarities of the group farther outward than ever before. Opener “Penetrating Eye” might be the heaviest Oh Sees song yet, “Transparent World” and “Put Some Reverb On My Brother” foam with seasick fuzz, and yet the ballads, like the harpsichorded “King’s Nose” and the lush and stately closer “The Lens,” extend their oeuvre into mellotronic, far-out pop with delicacy and grace.

This schizophrenia heralds the man and the band into an unseen future in classic Dwyer fashion - restless energy harnessed into exquisitely crafted jams, with an emphasis on the pensive and the paranoid in turns.

TRACK LISTING

1. Penetrating Eye
2. Encrypted Bounce
3. Savage Victory
4. Put Some Reverb On My Brother
5. Drop
6. Camera (Queer Sound)
7. King's Nose
8. Transparent World
9. The Lens

The first two volumes of singles and B-sides from Thee Oh Sees. Twenty-four songs, including the track “Tidal Wave” (featured in TV’s Breaking Bad), that run the gamut from very mellow stuff with strings to completely fried burners.

TRACK LISTING

1. Carol Anne
2. Inquiry Perpetrated
3. Mincing Around The Frocks
4. Kingsmeat
5. The Freak Was Clean
6. Kids In Cars
7. Bloody Water
8. Hey Buddy (Aaron Aites Cover)
9. Comas (Aaron Aites Cover)
10. I Agree
11. Grave Blockers
12. Tidal Wave
13. Heart Sweats
14. Contraption (Demo)
15. Friends Defined
16. Blood In Your Ear
17. Schwag Rifles
18. The Drag (Ty Segall Cover)
19. 7484
20. Castiatic Tackle (Demo)
21. She Said To Me
22. Where People Do Drugs
23. In The Shadow Of Giants
24. Ichor

The ridiculously prolific Bay Area band Thee Oh Sees are back with another full-length long-player. "Warm Slime" is guaranteed to please fans of their whacked-out garage / psych / punk jams. Recorded by Sacramento sultan of sound Chris Woodhouse, "Warm Slime" carries on in the same tradition as the group’s previous In The Red release, "Help", showcasing their more electrified and rocking side, in comparison to other recent home-recorded releases. The centrepiece is undoubtedly the mind-bending title track, which clocks in at nearly 14 minutes and takes up the entirety of the album’s first side. It’s a psychedelic epic of "Inna Gadda Da Vida" proportions! John Dwyer’s guitar playing is at its quadraspazzed best here, and the vocal interplay with Brigid Dawson gives it a B-52s-at-their-least-cheesy-crossed-with the-Troggs vibe. The results are stunning.

'Thee Oh Sees incorporate the oft-referenced Nuggets stuff in a way that feels reverential. With grinding guitars and bah-bah-bah vocals, but with the punk and new-wave elements also at play, they don’t feel trite or plagiarized. This is like meat and potatoes prepared by a master chef -totally familiar but utterly delicious.'  - Pitchfork.

TRACK LISTING

1. Warm Slime
2. I Was Denied
3. Everything Went Black
4. Castiatic Tackle
5. Flash Bats
6. Mega-Feast
7. MT Work

John Dwyer and his Oh Sees (aka OCS) reissue the "Suck Blood" album on his own Castle Face imprint. Produced by Kelley Stoltz using all green energy (no joke), the album serves as a half-way point between the band's "Cool Death Of The Island Raiders" album and their most recent material. Thee Oh Sees are the underground punk rock of 2009!!

TRACK LISTING

1. It Killed Mom 02:42
2. Sucks Blood 03:42
3. Iceberg 02:58
4. The Gouger 01:53
5. You Make Me Sick, Oh Yeah 03:41
6. [Untitled Drone #] 01:30
7. The Killer 03:50
8. Ship 02:42
9. What The Driven Drink 02:05
10. Invitation 03:14
11. Golden Phones 03:30
12. [Untitled Drone #2] 01:39