Fuckwolf

Fuckwolf

Boone

Agitated

If Goodbye, Asshole was the wild night—tequila-sharp riffs, sticky floors, and last-call chaos howled into the void of a disappearing city—then Boone is the merciless morning after. The sun cracks the blinds. The brain throbs. Every bad decision gleams in the hard light, raw and undeniable. Fuckwolf’s second album pares their scuzz-wave blitz down to exposed nerves: Eric Park’s basslines stalk like a hangover pulse, Simon Phillips’ drums land like a palm slapping the alarm into silence, and Tomo Yasuda’s guitar wirings spit like diner coffee left to burn on the hotplate. The fog has lifted; the damage is inventoried. These ten tracks are crime scene Polaroids, tales of longing and woe, fresh mystery bruises and eulogies. There’s no wallowing here, just the tight, terrible beauty of a band that’s stared down the void and come back swinging. The party’s dead. Long live the reckoning.

Fuckwolf

Goodbye, Asshole

Silver Current

Goodbye, Asshole is the first studio album by San Francisco scuzz-wave merchants Fuckwolf—its a rat’s nest of deep grooves, lost ’70s rock riff intentions and art punk damage. These conundrums of time inform Goodbye, Asshole, but they are hardly romanticized in its music. The band, Eric Park (bass, vocals), Simon Phillips (drums) and Tomo Yasuda (guitar) sound blazing and scuzzy, a tight low-fi energy blasted onto tape at renowned Bay Area indie studios summarizing the last twenty years of San Francisco’s wild artistic soul – one that is now hard to find much evidence of in the city itself, but impossible to miss in the band’s sound. Fans of OSEES, Pink Fairies, late ’70s NYC, Emotional Rescue-era Stones, trashy post-punk dub and solvent-huffing rejoice!