“I just wasn’t interested in guitar music anymore,” boldly proclaimed Radiohead frontman Thom Yorke leading up to the release of Kid A, a monumental electro odyssey that upended the band’s reputation at the vanguard of 90s alternative rock. It was the dawn of the new millennium and Kid A masterfully captured the burgeoning tension between the old and the new, the traditional and the modern, the analog and the digital. This is perhaps the same ethos that grounds the work of Frank Panduh.
Previously known as one-third of the indie rock trio The Panduhs, LA-based electro wizard Frank Panduh initially dabbled in the jangly and twee intersection of indie rock (think Pavement, Built To Spill, early Foo Fighters, a dash of Belle and Sebastian). The group, which was founded in 2006, incorporated electronic undercurrents in their latter-day sound, laying the foundation for Panduh’s full-on dive into the magical world of beats and blips.
How Frank Panduh’s “Cabbage” Achieves Its Freaky Fun
Sure enough, over two decades after Kid A (and indeed, The Panduhs), “Cabbage,” Frank Panduh’s latest loosie, retreads that specific tension, basks in all of its chaotic glory, and cranks up the freak level. A thrilling hyperpop, jungle, breakbeat, and drum-and-bass trip, “Cabbage” packs in numerous actions and movements at only a little over two-and-a-half minutes.
Kicking off with slappy-dappy synth lines, the track evolves (or devolves, rather) into a cacophony of noise: 808s, bass lines, blippy beats, and video game sound effects before launching into an explosive burst of drum-and-bass in the vein of Björk’s “Crystalline,” Nelly Furtado’s “Big Hoops (Bigger The Better),” or indeed, the works of 100 gecs and Sleigh Bells, particularly the group’s influential Treats.
Similar to “Crystalline”’s gamelan-led melodic anchor, “Cabbage” is underpinned by its bright, sing-songy motive, setting a jovial tone for the track’s eventual frenetic push-and-pull. It also stands in stark contrast with the sleeker, spacier vibe of “Night Swimmer” — another loosie released only a couple of weeks prior — and instead points to the drum-and-bass-leaning direction of Void, Panduh’s latest full-length from April 2025. One is left wondering, however, if a more fleshed out incarnation of the track (for instance, it could have used a longer intro and a steadier, less abrupt build-up to its meatier bits) would have led to a punchier, more satisfying pay-off by the time its killer outro rolls around.
Still, a decade and seven albums into his career (equally worth noting that Panduh has put out a new LP every year since 2019), it is palpable that much of the excitement found in Panduh’s oeuvre boils down to its sense of daringness and playfulness. As reflected in his Y2K-drenched website and the “Cabbage” single artwork, it’s loud, unabashed, and yes, queer — more importantly, it displays a full commitment to crafting frolicky and visceral electronic nuggets that explore a multitude of tones, textures, and moods. “Cabbage” is the epitome of this very tenet and if it’s anything to go by, Panduh’s potentially soon-to-be-released album would without a doubt once again find him letting his sonic freak flag fly.
Listen To “Cabbage” and Connect With Frank Panduh
“Cabbage” is available on all streaming platforms, including Spotify. For more Frank Panduh, head over to his website, Instagram, Facebook, and X.
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