Slow Magic’s new album, “Float,” due October 6th.

Slow Magic Announces New Album, Float
Out October 6th On Downtown/Interscope

Listen To New Single “Light” (Feat. Tropics)

World Headline Tour Announced

Float artwork
Slow Magic is proud to announce his new album, Float, coming out October 6th on Downtown/Interscope. Float is Slow Magic’s third proper studio album and follows up 2014’s How To Run Away. Along with the announcement of Float, Slow Magic is sharing a new single, “Light,” featuring Tropics. It follows up previously released Float single “Mind” featuring Kate Boy.
Listen To Slow Magic’s “Light” (feat. Tropics):
“‘Light’ is one of my favorites from the upcoming album. It started with a harp sample I was playing on my keyboard. I really enjoyed the way it played and ended up just messing around with it for hours. I wanted the song to convey the tension between a really calm and expected moment, suddenly followed by something intense. Light has always been an inspiration of mine. It can determine and define our surroundings in a way nothing else really can – it even dictates our mood and emotions. When Chris from Tropics sent me the lyrics it worked perfectly. He captured in a love song everything I wanted to say musically.”

Work on Float began during a trip to Iceland. Slow Magic cites the surreal change in light that far north as an inspiration. “The sun never really went away. It was eternal,” Slow Magic explains. “I wanted to approach this album in ways I never had before.” That meant recording live drums at a studio in Stockholm normally reserved for metal bands. Once the instrumentals took shape, Slow Magic enlisted vocalists Peter Silberman (from The Antlers), Kate Boy, Tropics, Toulouse, and MNDR to help complete Float.

“My last album How To Run Away was about my life at that time, really just moving at all times, running away from any reality and problems. I wanted to capture that feeling of freedom of youth when nothing really seems to matter in the long term. A lot of the songs were about specific places in the world I was able to experience for the very first time.”

“On Float I wanted to go back to the beginning of Slow Magic. I wanted to capture the raw sounds and feelings and freedom of my first albums ▲ and How To Run Away while expanding and evolving into something completely new. Most of the songs started very stripped down, just with piano and organic instruments. I let the songs write themselves without forcing them to go anywhere they didn’t naturally go.”

Slow Magic will tour the world for the rest of 2017 in support of Float headlining his biggest rooms yet. “I’m planning a lot of new things that I haven’t done before. There will be a completely revamped live show with a ton of new music. I’m hoping people that have been to my show and people that never have will all feel like they are experiencing something they never have imagined.”

Listen To Slow Magic’s “Light” (feat. Tropics):

Buy/Stream “Light”:
Listen to “Mind” (feat. Kate Boy):
Slow Magic Tour Dates:
9/13 – Paris, France @ Batofar
9/14 – Milan, Italy @ Circolo Magnolia
9/15 – Rome, Italy @ Monk Club
9/19 – Amsterdam, Netherlands @ Sugar Factory
9/20 – Brussels, Belgium @ Beursschouwburg
9/21 – Liege, Belgium @ Reflektor
9/23 – London, UK @ Oslo
9/24 – Copenhagen, Denmark @ Lille Vega
9/27 – Stockholm, Sweden @ Debaser
9/28 – Berlin, Germany @ Gretchen
9/29 – Barcelona, Spain @ Razzmatazz
9/30 – Madrid, Spain @ Costello Club
10/25 – Austin, TX @ Empire Control Room
10/26 – Dallas, TX @ Trees
10/27 – Houston, TX @ White Oak Music Hall
10/28 – New Orleans, LA @ Varsity Theatre
10/29 – Atlanta, GA @ Masquerade (Hell Stage)
11/2 – Philadelphia, PA @ Trocadero
11/3 – Brooklyn, NY @ Secret Location – TBA
11/4 – Washington, DC @ U Street Music Hall
11/5 – Boston, MA @ Royale
11/8 – Montreal, QC @ Theatre Fairmount
11/9 – Toronto, ON @ Horseshoe Tavern
11/10 – Detroit, MI @ The Magic Stick
11/11 – Grand Rapids, MI @ The Stache
11/12 – Minneapolis, MN @ Triple Rock Social Club
11/15 – Chicago, IL @ Bottom Lounge
11/16 – Kansas City, MO @ The Record Bar
11/17 – Englewood, CO @ Gothic Theatre
11/18 – Salt Lake City, UT @ Metro Music Hall
11/30 –Vancouver, BC @ Venue
12/1 – Seattle, WA @ The Showbox
12/2 – Portland, OR @ Wonder Ballroom
12/3 – Eugene, OR @ WOW Hall
12/6 – Arcata, CA @ Arcata Theatre
12/7 – San Francisco, CA @ Warfield Theatre
12/8 – San Diego, CA @ The Observatory North Park
12/9 – Santa Ana, CA @ The Observatory
12/10 – Los Angeles, CA @ The Novo

Photo by Dream Angel

Rewind Review: Zola Jesus – Taiga (2014)

Zola Jesus’ music is difficult to classify. It’s not quite electro, not quite shoegaze, not quite diva, and not quite goth. Yet it is somehow all of these things. Zola Jesus, has one of the most haunting voices in music, and her album, Taiga, and is a fine addition to her already impressive catalogue.

The title track opener is a spooky electro song with drum and bass beats that dissolve into frightening horns. “Dangerous Days” could be a dance club hit if she wanted. It could also be your favorite new song about relationships. “Dust” sounds like a long-lost Yaz track with its tick-tock electric beats and her lovely voice creeping through it like fog rolling along a beach. Ms. Jesus, in case you’re reading this, I’ll sign a petition to hear you cover Yaz’s “Situation.”

“Hunger” is a hot song about hot sex that I’m sure tore up dance clubs in various remixes in 2014. “Go (Blank Sea)” is a swirling wave of sound that hits you over and over again (in a good way) with Zola Jesus’ powerful vocals, which are sometimes laced with reverb to make them even bigger, industrial beats, and angelic synths. It’s one of the best cuts on the record. “Ego” and “Lawless” highlight her vocals well, especially “Lawless,” which mixes epic synths with hip-hop beats and a bit of a tough girl attitude behind her vocals.

“Nail” has the gloomy yet beautiful feel that many Zola Jesus fans love in her work. “Long Way Down” has probably the biggest electro beats on the record (and the most reverb), and I’m sure is another excellent remixed dance track. “Hollow” is another solid entry, and the closer is the cheekily named “It’s Not Over.” It’s a big-voiced track about big love with a slow build and a glorious ending.

The main attraction to any Zola Jesus record is her phenomenal voice. The electro beats and goth touches help, but her voice can be soothing and haunting at the same time. She needs to sing the theme to the next Bond film, and the next ten Bond films if you ask me. If you enjoy a lovely female voice, you need to hear her.

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Briana Marela’s shares new single from upcoming album due August 4th.



(photo credit – Eleanor Petry)

“an exciting and exhilarating new terrain for Marela” — Stereogum

Olympia-based Briana Marela explores the sounds of love in beautiful, striking new ways on her forthcoming album, Call It Love, out August 4th via Jagjaguwar. Produced by Juan Pieczanski and Ryan Heyner of Small Black, the album presents both her ambient, ethereal side and brighter, beat-driven pop leanings. Following the release of “Quit” and “Give Me Your Love,” Marela now shares “Feel What I Feel,” a song initially written about her first big breakup when she was barely twenty. In the recorded version, it bears a new sophistication; the lyrics dare the subject to jump back in, even as the music reminds them Marela doesn’t need their love to be happy.

Catch Marela on the road in September supporting San Fermin.

Stream Briana Marela’s “Feel What I Feel” –

“Give Me Your Love” –

“Quit” –

Briana Marela Tour Dates:
(all shows with San Fermin)
Thu. Sep. 14 – Detroit, MI @ Magic Stick
Fri. Sep. 15 – Kalamazoo, MI @ Bells Brewery
Sat. Sep. 16 – Indianapolis, IN @ Hi-Fi Lounge
Sun. Sep. 17 – Madison, WI @ High Noon Saloon
Mon. Sep. 18 – Des Moines, IA @ Vaudeville Mews
Wed. Sep. 20 – Denver, CO @ Bluebird Theater
Thu. Sep. 21 – Ft. Collins, CO @ Downtown Artery
Fri. Sep. 22 – Salt Lake City, UT @ The State Room
Sun. Sep. 24 – Phoenix, AZ @ Valley Bar

Pre-order Call It Love

POW! – Crack an Egg

I hadn’t heard of San Francisco’s POW! until a recent radio gig of mine. I thought the name of the band sounded fun and figured I’d give their new album, Crack an Egg, a try.

I’m glad I did, because this is a fun synth-punk record and one of the catchiest albums I’d heard this year. The opener “DNS” blends early Gary Numan synths with snotty vocals about the lead singer’s father (or boyfriend?). It also has a brash guitar solo to make it a bit glam. “Back on the Grid,” with its male and female vocals and 1980’s video game keyboards, is a great post-punk track. “Castle of Faith” sounds like something that you heard in a video on USA’s Night Flight at 3am and you haven’t heard it since – big synths and beats and slightly distorted vocals made for an industrial club.

“Necessary Call” is both retro and new at the same time. Stoner rock guitars and drums blend quite well with deep synths and Low-era David Bowie style vocals. “Runner” is synth-psych and the oddly placed “Crack an Egg Intro” is trippy synth-weirdness. “Cyberattack #3” sounds like Kraftwerk, Gary Numan, and Thee Oh Sees all partying in a dystopian future. “Color the System” reminds me of early Public Image Ltd., and “The Razor” would fit right in on the Stranger Things soundtrack. “Energy in Motion” is suitably peppy with its loud guitar chords and keyboards that sound like robots having a conversation.

The album ends with the sprawling, humming, and chugging “Crack an Egg in Honor of the Human Race.” It’s a title as intriguing as the album. The album is full of synths, drum machines, loops, and processed and chopped beats, but the longest track on the record calls for us to remember our humanity. As always, technology has just as much potential to drive us apart as it does to bring us together. Perhaps POW! wants us to cook each other breakfast after a long night of partying to their album. I’m game. Are you?

Keep your mind open.

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Kllo announces debut album, “Backwater,” due October 20th.

Kllo Announce Debut Album, Backwater
Out October 20th On Ghostly International

Listen To Lead Single “Virtue”

Nov./Dec. European & Australian Tour Dates Announced

Photo by Hayley Louise Brown

Kllo are pleased to announce details of their debut LP Backwater, due for release on October 20th via Ghostly International. Today, Kllo reveal “Virtue,” the album’s slow-building and euphoric first single. “‘Virtue’ is about not knowing what you’ve got till it’s gone, whether that be a part of yourself or somebody else,” the pair say. “It’s the present moment of finally coming to that realization.”

Kllo – an electronic pop collaboration between Melbourne cousins Chloe Kaul and Simon Lam – waded in figurative backwater for much of 2016 amid an extensive world tour. These were exciting times; the duo’s Well Worn EP furthered the promise of 2014 EP Cusp, receiving millions of streams and landing Kllo on festival stages as well as Artists-to-Watch lists. Nonetheless, the stretch kept them far from home, isolated and vulnerable, treading through perpetual uncharted territory while yearning for the comforts of the familiar.

As a result, Kllo’s full-length debut depicts inner adjustment to outer change. Songs were written partially on the road and developed back at Lam’s bungalow, a haven that harbors creative spontaneity and catharsis.

“It’s the first time we hadn’t felt like kids anymore,” says Kaul. “We were really able to dive in deeper and bring out a lot more of us into the music.”

Kllo first emerged with a sound beyond their years; fully formed, fusing elements of R&B, UK garage, and 2-step. Well-versed students of artists like James Blake, Lauryn Hill, and The xx, the duo extend an amalgamation of established pop elements with modern sensibilities and wide-eyed sincerity. Backwater arrives as a refined, coming-of-age account. The LP format finds Kllo with more room to breathe and sync their rhythms with emotions. Kaul’s smoky voice emanates with assurance and leisure. Lam’s production invents brooding, steely undercurrents hemmed with charming crescendos.

Slow to arc, lead single “Virtue” hushes, stutters, and syncopates before locking into a club-ready groove in its second minute. The hook poses a question: “Can I count on you?” Drama is introduced, and heightened without resolution. Instead we’re lead to a stirring and euphoric epiphany.

Kllo have officially come out the other end of the stilted estuary with twelve compositions cultivated to feel timeless and crafted, and equally current. The duo’s second release on Ghostly International — and their most realized work to date — Backwater celebrates the ephemeral and the enduring changes in emotion, the downfalls and the dissolves. It’s an album that parts course with its flow, and flourishes in a lowland.

Listen To Kllo’s “Virtue”:

Pre-order Backwater:
The Ghostly Store / Physical –
Digital –

album art

Backwater Tracklist:
1. Downfall
2. Still Motion
3. Virtue
4. Predicament
5. Last Yearn
6. Backwater
7. Dissolve
8. By Your Side
9. Making Distractions
10. Too Fast
11. Nylon
12. Not Like Them

Kllo Tour Dates:
Nov. 12 – Madrid, ES @ Costello
Nov. 13 – San Sebastian, ES @ Dabadaba
Nov. 14 – Barcelona, ES @ Sidecar
Nov. 16 – Paris, FR @ Supersonic
Nov. 17 – Rotterdam, NL @ V11
Nov. 18  – Brussels, BE @ Les TransArdentes at Palais 12
Nov. 20 – Amsterdam, NL @ The Sugar Factory
Nov. 23 – London, UK @ XOYO
Nov. 24 – Bristol, UK @ The Louisiana
Nov. 25 – Manchester, UK @ The Soup Kitchen
Nov. 27 – Glasgow, UK @ Broadcast
Nov. 28 – Edinburgh, UK @ Sneaky Pete’s
Nov. 29 – Leeds, UK @ Headrow House
Nov. 30 – Nottingham, UK @ The Bodega
Dec. 3 – Berlin, DE @ Badehaus
Dec. 4 – Cologne, DE @ Yuca
Dec. 5 – Hamburg, DE @ Haekken
Dec. 8 – Sydney, AUS @ Oxford Arts Factory
Dec. 9 – Perth, AUS @ Jack Rabbit Slim’s
Dec. 14 – Brisbane, AUS @ Woolly Mammoth
Dec. 15 – Melbourne, AUS @ Corner Hotel
Dec. 16 – Adelaide, AUS @ Fat Controller

“Virtue” single artwork

Computer Magic – Obscure but Visible

Computer Magic’s (otherwise known as Danielle Johnson) Obscure but Visible EP is a nice treat. Ms. Johnson puts the whole thing together via synths, computers, drum machines, and lovely vocals for a refreshing record in a world of so much damn noise.

The opening vibraphone-like beats of “Dimensions” instantly calm you, but the snappy beats get your toes tapping. “Lonely Like We Are” soars along free of gravity as the beats get you dancing even though they seem to be miles away from you. “New Generation” has a fun Caribbean beat to it. “Gone for the Weekend” has Johnson requesting, “Don’t bring me down. I’m gone for the weekend, so build me up.” She wants and needs someone to give her a boost because not even the weekend is enough to completely lift her out of her funk. “Been Waiting” sounds like a lost 1980’s synth-pop classic at times.

This is a good introduction to Computer Magic. I need to seek out more of Ms. Johnson’s work. You should, too.

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Pitchfork Music Festival 2017: Day Three recap

Day three of the Pitchfork Music Festival started out a bit chilly as the Windy City was living up to its nickname, but we soon got our sweaty groove on thanks to a great set by Chicago house music legend and pioneer Derrick Carter.

Derrick Carter dropping beats like an Olympic power lifter dropping a barbell.

For those of you who weren’t dancing during his set, please see a doctor because something is wrong with you.  He put on a house music clinic.  It was a great way to start the day.

We also heard a bit of Colin Stetson‘s set.  He plays this wild, droning, hypnotizing saxophone music that is difficult to describe but quite mesmerizing.  We had plenty of time before Ride‘s set, so we met up with my college pal and his husband again before heading off to do a little shopping and eating.

Ride put on a good set of shoegaze that was a great switch from all the hip hop, electro, and funk we heard during the festival.  Unfortunately, they had a shortened set due to some early technical difficulties, but they played new and old material and blasted all of us with the final song of their set.  It was a loud, distorted, fuzzed-out assault.  “I needed that,” said one man next to me by the time they were done.

Ride melting faces in a killer finale.

Ride did a signing at the record fair afterwards, and I scored a signed copy of their newest album, Weather Diaries (review coming soon).  They were happy to meet everybody, and I’m happy to report they had a long line of fans there.

Mandy caught Jamilla Woods‘ set, which she enjoyed very much, after she’d been moved from the Blue Stage to the Green Stage due to the Avalanches cancelling their performance.  According to their Twitter feed, a family member one of the band members had some sort of dire medical emergency.  My college pal came to the festival mainly to see them, so he was more than annoyed they weren’t playing.  He and his husband learned via a Google search that the Avalanches are about as finicky as Morrissey when it comes to performing.

Thankfully, Nicolas Jaar put on an excellent set of his experimental electro / trance music that was both psychedelic and dance-inspiring at the same time.  At about the halfway point of his set, a guy in front of me turned to his friends and said, “This is the best set I’ve seen all weekend.” and then left.

Chilean DJ Nicolas Jaar creating intricate beats on the fly.

We split after that, beating the crowds and stopping to meet artist Jay Ryan so we could get one of his posters.  He does really neat and cute art for a lot of bands and other projects.  We already had a Bob Mould tour poster of his hanging in our living room, and now Mandy has a “It’s Time to Read” poster that will go in her office featuring bears, cats, and a wooly mammoth reading books.

I walked out with a new pair of sunglasses and CD’s by Screaming FemalesVacation, Waxahatchee, Tycho, Priests, Slowdive, She-Devils, Ride, and Wavves, and even a cassette by a band called Diagonal.  I’ll have reviews of all this stuff in the coming months.

All in all, the Pitchfork Music Festival was a good time.  We’d go back if the lineup was good and we could stay close to the festival.  As it’s been for the last few festivals I’ve attended, VIP tickets don’t look worth the money.  It’s not as laid back as a Levitation festival, but still fun.  It also could’ve used a little more rock, in my opinion, but it was worth the trip.

Keep your mind open.

That’s my pal, Chris, on the far right and his husband, Darin, on the far left. Chris and I hadn’t seen each other since 1993.

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Blanck Mass – World Eater

The name of the new Blanck Mass (Benjamin John Power) album, World Eater, could refer to several things: the Fenris Wolf from Norse mythology that eats the sun at the end of the world (the cover art – a photograph of a snarling dog’s teeth – certainly suggests this), the rising population numbers of the human race and the effects of that on the planet, the Internet, Galactus from Marvel Comics, cancer, world politics, religion, or a hundred other things. World Eater attempts to unveil this looming threat (whatever it is) to us, and he does so with fury.

Take, for instance, World Eater’s opener, “John Doe’s Carnival of Error.” It’s a little over two minutes of what sounds like an antique music box in need of repair. This belongs in a horror film score, if it’s not already in one. It’s not a carnival of terror, however. It’s a carnival of error. Our errors, both in real life and especially online, often define us. No one is given the benefit of the doubt anymore, and plenty of us like to sit back and watch the circus as celebrities are taken down, politicians stumble, and even “normal people” suffer pratfalls both physical and emotional.

“Rhesus Negative” brings in frenetic electric beats, fuzzed bass, and short, choppy samples perfect for the short, choppy way we’ve come to want our entertainment, news, and human interactions. “Please” could be Blanck Mass’ asking us to pay attention to our world be swallowed up by seemingly everything. It’s one of the brightest tracks on the record, so I can’t help but figure he thinks we can heal the world and ourselves if we have some compassion for it and each other.

“The Rat” is probably an allusion to scavengers plaguing the world with feeding off of / exploiting the poor. The beat and sound of the track, one of the best, is like something out of a future post-apocalyptic movie (but one with an uplifting ending). I wouldn’t be surprised if “Silent Treatment” refers to the way human beings tend to interact with each other nowadays. We’d rather stare at little screens and type silent words than actually look at each other and tell stories. The song is anything but quiet as it mixes in trance touches with rainfall-like synths.

I have no idea how to explain the title of “Minnesota / Eas Fors / Naked,” but maybe that’s the point. It’s chaotic and seems to come at you from several directions, and I definitely think that’s part of the message. The things that tend to gobble us up in this world come at us all the time from every direction imaginable. Perhaps Blanck Mass wants us to be naked of such distractions, and this song is a reflection of those distractions. I’m going with that.

World Eater ends with the song “Hive Mind.” We’re all nearly there, aren’t we? Everyone wants to be famous, liked, upvoted, tagged, retweeted, and shared. As a friend of mine once put it, “They all want to be individuals like everyone else.” We want to belong, but we don’t want to put in the effort of belonging to something. The song’s slick beats and popping synths keep you nodding and awake. It keeps you from falling into the hive mind.

Blanck Mass wants us to wake up and readjust. He wants us to remember that nature is truly highest on the food chain, but he also wants us to remember that we can avoid being consumed by the beasts we’ve created. This record is a warning, an alarm, and a solid piece of work – one of the best I’ve heard all year, in fact.

Keep your mind open.

Pitchfork Music Festival 2017: Day One recap

I must admit that the Pitchfork Music Festival crams a lot of stuff into a small park.  I’m used to larger spaces like Levitation Austin, but Pitchfork gets a lot of bang for its buck at Chicago’s Union Park.

Speaking of cramming, the lines to get in were long, but moved well when my wife and I got to the festival close to 2:00.  By the end of the day, we were hearing stories of the line to get in wrapping around the block and going the whole length of the park.  One friend posted on Facebook that it was almost as bad as getting into the massive Star Wars Celebration convention.

Once inside, I was surprised to see how close two of the stages are to each other.  The Red and Green Stages are almost a stone’s throw apart.  Mandy and I wondered how noisy it was going to be with the bands playing on each stage, but the Pitchfork programmers wisely schedule the bands so that none are playing on the Red and Green stages at the same time.

We missed Madame Gandhi‘s set, unfortunately, but arrived in time to see Priests.


They played a set that proved post-punk is alive and well and had a fun time.  I later picked up their first record at a record fair located on the park’s tennis courts.  We had plenty of time to wander after their set and that’s when we discovered not only the record fair, but also a print and poster fair, a book fair, a craft fair, and plenty of food vendors.  I walked out of the record fair with not only that CD by Priest, but also CD’s by Waxahatchee, Screaming Females, and Vacation.  I might go back for a Chicago Cubs World Series Champions poster and a cute one of animals reading books.

We wandered to the Red Stage to catch the Thurston Moore Group, who put down a loud punk / noise rock set with hammering guitar solos and thunderous bass.  Moore told a funny story about Henry Rollins’ too during the set, so that was a treat.

Thurston Moore Group

We went straight back to the Green Stage to catch Danny Brown, who came out to Black Sabbath’s “Iron Man.”  He quickly got the crowd jumping with his crazy rhymes and booming beats.  Water and water bottles were flying in every direction from a mosh pit that broke out in front of the stage.  There was a lot of call and response stuff between Brown and the crowd, who I’m happy to say looked sharp and healthy (check out his lyrics if you’re wondering why I was concerned).

We stayed in our spot for about an hour to wait for LCD Soundsystem, who got a big cheer just from raising the biggest mirror ball I’ve ever seen above their set.

The crowd kept building as their 8:10 start time grew closer.  It was so packed at one point that I had difficulty raising my arms to get this photo.

I’m glad I’m not claustrophobic. That’s the Red Stage behind us, and this is just half the crowd for LCD Soundsystem. Mandy’s checking her phone to my left.

LCD Soundsystem started their set ten minutes early, bringing seemingly enough people for an Earth, Wind, and Fire tribute band with them.  They burst out of the gate hard and fast, and the crowd seemed to release energy it had been storing all day.  Their big hit “Daft Punk Is Playing at My House” was the second song of the set, so they didn’t waste time.

How it looks when Daft Punk is playing at your house.

A mosh pit broke out next to us at one point, and this aging punk rocker had to get into it and show these young hipsters how its done.  Other highlights included “Trials and Tribulations,” a lovely and loud version of “New York I Love You, but You’re Bringing Me Down,” and “You Wanted a Hit.”

LCD Soundsystem won’t be your babies anymore.

I warned Mandy as they started “Dance Yrself Clean.”  “This whole place is going to go ape shit,” I said.  She had no idea what I meant and thought the entire crowd was going to break into a mosh pit.  She was pleasantly surprised when instead we all pogoed when the song kicks into full gear.  It’s as great as you can imagine.

Dancing ourselves clean with LCD Soundsystem.

They closed with a wild rendition of “All My Friends.”  It was well worth the waits (the hour before their set, and a few years since they called it quits) to see them.  I had been bummed that I missed them when they were first on the scene, so their set at Pitchfork was my main reason for buying weekend passes.  They didn’t disappoint, and lead singer James Murphy performed with a bad back and keyboardist Nancy Wong with a bum knee – although neither showed much signs of impairment (Murphy stretched at one point, and Wong would sometimes take his arm to walk from one spot on stage to another).

This is how you end a set. Stay home if you can’t bring this kind of energy.

Getting out of the festival was a big harder than getting in since the main entrance and exit isn’t huge.  We plan to look for a VIP exit tonight.  On the way out, a young man behind said to his friends, “Mosh pits were fun when I was a sophomore three years ago.  Now, I’m not so sure.”  The old punk rocker in me wanted to give him a backwards elbow shot to the face and say, “I’m getting into pits at twice your age!”

On the list today is George Clinton and Parliament Funkadelic, Madlib, P.J. Harvey, S U R V I V E, and A Tribe Called Quest.  We also plan to meet up with some old friends we haven’t seen in a while (one in decades), so it should be a good time.

Keep your mind open.

Midnight Sister’s debut album, “Saturn Over Sunset,” due out this September.

Midnight Sister Announce Debut Album, Saturn Over Sunset,
Out September 8th On JagjaguwarWatch The Video For New Single, “Blue Cigar”

Catch Them On Tour This Fall With D.D Dumbo


“Sounding at times like early Perfume Genius, L.A. band Midnight Sister shows off a knack for blending orchestral pop and psychedelia…” – The FADER

“alluring and wonderfully timeless” – Gorilla vs. Bear

Midnight Sister are pleased to announce their debut album, Saturn Over Sunset, out September 8th on Jagjaguwar. Along with the announcement, they’re sharing the official video for their new single, “Blue Cigar.” Curious smoke curls across your face as some terrifying, glamorous woman whisper-sings into your ear over jumpy keys and squawking, oddly charming horns. You can’t quite remember how you ended up here with these questionable characters. But you can’t get out of the booth, not now. It’s too late for you, I’m afraid.Midnight Sister — the project of intense creatives Juliana Giraffe and Ari Balouzian — is brought to you by the isolating landscape of the San Fernando Valley — its colors, its diners, its lunatics, its neon lights. Both lifelong residents of this storied valley, Giraffe and Balouzian have only become more inspired by the area’s mythology over the years, it’s two-faced magical wonderland and tragic circus. And Saturn Over Sunset works almost as an album version of Robert Altman’s Short Cuts, each song a character study of the valley’s odd personae.

Giraffe, 23, a daughter of an LA disc jockey, was raised almost exclusively on disco and Bowie. Her lyrics and lyrical melodies, informed very much by her filmmaking background, were composed gazing out from a tiny retail window on Sunset Boulevard. Her “Rear Window”-like longing allowed her imagination to run wild and cook up the wild narratives that would fill Balouzian’s compositions. Balouzian, 27, classically trained and already a go-to arranger for odd-pop names like Tobias Jesso Jr. and Alex Izenberg. Midnight Sister represents a first for both of them. It’s Giraffe’s first time writing and performing music. And it’s Balouzian’s first foray into playing true pop music.

Saturn Over Sunset is a shared musical vision of Hollywood’s oddest corners. It is the baroque, eldritch alley you must pass through to find the speakeasy night of your life. You’ll come out bleary-eyed and the sunrise will be pouring all pink and orange through the smog and palm trees.

Watch Midnight Sister’s “Blue Cigar” Video:

Watch “Leave You” Video:

Midnight Sister Tour Dates:
9/8 – Los Angeles, CA @ Teragram Ballroom (w/ D.D Dumbo)
9/9 – San Diego, CA @ Casbah (w/ D.D Dumbo)
9/11 – Santa Cruz, CA @ Atrium at The Catalyst (w/ D.D Dumbo)
9/12 – San Francisco, CA @ Independent (w/ D.D Dumbo)
9/14 – Portland, OR @ Doug Fir (w/ D.D Dumbo)
9/15 – Seattle, WA @ Barboza (w/ D.D Dumbo)
9/16 – Vancouver, BC @ The Biltmore Cabaret (w/ D.D Dumbo)
9/19 – St Paul, MN @ Turf Club (w/ D.D Dumbo)
9/20 – Chicago, IL @ Schubas (w/ D.D Dumbo)
9/22 – Philadelphia, PA @ Johnny Brendas (w/ D.D Dumbo)
9/23 – New York, NY @ Bowery Ballroom (w/ D.D Dumbo)
Saturn Over Sunset Tracklist:
1. Canary
2. Leave You
3. Blue Cigar
4. Showgirl
5. The Drought
6. The Crow
7. Daddy Long Legs
8. Neon
9. Shimmy
10. So Young
11. The View From Gilligan’s Island
12. Hitman
13. Clown
14. Their Eyes