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“All I hope for is that the movie delivers on the same level as the album.” “They’re companion pieces,” Coats says of the film and record. Morris and Coats both describe the final album, which includes wild instrumental transitions, as the best recording of their careers. There was sporadic touring in the intervening years, an earlier attempt at a film, and the exit of two original band members.

It’ll also feature a full North American tour beginning on Oct. 30 release and will be OFF!’s first collection of new material since 2014’s Wasted Years. Powered by the classic, driving OFF! sound, the coming record has newly added elements of noise, saxophone and free jazz across 20 songs and interludes. Today’s online debut of the frantic music video for “War Above Los Angeles” is a first glimpse of the band’s upcoming film and album of the same name. punk band OFF!Ĭoats is the writer and director of Free LSD, and midway into this monthlong production, he’s guiding cast and crew toward fulfilling a dream that he and Morris have struggled to make happen for the last six years. “Let’s do another.”Īlso Read Watch OFF! in a Gun-Blazing Riot in New ‘Kill To Be Heard’ Video Keith Morris of OFF! performs onstage at the Roxy Theatre in a scene from “Free LSD,” a rock ‘n’ roll sci-fi comedy about the L.A. “That was great, dude,” OFF! guitarist Dimitri Coats says from beside the camera, in a T-shirt and tangle of auburn hair, giving Morris a quiet round of applause. In this small apartment, a movie camera crew is inches away from Morris, capturing the unfolding scene for Free LSD, a rock ‘n’ roll sci-fi comedy film starring OFF! The host is unrecognizable as Keith Morris, fiery dreadlocked singer for the hardcore supergroup OFF! and founding frontman for first-wave American punk bands Black Flag and the Circle Jerks. Jack was abducted and left with an implant in his leg.”

It’s after midnight in Los Angeles as he leans over a laptop and says in a familiar, distinctive rasp: “Welcome back to another episode of Blowmind Show. Then a sign lights up to announce: “On the Air.” His light blue slacks look like they date back to the Reagan era, and on the wall beside him is a collage of flying saucers, Bigfoot, Area 51, grain silos, pyramids, the Loch Ness Monster and other conspiracy obsessions. The man at the microphone is a sad wreck, slouched beneath a scruffy, colorless beard and filthy trucker’s cap, his stomach bulging beneath a loud Hawaiian shirt.

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