Alt rock – Page 5 – 7th Level Music

Ratboys announce new album, “The Window,” with a new single – “It’s Alive!”

Chicago’s beloved Ratboys announce their fourth studio album, The Window, out August 25th via Topshelf Records with lead single/video “It’s Alive!” and a North American tour. After more than ten years and four studio albums, The Window finally captures Ratboys as they were always meant to be heard—expansive while still intimate, audacious while still tender—the sound of four friends operating as a single, cohesive unit. The album is sonically diverse, shifting wildly from track to track and flexing everything from fuzzy power pop choruses to warm country twang to mournful folk.

Lyrically, The Window sees Julia Steiner at her most personal, reflecting on love and grief with occasional humor and levity. She frequently leans on windows as a theme—the idea of an interrupted connection, the feeling of being near someone without being fully present—like on the pounding lead single, “It’s Alive!” Opening with Steiner’s honeyed vocals, “Outside my window the birds dance alone // I sit back and take it in // Like some sort of medicine,” it’s a bright and vivacious track that, in Steiner’s words, captures “the overarching feeling of the world spinning on beneath you while you’re stuck in one place.” In the video, directed by John TerEick, Ratboys play in an empty house, as its owners slowly start to move in.

Pre-order The Window from Ratboys & Topshelf Records

The Window marks a number of firsts for the band. Throughout the last few years, Sean Neumann (bass) and Marcus Nuccio (drums) became full-time members alongside Julia Steiner (vocals, guitar) and Dave Sagan (guitars), making The Window the first album Ratboys have written collaboratively from start to finish. It was also the first time they’d ever traveled outside their home base of Chicago to record an album, journeying to Seattle to work with producer Chris Walla (Death Cab for Cutie, Tegan and Sara, Foxing) for three weeks. The group worked on the arrangements together over the course of a year and half, so by the time the band showed up to the Hall of Justice Recording Studio in February 2022, The Window’s songs were well rehearsed and airtight. “We spent 2020 demoing the songs, and spent 2021 practicing them,” says Steiner. “We practiced twice a week for six months, exploring the songs and developing them. We’d send early versions to Chris and he’d give us notes. It went like that for weeks. It was such a dedicated and intentional process.”

But while The Window was nearly fully formed going into the studio, the band also left some space for experimentation with Walla. The sessions struck the perfect balance between preparation and experimentation. Walla’s studio sensibilities pushed Ratboys to stretch and expand their vision, adding unexpected elements and instruments like rototoms, talkboxes, and fiddles. Hunting for sonic inspiration, Walla and the band sometimes spent hours just listening to their favorite albums, spinning everything from Sloan to Brainiac to The Roches. “The language Chris uses when speaking about music comes from a very emotionally centered place, and that’s something that resonated with us. He would say things like, ‘This cymbal hurts my feelings,’ or ‘This song is like a cat,’” says Nuccio. “It was such a disarming thing,” adds Neumann. “We didn’t get bogged down in technical terms, and he never placed pressure on us in that way. With Chris steering the ship, we were free to go off on little creative expeditions and come up with parts and ideas we’d never imagined.”

As Paste lauds, “Ratboys has had all of our hearts for 10 years…[and] a live chemistry that remains unparalleled and irreplaceable.” This fall, they’ll bring their incredible live show across North America. A list of dates can be found below and tickets will be on sale this Friday, June 9th at 10am local at the band’s website.

Pre-order The Window

Watch the “Black Earth, WI” Video

Ratboys Tour Dates
Fri. Aug. 25 – Chicago, IL @ Schubas Tavern
Thu. Sep. 21 – Champaign-Urbana, IL @ Pygmalion Festival
Fri. Sep. 22 – Columbus, OH @ Rumba Cafe
Sat. Sep. 23 – Washington, DC @ Songbyrd
Tue. Sep. 26 – Philadelphia, PA @ Johnny Brenda’s
Wed. Sep. 27 – New York, NY @ Bowery Ballroom
Thu. Sep. 28 – Boston, MA @ Brighton Music Hall
Fri. Sep. 29 – Montreal, QC @ POP Montreal
Sat. Sep. 30 – Toronto, ON @ Monarch Tavern
Mon. Oct. 2 – Pittsburgh, PA @ Bottlerocket Social Hall
Tue. Oct. 3 – Cleveland, OH @ No Class
Wed. Oct. 4 – Ferndale, MI @ Magic Bag
Fri. Oct. 6 – St. Paul, MN @ Turf Club
Sat. Oct. 7 – Milwaukee, WI @ The Back Room at Colectivo Coffee
Thu. Oct. 19 – Omaha, NE @ Reverb
Sat. Oct. 21 – Denver, CO @ Globe Hall
Sun. Oct. 22 – Salt Lake City, UT @ Kilby Court
Tue. Oct. 24 – Seattle, WA @ Madame Lou’s
Wed. Oct. 25 – Portland, OR @ Mississippi Studios
Fri. Oct. 27 – San Francisco, CA @ Cafe du Nord
Sat. Oct. 28 – Los Angeles, CA @ Lodge Room Highland Park
Sun. Oct. 29 – San Diego, CA @ The Loft at UC San Diego
Mon. Oct. 30 – Santa Ana, CA @ Constellation Room
Tue. Oct. 31 – Phoenix, AZ @ Valley Bar
Thu. Nov. 2 – San Antonio, TX @ Paper Tiger
Fri. Nov. 3 – Austin, TX @ Empire Control Room & Garage
Sat. Nov. 4 – Dallas, TX @ Club Dada

Keep your mind open.

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[Thanks to Jaycee at Pitch Perfect PR.]

The Clientle release “Dying in May” at the end of May and ahead of their “I’m Not There Anymore” album due in July.

The Clientele — the cherished UK outfit composed of vocalist/lyricist/guitarist Alasdair MacLean, bassist James Hornsey, and drummer Mark Keen — presents “Dying in May,” the new single from their forthcoming album, I Am Not There Anymore, out July 28th on Merge. On “Dying in May,” Keen’s live drums weave around programmed drum and bass samples, creating something polyrhythmic and avant-garde. Following the serene lead single “Blue Over Blue,” “Dying in May” elucidates the range of genres The Clientele explore on I Am Not There Anymore, a 19-track journey that extends from light bossa nova beats to the band’s classic chamber pop.

Of the track, MacLean says: “I think ‘Dying in May’ is the first Clientele song with no guitar. It also has no chords, as such — it’s a drone, with french horn, cello and Mellotron. So the rhythm does a lot of the work — the drums and percussion are in 9/8, but the singing and instruments are in 4/4, so as each bar goes past, there’s a slightly different rhythmic emphasis. This was a complete accident, but I loved it when I heard it — the patterns are a bit disorientating, but there’s a pulse that goes through it. I almost feel I could dance to this, but not quite. It’s based on an Arabic flamenco rhythm.

“The words are all fragmented too — simple images repeating, like someone in a high fever. I took some inspiration from cante jondo, Spanish flamenco — there tend to be two or three very focused, repetitive images in the words. There was no way in hell I could play guitar along with these rhythms, so I scored out a simple melody which would leave space for the drums, and be something the bass could latch on to. By the end, the words go over and over, like someone beside themselves with grief. Hence the title. It’s a harrowing subject, but I think it’s presented with love — the song hopefully opens it out and lets some air in. It feels like an exorcism for me.”

Listen to The Clientele’s “Dying in May”
I Am Not There Anymore regularly evokes what MacLean calls “the feeling of not being real.” A lot of the lyrics were inspired by MacLean’s memories of the early summer in 1997, when his mother died. Though the album functions as MacLean’s way of mourning, he notes that he’s not the kind of songwriter who ever sits down with a theme in mind. It’s more that “the music will bring images and then those images link of their own accord.” It’s a general mood he’s chasing with these loosely connected recollections.

The previous Clientele album, 2017’s Music for the Age of Miracles, arrived after a seven-year hiatus and featured the band’s familiar wistful melodies and haunting echo. Recording for I Am Not There Anymorebegan in 2019 and continued piecemeal until 2022 — in part because of the pandemic, but also because the band wanted to experiment. “We’d always been interested in music other than guitar music, like for donkey’s years,” MacLean says. This time out, the trio incorporated elements of post-bop jazz, contemporary classical and electronic music. According to MacLean, “None of those things had been able to find their way into our sound other than in the most passing way, in the faintest imprint.”

Over The Clientele’s 32-year career, critics and fans have often described their songs with words like “ethereal,” “shimmering,” “hazy,” “pretty” and “fragile.” MacLean, though, has his own interpretation of the effect his music creates. “It’s that feeling of not being there,” he says. “What’s really been in all the Clientele records is a sense of not actually inhabiting the moment that your body is in.” I Am Not There Anymore, as MacLean says, is all about “the memory of childhood but at the same time the impossibility of truly remembering childhood… or even knowing who or what you are.”

This August, The Clientele will embark on a U.S. tour, featuring stops at Bowery Ballroom in New York City, Lodge Room in Los Angeles, Lincoln Hall in Chicago, and more. All dates are listed below and tickets are on sale now.

Watch The Clientele’s “Blue Over Blue” video

Pre-order I Am Not There Anymore

The Clientele Tour Dates:
Fri. July 28 – London, UK @ Rough Trade East
Wed. Aug. 9 – Somerville, MA @ Crystal Ballroom at Somerville Theatre
Thu. Aug. 10 – New York, NY @ Bowery Ballroom
Fri. Aug. 11 – Philadelphia, PA @ Underground Arts
Sat. Aug. 12 – Washington, DC @ Songbyrd
Sun. Aug. 13 – Durham, NC @ Motorco Music Hall
Tue. Aug. 15 – Chicago, IL @ Lincoln Hall
Thu. Aug. 17 – Los Angeles, CA @ Lodge Room
Fri. Aug. 18 – Pioneertown, CA @ Pappy and Harriet’s
Sat. Aug. 19 – Big Sur, CA @ Fernwood Tavern (inside)
Sun. Aug. 20 – San Francisco, CA @ The Chapel
Tue. Aug. 22 – Portland, OR @ Mississippi Studios
Wed. Aug. 23 – Seattle, WA @ Tractor Tavern

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]

You should let Alex Lahey’s new single, “They Wouldn’t Let Me In,” in right now.

Photo Credit: Pooneh Ghana

Today, Alex Lahey presents her new single/video, “They Wouldn’t Let Me In,” from her forthcoming album, The Answer Is Always Yes, out May 19th on Liberation. Following the “big, bright” (Stereogum) lead single, “Good Time,” the previously-shared “Shit Talkin’,” plus the “volcanic and cathartic” (The New York Times) “Congratulations,” “They Wouldn’t Let Me In” is Lahey’s first song to mine the depths of her queer teenage years. Where Lahey’s beloved debut I Love You Like A Brother and its 2019 follow-up The Best of Luck Club took their focus through the lens of relationships, The Answer Is Always Yes sees Lahey analyzing her otherness through different lenses, from its isolating effect to the surrealism and humor it instills. The “They Wouldn’t Let Me In” video, co-directed by Lahey and Claire Giuffre, is a lighthearted accompaniment to the reflective track. Lahey draws out the absurdity, assuming the role of a furniture salesperson and leading a humorous countdown: “I couldn’t get into the threesome, the foursome, the fivesome, the sixsome.”

“After watching the brilliant tv series ‘Heartstopper,’ I spent a lot of time thinking about my own experiences growing up as a queer teenager,” Lahey says. “Although I was extremely lucky that the majority of my experience was filled with joy, acceptance and love, it wasn’t always smooth sailing. This song is inspired by those tougher moments – not being allowed to attend my high school girlfriend’s school formal, being excluded from conventional romantic rites of passage, moments of isolation and feeling like I couldn’t relate to anyone around me. ‘They Wouldn’t Let Me In’ is by far the most direct song I’ve ever written about this time.”

Watch Alex Lahey’s “They Wouldn’t Let Me In” Video

As a queer person, Alex Lahey learned how to adapt to a world that wasn’t made for her. For those who exist on the fringe, you learn to pave your own way, foster your own community, and create your own joy. With The Answer Is Always Yes, Lahey examines how she finds comfort in the discomfort, whether its reveling in absurdity or turning towards exploration. “Living in a world that wasn’t made for you makes you pretty strong and adaptive, and you find the fun in it,” says Lahey. “It also makes you realize how absurd everything is. With The Answer Is Always Yes, I wanted to get weird because the world is weird, and it’s even weirder when you realize you don’t fit into it all the time.”

Just as Lahey learned to reimagine the world around her, the music of The Answer Is Always Yes is also the product of reimagination. After making a name for herself with heartfelt, witty, and energizing indie rock songs, Lahey felt she had accrued tried and true songwriting tricks. Instead of resting on her laurels, Lahey took a risk by inviting other writers and producers into the early stages of her creative process for the first time. The resulting album is not only Lahey’s most collaborative yet, but also her most dynamic and surprising.

Beginning May 19th, Alex Lahey will embark on a North American tour in support of The Answer Is Always Yes, bringing her captivating full-band performance to a slew of cities across the continent. Full dates are listed below and tickets are on sale now.

Pre-order The Answer Is Always Yes

Watch“Good Time” Video
Watch “Congratulations” video
Watch “Shit Talkin’” lyric video

Alex Lahey Tour Dates:
Fri. May 19 – Santa Ana, CA @ Constellation Room
Sat. May 20 – Los Angeles, CA @ Zebulon
Sun. May 21 – San Francisco, CA @ Bottom of the Hill
Tue. May 23 – Portland, OR @ Polaris Hall
Wed. May 24 – Seattle, WA @ Madame Lous
Fri. May 26 – Salt Lake City, UT @ Kilby Court
Sat. May 27 – Denver, CO @ Lost Lake
Tue. May 30 – Minneapolis, MN @ 7th Street entry
Wed. May 31 – Chicago, IL @ Schubas
Fri. June 2 – Columbus, OH @ Ace of Cups
Sat. June 3 – Cleveland, OH @ Mahalls
Sun. June 4 – Toronto, ON @ Velvet Underground
Tue. June 6 – Boston, MA @ Crystal Ballroom
Wed. June 7 – New York, NY @ Baby’s All Right
Fri. June 9 – Philadelphia, PA @ Johnny Brendas
Sun. June 11 – Washington, DC @ Songbyrd
Mon. June 12 – Durham, NC @ Motorco Music Hall
Tue. June 13 – Atlanta, GA @ Masquerade Purgatory
Thu. June 15 – Houston, TX @ White Oak Music Hall Upstairs
Fri. June 16 – Austin, TX @ Parish
Sat. June 17 – Dallas, TX @ Club Dada
Tue. June 20 – Phoenix, AZ @ Rebel Lounge
Wed. June 21 – San Diego, CA @ Soda Bar

Keep your mind open.

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[Thanks to Sam at Pitch Perfect PR.]

CHAI proclaim “We the Female” on their (of course) catchy new single.

CHAI — the beloved Japanese quartet composed of identical twins MANA (vocals/keys) and KANA (guitar), drummer YUNA, and bassist/lyricist YUUKI — are “professional purveyor[s] of whimsy” (The New York Times). Today, the four-piece unveils their first new single/video of 2023, “We The Female!” Following CHAI’s acclaimed 2021 album, WINK, which “exudes a newfound sense of serenity, even as they remain committed to exuberant self-love” (Pitchfork), “We The Female!” continues expanding CHAI’s canon of anthemic dance jams. The accompanying video, directed by Cezan Iseda, is a charming collage of 80s television homages.

Of “We The Female,” YUUKI adds: “We are human and were born as female, but we have both female and male aspects in each of our souls, each with our own sense of balance. We can’t just label ourselves into clear-cut, simple categories anymore! I’m not anyone else but just ‘me,’ and you are no one else but just ‘you.’ This song celebrates that with a roar! Yooooooooo!!”

WATCH CHAI’s “WE THE FEMALE!” VIDEO

WINK followed CHAI’s beloved 2017 debut PINK, and their superb 2019 sophomore effort, PUNK. Surrounding WINK’s release, CHAI was profiled in V Magazine, The New York Times, NPR and more; it was named one of the year’s best releases by Under The Radar and Paste, who hailed: “CHAI make every moment feel like a treat.”

“We The Female!” is a small taste of what CHAI has in store for the year.

Keep your mind open.

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[Thanks to Jacob at Pitch Perfect PR.]

Hannah Georgas keeps it Zen on “This Too Shall Pass.”

In 2020 Hannah Georgas released her Aaron Dessner-produced LP All That Emotion. Though a longtime favorite in her native Canada with a devoted international audience, the album was the most critically-acclaimed release of her career to date, earning a wave of positive attention from outlets like The Guardian, Pitchfork, NPR, The New York Times, FADER, Stereogum, New York Magazine, Consequence of Sound and Paste among many others. In 2021 she released an EP of alternate versions of tracks from the album, featuring contributions from friends and collaborators like Bartees Strange, Owen Pallett, The National’s Matt Berninger and Kate Stables, but today Georgas is sharing her first new music in three years with new single, “This Too Shall Pass”. The single is being released to mark the announce of her signing to Lucy Rose’s Real Kind Records, and is being released alongside a Joe Connor directed video, shot in London.

WATCH
Hannah Georgas’s “This Too Shall Pass”
HERE

Where Hannah’s last record, 2020’s All That Emotion, was produced alongside Aaron Dessner, her next body of work finds Georgas behind the glass. Joining her are partner Sean Sroka (of Ten Kills The Pack) in a co-production capacity, keenly aided by James McAlister on drums (one of Sufjan Steven’s regular confidantes), Graham Walsh (whose synth and bass regularly peppers records by the likes of Holy Fuck and Metz), and Gabe Wax (Soccer Mommy’s go-to collaborator, but has also worked with War on Drugs, Kurt Vile, and Spoon) whose studio know-how and multi-instrumentalist acumen was a welcome addition to the process.

Ultimately though, Georgas sought to take the reins herself, taking back control of her own destiny, and cutting out too much outside influence. Recorded in Toronto with a treasure trove of analogue equipment and a work ethic that left no idea unturned, “This Too Shall Pass” signals a line in the sand, and the beginning of a new chapter.

Hannah Georgas on “This Too Shall Pass”: “I have a lot of internal pep talks, as a way to quiet my own doubts and insecurities. This song is a reflection of that, and a reminder to go a little bit easier on myself.”

“This Too Shall Pass” is the first introduction to a larger body of work by Hannah Georgas. Further details are to be announced later this Spring.

Keep your mind open.

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[Thanks to Tom at Hive Mind PR.]

The Beths release new single and expanded tour dates.

Today, The Beths present their new single, “Watching The Credits,” and unveil their incredible Tiny Desk Concert, proving once again that they are “one of the greatest indie-rock bands of their time” (Rolling Stone). “Watching The Credits” is a terrific power pop anthem recorded during the sessions of Expert In A Dying Field, the New Zealand quartet’s acclaimed 2022 album. Born out of songwriter Elizabeth Stokes’ habit of learning everything about movies without actually watching them, “Watching The Credits” is Stokes’ imaginary view from the director’s seat. Their accompanying NPR Tiny Desk performance downsizes their beloved live performance while maintaining their signature thrilling energy.

The Beths also announce more US dates around their Bonnaroo and Newport Folk Festival appearances, bringing their incredible set (and beloved inflatable fish) to many cities for the first time. The Beths’ summer and fall dates include two nights at Denver’s Mission Ballroom, three nights at Los Angeles’ Lodge Room (surrounding their sold out show at the Hollywood Bowl supporting Death Cab for Cutie and The Postal Service), plus three nights at New York’s Music Hall of Williamsburg. Full dates are listed below and general on-sale for new dates begins Friday, March 31st at 10am local time.

Watch The Beths’ Tiny Desk Concert

Listen to “Watching The Credits”

Expert In A Dying Field, the third studio album from The Beths, was released to a wealth of critical praise, and was named one of 2022’s best releases by the likes of Pitchfork, The Ringer, and Stereogum, who praised it as “another collection of tunes that cements their status as one of the great guitar-pop bands of this present moment.” Surrounding its release, The Beths were profiled by Rolling Stone, Document Journal, The Big Takeover and more, and made their US television debut on CBS Saturday Morning. With a full, almost entirely sold out North American tour already under their belt, and supporting slots for The National, Death Cab for Cutie and The Postal Service on the horizon, The Beths are undeniably one of the most exciting indie rock bands to emerge in recent memory.

The Beths Tour Dates (New Dates In Bold)
Wed. May 24 – Bristol, UK @ SWX
Thu. May 25 – London, UK @ Electric Brixton
Fri. May 26 – Walton-on-Trent, UK @ Bearded Theory Festival
Sat. May 27 – Leeds, UK @ Live at Leeds in the Park
Sun. May 28 – Manchester, UK @ New Century
Tue. May 30 – Glasgow, UK @ The Garage
Wed. May 31 – Dublin, IE @ Whelan’s
Fri. June 2 – Barcelona, ES @ Primavera Sound Festival
Sat. June 3 – Ellerdorf, DE @ Wilwarin Festival
Sun. June 4 – Berlin, DE @ Frannz Club
Mon. June 5 – Hamburg, DE @ Uebel & Gefählrich
Tue. June 6 – Cologne, DE @ Gebäude 9
Thu. June 8 – Porto, PT @ Primavera Sound Festival
Fri. June 9 – Madrid, ES @ Primavera Sound Festival
Sat. June 10 – Dijon, FR @ VYV Festival
Mon. June 12 – Nantes, FR @ Stereolux
Tue. June 13 – Paris, FR @ Petit Bain
Wed. June 14 – Lille, FR @ Aéronef
Fri. June 16 – Kansas City, MO @ Boulevardia Festival
Sat. June 17 – Manchester, TN @ Bonnaroo Music & Arts Festival
Sun. June 18 – Birmingham, AL @ Saturn
Tue. June 20 – Orlando, FL @ The Beacham
Wed. June 21 – Tampa, FL @ Crowbar
Thu. June 22 – Gainesville, FL @ High Dive
Fri. July 14 – Utrecht, NL @ Ekko
Sat. July 15 – Rotterdam, NL @ Rotown
Sun. July 16 – Nijmegen, NL @ Valkhof Festival
Tue. July 18 – Liverpool, UK @ Hangar 34
Wed. July 19 – Newcastle Upon Tyne, UK @ Boiler Shop
Fri. July 21 – Southwold, UK @ Latitude Festival
Sat. July 22 – Steventon, UK @ Truck Festival
Sun. July 23 – Sheffield, UK @ Tramlines Festival
Fri. July 28 – Newport, RI @ Newport Folk Festival
Sat. July 29 – Omaha, NE @ Maha Festival
Tue. Aug. 1 – Philadelphia, PA @ The Met Philadelphia * [SOLD OUT]
Wed. Aug. 2 – Philadelphia, PA @ The Met Philadelphia *
Thu. Aug. 3 – New Haven, CT @ Westville Music Bowl *
Fri. Aug. 4 – Pittsburgh, PA @ Mr Smalls Theatre
Sat. Aug. 5 – Cleveland, OH @ Beachland Ballroom & Tavern
Mon. Aug. 7 – Detroit, MI @ The Fillmore *
Tue. Aug. 8 – Madison, WI @ The Sylvee *
Wed. Aug. 9 – Minneapolis, MN @ The Armory *
Fri. Aug. 11 – Denver, CO @ Mission Ballroom * [SOLD OUT]
Sat. Aug. 12 – Denver, CO @ Mission Ballroom *
Tue. Aug. 15 – Nashville, TN @ Ascend Amphitheater *
Wed. Aug. 16 – Atlanta, GA @ Cadence Bank Amphitheatre at Chastain Park
Thu. Aug. 17 – Carrboro, NC @ Cat’s Cradle
Fri. Aug. 18 – Baltimore, MD @ Baltimore Soundstage
Sat. Aug. 19 – Quincy, MA @ In Between Days Festival
Mon. Aug. 21 – Cincinnati, OH @ Woodward Theater
Tue. Aug. 22 – Kalamazoo, MI @ Bell’s Eccentric Cafe
Sun. Aug. 27 – Seattle, WA @ THING
Sat. Sep. 30 – Austin, TX @ Germania Insurance Amphitheater ^
Sun. Oct. 1 – Grand Prairie, TX @ Texas Trust CU Theatre ^
Tue. Oct. 3 – Phoenix, AZ @ Arizona Financial Theatre ^ [SOLD OUT]
Wed. Oct. 4 – Las Vegas, NV @ The Theater at Virgin Hotels Las Vegas ^ [SOLD OUT]
Fri. Oct. 6 – Seattle, WA @ Climate Pledge Arena ^ [SOLD OUT]
Sat. Oct. 7 – Seattle, WA @ Climate Pledge Arena ^ [SOLD OUT]
Mon. Oct. 9 – Berkeley, CA @ Greek Theatre ^ [SOLD OUT]
Tue. Oct. 10 – Berkeley, CA @ Greek Theatre ^ [SOLD OUT]
Wed. Oct. 11 – Berkeley, CA @ Greek Theatre ^ [SOLD OUT]
Thu. Oct. 12 – Los Angeles, CA @ Lodge Room
Fri. Oct. 13 – Los Angeles, CA @ Hollywood Bowl ^ [SOLD OUT]
Sat. Oct. 13 – Los Angeles, CA @ Lodge Room
Sun. Oct. 15 – Los Angeles, CA @ Lodge Room
Tue. Oct. 17 – Brooklyn, NY @ Music Hall of Williamsburg
Wed. Oct. 18 – Brooklyn, NY @ Music Hall of Williamsburg
Thu. Oct. 19 – Brooklyn, NY @ Music Hall of Williamsburg

* w/ The National
^ w/ Death Cab For Cutie & The Postal Service

Purchase Expert In A Dying Field

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]

Live: Pigs Pigs Pigs Pigs Pigs Pigs Pigs and The Tomblands – Sleeping Village – Chicago, IL – March 28, 2023

I almost didn’t come to this show. The venue, Sleeping Village, was over two hours’ driving time from my house. It was on a Tuesday night, and it started late – 9pm Central time, which is 10pm in the Eastern time zone where I live. I worked an eight-hour shift that day and had to work another the following morning. I guessed I wouldn’t get home until 2:30am if I was lucky.

Then I learned that this would not only be the first time Pigs Pigs Pigs Pigs Pigs Pigs Pigs would be in Chicago, but it was their first U.S. tour ever. That’s when I knew I had to be at this show, and they’d already announced tickets were running low. I snagged one of the few remaining tickets and got in a disco nap before making the drive.

This was also the first show I’d seen at Sleeping Village, which is a nice, small venue. The stage and viewing area are in a space smaller than some convenience stores. As soon as I walked in and saw the size of the space, and knew how powerful a Pigs x 7 show could be, I thought, “They’re going to destroy this place.”

First to start the demolition were local noise-psych rockers The Tomblands. They brought a wall of guitars, two drummers, and a ton of energy to the stage. They also encouraged all the locals to get out and vote in the upcoming Chicago mayoral election.

The lads from Newcastle Upon Tyne came out at 10pm (Central) sharp and kicked things off with the raucous “Mr. Medicine” off their new album, Land of Sleeper. The power they unleashed felt like someone threw open the door of a blast furnace.

(L-R: Adam Ian Sykes, John-Micheal Joseph Hedley, Matthew Baty, Sam Grant)

They tore through “Rubbernecker” and “Halloween Bolson,” with lead singer Baty bouncing, stomping, and prowling around the stage like a kabuki performer, bassist Hedley played like his guitar he was holding an electric eel, and Sykes and Grant kept trading shredding solos.

Some of us finally got a mosh pit started by the time they got to “Ultimate Hammer” and continued to floor the audience with their combination of metal, doom, and punk. “Big Rig” was especially wild, and “GNT” and closer “A66” were downright fierce.

I got to shake hands and chat a bit with the porcine quintet after the show and asked Baty how the tour had been so far, especially after it was so long coming after 2020 shut it down the first time.

“It’s been…fucking amazing,” Baty said. “We thought we’d be playing shows to, like, fifty people, and they’ve all been like this. It’s incredible.”

It was.

Keep your mind open.

Thanks to the nice young lady who let me snap this photo of the set list she scored.

[Don’t forget to subscribe before you split.]

[Thanks to Pigs Pigs Pigs Pigs Pigs Pigs Pigs for the show, autographs, and chats!]

Review: Eaves Wilder – Hookey

Referencing both skipping school classes and filling songs with hooks, Eaves Wilder‘s debut EP, Hookey, is a fun record about teenage life and preferring to spend one’s time doing what you want instead of putting up with other people’s crap.

I mean, “I Stole Your Jumper” pretty much flips the table on a lover who made her feel bad. She’s done with that business, and her chugging 1990s alt-rock guitar chords only seem to fuel her sneer and desire to kick someone in the groin. Plus, she gets a new jumper out of it.

“Are You Diagnosed?” is a standout as Wilder sings about her treatment at a hospital and how that treatment was affected by her status of whether or not she was officially diagnosed with anything. “You could be dying up close, but are you diagnosed?” she sings, but you’re not going to get treatment until stacks of paperwork are completed and you’ve been through a maze of appointments, phone calls, and visits with people who have no idea what you’ve already done. The hooks in it are killer. “I’m sick of asking for help,” she says. Who wouldn’t be?

“Morning Rain” is a tale of skipping school because it’s just too lovely outside to be cooped up all day. Her guitar work in it has a sort of melted sound to it that’s difficult to pull off, but she does it well.

In “Connect the Rooms,” Wilder sings (in a somewhat distant voice sprinkled with reverb) about making music while elevating in her room thanks to certain substances. It’s clearly the most psychedelic of the four tracks and could easily earn her a spot at a Levitation festival if she wants.

This EP is the start of something big. It’s the kind of record you want to get now so later, when she’s playing big stages, you can say, “I’ve been following her since the Hookey EP.”

Keep your mind open.

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[Thanks to Jessica at Pitch Perfect PR.]

The Slingers release “No Harm Done” ahead of their debut album due July 07, 2023.

Ahead of their sold-out show at The Corner, Melbourne/Naarm 5-piece, The Slingers share new single ‘No Harm Done‘ and announce their debut full-length LP, Sentimentalism, will be released on Friday, 7 July, via Flightless Records. The 10-track LP features their summer singles ‘Living in the Age of Loneliness‘, ‘Streets of Tokyo‘ and ‘Our Last Day in the Sun‘.

In a departure from earlier guitar-driven releases, No Harm Done is played entirely on an authentic 1960s Wurlitzer (courtesy of Head Gap studio in Preston). The warmth of the Wurlitzer is counteracted by a driving kick and snare. Finally, the crooning lead vocals of Robert J Mahon are elevated by the dulcet harmonies of Melbourne artist and guest vocalist Juice Webster.

Over the last five years of eclectic releases and impassioned live performances, The Slingers have cemented themselves as one of the most unique bands in the Australian underground/alternative scene. The band signed to Flightless Records in 2020, releasing a double A-Side 7-inch vinyl, The Cruellest Cut//Kind Hearts (a collaboration with legend of the Melbourne underground, Spike Fuck). Their recordings have garnered a cult following on Youtube and Spotify, resulting in sold-out crowds in their hometown of Melbourne.

The evolution of the band culminates in their incoming full-length LP ‘Sentimentalism’. Written in a small cabin on a farm outside of Colac, Western Victoria, and produced by Errol Green (Big Yawn), the album ranges from piano ballads to purely electronic pieces and features guest appearances from ‘’Evil’ Graham Lee (The Triffids) on pedal steel guitar and Melbourne artist, Juice Webster, on vocals.

Influenced by the music of William Shatner and the films of Nick Cave, The Slingers have sought through their music to balance and synthesize several oppositional artistic forces: lyrics that are both tongue-in-cheek and haltingly sincere, a sound that is as comfortable producing outlaw country as it is exploring drum machines and synthesizers, and a live energy that borrows simultaneously from Elvis and Angel Olsen.

Keep your mind open.

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[Thanks to Flightless Records.]

Covet get all happy and fun with their new single – “Firebird.”

Covet, the Bay area trio fronted by the effervescent, and wholly unique, guitar whiz Yvette Young, return with their third album, catharsis, on April 7 via Triple Crown Records.

“We did a lot of risk-taking on this album,” Yvette explains. “I try to follow what excites me without heeding anybody’s expectations. I’m leaning into melodies, tones, and textures and trying to use them to transport listeners. The whole concept is escaping into a fantasy realm where the songs depict different characters and their own worlds. Each song is like their theme song. It’s mostly instrumental, but when you close your eyes, I hope people will be transported into the character’s story. Music has always been escapism for me and a great source of therapy. My hope for this music is that it will take people somewhere and stir their imaginations, or at the very least, make them feel something. I named this record ‘catharsis’ because the word to me feels like a triumphant exodus. No matter the dire circumstances, music is one of those things that I’ve always needed to create to survive (in all senses of the word), and time and time again, I turn to guitar and songwriting as my outlet to uplift and feel like I have control over something in this chaotic universe.”

A preview of the 8-song, Scott Evans (Thrice, Samiam) produced collection arrives today with the release of “Firebird,” a track Yvette says she hopes will take listeners on a “total melodic joyride.” A Tom Flynn-directed video (https://triplecrown.ffm.to/covet-firebirdmv) debuted this morning, with the clip reflecting the origin of the song, as Yvette adds: “When my mom first emigrated to America, she balled out and got a red Pontiac Firebird. I hope it sounds like cruising down the highway with the wind blowing in your hair. I really wanted to lean into the catchiness of a melody and see how I could push some rock-n-roll tropes until something almost becomes cheesy—but not quite yet. Hopefully, the lighthearted and silly nature of the video reflects that.”

Album pre-orders, which include several limited-edition vinyl variants, CD, and digital pre-saves are available here: https://triplecrown.ffm.to/covet-catharsis.

Covet catharsis tour dates:

April 7 Portland, OR Wonder Ballroom

April 8 Vancouver, BC Biltmore Cabaret

April 9 Seattle, WA Neumos

April 11 Salt Lake City, UT Soundwell

April 13 Denver, CO Meow Wolf

April 14 Lawrence, KS The Bottleneck

April 15 St. Louis, MO Delmar Hall

April 17 St. Paul, MN Amsterdam Music Hall

April 18 Madison, WI High Noon Saloon

April 20 Chicago, IL Bottom Lounge

April 21 Ann Arbor, MI Blind Pig

April 22 Toronto, ON Lee’s Palace

April 23 Montreal, QC Café Campus

April 25 Pittsburgh, PA Thunderbird Music Hall

April 26 Brooklyn, NY Brooklyn Bowl

April 27 Boston, MA Royale

April 28 Philadelphia, PA Brooklyn Bowl

April 29 Vienna, VA Jammin’ Java

May 1 Asheville, NC The Grey Eagle

May 2 Nashville, TN Brooklyn Bowl

May 3 Atlanta, GA The Masquerade (Hell)

May 5 Dallas, TX Studio at The Factory

May 6 Austin, TX Scoot Inn

May 8 Albuquerque, NM Launchpad

May 10 Phoenix, AZ Crescent Ballroom

May 11 Solana Beach, CA Belly Up

May 12 Los Angeles, CA The Roxy

Tickets for all shows are on-sale now. Scarypoolparty and altopalo open on all dates.

Keep your mind open.

[I covet your subscription.]

[Thanks to Monica at Speakeasy PR.]