Live: Gary Numan and Me Not You – Chicago, IL – November 29, 2017

I hadn’t seen electro / industrial legend Gary Numan live for many years.  His new album, Savage, is getting rave reviews and debuted as high as #2 in the U.K.  His live shows are loud, dazzling, and impressive affairs, and his November 29th show at Chicago’s Thalia Hall was no exception.

Opening for him were the Brooklyn quartet Me Not You, who put on a nice set of shoegaze and synth-rock.  I’d like to hear more of their material.  Unfortunately, I missed part of their set due to getting a phone call from work that I had to take.

Me Not You

Numan and his four-man band came out and immediately kicked down the back wall with a blast of industrial rock on “Ghost Nation” – the lead track from the new record.  Upon hearing it, I immediately thought, “Yeah, I need to get this record.”

“Ghost Nation”

Although he’s not much for nostalgia, Numan delivered a great version of “Metal” right afterwards.  He had the crowd in his hand by this point, and it was only the second song.  Other solid cuts from the new record were “Bed of Thorns,” “Mercy,” “Pray for the Pain You Serve,” “My Name Is Ruin,” and “When the World Comes Apart.”

Gary Numan might be a Green Lantern. It wouldn’t surprise me at all, really.

“Down in the Park,” of course, remains one of the best electro-goth songs ever, and Numan’s path down more industrial roads puts a new spin on a lot of his classic material.  He has the bass brought up on “Cars” to make it almost a metal track, for example.  “Love Hurt Bleed,” from his Splinter album, is a new highlight to his show.  It’s everything Trent Reznor owes Numan in one song.

Perhaps Mr. Numan is actually a herald of Galactus. I’d believe that, too.

He performed “M.E.” and “Are Friends Electric?” for an encore.  Both were stunning, especially “Are Friend Electric?” – which is the greatest song Phillip K. Dick never wrote.

“Are Friends Electric?”

This was easily one of the best performances I’ve seen all year.  The crowd was a fun mix of aging hipsters like yours truly, young industrial fans, old punks, metal heads, and goths.  I know this makes me sound old, but it was great to see people younger than I having a great time at the show.  It ensures me that Numan’s music will continue through new generations of fans.  Don’t miss this tour if it gets close to you.

Thanks to the lucky lady who scored this set list for letting me take a photo of it.

Keep your mind open.

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Live: Psychedelic Furs and Bash & Pop – Chicago, IL – October 17, 2017

One of my best friends and I first saw and heard the Psychedelic Furs in the early days of MTV and thought they had the weirdest name of any band we’d seen.  They soon became favorites of ours and I’ve been keen to see them for years.  The day finally arrived when I could see their first of two nights at Chicago’s Thalia Hall (one of my top three favorite venues in the city) on October 17th.

Rockers Bash & Pop opened for them, and my friend, Steve, and I got there in time to check out the last three songs of their set.  They had a good blend of hard rock and a bit of garage punk.

Bash & Pop

It was a good crowd for a Tuesday night, and an interesting blend of aged punks, young hipsters, and music fanatics.  The Psychedelic Furs came out and opened with “Dumb Waiters.”  I’d guessed this would’ve been their closer, but they unleashed it right away and grabbed everyone’s attention.

Getting right down to business with “Dumb Waiters.”

What especially grabbed my attention is how lead singer Richard Butler‘s voice has seemingly not aged.  He sounded great, as did the entire band.  Mars Williams, the saxophone player (who also used to play for the Waitresses), shredded the entire night.

L-R: Mars Williams, Richard Butler, Tim Butler, and Amanda Kramer

The double whammy of “Pretty in Pink” followed by “Love My Way” had the entire crowd jumping.  One guy to my right was almost in throes of ecstasy by this point.  “Until She Comes” and “The Ghost in You” were also especially sharp.

“Pretty in Pink”

The lyrics of “All That Money Wants” is rather biting in this country right now, and they ended with “Heaven” before coming out to two encores.  The first had a powerful rendition of “Sister Europe” that cooked up a witches’ brew of post-punk, acid jazz, and shoegaze.  The second was a performance of the song I thought they’d have as the opener – “President Gas.”  Like “All That Money Wants,” you can’t help but hear the lyrics in a new light right now.

A killer rendition of “Sister Europe”

It was worth the wait to see them, and $40.00 for a signed tour poster was a steal.

Keep your mind open.

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Gary Wilson – Let’s Go to Outer Space

It’s a bit surprising that experimental psych-lounge musician Gary Wilson has taken so long to release an album entitled Let’s Go to Outer Space because I’m fairly certain Mr. Wilson is from Saturn or perhaps somewhere outside this solar system.

The album opens with “Back to Where I Belong” and Wilson boldly proclaiming that he met an alien at a bus stop in Johnson City and they then walked all the way to his hometown of Endicott in the rain.  Theremin rolls all around the track as Wilson tells her she’s the prettiest girl from outer space, meaning he’s met others (which shouldn’t surprise anyone).  She offers to take him back with her, but he stays.

“Gary Kissed a Mannequin” is self-explanatory as Wilson falls in love with a mannequin who looks like the girl next door and takes her out to talk to the trees and dance all night long.  It’s quite possible that his encounter with an alien beauty drove him mad.  “Lost in a Mystery” is a song with a familiar theme on Wilson’s records – loneliness.  The song’s peppy keyboards and jazz lounge beats (and more Theremin!) can’t conceal Wilson’s confusion about why his alien girl left (“I want to cry.  I don’t know just why.  You took my heart and ran away.  I’m gonna save my heartache for another day.”).

“Gary Feels Cool” has the never-ending optimism you also find on Wilson’s records.  He’s never completely out of the dating game, despite his many setbacks.  His keyboard solo emphasizes his confident swagger.  He’s just as cool when he dreams of a lovely lady in “You’re the Girl from a Magazine.”  He can’t name her or the magazine.  He just knows she’s pretty and famous for something.  It’s not a sleazy song either.  Wilson just wants to take this pretty girl for a nice walk.

Wilson admits his story is “insane” in “She’s the Girl from Mars,” but he’s so sincere (and his quirky synths are so fun) that you can’t help but believe him.  “Let’s Go on a Walk Tonight” is another plea from Wilson to his Martian girlfriend to stroll with him through Endicott and beyond.  It’s a toe-tapper that you can’t get out of your head for a while after hearing it.

The song’s beats and even the “la la la” chorus continues in “I’m Not Ashamed of You,” as Wilson’s keyboards sound more like a harpsichord.  Wilson has no fear of walking around with an alien, even as others around him are running away in terror.  He’s finally found love, and everyone should be envying him.

The honeymoon ends, however, when we get to “I Want to Cry.”  Everything had been going so well that Wilson even took his outer space lover to his high school reunion, but yet he still wants to weep.  Is it from joy or misery?  It can’t be from his sweet electric piano solo, that’s for sure.

“Let’s Go to Mars” is simple, yet catchy with Wilson singing another song about marrying his Martian girlfriend in front of his hometown pals and then driving her in his new car out of orbit.  He can’t find love on Earth, so will he find it on another planet?

Probably not, if “My Beautiful Wife Walked Away” is any indication.  Wilson has been dumped yet again.  “I don’t know just what do.  I just wanna be with you,” he sings.  Finding a lasting love is an eternal quest for Wilson, and things beyond his control or understanding always seem to screw it up for him.  On “My Pretty Little Space Girl,” Wilson laments the departure of his alien beauty who never plans to return.  “All things gotta come to an end,” Wilson tells us.  That includes his quest, by the way.  It might not have ended with a woman from another planet, but Wilson will find someone someday.

Keep your mind open.

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Omni release new single and huge list of tour dates.



Today, Atlanta-based trio, Omni share a video for their new single – and album opener – “Southbound Station.” This comes to us off their forthcoming sophomore record Multi-task (out 9/22 on Trouble in Mind).  The band had previously shared the song “Equestrian,” perhaps their catchiest song to date. Sonically, “Southbound Station” is just as acrobatic a song as “Equestrian,” full of bounce, tension and release, with melodies seemingly developing out of thin air. The FADER premiered the video today. Here’s what the band had to say about the track:

‘Southbound Station’ is a song about being young in Atlanta, barely aware of anything beyond your immediate surroundings. There was always a sense of urgency to make it to the next destination where there may be a lover or a house show to attend. Years disappeared into the drunken void as I got to know the city—a charming yet challenging experience at the same time. 

Omni’s underlying seductive sophistication creates an aura of romance that many post-punk bands dare not tread, and Omni pulls it off with grace & style.  Their minimalist funk-fused agit-pop whirrs while simultaneously creating an album that is awash in the excitement of new love, or fleeting attraction. As performers, the band deliver this excitement and romance live, and have just announced new US tour dates. If you want an idea of what you’re in store for, watch a video of the band performing in France here.

“[‘Southbound Station’] is a perfect little post-punk jam for a late-evening walk through the city, when your mind is racing with possibilities.” – The FADER 



OMNI TOUR DATES (new dates in bold)
Thu. Aug. 31 – Amsterdam, NL @ OT301
Fri. Sep. 1 – Larmar Tree Gardens, UK @ End of the Road Festival
Sat. Sep. 2 – Manchester, UK @ Strange Waves Festival
Sun. Sep. 3 – Bristol, UK @ Louisiana
Mon. Sep. 4 – Paris, FR @ Point Ephemere
Tue. Sep. 5 – Toulouse, FR @ Pavilion Sauvage
Wed. Sep. 6 – Madrid, ES @ Sirocco
Thu. Sep. 7 – Santiago De Compostela, ES @ WOS
Fri. Sep. 8 – Barcelona, ES @ Altaveu
Sat. Sep. 9 – Marseille, FR @ L’Emeobineuse
Mon. Sep. 11 – Basle, CH @ Renee
Wed. Sep. 13 – Zurich, CH @ Katakombe @ Sender
Thu. Sep. 14 – Bologne, IT @ Freakout
Fri. Sep. 15 – Lyon, FR @ Le Sonic
Sat. Sep. 16 – Orleans, FR @ Hop Hop
Sun. Sep. 17 – Lille, FR @ DIY
Mon. Sep. 18 – London, UK @ Moth Club
Tue. Sep. 19 – Birmingham, UK @ Hare & Hounds
Wed. Sep. 20 – Dublin, IRE @ Whealan’s
Thu. Sep. 21– Glasgow, UK @ Hug & Pint
Fri. Sep. 22 – Liverpool, UK @ Liverpool Psychfest
Sat. Sep. 23 – Brighton, UK @ Sticky Mike’s Frog Bar
Tue. Oct. 17 – Nashville, TN @ The End
Wed. Oct. 18 – New Orleans, LA @ Santos
Thu. Oct. 19 – Austin, TX @ Hotel Vegas
Fri. Oct. 20 – San Antonio, TX @ Paper Tiger
Sat. Oct. 21 – El Paso, TX @ Monarch
Sun. Oct. 22 – Phoenix, AZ @ The Rebel Lounge
Mon. Oct. 23 – Los Angeles, CA @ The Moroccan Lounge
Tue. Oct. 24 – San Francisco, CA @ Hemlock Tavern
Fri. Oct. 27 – Portland, OR @ High Water Mark Lounge
Sat. Oct. 28 – Seattle, WA @ The Central Saloon
Sun. Oct. 29 – Vancouver, BC @ Astoria
Mon. Oct. 30 – Spokane, WA @ Baby Bar
Tue. Oct. 31 – Missoula, MT @ Zootown Arts Community Center
Thu. Nov. 2 – Fargo, ND @ The Aquarium
Fri. Nov. 3 – Minneapolis, MN @ 7th Street Entry
Sun. Nov. 5 – Chicago, IL @ Empty Bottle
Tue. Nov. 7 – Bloomington, IN @ The Bishop Bar
Wed. Nov. 8 – Columbus, OH @ Ace of Cups
Thu. Nov. 9 – Toronto, ON @ Smiling Buddha
Fri. Nov. 10 – Montreal, QC @ Brasserie Beaubien
Sat. Nov. 11 – Somerville, MA @ Boston Hassel Fest (Once Lounge)
Mon. Nov. 13 – Brooklyn, NY @ Baby’s All Right
Tue. Nov. 14 – Philadelphia, PA @ PhilaMOCA
Thu. Nov. 16 – Richmond, VA @ Strange Matter
Fri. Nov. 17 – Raleigh, NC @ Kings Barcade


“Its spry, stair-climbing melody comes off like a jittery call to arms, with bass and guitar bouncing and aligning like magnets. The addition of a rising synth gives the tune a triumphant tone, not far from Devo’s most anthemic moments.” – NPR Music

“With a steady lo-fi pulse, the act layers gritty guitars into a outpouring of analog warmth. Each element feels essential to the build of a tight-knit mid-tempo groove as singer Philip Frobos oscillates between a disaffected croon and the yelps and shouts of high-energy punk.” – SPIN

“The bubbling bassline and cool, taunting vocals on “Equestrian” make for a self-destructive lo-fi dance party” – Stereogum

“‘Equestrian’ picks up with more Verlaine-veined guitar lines nestled atop a skittering drum beat. They lean into progress with some synth strains to back the track up, pouring on a glaze of synth-punk that doesn’t dominate, but pays reverence to their brand of ’70s gods as the track progresses.” – Raven Sings The Blues

Hi-res images/album art –

Pre-order Physical –
Pre-order Digital –

Omni Online:

Rewind Review: Big Audio Dynamite – Megatop Phoenix (1989)

Big Audio Dynamite (Dan Donovan – keyboards and vocals, Mick Jones – guitar and vocals, Don Letts – effects and vocals, Greg Roberts – drums and vocals, Leo “E-Zee Kill” Williams – bass and vocals) were a big part of my high school years, and their final album, Megatop Phoenix, was a great way to go out on top. I had it on a mix tape for years, so it was high time I bought a proper copy of it. Recorded not long after Mick Jones nearly died of pneumonia (special thanks are given to his doctors and nurses in the album’s liner notes), the album is a reflection on the band’s history and a look to the future.

“Rewind” is a battle cry to all of us to stay strong in the face of adversity and to never count out the underdog. The kick-in of Williams’ bass after the first verse still gives me chills. It’s a great blend of their raga / post-punk / new wave / electro mix that made them so innovative. “Union, Jack” is Jones, Letts, and Williams’ call to British people to get back up on their feet in the Reagan / Thatcher years that were grinding them down into complacency. It opens with a sample of the British national anthem and then kicks in some of the slickest beats by Roberts. Lyrics like “Now in the classroom I was told about the Empire, how you were bold. A pint of beer, life passes by, your spirit’s squashed just like a fly.” continue to resonate today.

“Contact” is a song about Jones’ inner struggle to express himself to perhaps a lovely lady or even his own band mates. This was B.A.D.’s last album, after all. His guitar has nice heaviness to it when it comes in during the chorus. “Dragon Town” has Jones expressing the band’s wonder at being lost in a Chinatown while looking for an exotic woman.

“Baby, Don’t Apologize” is, on its surface, about Jones telling a lover not to be sorry things didn’t work out because he can’t or won’t change. It’s probably a veiled reference to the end of the band, however. Jones had a life-changing experience with his pneumonia, Don Letts was becoming a producer and DJ, and the other band members were also involved in other projects. Jones was worried about how he might be perceived (“My head is in the stock. It rains refuse, some shout abuse, and others throwing rocks.”), but as he puts it, “What I am is loud and clear for all to see, for all to hear.”

“Around the Girl in 80 Ways” is a straight-up love song from Jones and Letts as they teach how to woo the lady of your choice. They suggest everything from “a bunch of flowers” to playing it cool. “James Brown” was written after the Godfather of Soul was involved in a domestic violence case and a police pursuit that landed him in jail. Jones and Letts tell the story from Brown’s perspective, paying tribute to him and calling him out on his bad behavior at the same time. The beats are wicked, as is the verbal takedown of American celebrity culture (which is just as bad in Britain nowadays).

“Everybody Needs a Holiday” sounds better than ever in this world that has only gotten smaller, busier, and less personal since 1989. “House Arrest” is a tale of partying on Saturday night until six in the morning when the cops show up. It’s a floor-bumper with heavy bass and kick ass drum licks. Letts gets to take lead vocals on it as he sings about “bouncers, bimbos, lager louts” and “cops and dogs in transit vans.”

“The Green Lady” is a clever and slightly bittersweet song (with great guitar work by Jones) about a man who falls in love with a Chinese woman in a mass-produced photograph hanging in his flat. “London Bridge” is about the Americanization of London, but Jones professes his love for his town with catchy hooks. “Stalag 123” is about Jones and crew being stuck in the studio working on a record while the building’s basement is flooded and they have to deal with “no windows, no air, and secondhand gear.”

B.A.D. didn’t sound like anything that came before them, and no one has really matched their mix of genres since. They had a successful reunion tour a few years ago, and we can always hope for another. If not, there’s always their excellent catalog and this fine end to it.

Keep your mind open.

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Pitchfork Music Festival artist spotlight: Priests

Washington D.C. punks Priests have unleashed a lot of post-punk / no wave protest music in the last year, and the world is better for it.  They’re smack dab in the middle of the current political climate’s hotbed, and they’re not just speaking out, they’re shouting out.  A lot of their songs build to high tension, which is an apt reflection for much of the country right now.

Priests open the Green Stage at the Pitchfork Music Festival on July 14th.  It’s sure to be a raucous way to start the day.

Keep your mind open.

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Mamby on the Beach artist spotlight: STRFKR

Portland, Oregon’s STRFKR strives to make danceable pop music, and they’re succeeding.  Their stuff combines electro, disco, rock, new wave, and a little funk.   They don’t take themselves too seriously, which is a rare delight in the music industry nowadays.  They’ll be playing Mamby on the Beach June 25th, so check out their set if you want to party with a bunch of people who don’t really care about labels, your hang-ups, or mainstream music.

Keep your mind open.

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WALL – Untitled

One of the best albums of 2017 is a full-length debut by a band that broke up before it was released.

No one seems to know, or is telling, why New York post-punks WALL (Vanessa Gomez – drums, Vince McClelland – guitar, Elizabeth Skadden – bass, Samantha York – lead vocals, guitar) broke up after releasing one critically acclaimed EP (WALL), wowing crowds at the 2016 South by Southwest festival, and recording what appears will be their only full-length record – Untitled. Perhaps they felt they’d said all they wanted to say. Perhaps they found out the music businesses wasn’t what they wanted after all. Perhaps it was the classic “artistic differences.” I’m not sure we’ll ever know, but there are hints on Untitled – a scorching post-punk testament to desperate times and desperate measures.

The first lyrics on Untitled are “Everyone looking ‘round, looking to get high. I was looking ‘round, looking to get high.” on “High Ratings.” The band drills out the jagged punk angles they had mastered so early around a song about people looking for validation in a world in which others are easily obscured by our narcissism.

“Shimmer of Fact” unveils WALL’s love for Joy Division. The reverbed vocals about a relationship gone wrong after moving from the friend zone to the lover zone include “Something went wrong.” and “We crossed those lines.” The song “Save Me” has shared male and female vocals (“You wanna walk away, now that’s it over?” / “Save me from myself.”) and powerful riffs that underline the frantic lyrics about danger and the thrills it can bring.

“(Sacred) Circus” continues the Joy Divison-like bass, but the guitars float into shoegaze glory, and then crash into punk rock, as they sing about love, lust, and jealousy. Part of the chorus is “Nothing in this life is sacred.” That includes, by the way, our expectations of WALL and what they had planned for their musical career. “Wounded at War,” with its guitars that sound like they’re melting in the sun, is both a salute to homeless veterans and a punch in the gut to the institutions that trained them. “Go home, soldier. Back to the war that bred you, soldier,” they sing.

“Everything In Between” sounds like it belongs in a rare 1980’s VHS vampire movie. Trust me, you’ll understand when you hear the heavy bass, racing pulse beat, and distorted guitars. “Charmed Life” (a Half Japanese cover) has a great saxophone riff throughout it. “Watch everything you do and everything you say,” they sing as they mix surf rock, post-punk, no wave, and 50’s love songs. The song ends with an abrupt stop by the band and York saying, “I guess I’m leavin’.”

On “Weekend,” she sings, “The weekend, the weaker I am.” Partying has become too much of a chore. “I can’t live this way,” she sings while the band (who sizzle for the whole track) agrees to go with her and “skip town.” “Turn Around” has York telling an admirer to “pull yourself together” and forget about even trying to chat her up or risk death.

The album ends with “River Mansion,” a gorgeous piece of post-punk shoegaze that has the band wishing for good things ahead but knowing they might end up not getting them. “We built this dream on a hill…A storm is brewing. I’m safe in the house, locked in a dream.” Perhaps WALL realized they’d already achieved the dream of expressing their art (and getting critical success for it) and knew it was time to leave the mansion they’d created before success flooded and drowned them (“I’m laying in the river and the rain is getting thicker,” York sings). Maybe WALL sensed that success wasn’t going to be good for them. Maybe there was infighting (“When our eyes meet, and you’re lying through your teeth. When our eyes meet, and I’m lying through my teeth.”). Maybe they knew going out on top was going to be the best, safest option.

Or maybe it’s all a lark. We won’t know until they or their label decide to tell us, if they ever do. Until then, we have Untitled to give us clues and questions without answers. Sometimes the mystery is more exciting than the solution, and perhaps that was WALL’s message the whole time.

Keep your mind open.

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The Moonlandingz – Interplanetary Class Classics

Spawned by the folks in Fat White Family, the Eccentronic Research Council, and the Ghost of a Saber Tooth Tiger, the Moonlandingz’s debut album, Interplanetary Class Classics, is, according to a quote on the band’s website “…a derogatory slap in the face of good taste and decency, an album synthesized out of pure irresponsibility and sheer self-adoration.”

In other words, it’s one of the most fun records of the year. That shouldn’t be a surprise when it’s something cooked up as a goofy music project by GOASTT’s Sean Lennon and members of Fat White Family. The Moonlandingz were a fictional band in this project, and now that band has come to life.

Opener “Vessels” is a song about sex, possession, and / or addiction. The heavy back beat and 1980’s no wave synths give the whole song a dark, smarmy feel. Lead singer Lias Saoudi’s vocals get louder and more frantic as the song progresses, and the Waitresses-like saxophone cacophony only helps. “Sweet Saturn Mine” was the first single released by the band when they kind of, sort of existed. It has a wicked drum beat and synths Gary Numan would love. Saoudi sings about strange happenings in strange places and, I’m pretty sure, orgasms that don’t necessarily bring relief. The Eccentronic Research Council’s synthesizer work and drumbeats on this are sharp as a knife.

“Black Hanz” is great psychedelia, and one of those songs that is apparently bonkers live (judging from YouTube videos I’ve seen). It’s something you’d hear in a weird curio shop in San Francisco that has a secret disco in the basement. “I.D.S.” begins with spooky female vocals from Charlotte Kemp before Saoudi starts a chant and then a Sigue Sigue Sputnik-like beat rushes at you. “The Strangle of Anna” could be a long lost Raveonettes track with its fuzzed-out guitar, Phil Spector rhythm, and heavy reverbed vocals.

After the brief, creepy circus music instrumental of “Theme from Valhalla Dale,” the Moonlandingz deliver “The Rabies Are Back,” which is just as wild as you hope it will be. “I turned my back on Paris, when I heard their dogs do bite,” Saoudi sings at the beginning before he goes into a bit of a frenzy singing about werewolves. “Neuf Du Pape” is just as weird and funky, combining new wave with industrial.

You can guess the subject of “Glory Hole.” You might not guess that it seems to involve sex across the galaxy or that it has such a wicked beat. “Lufthansa Man” is cool space / lounge / synth rock. It deserves to be on your next playlist (or mixtape if you’re still old school) named “Damn Funky Tunes.”

The album ends with the apocalyptic, epic, and crazy “This Cities Undone.” I’m sure it slays live and inspires crowd chants and spastic dancing as the band sings about the end of the world and puts down killer beats and cuts. If the world is going to end, you might as well party to something like this.

You might as well crank this whole damn record. It’s one of the best, funkiest, and weirdest albums of the year. I hope this fictional band doesn’t disappear into the ether. I hope they stay outside the fourth wall for a while. Break your own fourth wall by letting this album into your head. It will do the rest for you.

Keep your mind open.

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She-Devils release new single and North American tour dates.

She-Devils Share Video For New Single, “Hey Boy”
Watch Here
North American Tour Dates Added;
European Tour Starts Next WeekSelf-Titled Debut Album Out May 19th On Secretly Canadian

“She-Devils are aware of some future truth that the rest of us aren’t privy to.” – NME

“intimate, dusty hybrid pop that searches for cosmic meaning in vintage sounds” – The FADER

“She-Devils…are creating a new way forward for tape looping. The group…dive into the souls of the samples they use, possessing them and finding otherworldly new emotions.” – Pitchfork

“She-Devils evoked the ’70s and ’80s electro-punk minimalism of Suicide and Soft Cell with an austere but riveting presentation.” – Chicago Tribune

A week ahead of the release of their eagerly anticipated self-titled debut album, She-Devils are pleased to share the new video for “Hey Boy.” The duo directed the video themselves, as with the all of their videos, and this focused vision creates a style that is very much in tune with the song. Bright and bombastic colors harp back to the video’s influences including the art of Yayoi Kusama, as well as 90s TV shows such as Pee-wee’s Playhouse, and 60s yé-yé music videos like Brigitte Bardot and Serge Gainsbourg in “Comic Strip.”She-Devils have expanded their North American tour in support of the album. In June, they’ll make their way through Canada and the Midwest hitting Do Division Festival and ending in the Northeast with a stop at Northside Festival. Come July, the duo will join Beach Fossils for a western states run. Starting next week, She-Devils will be in Europe for two London shows as well as a Saturday slot at The Great Escape Festival in Brighton, plus more. A full list of dates is below.

Watch She-Devils’ “Hey Boy” video: & Watch:
“Hey Boy” stream –
“The World Laughs” video –
She-Devils Tour Dates (new dates in bold):
Wed. May 17 – Paris, FR @ Pop Up du Label (Fireworks Festival
Thu. May 18 – London, UK @ Moth Club
Fri. May 19 – London, UK @ London Fields Brewhouse (Bad Vibrations Alldayer)
Sat. May 20 – Brighton, UK @ The Great Escape Festival
Thu. May 25 – Berlin, DE @ ACUD
Thu. June 1 – Montreal, QC @ Bar Le Ritz
Fri. June 2 – Toronto, ON @ The Baby G
Sat. June 3 – Detroit, MI @ UFO Factory
Sun. June 4 – Chicago, IL @ Do Division Festival
Mon. June 5 – Chicago, IL @ Empty Bottle
Wed. June 7 – Philadelphia, PA @ Ortlieb’s
Thu. June 8 – Brooklyn, NY @ Union Pool (Northside Festival)
Fri. June 9 – Boston, MA @ Lily Pad
Wed. July 5 – Los Angeles, CA @ Resident
Fri. July 7 – Fresno, CA @ Strummer’s (w/ Beach Fossils, Ablebody)
Sat. July 8 – San Francisco, CA @ The Fillmore (w/ Beach Fossils, Ablebody)
Mon. July 10 – Vancouver, BC @ Biltmore Cabaret (w/ Beach Fossils, Ablebody)
Tue. July 11 – Seattle, WA @ The Crocodile (w/ Beach Fossils, Ablebody)
Wed. July 12 – Portland, OR @ Holocene (w/ Beach Fossils, Ablebody)
Fri. July 14 – Boise, ID @ Neurolux (w/ Beach Fossils, Ablebody)
Sat. July 15 – Salt Lake City, UT @ Kilby Court (w/ Beach Fossils, Ablebody)
Sun. July 16 – Denver, CO @ Marquis Theater (w/ Beach Fossils, Ablebody)
Tue. July 18 – Santa Fe, NM @ Meow Wolf (w/ Beach Fossils, Ablebody)
Wed. July 19 – Phoenix, AZ @ Crescent Ballroom (w/ Beach Fossils, Ablebody)
Thu. July 20 – San Diego, CA @ The Casbah (w/ Beach Fossils, Ablebody)

album art