Punk – Page 9 – 7th Level Music

Lamps release wild new single, “Horse Cow Goat Pig Dog,” from upcoming fourth album.

Lamps, LA’s notoriously unprolific noise-merchant trio, are ready to release their spectacular fourth album called People With Faces on In The Red Records and share the first track today.

Recorded and mixed by Ty Segall at Val’s, Lamps’ first recorded output since 2012’s landmark LP Under The Water, Under The Ground finds them breaking adventurous new terrain.

Stalwarts Monty Buckles (guitar, voice, keyboards) and Josh Erkman (drums, voice) double down on Lamps’ trademark cloak of effects-laden guitars and hammering drums, and new(ish) member Denée Segall jumps into the fray with her Poly Styrene wail and monolithic bass, adding depth both sonically and lyrically. Their trademark abrasiveness is still present, but it’s burnished it into something richer, more layered. Don’t worry, it still kicks your head in.

First indication that things have changed comes in the opener, “Confirmed Frenchman.” With its serpentne rhythm and Denée’s muted vocals, it sounds kinda like The Au Pairs, if the Au Pairs listened to a lot of Throbbing Gristle. From that point onwards, People With Faces careens maniacally and majestically between alt-fantasy screamers and boot-bottom dirt-rock scummery.

“Horse Cow Goat Pig Dog” slams like a feminist peak-form Black Sabbath (if only), and “Comedian” is a jaunty, chilling serial killer rave up. “G.N.A.T.S.” updates the Lamps sound into something punishing and darkly humorous, with Erkman screaming that women’s magazines saved his life.

Worth noting is the inclusion of two covers that have been part of Lamps’ live show since Segall joined in 2015. The straightforward and sinister take on Sexual Harassment’s “I Need a Freak” is skin-crawling background music for the worst date ever. And “I Owe It to the Girls,” by Floridian proto-no-wavers Teddy & The Frat Girls, twists the raw desperation of the original into a razor-sharp militant anthem.

Keep your mind open.

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[Thanks to Jo Murray.]

Adulkt Life debuts their first single – “County Pride.”

Huggy Bear’s Chris Rowley, Male Bonding’s John Arthur Webb and Kevin Hendrick, and drummer Sonny Barrett announce their new collaboration, Adulkt Life. In conjunction, they announce their signing to What’s Your Rupture? and present their debut single, “County Pride.”

Huggy Bear led the UK’s answer to riot grrrl, inspired by the “seismic shock” of witnessing a Nation of Ulysses performance together and galvanized by Bikini Kill drummer Tobi Vail’s germinal riot grrrl zine “Jigsaw.” In the 25 years since Chris Rowley played with iconic Huggy Bear, starting a new band hasn’t felt right. But after John Arthur Webb (Male Bonding), who Rowley met while picking up records at a Rough Trade shop, asked if he wanted to play music together it “suddenly it felt super exciting.” Years later, Webb and Rowley befriended a then-teenage drummer, Sonny Barrett, now 23, who worked at a different Rough Trade location. After a mysterious letter from Rowley arrived for Sonny at the shop, Sonny finally decided to check out Huggy Bear, promptly offering to drum in Adulkt Life. The Adulkt Life lineup was finalized when Webb enlisted his best friend and longtime collaborator, Kevin Hendrick—who has in recent years turned towards solo industrial noise poetry as Middex—on bass.

Now, working with these musicians and their combined perspectives, Rowley makes a striking return. The need for change that Huggy Bear sought is no less relevant today – Adulkt Life inquires but offers no easy answers, instead instigating punk’s eternal invitation to see: “Wow, I should do something—make something, start a political party, just do something rather than not do something.” Their debut single, “County Pride,” offers a first taste of their frenetic sound. It brings together three generations of punk energy, creating a timeless sense of urgency.

“Early in Adulkt Life songwriting we wanted to make a song like Devo – something herky jerky with a future disco swing for a party crowd – but we were all too angry,” says Rowley. “The song is about the need to escape from hostile small town awfulness and the weird ways you choose to get out. It’s a dark ride with sparky edges through small town/new town bid for blood… Adulkt life haven’t learnt to be flippant yet just flipped out ….Ricochet and rockblast vs racism.”
ADULKT LIFE’S “COUNTY PRIDE” ON YOUTUBE

ADULKT LIFE’S “COUNTY PRIDE” ON BANDCAMP
Those who download “County Pride” from Bandcamp will also receive the first of three fanzines, which the band intend to “try and recapture the feelings not just in rediscovering music but all the other crucial elements that go alongside it, the passion to share and scrutinise and play poetically with brut force and argue.” More info HERE.

ADULKT LIFE ONLINE:
https://adulktlife.bandcamp.com
https://www.instagram.com/adulkt_life/

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[Thanks to Jacob at Pitch Perfect PR.]

Dream Nails release “Vagina Police” ahead of upcoming album.

London punks Dream Nails have been buzzing in the UK for some time and last month announced their signing to Dine Alone for the release of their debut self-titled full length, which will be out August 28th on Dine Alone in North America and UK indie Alcopop! in the rest of World. Today, the band are sharing a new single from the LP entitled “Vagina Police,” along with it accompanying video.

WATCH: Dream Nails’ “Vagina Police” on YouTube

Dream Nails’ drummer Lucy Katz describes the track as “our battle-cry against the persistent and pathetic-yet-insidious obsession of the state to police our bodies at any cost. It’s a song about reproductive rights and (in)justice in all its forms.” Bassist Mimi Jassson elaborates on the ways the establishment tries to police our bodies across the world: “From abortions being illegal, to forced sterilization of trans people. We stand in solidarity with our trans siblings in the face of the UK’s repression of trans rights.”

The track was originally released by London-based indie Everything Sucks Music but the new version, as will feature on Dream Nails’ forthcoming self-titled debut album, produced by Tarek Musa of Spring King, breathes new vigour into its intent. For the next month, 100% of Dream Nails’ Bandcamp proceeds will be split between Abortion Support Network and Mermaids.

Dream Nails self-titled LP is due out August 28th via Dine Alone and Alcopop! Pre-orders for ‘Dream Nails’ are live today and can be found HERE. Physical vinyl bundle includes a 40-page signed zine. In true punk DIY fashion, the zine is handmade by the band, featuring lyrics, articles and background to the songs on the album.

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[Thanks to Tom at Hive Mind PR.]

New Bomb Turks to release diamond edition of classic album “Nightmare Scenario.”

This year marks the 20th anniversary of the release of Nightmare Scenario, New Bomb Turks’ fifth full-length album, third for the Los Angeles-based Epitaph Records, and first with drummer Sam Brown (Operators, Divine Fits, RJD2, Gaunt). Originally recorded by Jim Diamond at Ghetto Recorders, Detroit, MI, November 3-7, 1999 and newly re-mastered by Diamond in July 2020, the album will be available August 7, 2020 at https://newbombturks.bandcamp.com. 100% of proceeds will be donated to: Black Queer & Intersectional Collective (https://bqic.net/) and Columbus Freedom Fund (IG @columbusfreedomfund).

It was spring, 1999. New Bomb Turks had just returned from their first tour of Australia in a suspended animation. They soon procured ace drumsman, dessert aficionado [not a typo], and all-around great guy, Sam Brown. It suddenly felt like a brand new beast, but they had an album to deliver forthwith, and nary a new song in sight! Nails were chomped to the cuticle, empty beer cans sat in the corner mocking us…Like a Phoenix rising from the ashes (or at least like a bartender finding another unopened bottle of mezcal at last call), New Bomb Turks soared again. Within four months (May-August 1999), Sam slipped right into the NBT stool, 12 new songs were cooked up easy as fryin’ an egg, and they were back on the road with the Hellacopters to hash those new ones into place.

By the time the band got to Jim Diamond’s Ghetto Recorders studio in Detroit – his rep revving up from production jobs with the curdled cream of that Detroit trash-rock scene (Clone Defects, Detroit Cobras, Dirtbombs, White Stripes, Andre Williams) – New Bomb Turks were piqued like a baby screamin’ for a higher push on a swing set. Over four days and nights, the band enjoyed their easiest and most fun recording session – the only break being a jaunt over to a bar to see a reunited Real Kids, their first show in years, which floored the band and only added more mezcal to the fire.

Final mixes were left to Jim Diamond, and by the time he forwarded them to the band, overdub ideas had hatched, and about half the record was remixed with local studio wiz, Jeff Graham, in Columbus. A middle ground was eventually found, and what resulted was Nightmare Scenario (Epitaph Records, 2000) – the fifth album in their six album/three compilation catalog, and the one the band believe is their best.

Like every band ever, the years have supplied moments of mixing rumination. So last year, when the band saw the 20th anniversary of Nightmare Scenario right up on their ass, they asked Jim Diamond if he had his original mixes lying around his palatial estate. He found them on a DAT (look it up, kids) tucked underneath a pile of professional recording deck manuals (i.e.,old MAD mags). Lo and behold, they were even more ripping and burning and stinging than remembered. There was the 20th birthday idea, screamin’ like a brat! So here you have the original mixes of Nightmare Scenario that Jim Diamond finished in November 1999, ensconced deep in his legendary, now torn-down Detroit digs. Ain’t saying it’s better than the original, just leaner and meaner. But don’t take our word for it – take yours when you’re screamin’ along too! – Lance Forth, July 2020 (Astoria)

Keep your mind open.

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[Thanks to Jo Murray.]

Exhalants’ first single from upcoming album is a “Bang.”

Austin, TX trio Exhalants announce their forthcoming sophomore album Atonement today and share the lead single via Metal Injection. Hear and share “Bang” HERE. (Direct Bandcamp.)

Exhalants began in 2017, sprouting from their local DIY and club scenes with one goal in mind: be loud as f*ck. The three-piece quickly cut a demo, played some shows around town, and then set out to record their first full length not long after that. That first LP yielded a strong collection of songs that balanced the moody experimentation of indie heroes like Unwound and the harsh distortion and feedback-drenched noise rock of Unsane, coupled with raw emotion on display. The record received a great amount of acclaim, which helped Exhalants tour throughout the U.S. During this time they also recorded a split 7″ with fellow Texas trio Pinko (Hex Records) to have while both bands were out on tour together.

Immediately following the release of their self-titled debut album, Exhalants started working on new material. They spent most of 2019 writing and touring, fleshing out newer material on the road while still promoting their 2018 debut. While on their West Coast Tour, Hex Records spent a couple days getting to know the people in the band and offered to release their next record for them. After wrapping up both West and East Coast tours, Exhalants focused on finishing the rest of the record and decided to take Hex up on the offer. Plans began to emerge for what would become their second LP, Atonement.

The band began recording the album in the spring of 2020 in their practice space, with a pandemic looming on the horizon. While the pandemic caused some hiccups with getting things finished in the studio in a timeframe they had planned on, it eventually came together with a great deal of DIY know-how and taking some of the mixing duties into their own hands.

Exhalants hail from Austin, Texas. The members all have roots with playing in multiple bands around the area and have been employed by various venues in town, so they are no strangers to the community aspect and DIY nature of playing the sort of decidedly non-mainstream music they do. With a mountain of amps, precision pounding drums, eardrum-rattling feedback, and a healthy dose of experimentation Exhalants are easily one of the more exciting newer bands to gain attention within the punk/noise rock arena in recent memory. Atonement aims to push that sound further for anyone willing to listen.

Atonement will be available on LP, CD and download on September 11th, 2020 via Hex Records.(Pre-order HERE.)

Keep your mind open.

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[Thanks to Dave at Us / Them Group.]

Rewind Review: Oh Sees – Floating Coffin (2013)

Part-psychedelia, part-punk, part-garage rock, Oh Sees’ excellent 2013 album Floating Coffin is a wild race and a heavy trip. I mean, just check out that cover.

The album gets off to a great start with the instant mosh pit-inducing “I Come from the Mountain.” I’ve lost track of how many bodies I’ve collided with in pits during this song at their live shows. Frontman John Dwyer sings about the frustrations of relationships (“No one likes heartache or the kind, everyone’s a problem sometimes.”) while throwing down fierce guitar riffs. “Toe Cutter – Thumb Buster” makes you want to pogo no matter where you are, so be careful if you’re listening to it while driving or operating heavy machinery.

The title track has a manic energy to it that is difficult to describe but instantly recognizable if you’ve heard any other Oh Sees records. I’m pretty sure it’s a song about death (Go figure.) as Dwyer sings about lying down, drinking up the sky, and seeing God. “No Spell” brings in some psychedelic jamming (and wild drumming) for Dwyer and his crew to stretch their muscles.

The driving force of “Strawberries 1 + 2” is damn near unstoppable, with only heavy cymbal crashes and floor tom beats to break up the relentless wall of guitar in it. Songs like “Maze Fancier,” with lyrics like “A grave inside a cave, a maze inside a maze,” make me want to run a Dungeons and Dragons game for John Dwyer. The song has a great bass groove throughout it to boot.

Weird, wobbly synths start “Night Crawler” before orc army drumming comes in to shake us up and Dwyer’s echoing vocals contribute further to the haze drifting around our heads. “Sweets Helicopter” sounds like the name of a lost 1970’s live-action Saturday morning kids TV show, but it another song about death…with soaring solos from Dwyer that almost sound like bagpipes. “Tunnel Time” seems to be about a serial killer stuffing bodies under his house or a caretaker of some kind of tomb (“Can’t remember the faces or even the names. I’ve been cleaning up bodies. They all look the same…to me.”). The mixture of guitar and synths is great in this track. The closer, “Minotaur,” is about being stuck in the corporate rat race maze (“I get sick at my work everyday. There is no cure but to stay. Stay away without pay and the horns on my header are getting thicker with each day.”).

It’s a fun, loud, bold record perfect for getting your blood pumping and your head spinning. If you need something to rev you up while you’re stuck in self-isolation and cleaning your house, here you go.

Keep your mind open.

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The Death Wheelers crush us with “Divine Filth” on their new single.

Canadian heavy rock instrumentalists The Death Wheelers share a video single for the title track to their forthcoming album Divine Filth via Metal Injection. Watch and share the B-movie ode “Divine Filth” HERE (or on YouTube.) Hear & share the single via Bandcamp.

From beyond the gutter, The Death Wheelers bring you their second album, the soundtrack to the fictional bikesploitation flick that never was: Divine Filth. Drawing inspiration from instrumental rock, proto-metal, punk and funk, the band embalms the listener in their sonic world of decay, groove and debauchery. Surfing the line between Motörhead, The Cramps and Dick Dale, the Canadian quartet uncompromisingly blends rawness and power in their riff fueled compositions. Recorded entirely in 48 hours in a live setting just like in the good old days, this second opus is a testament to what the band stands for: a no BS attitude spiked with a heavy layer of crass. Just like their previous offering, the album is devised to serve as a soundtrack loosely based on a plot synopsis of a B-movie:

It’s 1982. Spurcity is run-down. The crime rate is up and so is drug use. A new kind of kick has hit the streets and it ain’t pretty. DTA, a powerful and highly addictive hallucinogenic drug, is transforming its loyal citizens into undead trash. Its users experience an indescribable high, but it leaves them rotting away within days, craving human flesh. No one knows who is dealing this new potent drug, but rumour has it that the motorcycle cult, The Death Wheelers, is behind this concoction. Could this be the end of civilization as we know it? What is motivating this group of psychotic individuals?

The cycle of violence indeed continues with this sordid slab of sounds. So hop on, and enjoy one last ride with The Death Wheelers.

Divine Filth will be available on LP, CD and download on September 11th, 2020 via RidingEasy Records. Pre-orders are available at RidingEasyRecs.com.

On The Web: ridingeasyrecs.com

facebook.com/thedeathwheelersband

Keep your mind open.

[It would be divine if you subscribed.]

[Thanks to Riding Easy Records.]

Review: The Chats – High Risk Behaviour

No, your eyes aren’t deceiving you, that really is the cover of The Chats‘ full-length debut album, High Risk Behaviour. I love that it looks like a gig flyer you’d see stapled on a phone pole somewhere in Sydney, Australia. Don’t let the simplicity of the cover fool you. These three young Aussie punks have crafted a fun record that blasts out of your speakers and has more attitude than several hardcore bands combined.

Lead track, “Stinker,” starts so fast you almost think part of the track is missing. The Stooges-like chords are immediately apparent as lead singer and bassist Eamon Sandwith sings about waking up after a wild party weekend to discover his place is trashed…again. I’m not sure if his bass riffs or drummer Matt Boggis‘ high-hat work is fiercer on “Drunk and Disorderly.” Guitarist Josh “Pricey” Price takes over lead vocals on “The Clap,” which is, as the band’s press materials state, “the closest you’ll ever hear The Chats get to write a love song.”

“Identity Theft” is a tale of woe as Sandwith sings about his identity being stolen while buying drugs on the internet. What’s he supposed to do? Report it to the police? “Guns” is an absolute middle finger in the eye toward U.S. gun culture. “Little Johnny had V.D., but went on a shooting spree. Learned it from the TV, USA let him free. Kids need guns!” Price’s solo on it is particularly sharp.

“Dine and Dash” is about loading up on food and splitting before you pay. “Keep the Grubs Out” is a spoken-word piece (backed by chugging, fuzzy guitars) about a security guard, a manager, and a business owner telling the band (and I’m sure these are direct quotes) they’re not proper social class and / or look appropriate and thus are not welcome in the venue / restaurant / business. The songs ends with the line, “Feel free to come back when you get a haircut.”

“Pub Feed” is a salute to bar food, not to mention one of the hottest tracks on the record. “Ross River” is a song about picking up a nasty infection from people Sandwith has met at shows and pubs. Good grief, that sounds pretty prophetic nowadays, doesn’t it? “Heatstroke” does indeed sizzle. “I discriminate ’em all the same,” Sandwith sings on “Billy Backwash’s Day” – a track about a guy looking for a fight anywhere he can find it.

“4573” is a great call-and-response punk track. The last two tracks on the album are a nice pairing – “Do What I Want” and “Better Than You.” The first is a song about defiant independence. The other has the band claiming they’re better than those who would sneer down at them because at least they’re honest and not trapped by the constant need to impress anyone else.

It’s a record that will make you laugh, cheer, mosh, and hungry. That’s a winner in my book.

Keep your mind open.

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Review: Melkbelly – PITH

Chicago’s Melkbelly have been through a lot since the release of their last album, Nothing Valley (the death of a close friend of the band, for one), but they haven’t succumbed to the pressures of stress, political theatre, or Madison Avenue. They’ve instead channeled that fidgeting anger and restless energy into an excellent new album – PITH.

The album was recorded with a lot of vintage microphones and Moog synths, as well as Melkbelly’s signature fuzz guitars and panicked drumming. Opener “THC” is about trying to make up for past wrongs with a friend, but failing at every turn. The song’s fuzz sways back and forth as James Wetzel‘s drums roll around like a grizzly bear scratching its back. Liam Winters‘ bass on “Sickengly Teeth” is as heavy as a battleship anchor. It’s a song about keeping a smile and speaking nice when you want to be cruel and lash out. Wife-husband duo Bart and Miranda Winters go guitar gonzo on the track.

The first single off the album, “LCR,” follows it, and it’s sort of a response to the previous track. Miranda Winters sings, “Her teeth were coated slick and sweetly, so thick that it was deafening. I cannot hear above the sugar, but I can watch your mouth move.” The opening riffs of “Little Bug” are straight metal and then morph into shoegaze chords. The lyrics are about someone Miranda Winters can’t get off her mind.

“Humid Heart” has Ms. Winters emerging from a hot relationship to find everyone else has left while she was enthralled with her last obsession (“Now nobody I like is left here. No one that I like’s left around.”). Wetzel’s drum fills are particularly impressive on this track. Liam Winters’ bass is the driving force of “Kissing Under Some Bats,” in which Ms. Winters trash talks people who come to shows and not pay attention to the band (among others). The track builds to a wild tidal wave of distortion and hammering beats.

“Season of the Goose” has Wetzel’s snare taking front and center as Ms. Winters sings more lyrics about heat. Heat, humidity, and arid environments are a prominent theme on PITH. Sometimes the heat is so bad that it’s choking (“Now’s the season when it hurts me to breathe. Did I burn you up?”). It’s all allegorical, of course, and we’re left thinking that the heat Melkbelly is feeling is from stress or the oppressive nature of everyone and everything having to be in our faces all the time.

The dangerous guitars of “Mr. Coda” reflect the dangerous nature of the song’s protagonist (“I showed up with a face and a set of walk-myself legs. Damn gams, can you handle this shit?”). “Stone Your Friends” slows down, but just a bit, to tell a tale of feeling uncomfortable around people who are supposed to be your friends.

“Water, water and me. Speak less, but still say a lot,” Ms. Winters sings on “Take H20.” Is she trying to tame the heat she’s been feeling throughout the whole record (and, I’m guessing, the six-month recording process of the album)? She won’t have much luck if that’s the case, because the whole song burns like a bonfire.

The closer, “Flatness,” is perhaps the most enigmatic song on the album. “I don’t have the patience to understand the shape of flatness,” Ms. Winters sings as she wanders through a field high grass and weeds early in the morning. Is she trying to wrap her head around something metaphysical, or a wide open space where a relationship used to be? It reminds me a bit of some of L7‘s slower tracks that bubble with distortion and barely suppressed power.

PITH is an impressive follow-up to Nothing Valley, and that album was already a blast furnace of Chicago garage-punk. PITH is a brick of Black Cat firecrackers thrown into that furnace.

Keep your mind open.

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The Chats drop a new single – “Dine and Dash.”

Australian punk band The Chats will release their debut album, High Risk Behaviour, on March 27th via Bargain Bin Records/Cooking Vinyl Australia. Ahead of their North American tour, which kicks off next month, they present a new single, “Dine N Dash,” and its accompanying video. Following lead single “The Clap,” “Dine N Dash” is fierce, funny, and sweaty. The video, directed by Matt Weston, finds The Chats in an unfamiliar environment, eating a succulent steakhouse meal while embracing the piss poor status of their wallets and outright brazenness to get a decent feed.

“We filmed at Walters steakhouse in Brisbane,” says Josh Price. “It was the best steak I’ve had. Definitely gave the bowlsie a run for its money. No mushy gravy though.” Eamon Sandwith adds: “Ya know you’re in a fancy restaurant when the chips and salad aren’t included.”

WATCH THE CHATS’ VIDEO FOR “DINE N DASH”
https://youtu.be/I3jAJHRW_Yo

The Chats – made of Eamon Sandwith, Matt Boggis, and Josh Price – formed in 2016 while still in high school. Since then, they’ve released a self-titled EP in 2016 and 2017’s Get This In YaEP, and have accrued a fanbase that includes Dave Grohl, Queen of the Stone Age’s Josh Homme, and Iggy Pop – the latter two who asked the band to open on their respective Australian tours. And despite being the subject of a record label bidding war, they’re releasing High Risk Behaviour on their own label (Bargain Bin Records). It’s indicative of a band that has embraced DIY culture since day one. Their determination to do things “our way” extends to their music, which is why High Risk Behaviour delivers everything you’ve come to love from The Chats – only more of it – and confirms their status as Queensland’s greatest ever export.

To create High Risk Behaviour, the band worked with engineer Bill Gardner in his studio on the Australian coast. It took nearly 18 months to finish and several, quick-paced sessions. “If we’d just done a week and slogged it out we could have had an album before now but we just kept going in there and making newer and better songs so it’s hard to put a stop on it,” says Sandwith.
WATCH VIDEO FOR “THE CLAP”
https://youtu.be/POM_98oi0oo

LISTEN TO “THE CLAP”
https://orcd.co/highriskbehaviour

PRE-ORDER HIGH RISK BEHAVIOUR
https://orcd.co/highriskbehaviour

THE CHATS TOUR DATES:
Fri. April 10 – Indio, CA @ Coachella
Sat. April 11 – Berkeley, CA @ The UC Theatre
Sun. April 12 – Sacramento, CA @ Ace of Spades
Mon. April 13 – Portland, OR @ Crystal Ballroom
Tue. April 14 – Seattle, WA @ El Corazon
Fri. April 17 – Indio, CA @ Coachella
Sat. April 18 – San Diego, CA @ Observatory North Park
Sun. April 19 – Phoenix, AZ @ Crescent Ballroom
Mon. April 20 – Santa Fe, NM @ Meow Wolf
Wed. April 22 – Dallas, TX @ House of Blues
Thu. April 23 – Austin, TX @ Emo’s
Fri. April 24 – Houston, TX @ Bronze Peacock at House of Blues
Sun. April 26 – Denver, CO @ Marquis Theatre
Tue. April 28 – St. Paul, MN @ Amsterdam Bar & Hall
Wed. April 29 – Chicago, IL @ House of Blues
Thu. April 30 – Nashville, TN @ Exit/In
Fri. May 1 – Atlanta, GA @ Buckhead Theatre
Sat. May 2 – Charlotte, NC @ Epicenter Festival
Sun. May 3 – Washington, DC @ The Fillmore Silver Spring
Tue. May 5 – Philadelphia, PA @ Theatre of Living Arts
Wed. May 6 – Boston, MA @ Paradise Rock Club
Thu. May 7 – Brooklyn, NY @ Warsaw
Wed. Oct. 7 – Amsterdam, BL @ Melkweg Max
Sat. Oct. 10 – Paris, FR @ Maroquinerie
Sun. Oct. 11 – Cologne, DE @ Gloria
Mon. Oct. 12 – Hamburg, DE @ Gruenspan
Tue. Oct. 13 – Berlin, DE @ Festsaal Kreuzberg
Fri. Oct. 16 – Southampton, UK @ 1865
Sat. Oct. 17 – Nottingham, UK @ Rock City
Mon. Oct. 19 – Dublin, IE @ Olympia
Tue. Oct. 20 – Belfast, UK @ Limelight
Thu. Oct. 22 – Glasgow, UK @ Galvanizers
Fri. Oct. 23 – Manchester, UK @ O2 Academy
Sat. Oct. 24 – Newcastle, UK @ Boiler Shop
Sun. Oct. 25 – Leeds, UK @ Stylus
Mon. Oct. 26 – Brighton, UK @ Dome
Tue. Oct. 27 – Bristol, UK @ O2 Academy
Wed. Oct. 28 – London, UK @ Electric Brixton
Thu. Oct 29 – London, UK @ Electric Brixton
THE CHATS ONLINE:
https://www.thechatslovebeer.com/
https://www.facebook.com/thechatsband/
https://thechatslovebeer.bandcamp.com/
https://www.instagram.com/thechatslovebeer/?hl=en

Keep your mind open.

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