The Buttertones are Back

Previously canceled surf and garage rock band returns with new singles and shows

The rock band from Los Angeles, California made an unexpected return to the music scene last year with new singles “Nite Time Is My Time” and “Angel Hands.” After the release of their last album “Jazzhound” in April 2020, the band was overwhelmed with allegations against a few of its members, which ultimately resulted in what appeared to be their downfall. The trouble began when Clementine Creevy of the band Cherry Glazerr accused The Buttertones’ bassist Sean Redman of statutory rape, as they began a sexual relationship when she was 14 and he was 20. Afterwards, several other women came forward about their negative experiences with Redman, and a few days later, The Buttertones announced that Redman was no longer a part of the band. However, allegations about a few of the other band members, including Richard Araiza and Modeste (Cobi) Cobián who are still a part of the band today, soon began to spread. Though these accusations were not of the same degree as Redman’s, people accused these members of being abusive and misogynistic.

After the spread of these allegations, the group disbanded, with a few members expressing desires to no longer be associated with the band. The Buttertones were also dropped by their record label Innovative Leisure. It truly seemed as if the band was completely over. However, curiosity and excitement spiked when a post was made to The Buttertones’ Instagram account in June 2022 with lyrics from the song “Denial You Win Again.” With no caption or context, the band’s remaining fanbase was curious about what this post could mean.

The Buttertones soon after released their first song since 2020 titled “Nite Time Is My Time.” With lyrics about loneliness and finding comfort in the darkness, the track brings back themes that The Buttertones have delved into in the past. At first listen, the punchiness of the drums that seem to be produced by a computer is a bit overwhelming and distracting from the rest of the song. However, after a few listens you start to hear that unique Buttertones sound that fans know and love. The guitar and the bass interact with each other in a playful way, and Araiza’s deep voice and smooth hums create a dark feel that beautifully contrasts with these instrumentals. The changing dynamics make the track especially interesting, as they bring diversity to an otherwise simplistic song. Overall, the track re-introduces the sound of The Buttertones in a new and fun way.

Towards the end of 2022, The Buttertones released another single titled “Angel Hands.” While “Nite Time Is My Time” is a nice follow-up track to the songs on “Jazzhound,” the single “Angel Hands” combines the “Jazzhound” sound with the shadowy style of some of the slower songs on their 2018 record, “Midnight in a Moonless Dream.” Araiza’s melodic vocals and heavy-hearted lyrics are reminiscent of songs like “Darling, I Need Time but Don’t Really Know Why” that the album “Midnight” offers. Additionally, “Angel Hands” incorporates the 80s influence that The Buttertones began experimenting with in their last album. The reverb on the light guitar parts and the subtle synth that encompasses the chorus are similar to what you might hear in a new wave or alternative song from the decade. The lyrics also carry on themes from the previous Buttertones album, including heartbreak and trying to move on from a negative relationship. An especially moving line is “I’ve been dreaming of this / But when I wake / It’s give and give as you take.” This line captures the struggle in coming to terms with a relationship in which your hopeful expectations don’t align with the harsh reality, a struggle previously presented in songs like “Rise and Shine” and “Blind Passenger.” Though the track contains a similar artificial percussion sound to “Nite Time Is My Time,” it is a hauntingly beautiful addition to the discography of The Buttertones.

These new singles from The Buttertones are overall impressive songs from a band that seemed to be over and done with, yet they don’t quite live up to the potential that the band is capable of. Previously, The Buttertones offered a unique sound that was unlike anything else you hear in the indie rock scene today. The band had taken varying styles from the 50s to the 80s and put a modern twist on them, perfectly merging sounds such as doo-wop, surf rock, jazz and post-punk into their songs. However, it should be noted that because the band is working without the privileges of being backed by a label, it is natural that the sound of the new songs isn’t of the same quality that the music was before everything that happened in 2020. The production of these new singles slightly diminishes the beauty of what these songs could really be, as things like the punchy drums overpower the rich vocals and the complexity of the other instruments. Despite the small decline in production, however, the singles show a promising future for a band that is still trying to get back on its feet.

Since the release of these singles, The Buttertones have played a handful of sold-out shows, with more lined up this year for California and the Southwest region of the country. Despite the mess from the allegations, it is clear that The Buttertones still have a dedicated following of fans that are ready for them to re-enter the music scene. With nearly three years having gone by and with the band having faced the serious consequences of the allegations made against them, this new version of the band is being given a chance to rebuild their career. This raises the question: can “cancel culture” shift from a movement that seems to only be about shaming and attacking to one in which people are pushed to actually learn better behaviors and apply them to their lives going forward? Or, is there just something so powerful about The Buttertones and their music that makes it difficult for their cult-following to let them go, regardless of their faults? To this day, critics of The Buttertones leave comments on the band’s social media posts that remind people of the allegations, shaming the band and anyone who continues to support them. Yet, it seems as if more people are willing to move past these allegations and continue to appreciate the music that this band makes. Maybe we don’t necessarily have to forget the past of The Buttertones, but we can use it as a way to allow the band, as well as the music scene as a whole, to move forward and create a better community for everyone involved.