September 2019 – 7th Level Music

The Schizophonics’ new single, “Steel Eyed Lady,” is the rock song of your wet dreams.

San Diego trio The Schizophonics share a new single from their forthcoming sophomore album, People in the Sky, today via The Talkhouse. The song, “Steely Eyed Lady,” and the band, gets a fittingly astounding introduction courtesy of beloved performance artist El Vez (a.k.a. Robert Lopez): “Hits you like a train with all the passion of a young Little Richard floating through the clouds with so much raw energy. Your new favorite band should hit you like a campaign slogan. Like a religious cult or an anti-hero movie star that you fall in love with.”

BrooklynVegan recently premiered the first single “Battle Line” available to hear and share via BrooklyVegan, YouTube, Bandcamp and Spotify.

The band takes its jaw-dropping live show on the road for headlining dates throughout North America this October. Please see current dates below.

Over the last few years, The Schizophonics have built up a formidable reputation around the world as an explosive live act. Tapping into the same unstoppable combination of rock ‘n’ roll energy and showmanship that fueled The MC5 in the heyday of the Grande Ballroom, their wild live show is heavily influenced by artists like James Brown, Iggy Pop, Jimi Hendrix, Little Richard, and The Sonics. Singer/guitarist Pat Beers and drummer Lety Beers formed the band in San Diego in 2009 and have worked tirelessly since then, playing hundreds of shows around the globe and winning 7 (SEVEN!) San Diego music awards.

In 2013 they were recruited as the backing/opening band for El Vez, which helped the band make a name for itself in Europe. Since then, they’ve played in fourteen countries, and supported tours by like-minded acts like Rocket From The Crypt, Little Barrie, and The Woggles and have opened for The Damned, The Hives and Cage The Elephant. Shindig magazine described their live show “Like watching some insane hybrid of Wayne Kramer, James Brown, and the Tazmanian Devil.”

“One of my favorite live bands ever,” proclaims Tim Mays, who has run the Casbah in San Diego for 30 years and has seen literally thousands of live bands come through his doors. “The Schizophonics bring the goods every time they play,” he enthuses.

The band is more than just an outstanding live act, they’re also committed to writing great, memorable songs.

After releasing 2 singles and an EP over the last few years on Munster, Ugly Things, and Pig Baby Records, they put out their first full-length album in July 2017 titled Land of the Living on the label Sympathy For The Record Industry with famed record man Long Gone John. In January of 2019 they started work on their second LP recruiting Dave Gardner (Hot Snakes, RFTC) mixing engineer Stephen Kaye (JD McPherson, Mike Krol) and Pierre De Reeder (Rilo Kiley) to put their live, raw sound to tape. The album, titled People in the Sky, will be released on October 31st, 2019 on Pig Baby Records. Pre-orders are available HERE.

THE SCHIZOPHONICS LIVE 2019: 10/10 Los Angeles, CA @ Harvard & Stone 10/11 San Diego, CA @ Casbah 10/12 Long Beach, CA @ Alex’s Bar 10/13 Phoenix, AZ @ Rhythm Room 10/14 El Paso, TX @ The Neon Rose 10/17 Denton, TX @ Harvest House 10/18 Austin, TX @ Nicolaza’s/Far Out 10/19 Houston, TX @ Rudyards 10/20 New Orleans, LA @ TBA 10/23 Miami, FL @ Gramps 10/24 St. Petersburg, FL @ The Bends 10/25 Orlando, FL @ Wills Pub 10/26 Atlanta, GA @ Star Bar 10/27 Memphis, TN @ DKDC 10/30 New York, NY @ Union Pool 10/31 Baltimore, MD @ Otto Bar 11/01 Washington, DC @ The Pie Shop 11/02 Philadelphia, PA @ Ortlieb’s 11/03 New Haven, CT @ Café Nine 11/04 Providence, RI @ Dusk 11/05 NYC, NY @ Illegal Mezcal Private Party 11/06 Pittsburg, PA @ Get Hip 11/07 Toronto, ON @ The Baby G 11/08 Detroit, MI @ The Outer Limits 11/09 Chicago, IL @ Liars Club 11/10 Madison, WI @ Mickey’s Tavern 11/12 Appleton, Wi @ The Cold Shot 11/15 Wenatchee, WA @ Walley’s 11/16 Seattle, WA @ Freakout Festival 11/17 Portland, OR @ Twilight Café

Keep your mind open.

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Rituals of Mine gets heavy with new single – “Heavyweight.”

Rituals of Mine, the electronic recording project of Los Angeles-based songwriter Terra Lopez and percussionist Adam Pierce, shares a new single, “Heavyweight,” from their forthcoming EP, SLEEPER HOLD, out October 4th on Carpark Records. It follows the lead single / video, “BURST.” “Heavyweight” is inspired by the after effects of grief and trauma in relation to the body and mind, particularly Lopez’s own surrounding her father’s suicide and the unexpected loss of her best friend. To accompany the single they share visuals by Hightechlowlife.

“Once the shock shifted away, my body started to feel the real, tangible effects of grief. For over 2 years, I felt a heavy ring around my temple. I couldn’t focus, I couldn’t concentrate. I had lost my ability to articulate properly,” says Lopez. “I was existing and actually was a very high functioning depressed person but my body and voice felt alien and lost to me. In 2018, I read a book that changed my life called The Body Keeps the Score. It is a detailed, scientific look at how trauma transforms, alters and ultimately changes not only your chemical makeup but your physical makeup. I thought I was going crazy for nearly 3 years and then here comes this book that validates every feeling, every emotion, every physical ailment I had felt but couldn’t prove. This song is the expression of grief work I had to do over the last 3 years in order to get to a place where I could see beyond the loss, beyond the depression and finally look at a life that will never be the same but that can be better if I let it.”

SLEEPER HOLD follows their minimalist debut, Devoted, and is as tense and captivating as its name suggests. Lopez began writing the songs that would eventually inhabit the EP during one of the most harrowing and self reflective times in her life. She flew from California to Florida to work with her longtime collaborator and producer Wes Jones, and began developing a brooding sound that would match the emotional intensity of her writing. Having the intimate space of a studio, occupied by only her and a producer, meant that Lopez could write from the heart in a way that didn’t feel possible when there were more people in the room. Over the course of a few months the two would craft some of the project’s most cavernous and vulnerable songs to date. “This new material is very direct and focused on what I want to express with things I’ve held in for so long.” says Lopez. “It’s finally me addressing all of that trauma because I finally had the space to do so.”

Rituals of Mine will tour across North America this fall. All dates are on sale and can be found below.

Watch “HEAVYWEIGHT” lyric video – https://www.youtube.com/watch?v=7nq0Yf7iHsk

Watch the video for “BURST” – https://youtu.be/XpKZ1FtFmzk

Pre-order SLEEPER HOLD EP – http://smarturl.it/rom_sleeperhold

Rituals of Mine tour dates: Mon. Sept. 30 – Bend, OR @ Volcanic Theatre Pub – Tickets Sat. Oct. 5 – Sacramento, CA @ Harlow’s – Tickets Sat. Oct. 12 – Los Angeles, CA @ The Hi Hat – Tickets Sun. Oct. 13 – Oakland, CA @ The New Parish – Tickets Fri. Nov. 15 – Seattle, WA @ Freakout Festival – Tickets

Keep your mind open.

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Jacques Greene can “Do It Without You” on his new single; but trust me, you want to join him.

LuckyMe proudly present Dawn Chorus, the new album from Jacques Greene (out October 18th), and present lead single, “Do It Without You.” A bold step forward, Dawn Chorus is also Greene’s most collaborative project to date, featuring additional production and instrumentation from film composer Brian Reitzell (Lost in Translation), cello by London’s Oliver Coates, additional production from Clams Casino and original vocal contributions from ambient artist Julianna Barwick, rapper Cadence Weapon and singers Ebhoni and Rochelle Jordan, all sampled, processed and stitched back into the album.

Stream “Do It Without You” – https://soundcloud.com/jacquesgreene/do-it-without-you/

If Greene’s 2017 debut album, Feel Infinite, was the soundtrack to a dream pregame – amping you up to lose yourself in the club – then Dawn Chorus resides in the post-rave reflective moment. A time of heightened sensuality and latent possibility.

Greene approached the making of Dawn Chorus as if he were a band. He lived in the studio for five months this past winter – half the time at home in Toronto, the other half in Hudson Mohawke’s studio in L.A. – and wrote these songs in a sprint to capture this chapter in his life. Ten years into the game and not yet in his thirties, his perspective on the value of dance music and where it rests with his daily life and inspiration bare out on this album. While samples played a big part in his early output, his creative process for Dawn Chorus revolved around recording a stellar cast of musicians, arranging new parts.

To craft the sound of the record, he thought about the artists he held dear and researched the gear they used as a means of being in dialogue with their emotional tenor. Some of the gear he sourced included the delay that My Bloody Valentine was renowned for, as well as a compressor used by French Touch producers Alan Braxe and Fred Falke. Working with mix engineer Joel Ford (of Ford & Lopatin), he created a rule book for the album’s sonics that saw each part, from the drums to the pads, be processed in a specific way, through guitar pedals and outboard equipment. Dawn Chorus opens with “Serenity,” an all-back-to-mine breaks tune that Greene describes as “a weird, euphoric take on Chemical Brothers.” “Night Service” is a neon-lit hip house anthem helmed by Canadian rapper Cadence Weapon, who drapes a love letter to the club around Greene’s acid-dipped synths. Elsewhere, “Distance” blends ambient textures with sampled birdsong and the snaking lines of Oliver Coates’s cello.

Now 29, Greene has been making music “about the club” for over a decade. His sound could be described as an emotional haze, in that its balance of sonic elements work to illuminate the overlapping feelings that lie between the familiar binaries. Outside of his own releases, Greene has explored his relationship with the club in a variety of contexts, from remixing Radiohead to producing for Katy B and Tinashe and touring with The xx.

He will tour Dawn Chorus in Europe and North America this October. An intimate first live show at the St Pancras Old Church is already sold out in London and another show has been added.

Jacques Greene tour dates: Thu. Oct. 17 – Berlin, DE @ Burg Schnabel Fri. Oct. 18 – London, UK @ St. Pancras Old Church – SOLD OUT Fri. Oct. 18 – Manchester, UK @ Warehouse Project (DJ set) (late show) Sat. Oct. 19 – London, UK @ Five Miles (DJ set) Wed. Oct. 23 – Brooklyn, NY @ National Sawdust Fri. Oct. 25 – Los Angeles, CA @ The Echo Sat. Oct. 26 – Montreal, QC @ Ausgang

“Night Service” b/w “Silencio” (Feat. Cadence Weapon) – YouTube – https://youtu.be/S1JaoIYJ-PE

Buy / Stream – https://jg.ffm.to/nightservice

“Night Service” (The Remixes) – Whatever/Whatever Night Version – https://youtu.be/_x3Ysk3po4k

Whatever/Whatever Day Version – https://youtu.be/iltM5sg-f8g

Pre-order Dawn Chorus – https://jacquesgreene.com/ Dawn Chorus

Tracklist: 1. Serenity 2. Drop Location 3. Do It Without You 4. Night Service 5. Sel 6. Let Go 7. For Love 8. Sibling 9. Whenever 10. Understand 11. Distance 12. Stars

Keep your mind open.

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Blackwater Holylight take us into “Death Realms” with their new single.

Portland, OR quintet Blackwater Holylight have shared the second single from their forthcoming sophomore album Veils of Winter (RidingEasy Records). Hear and share the pop-hook laced “Death Realms” via YouTube and Bandcamp.

The band previously dropped the immediately classic lead track “Motorcycle” via YouTube and all streaming platforms last month. Blackwater Holylight hit the road later this month, supporting Thou for a handful of Southern dates, followed by the full US with former RidingEasy label mates Monolord in November. Please see complete dates below.

Blackwater Holylight, as the name suggests, is all about contrasts. It’s a fluid convergence of sound that’s heavy, psychedelic, melodic, terrifying and beautiful all at once.

As a heavy band, their songs aren’t anchored to riffs, but rather riffs come and go in waves that surface throughout the band’s meditative, entrancing songs. It’s a hypnotic sound, with orchestral structures that often build tension and intrigue before turning the song on its head — not by simply getting louder or heavier, nor by just layering elements. They expertly subvert the implied heaviness of a part, dissecting it and splaying the song’s guts out to seep across the sonic spectrum. Now, having toured extensively following the band’s wildly-successful breakout self-titled debut in 2018, Blackwater Holylight has honed their sound and identity to a powerfully captivating beast. Their live set is all about the slow build, seeming to combine the melodic tension of early Sonic Youth crossed with the laconic fever-dream blues of the first Black Sabbath album and wiry experimentation of post-punk and krautrock. The lineup on this album is Allison (Sunny) Faris (bass/vocals), Laura Hopkins (guitar/vocals) and Sarah McKenna (synths), with new guitarist Mikayla Mayhew and drummer Eliese Dorsay fleshing out their sound in exciting ways.

“The process of this album was vastly different from our first record,” says Faris. “One, because we recorded it over the course of a few weeks, whereas the first record was over the course of about a year. And two, this album was a true collaboration between the five of us. Each of us had extremely equal parts in writing and producing, we all bounced ideas off each together, and we all had a say in what was going on during every part of the process.”

“One of our favorite things about this album is that because it was so collaborative, we didn’t compartmentalize ourselves into one vibe.” She continues. “It’s heavy, psychedelic, pop, shoegaze, doom, grunge, melodic and more. The whole process was extremely organic and natural for us, we were just being ourselves.”

Veils of Winter opens with fuzzed-drenched, drop-tuned bass and baritone guitar leading a dirge riff on “Seeping Secrets.” Faris’ lilting and funereal vocals drop in, adding to the mournful atmosphere until a short turnaround progression hints at changes to come, as Faris and Hopkins harmonize eerily and the tune suddenly turns into a krautrock charge. “Motorcycle” kicks off deceptively with a heavy grunge riff building up for about 40-seconds before the song abruptly shifts gears into a synth-led post-punk harmony, sounding something like Lush meets Syd Barrett era Pink Floyd. “Death Realms” is perhaps the poppiest track, based around soaring shoegaze guitars and interwoven light vocal harmonies. Soft piano notes, occasional woozy whammy bar dives and a driving tom-tom beat solidify its hooks. “Spiders” is a creepy-crawly guitar riff and counterpoint keys, while “Moonlit” explores prog-structures with a shredding guitar solo crescendo. The penultimate track, “Lullaby” is exactly that, a lulling, expansive tune exemplifying Blackwater Holylight’s genre smashing sound as it subtly moves across a vast sonic landscape atop a hypnotic 6/8 beat and repetitive 3-note motif. Throughout the album, their songs shirk traditional verse-chorus-verse structure in favor of fluid, serpentine compositions that move with commanding grace.

Veils of Winter will be available on LP, CD and download on October 11th, 2019 via RidingEasy Records. Pre-orders are available at www.ridingeasyrecs.com.

BLACKWATER HOLYLIGHT LIVE 2019: # 09/28 Gainesville, FL @ The Atlantic # 09/29 Pensacola, FL @ Chizuco # 10/10-13 Lake Perris, CA @ Desert Daze Festival 10/24 Portland, OR @ Star Theater – Album release show 11/05 San Diego, CA @ Brick By Brick * 11/06 Tucson, AZ @ Club Congress * 11/07 Albuquerque, NM @ Sister * 11/09 Austin, TX @ Barracuda – Levitation Fest – RidingEasy Stage 11/10 Lafayette, LA @ Freetown Boom Boom Room * 11/11 New Orleans, LA @ One Eyed Jacks * 11/12 Atlanta, GA @ 529 * 11/13 Asheville, NC @ Mothlight * 11/14 Richmond, VA @ Camel * 11/15 Baltimore, MD @ Metro Gallery * 11/16 Philadelphia, PA @ First Unitarian Church * 11/17 New York, NY @ Saint Vitus * 11/20 Chicago, IL @ Reggie’s * 11/21 Indianapolis, IN @ Black Circle Brewing * 11/22 St. Louis, MO @ Fubar * 11/23 Lawrence, KS @ The Bottleneck * 11/25 Denver, CO @ Marquis Theater * 11/27 Los Angeles, CA @ Teragram Ballroom * 12/05 Seattle, WA @ Neumos ^ 12/06 Eugene, OR @ WOW Hall ^ 12/07 Portland, OR @ Bossanova Ballroom ^ # w/ Thou * w/ Monolord ^ w/ Yob

Keep your mind open.

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Review: Miss Red – The Four Bodies

The dynamic duo of vocalist / songwriter Sharon “Miss Red” Stern and producer / DJ Kevin “the Bug” Martin have returned with The Four Bodies – a four-song EP of their brand of “toxic dancehall.” The two of them work so well together that it’s difficult to tell where the influence of one on the other begins or ends.

Each song represents a different universal element. “Shut In Your Head” is Earth, and its deep bass and lyrics of Red’s inner power being like a simmering volcano are evidence of this idea. “Loco” is the Fire element, and the Bug’s drums crackle like a campfire until Red’s sharp vocals turn it into a raging blaze that cannot be stopped by any conventional means.

“Don’t Text Back” (water) bubbles and rolls along like a lotus flower on a lazy river while the Bug’s dub beats cause concentric ripples across the surface and Miss Red calls to us from dark depths. The universal element of air is represented by “Prayers” – an ethereal instrumental well-suited for meditation and / or spell casting. Stern has made it known that some of the inspirations behind The Four Bodies were shamanism and witchcraft (and the EP’s cover alone tells us this), so the mystical feel of the record is prevalent throughout it.

It’s not surprising because Miss Red’s other collaborations with the Bug often sound otherworldly and are tinged with a bit (or more, depending on the song) of menace. The Four Bodies is no exception and an intriguing addition to Miss Red’s already fascinating discography.

Keep your mind open.

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Review: King Gizzard and the Lizard Wizard – Fishing for Fishies

For their first album of 2019, Fishing for Fishies, prolific and unpredictable psych-rockers King Gizzard and the Lizard Wizard wrote a blues record and an album promoting environmentalism.

The title track instantly puts down a happy grove while the lyrics suggest that our oceans need rescued and maybe we should lay off fishing for a while. The album’s cover features a robot (Han-Tyumi from Murder of the Universe?) casting a burning fishing line into a fiery lake that might be covered in a blazing oil spill. Stu Mackenzie and Ambrose Kenny-Smith sing about the cruelty of commercial fishing and how it would be better to just let the fishies swim.

“Boogieman Sam” has a heavier groove that gets your head bobbing and toes tapping. It also lets Kenny-Smith cut loose with his harmonica, as do many of the tracks on this record. It’s fun to hear his playing in the forefront. The jazz swing of the back-to-nature ode “The Bird Song” (which gets into existential philosophy – “To a bird what’s a plane?…To a tree what’s a house?”) is great. It’s like a Steely Dan or Doobie Brothers track.

“Plastic Boogie” is another solid groove cut with Mackenzie and Kenny-Smith sharing lead vocals throughout it as KGATLW discuss how space age polymers are ruining our oceans and polluting everything in sight. “The Cruel Millenial” has Kenny-Smith singing lead while the rest of the Wizards sound like they’re having a blast playing behind him with pub-rock beats and riffs. “Real’s Not Real” bring back that cool 1970’s jazz-rock swing thing that is hard to describe, but recognizable once you hear it. They add some psych-fuzz and blues harmonica to it, which makes it even better.

Speaking of blues harmonica, it’s front and center on the sweet rocker “This Thing” (which also has a fine bass line from Lucas Skinner). “Acarine” brings in a touch of the Middle Eastern rhythms found on their album Flying Microtonal Banana as it floats along in a bit of a psychedelic haze and discusses how even the smallest of creatures are worth saving. The song slides into synthwave sounds and beats that flow well into the closing track – “Cyboogie” – which blends synthwave pulses, robotic (Han-Tyumi again?) vocals, and boogie jams.

It’s a fun record, one of KGATLW‘s most accessible in a while for listeners who haven’t heard their stuff before, and a great set up for their second album of the year – Infest the Rats’ Nest (review coming soon) – which continues the environmental themes of this one.

Keep your mind open.

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Review: Partner – Saturday the 14th

Always one to follow their creative whims, Partner (multi-instrumentalists Josee Caron and Lucy Niles) released Saturday the 14th earlier this year. It’s a five-song EP that lets them stretch their creative muscles and embrace multiple influences.

“Fun for Everyone (Minions)” is an electro-laced dance tune that has Caron and Niles telling everyone to “dance like a Minion and not give a care about anyone’s opinion.” It’s a shame if this hasn’t been remixed by multiple DJs by now, and it will be an even bigger shame if the next Despicable Me film doesn’t feature it on the soundtrack.

Partner having a song called “Stoned Thought” shouldn’t be a surprise to anyone who’s a fan of the band, since they have openly sang of their love of the herb (i.e., “Hot Knives,” “Everybody Knows You’re High”). It’s a witty song about cool things they thought of (song ideas, high philosophy, etc.) while high and now can’t remember.

“Tell You Off” is a tongue-in-cheek country tune complete with dobro and Niles rocking a harmonica solo in-between lyrics about chewing out a neighbor over their bad behavior. “Long & McQuade” is a salute to the band’s favorite music equipment store in Canada. Caron’s solo on it is outstanding.

The album ends with the downright beautiful “Les Ailes d’un Ange” (“The Wings of an Angel”) – a French vocal ballad that Partner have admitted is their attempt to write a song that fellow Canadian Celine Dion might sing.

It’s a fun EP that is a welcome appetizer for their next full-length album (which they have claimed will be a rocker. I have no doubt of this.).If you’re feeling down and need your luck to change, try Saturday the 14th.

Keep your mind open.

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The Damned set to release “Black Is the Night: The Definitive Anthology” on All Saints’ Day this year.

The greatest surviving British punk band, The Damned, are set to release their most comprehensive collection of songs yet, with a new greatest hits collection, Black Is the Night, via BMG on November 1st. Pre-order the album here.

[Taken from the album’s liner notes]: Black Is the Night is the first truly comprehensive Damned anthology, spanning their entire career. These tracks have been specifically chosen by the band themselves and every track and every Damned album tells a different story. They are a band that never repeats themselves, with every record charting new territory and breaking new ground.

Designer Phil Smee was chosen to create the gothic artwork. Smee has worked with the band numerous times throughout their long-lasting career, as well as creating legendary designs for Motörhead, Elton John and Madness, amongst many others. Smee commented: “I loved working with the band back in the 80’s and I like to think we came up with some iconic designs. Certainly, I see the many Damned logos I came up with still used on t-shirts to this day. I’ve not cut corners with this new album, even setting all the sleeve copy by hand, which took me back to ‘The Black Album’ which I hand-lettered with a shaky pen. The Damned are a totally unique band, I’ve always loved everything they’ve done. I still get excited about every design project that comes along, but I was particularly pleased to be asked to work on The Damned’s Black Is the Night album.”

The band play Madison Square Garden with Misfits and Rancid on October 19th.

TRACKLISTING: 1. Love Song 2. Wait For The Blackout 3. Generals 4. I Just Can’t Be Happy Today 5. Bad Time For Bonzo 6. Democracy? 7. White Rabbit 8. Anti-Pope 9. Ignite 10. Melody Lee 11. Smash It Up Pt 1 & 2 12. New Rose 13. Machine Gun Etiquette 14. Neat Neat Neat 15. Stretcher Case Baby (produced by Shel Talmy) 16. Sick Of Being Sick (produced by Shel Talmy) 17. Born To Kill 18. Rabid (Over You) 19. Problem Child 20. 1 Of The 2 21. So Messed Up 22. Disco Man 23. Fan Club 24. Suicide 25. Eloise 26. Plan 9 Channel 7 27. Grimly Fiendish 28. The Shadow Of Love 29. The History Of The World (Part 1) 30. Dr Jekyll and Mr Hyde 31. Streets Of Dreams 32. Curtain Call 33. Alone Again Or 34. Lively Arts 35. Standing On The Edge Of Tomorrow 36. Stranger On The Town Fun Factory (previously deleted feat. Robert Fripp) 38. Under The Floor Again 39. Black Is The Night (new song)

Follow The Damned at: www.officialdamned.com twitter.com/@damnedtwits

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Elephant Stone premieres new single, “Land of the Dead,” ahead of fall tour.

Canadian psych-rockers Elephant Stone have released “Land of the Dead,” the first single from their upcoming 2020 album. The song was premiered at Brooklyn Vegan, where you can hear it now.

The track is surprisingly heavy for an Elephant Stone tune, and frontman Rishi Dhir has admitted it’s “much heavier than anything we’ve ever done. It wasn’t intentional. I just had this sitar riff and then it evolved / devolved from there.”

Stoner metal fans rejoice!

Elephant Stone are also soon to embark on their fall tour. Dates are below.

11/5 San Diego, CA @ The Casbah 11/6 Phoenix, AZ @ Yucca Tap Room 11/8 Austin, TX @ Barracuda/Levitation 11/9 Dallas, TX @ The Foundry (FREE SHOW) 11/11 Santa Fe, NM @ Rufina Tap Room (FREE SHOW) 11/12 Denver, CO @ Hi-Dive 11/13 Fort Collins, CO @ Surfside 7 11/15 Portland, OR @ Doug Fir 11/16 Seattle, WA @ Freakout Festival 11/17 Vancouver, BC @ Wise Hall 11/19 San Francisco, CA @ The Chapel 11/20 Los Angeles, CA @ Lodge Room

Keep your mind open.

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Pitchfork announces first Pitchfork Berlin Music Festival.

Pitchfork Magazine has announced its first ever Pitchfork Berlin music festival coming May 08 – 09, 2020. This makes the second European festival for them, with the other being Pitchfork Paris coming up Halloween weekend this year.

No artists have yet been announced for Pitchfork Berlin, but Pitchfork has written that the festival “will tap into the city’s electronic and progressive music culture.” That alone makes it sound pretty cool.

Keep your mind open.

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