Frankie and the Witch Fingers’ spastic, psych-rock energy casts a spell on L.A.’s rock scene

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One commonality among Jello Biafra (Dead Kennedys), Thurston Moore (Sonic Youth), and Nikki Sixx (Motley Crüe) is their shared appreciation for Frankie and the Witch Fingers, an L.A.-originating band known for their captivating blend of garage rock and psychedelia that occasionally evokes reminiscences of Oingo Boingo and Devo due to its rapid-fire intensity and incisive lyrics. The broad spectrum of musicians admiring FATWF reflects the quintet’s extensive appeal, and the title of their fresh 11-track album, “Trash Classic,” accurately encapsulates the overall essence of the record.

In a well-known warehouse studio where they’ve spent countless hours, the band lounges on a sofa a few days before embarking on tour. A whiteboard displaying their upcoming set list stands behind the couch, while phrases for their “Trash Classic” project adorn a bulletin board nearby. Quotes such as “Forgive Us Lord For Our Synths,” “Jello -B.Y.O.F. (Bring Your Own Fork) – Ra,” and “Weenus” are pinned up, sparking laughter among them as they reminisce about the past.

Over a dozen years back, I found myself united with Dylan Sizemore (lead vocals, rhythm guitar) and Josh Menashe (lead guitar, backing vocals, synthesizer) in a musical partnership that originated from our college days in Bloomington, Indiana. We’d crossed paths before, sharing stages in different bands and bumping into each other at campus gatherings.

One day when I was feeling rather unoccupied, a thought crossed my mind: ‘Maybe this individual would be open to some impromptu music.’ I happened to have a collection of songs ready, so I decided to drop by his house unexpectedly. I was aware that he was exceptionally skilled at playing the guitar and had a broad musical talent in general.

Menashe, who grew up in San Diego, reflects, “By the time I crossed paths with Dylan, I had already decided against college, and I was juggling various jobs – at a print shop for screens, at a Turkish eatery; any work that would support my passion for music. I couldn’t decide on a specific major because nothing felt as meaningful to me as music did.

Sizemore had been dabbling in music that was “power-pop-y, kind of like Tom Petty worship …”

Menashe mentions that “…he was part of a band named Dead Beach.” He further describes their genre as garage rock, with an essence reminiscent of a fusion between Nirvana and Tom Petty.

Josh’s music style leans more towards surf-rock with a hint of mathematical complexity. So, how would you categorize the band Women?” Sizemore inquires.

Menashe asserts that the music is angular, punky, and full of noise, a sentiment he held while playing with the renowned band Triptides, based in Bloomington, which later moved to L.A., starting from 2010.

In FATWF (named after Sizemore’s cat Frankie), the duo’s diverse backgrounds and inspirations have blended to produce something original over seven albums since 2013, evolving into a wildly creative, boisterous band known for catchy hooks, melodies, intelligence, humor, powerful guitar riffs, and delightfully strange synth and sound effects.

In 2014, there was a relocation to Los Angeles, followed by modifications in the rhythm section. Nicole Smith, previously of Death Valley Girls, joined in 2019. The addition of drummer Nick Aguilar in 2022 further solidified the band. Jon Modaff, a versatile musician from Kentucky who played drums for FATWF on tour in 2021, came aboard on synth in 2024, expanding the band’s sound with an even more diverse range of tones to bring their sometimes eccentric auditory visions to life.

Title “Trash Classic,” produced by Maryam Qudus (Tune-Yards, Alanis Morissette, Kronos Quartet), is the follow-up to her 2023 debut album “Data Doom” which introduced Aguilar on drums. The songs are a mix of grandiose, gritty, cosmic, and persistent tunes. Some lyrics in “Trash Classic” tackle contemporary issues head-on: “(The upper) class is indulging / On the (lower) class’s sustenance / (Microwaving) TV meals / (With news of) explicit violence.” The song “Economy” leaves no room for ambiguity: “This is the best economy / The plasma you peddle / Buys food to eat.

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The creation of the new album didn’t have a pre-set concept or melodic motif. Instead, during rehearsals, band members would discuss current events and their feelings about them, according to Sizemore. He explains that nowadays, discussing certain topics feels more relevant – it seems to reflect the times we live in. For instance, he wanted to write a song about observing extreme poverty, which he titled “Economy.” However, he now believes that this theme fits better into the current context, making it more relatable. Topics they talk about during rehearsals, such as current events, were not as prevalent before, but now they seem omnipresent. Issues like poverty and societal struggles are no longer avoidable; they’re everywhere we look.

When composing his lyrics, Sizemore contemplated his upbringing and observed people exchanging food stamps for alcohol due to their addiction. He referred to such incidents as messy and unfortunate. Although they were once confined to certain regions, they are now becoming widespread unless we take action to address the issue.

In the creation of lyrics, they tend to revolve around Sizemore, but Pickle, who discovered her talent for bass in her twenties, expressed her contentment with being a part of the journey and offering assistance when needed. She humbly admitted, “I feel grateful just to be here, and I’ll chip in where it’s useful.” She further explained, “I prefer to observe; I guess I don’t consider myself a seasoned songwriter.” However, she believes that her approach can be beneficial because if everyone has an oversized ego, clashing ideas like, ‘no, no, no, do it my way,’ can cause friction. Instead, she prefers to listen first and then contribute when the opportunity arises. That’s her style.

Having diverse experiences and perspectives benefits FATWF greatly. As Aguilar notes, “Our ‘united variety’ and adaptability within the rock genre” make it seem as though we can collaborate with just about anyone. At least when it comes to a rock band, to some degree.

When primarily performing their own headline shows, they’ve also had the opportunity to perform alongside bands like Cheap Trick and ZZ Top. In terms of the musical landscape, where do FATWF align with these iconic classic rock acts from the past?

“I mean, we were really into the [13th Floor] Elevators, and…” Sizemore says.

“The Velvet Underground…” adds Pickle.

As a follower, I attempted to tailor our performance more towards the style of Roky Erickson, while still maintaining an element of our unique freaky, noisy funk sound. However, there’s definitely a crossover. When we perform in places like Atlanta, it’s not uncommon for someone to mention, “The first time I saw you was with ZZ Top,” and that’s always a nice reminder of our shared musical history.

Many members of Frankie’s band credit the local DIY music scenes as significant influences in their lives and careers. Born in San Pedro, Aguilar started drumming at ten years old and eventually played alongside Mike Watt, one of his neighborhood’s most renowned bassists. Growing up, he realized that he didn’t need to travel far to experience live music; instead, all he needed was a short bike ride of about 10 blocks from his home to attend house shows. He acknowledges that if it weren’t for the vibrant San Pedro music scene, he might not be in this band today and could have ended up playing with an obscure heavy metal group at the Whisky, receiving little recognition.

More and more individuals are expressing concern for FATWF, with Jello Biafra himself performing alongside them. At a concert in his hometown of Boulder, Colorado, the punk icon ran into the band following their performance. The very next night, the vocalist appeared in Fort Collins.

Aguilar mentions, “We share many common friends.” He also works at Alex’s Bar situated in Long Beach. That’s where I first encountered him years ago. He hinted that he intended to visit us during our Halloween gig in San Francisco. My response was, ‘What if we rehearse some DK tunes and you join us on stage for our Halloween performance?’

Halloween”, “Police Truck”, and “Holiday in Cambodia” with Frankie and the Witch Fingers. During sound checks, Jello Biafra rehearsed alongside us, and for our holiday performance, the band members donned “bloody doctor” costumes. Biafra, on the other hand, switched his attire between every song, throwing fake gory organs into the audience. It was evident that half of the crowd recognized him, while the other half seemed to be asking, “Who in the world is this guy?

Pickles muses over the topics, feeling a sense of ‘Wow, we’ve really made some progress,’ as if recalling distant events.”

“Aguilar expresses his humble aspirations for the band: ‘I hope one day we can headline the Fonda Theater.’

If Frankie and the Witch Fingers become widely recognized and successful, be cautious: Menashe has declared that he would get a face tattoo if the band sells a million records. This vow was recorded by the reporter, making it official, and the band playfully teases him about it. However, in classic FATWF style, Sizemore takes it a step further, saying, “You also need to get a teardrop tattoo!

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2025-08-01 22:32