Gravedigging. “You can’t go back so you just look for a door on the current day in a river of endless hallways.” Araiza’s wounded romanticism is a constant undercurrent, even as the L.A. quintet move from a swirling punk-rock intensity (“Sadie’s a Sadist”) and stomping alt-rock anguish (“Pistol Whip”) to starry-eyed ’50s doo-wop balladry (“I Ran Away”). “Out of the spotlight, into the shadows … I was over in love,” Araiza confesses in a rhapsodic trance amid the rumbling rhythms of “Geisha’s Gaze.” Drummer Cobi Cobián and former Cherry Glazerr bassist Sean Redman underpin Araiza’s and Dakota Böttcher’s skeletal guitar riffs with a straightforward garage-rock drive that’s pushed along further by Guzmån’s stark sax insinuations. Also Saturday, Jan. 13.
“You can’t erase a blank slate,” Richard Araiza croons over murky surf guitar patterns and London Guzmån’s foreboding buzz of saxophone on “Matador,” from The Buttertones’ third album,