Toadies + Reverend Horton Heat

Toadies return with The Charmer, their long-awaited eighth studio album and most personal and visceral work to date. One of the last recordings by late, legendary producer Steve Albini (Nirvana, PJ Harvey etc.), record captures the Texas foursome live in the studio bottling their raw, Southern-tinged grunge with unfiltered immediacy.

Formed in Fort Worth in 1989, Toadies marry the band’s love for the Pixies and Talking Heads to the old-school country, ZZ Top, and classic rock they all grew up on. It’s a sound intoxicating but uneasy, cathartic yet always searching. Frontman Vaden Todd Lewis channels years of self-reflection into The Charmer, a concept born from pandemic isolation and a reckoning with self-doubt

Released via Austin’s pioneering Spaceflight Records (The Sword, Die Spitz, Heartless Bastards), the world’s first nonprofit label, The Charmer embodies true creative freedom: made on their own terms, with Steve Albini their dream producer. The Charmer is the most defiantly “Toadies” Toadies album yet

With their hot-rodded fusion of dazzling high-speed guitar runs, thundering rhythms, high-profile swagger, and lyrical smirk, The Reverend Horton Heat are perhaps the most popular psychobilly artists of all time, their recognition rivaled only by the esteem generated by the genre’s founders, the Cramps. The Reverend (as both the band and its guitar-playing frontman are known) built a strong cult following during the ’90s through constant touring, manic showmanship, and a barbed sense of humor. The latter was nothing new in the world of psychobilly, of course, and Heat’s music certainly maintained the trashy aesthetic of his spiritual forebears. The Reverend’s true innovation was updating the psychobilly sound for the alternative rock era. In their hands, it had roaring distorted guitars, rocked as hard as any punk band, and didn’t look exclusively to the pop culture of the past for its style or subject matter. Most of the Reverend’s lyrics were gonzo celebrations of sex, drugs, booze, and cars, and true to his name, his early concerts often featured mock sermons in the style of a rural revivalist preacher. On their 1992 debut Smoke ‘Em If You Got ‘Em, the group established the template of their no-frills, high-intensity approach to rockabilly, and though celebrity producers helped beef up the sound of their next two albums — Gibby Haynes of the Butthole Surfers on 1993’s The Full Custom Gospel Sounds and Ministry’s Al Jourgensen on 1994’s Liquor in the Front — the Reverend’s essential style changed little with time. They would explore a more introspective side on 2004’s Revival, embrace their country influences on 2009’s Laughin’ & Cryin’ with the Reverend Horton Heat, and add a pianist to the mix on 2018’s Whole New Life, but on-stage and in the studio, Jim Heath and his bandmates could always be depended upon to deliver some of the twangy fire that their fans loved.

With over 1 million albums sold and nearly 35 years in the game, Heath and company have been delivering blood-pressure inducing scriptures to millions of fans worldwide. Call it rock and roll, psychobilly or what have you, The Reverend Horton Heat is often considered an early architect of the latter genre (at least on this side of the Atlantic) and occupies a peculiar place in American musical terrain.