Pitchfork Music Festival 2017 tickets go on sale tomorrow.

The Pitchfork Music Festival will return to Chicago’s Union Park next summer for its twelfth year. The 2017 event will run from Friday, July 14 through Sunday, July 16. This year, the festival is announcing a holiday sale beginning Monday, November 28. A holiday 3-day pass will be available to purchase for $140 for a short amount of time. Once those are gone, three-day passes will be on sale for the regular price of $165. Single day tickets will be available for $65. A layaway option for regularly priced three-day passes will also be offered, where you will be able to pay the $165 price over three installments. This offer will expire on March 1.

The Pitchfork Music Festival continues to be one the world’s most welcoming and exciting festivals, consistently dedicated to striking a balance between discovery and celebration. Stay tuned for the lineup announcement, as well as much more from Pitchfork Music Festival 2017!

PURCHASE TICKETS HERE BEGINNING NOV. 28 —  www.pitchforkmusicfestival.com 

Pitchfork is the most trusted voice in music. Over the last 20 years, Pitchfork’s online magazine has defined how music is covered in the digital era, leading The New York Times to call it “the most prominent brand in online music journalism” and TIME Magazine to recognize it as one of the world’s 50 best websites. In addition to setting a new standard in music coverage, Pitchfork has developed a global reputation for its music festivals. Chicago’s Pitchfork Music Festival has been held every year since 2006, and in 2011, Pitchfork launched Pitchfork Music Festival Paris, bringing its vision of the live music experience to Europe. In 2015, Pitchfork was acquired by Condé Nast, joining a family of brands that includes The New Yorker, Wired, and GQ, among many others, enabling growth in the U.S. and beyond.

Visit www.pitchforkmusicfestival.com and www.facebook.com/pitchforkmusicfestival for more information. Follow @pitchforkfest for the latest news, announcements and exclusive content.

Keep your mind open.

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Electro duo Kllo release new single and upcoming tour dates.

https://soundcloud.com/kllomusic/walls-to-build-mall-grab-remix-1 ON TOUR NOW IN SUPPORT OF WELL WORN EP;

“They’re poised to attract a ton of attention stateside.”
NYLON (“The 7 Breakout Stars Of Summer 2016”)“a pleasant and fluid pop tune that blurs lines between R&B and two-step”
Pitchfork“a velvety, warm, and comforting soundscape”

Melbourne duo Kllo’s much anticipated new EP, Well Worn, came out back in August on Ghostly International (North America), Different Recordings/PIAS (UK/Europe/Japan) and Good Manners Records (AU/NZ/ROW). In just 3 months since release it has amassed over 10 million Spotify plays and established the group as one of the most exciting new electronic prospects. Today the band shares Mall Grab’s rework of “Walls To Build,” one of the lead singles from the EP.Handpicked by Kllo, up-and-coming Australian producer Mall Grab adds a driving bass beat while altering the pace of the original, injecting some space into the song to emphasize its depth. He’s effectively managed to turn Kllo’s smart pop into low light R&B, showcasing the duo’s wide, cross-genre appeal.

Guided by the ghosts of UK garage and like-minded strains of underground dance music, the original “Walls To Build” melds Simon Lam‘s synth lines with Chloe Kaul‘s vapor-trailed verses; “Bolide” sets a skittish beat against a clipped chorus: and the one-two punch of “Sense” and “On My Name” build a couple piano-laced ballads from a pillowy sound bed of laid-back loops and lovelorn melodies. “Don’t Be The One” is deceivingly simple as well, bringing the record to a close alongside a rubbery, elusive rhythm and a growing sense of tension and release. Catchy, yes, but also compelling enough to leave us all longing for the pair’s inevitable LP.

Things happen so fast these days that Kllo barely had a Facebook page or a proper song before a wave of interest began to build around their breakthrough EP, Cusp. What a telling record title; in the year since its release, cousins Lam and Kaul have played sold-out shows and festival slots throughout Australia (Dark Mofo, Splendour in the Grass and Melbourne Music Week among many others) and overseas (The Great Escape, Primavera Sound), racked up millions of plays on Spotify, and landed on several Artists to Watch lists.

The duo is currently on their first ever world tour taking them across Europe with RÜFÜS DU SOL and NAO and North America with RÜFÜS DU SOL again later this month. To cap off the year, they’ll make their New York City live debut at Baby’s All Right on December 8th. A full list of dates is below.

“Bolide” stream – https://soundcloud.com/kllomusic/bolide
“Bolide” video – https://youtu.be/NYd4t5uINNY
“Bolide” (Lone Remix) stream – https://soundcloud.com/kllomusic/bolide-lone-remix
“Walls To Build” stream – https://soundcloud.com/kllomusic/walls-to-build
“Walls To Build” video – https://youtu.be/PmiygZRFtvo
“Sense” video – https://youtu.be/kSPETjXwLOA
Wed. Nov. 16 – Hamburg, DE @ Knust (w/ NAO)
Thu. Nov. 17 – Berlin, DE @ Berghain/Panorama Bar (w/ NAO)
Thu. Nov. 24 – Vancouver, BC @ Imperial (w/ RÜFÜS DU SOL)
Fri. Nov. 25 – Seattle, WA @ The Neptune (w/ RÜFÜS DU SOL)
Sat. Nov. 26 – Portland, OR @ Wonder Ballroom (w/ RÜFÜS DU SOL)
Wed. Nov. 30 – San Francisco, CA @ The Fillmore (w/ RÜFÜS DU SOL)
Thu. Dec. 1 – San Francisco, CA @ The Fillmore (w/ RÜFÜS DU SOL)
Fri. Dec. 2 – Los Angeles, CA @ The Wiltern (w/ RÜFÜS DU SOL)
Sat. Dec. 3 – San Diego, CA @ Music Box (w/ RÜFÜS DU SOL)
Sun. Dec. 4 – Los Angeles, CA @ Multiply
Thu. Dec. 8 – Brooklyn, NY @ Baby’s All Right

“Walls To Build” (Mall Grab Remix) artwork

Rewind Review: Public Broadcasting Service – The Race for Space (2015)


Widely heralded as one of the most innovative albums of 2015, Public Service Broadcasting’s (J. Willgoose, Esquire – banjo, guitar, sampling, Wrigglesworth – drums, piano, electronics) The Race for Space is an amazing concept album about / tribute to the space race of the 1960’s.

Beginning with the title track of an angelic chorus behind JFK’s speech calling for the exploration of space, the album moves into “Sputnik.” The electro beats and bleeps are perfect for a song about the first satellite to round the Earth. The first sample you hear is a man saying, “This is the beginning of a new era for mankind.” It was. We weren’t the same after it. The song builds in synth grandeur, not unlike something from a John Carpenter film score.

“Gagarin” is a funky electro-lounge jam and salute to Yuri Gagarin. The funky guitar and drums make him seem more like a super spy than a cosmonaut. “The whole planet knew him and loved him,” says one man in a sample before a brass section puts down a great groove. “Fire in the Cockpit” is lonely and cold, despite the title. The soft bleeps seem miles away, and the synths sound like a car engine trying to start on a cold winter morning as a man reads aloud a news release about the cockpit fire on a test flight of the Apollo 1.

“E.V.A.” brings us back to a sense of wonder with building guitar work, snappy drums, groovy keyboards, and samples about weightlessness and walking in space. “The Other Side” samples real transmissions from the Apollo 8 mission control about the inevitable loss of signal when the satellite rounds the moon. The synths build as you imagine Apollo 8 getting closer and closer to somewhere no one has ever gone. What’s great is that all music stops during the loss of signal. It’s silence until the synths return at the moment a signal is received from the Apollo 8, and burst loud when the Apollo 8 crew calls back all the way to Houston.

“Valentina” is a beautiful song you could put on a St. Valentine’s Day mixtape and a wonderful tribute to Valentina Tereshkova – the first woman to fly in space. “Go!” is a fun ride that builds from soft synths to rock drums to transmissions from the Apollo 11 mission to the moon. The calls of “Go!” from all the mission control members become a stadium chant, and you can’t help but tap your toes and cheer on the mission that you know was a success.

The album ends with “Tomorrow,” an uplifting song about the Apollo 17 mission and the future of our exploration of space and of mankind. The xylophone gives it a cool “space-lounge” feel, and the fade-in is heavenly. I hope someone has sent it to the international space station for the astronauts’ wake-up music.

I hope this whole album has been sent there. It’s wonderful. The Race for Space would easily have been in my top ten albums of 2015 if I’d started this blog last year.

Keep your mind open.

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American Wrestlers to begin North American tour next month.



American Wrestlers released their excellent sophomore album Goodbye Terrible Youth (Fat Possum) just over a week ago, and it’s been receiving praise from the likes of Pitchfork to Noisey to Wired and more. Today, the band announces a batch of new tour dates and shares two demo versions of songs that appear on Goodbye Terrible Youth, “Amazing Grace” and “So Long” (both of which appear on the deluxe Japanese edition of the album).
The album is now streaming and available for purchase on all services. If you haven’t listened to Goodbye Terrible Youth yet, there’s no better time than the present.
http://smarturl.it/aw.gtyAMERICAN WRESTLERS TOUR DATES (new dates in bold)
Thu. Dec. 1 – Omaha, NE @ Slowdown Jr.
Fri. Dec. 2 – Minneapolis, MN @ 7th Street Entry
Sun. Dec. 4 – Toronto, ON @ The Garrison
Mon. Dec. 5 – Montreal, QC @ Le Divan Orange
Tue. Dec. 6 – Allston, MA @ Great Scott
Wed. Dec. 7 – Brooklyn, NY @ Baby’s All Right
Thu. Dec. 8 – Philadelphia, PA @ Boot & Saddle
Fri. Dec. 9 – Washington, DC @ DC9
Sat. Dec. 10 – Lakewood, OH @ Mahall’s
Sun. Dec. 11 – Chicago, IL @ Empty Bottle
Thu. Dec. 15 – St. Louis, MO @ Off Broadway
Tue. Jan. 10 – Nashville, TN @ The High Wattw/ NE-HI
Wed. Jan. 11 – Atlanta, GA @ Drunken Unicorn w/ NE-HI
Thu. Jan. 12 – New Orleans, LA @ Hi Ho Lounge w/ NE-HI
Fri. Jan. 13 – Houston, TX @ The Raven Tower w/ NE-HI
Sat. Jan. 14 – Austin, TX @ Sidewinder w/ NE-HI
Sun. Jan. 15 – Dallas, TX @ Three Links w/ NE-HI
Wed. Jan 18 – Phoenix, AZ @ Valley Bar
Thu. Jan. 19 – San Diego, CA @ Soda Bar
Fri. Jan. 20 – Los Angeles, CA @ Bootleg Theater
Sat. Jan. 21 – San Francisco, CA @ Bottom of the Hill
Tue. Jan. 24 – Seattle, WA @ The Crocodile
Wed. Jan. 25 – Portland, OR @ Bunk Bar
Thu. Jan. 26 – Boise, ID @ The Olympic
Fri. Jan. 27 – Salt Lake City, UT @ Kilby Court
Sat. Jan. 28 – Denver, CO @ Lost Lake Lounge


“These are unabashedly personal and reflective songs, often filled with regret and loss, ugliness and shame.” – Pitchfork

“You can hear the bona fides of a skilled singer-songwriter. McClure’s cool charm makes these homespun songs feel like long-lost guitar-pop gems, newly discovered and barely dusted off.” Rolling Stone

“For Goodbye Terrible Youth, the group’s amped-up follow-up, frontman and songwriter Gary McClure has doubled down on spectral keyboards and fuzz-muscled riffs—pretty much always a good idea… Equal parts diffuse and direct, Youth ages nicely with each listen.” – Wired

“This is, quite simply, one of the most beautiful songs I’ve heard in 2016.” – USA Today, on “Amazing Grace”

“Even though he’s Scottish, Gary McClure’s new LP Goodbye Terrible Youth is the jangly guitar record this country needs right now.” – Noisey

“Scottish expat Gary McClure sings with a fragile-but-hopeful tenor like a beam of light from a discount flashlight, and as American Wrestlers, he’s stumbled upon a scrappy underdog lo-fi sound that lets his songs shine properly.” – Stereogum (Band to Watch; 50 Best New Bands of 2015)

“American Wrestlers have the potential to win over legions of fans based on their broad musical range. Goodbye Terrible Youth is music for tiny, sweaty clubs, with amps turned up loud and a knack for sophisticated tunes at the ready.” – PopMatters

Rewind Review: Nortec Collective – The Tijuana Sessions vol. 1 (2001)


I’d been looking for this album for a long time since hearing parts of it on a National Public Radio show that was highlighting techno and house music from Mexico made by Nortec Collective – a group of Mexican DJs and producers who often worked together. I found The Tijuana Sessions vol. 1 in a used CD bin for about three bucks last year. It was worth the wait.

Bostich’s “Polaris” gets the compilation off to a good start, mixing rapid snare beats with synth bass. Bostich has two other tracks on the album – “El Vergel” (which includes street band accordion and tuba to good effect. Yes, really.) and “Synthakon” – a fun dub track.

Fussible, Bostich’s frequent collaborator, has three tracks as well – “Casino Soul” (with fun electro bleeps and a swanky synth horn section), “Trip to Ensenada” (a great acid house track with cool reverbed synths), and “Ventilador” (his trippiest contribution to the record).

Another triple threat DJ on the record is Terrestre. He starts with “Norteno De Janeiro,” which is a great tune for late night lounging and make-out sessions in a nightclub on the Yucatan Peninsula. Second is “El Lado Oscuro De Mi Compadre,” which belongs in a Bond film or at least a cool 1960’s Euro-spy movie. Third is “Tepache Jam” – an accordion and tuba-heavy jam saluting Mexican buskers and house parties.

Plankton Man gets a double shot, first with “Elemento N.” Like Bostich’s “El Vergel,” it blends house music with traditional Mexican street music (bold horns, parade drums, and touches of Spanish style guitar) and mixes them well. His next tune is “No Liazi Jaz,” which brings in a bit of psychedelic fuzz to his house stylings.

Other DJs on the record include Panoptica, whose “And L” is a slick acid house track with trippy reverbed percussion, Clorofila (bringing us the super-loungy “Cantamar ‘72”), and Hiperboreal – whose “Tijuana for Dummies” is a good house track with no muss and no fuss. It’s just dance beats layered upon dance beats.

The Tijuana Sessions vol. 1 is a good house / lounge / dub record and well worth investigating if you’re on the hunt for such music. Just don’t take eleven years to find it like I did.

Keep your mind open.

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Ty Segall’s new album due January 27th.


[above image by Kyle Thomas]

Ty Segall has made whole records that wrestle with realities – fighting against some, pulling mightily to bring others into being. His new self-titled record – the next record after Emotional Mugger, Manipulator, Sleeper, Twins, Goodbye Bread, Melted, Lemons and the first self-titled album that started it up in the now-distant year of 2008 – is a clean flow, a wash of transparency falling into a world that needs to see a few things through clearly, to their logical end. It’s got some of the most lobe-blasting neckwork since the Ty Segall Band’s Slaughterhouse (from way back in the long, hot summer of 2012), but it also features a steep flight of fluent acoustic settings.

The construction and destruction of his chosen realities has, until now, been a luxury Ty has rightfully reserved for himself, striping overdubs together to form the sound – but for this new album, he entered a studio backed by a full band – Emmett Kelly, Mikal Cronin, Charles Moothart and Ben Boye – to get a read on this so-called clarity. This leads to a new departure in group sound, as well as some of the most visceral and penetrating vocal passages yet heard from Ty Segall. Take debut single, “Orange Color Queen,” for example — a supreme moment of tenderness.

Ty Segall keeps you guessing, bracing your skin with a welcome astringency, seeking to stem the bleeding with chunks and splashes of guitar, tight beats, audio-verite toilet smashes, a Wurlitzer electric piano in a jam, blazing harmonies, and LOTS of songs to sing. There’s no concept beyond that; finding the right places to be is a momentary thing. Ty Segall is the sum of his songs – and about getting the free. The free to be!

Ty Segall is out January 27th on Drag City Records, and available for pre-order now. All iTunes pre-orders come with an instant grat download of “Orange Color Queen,” which is also available to stream and download via dragcity.com. Ty Segall and his magick band will tour throughout 2017. All dates are listed below, with more to be added!

Listen To Ty Segall’s “Orange Color Queen”
https://soundcloud.com/drag-city/ty-segall-orange-color-queenTy Segall Tracklisting:
1. Break A Guitar
2. Freedom
3. Warm Hands (Freedom Returned)
4. Talkin’
5. The Only One
6. Thank You Mr. K
7. Orange Color Queen
8. Papers
9. Take Care (To Comb Your Hair)
10. Untitled

Ty Segall Tour Dates:
Fri. Jan. 27 – San Diego, CA @ Belly Up Tavern
Thu. Feb. 2 – Los Angeles, CA @ Teragram Ballroom
Fri. Feb. 3 – Los Angeles, CA @ Teragram Ballroom
Mon. Feb. 27 – Oakland, CA @ Fox Theater
Wed. March 1 – Portland, OR @ Aladdin Theater
Thu. March 2 – Seattle, WA @ Neumos
Wed. May 10 – Tulsa, OK @ Cain’s Ballroom
Thu. May 11 – Indianapolis, IN @ Irving Theater
Sun. May 14 – Chicago, IL @ Thalia Hall
Wed. May 17 – Brooklyn, NY @ Warsaw
Sat. May 20 – Philadelphia, PA @ Trocadero Theater
Sun. May 21 – Pittsburgh, PA @ Mr. Small’s Theater
Mon. May 22 – Louisville, KY @ Headliner’s Music Hall
Thu. May 25 – Nashville, TN @ Mercy Lounge
Sat. May 27 – Austin, TX @ Stubb’s Waller Creek Amphitheatre

Ty Segall Pre-order:
Via iTunes – http://geni.us/iTunesTySegall
Via Drag City – http://www.dragcity.com/products/ty-segall

[Ty Segall Cover Art]

The Kills – Ash & Ice


I’m not sure if there’s a current band that does songs about sex and the dangerous side of love better than The Kills (Jamie Hince and Alison Mosshart). Ash & Ice is certainly about both, and it’s also a hip journey into electro-rock that I didn’t expect.

The album begins with electro beeps on “Doing It to Death,” but Hince’s squawking guitar is close behind. The mix of Hince’s as-always fine guitar work with the electro touches is interesting, as is the reverb on Mosshart’s vocals during the bridge. Synth-percussion then mixes with a traditional drum kit on “Heart of a Dog,” which is a sexy showcase for Mosshart’s bad ass-ness as she sings about coming back yet again to a lover she knows is bad for her. It also has a sultry bass groove throughout it that gets into your bones.

“Hard Habit to Break” isn’t a cover of the sappy Chicago song, but instead a near drum and bass track with Mosshart dressing down her lover as he tries to control her. Ash & Ice is firmly into electro-rock territory by the time we get to “Bitter Fruit” and its programmed beats and synth bass. It’s a wicked groove, and Hince and Mosshart’s co-vocals are outstanding. “Days of Why and How” is minimalist guitar, a drum machine, some bass, and Mosshart singing into what sounds like an old microphone. Don’t worry, it all sounds good.

The opening of “Let It Drop” is so quirky that it almost sounds like the track wandered in from another record until Hince’s guitar walks into the room. “You give me the shakes. You give me the cold sweats,” Mosshart sings, making us swoon. The song could be a pop-dance track with a bit of remixing. “Hum for Your Buzz” has an interesting title and an even more interesting sound. Mosshart’s vocals are clear as Hince’s guitar sounds like he’s playing in the back of a forgotten highway bar. It reminds you that the Kills could (and I wish they would) make a great blues record.

“Siberian Nights” has Mosshart singing, “I could make you come in threes. I’m halfway to my knees. Am I too close for comfort?” No, Ms. Mosshart. The answer to that is a definite “No.” Beware the Psycho shower scene soundtrack-like synths on this, however, for I feel they reveal wickedness behind Ms. Mosshart’s seductive lyrics. She’s just as good on “That Love,” which is a pure torch song.

“Impossible Tracks” sounds like “classic Kills.” The programmed beats are minimized in favor of Hince’s panther-prowl guitar work. “You get what you give. I don’t regret what I did,” Mosshart sings. I don’t know if she’s singing about leaving someone or shagging him (and not feeling guilty about either). “Black Tar” keeps up the guitar-driven sultry rock the Kills do so well. Hince’s guitar on “Echo Home” sounds like it’s from a warped record of a spaghetti western soundtrack, and his vocals mesh well with Mosshart’s. The electro-rock comes back to finish the record with “Whirling Eye,” and it’s a sharp track that sounds like they teamed up with Metric or listened to a lot of krautrock before they recorded it (and how about that psychedelic guitar solo from Hince?).

As I mentioned at the beginning of this review, I didn’t expect so many electro touches from the Kills, but it all works. I suppose the “ash” in the album’s title could refer to the gritty guitar work and tough lyrics, while the “ice” could refer to the cool synth touches and loops featured throughout the record. It could also refer to Mosshart’s love of cigarettes and how both she and Hince like to kick back a few cocktails now and then. Kick this album back with them. It’s smoky and cool.

Keep your mind open.

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Psych-pop outfit Ne-Hi release catchy single from upcoming album due out in February.



“‘Stay Young,’ the lead single from Offers, is as hopeful as its title suggests. With lush, dreamy vocals and tinny instrumentation, the song is bright; the video, likewise, is washed in muted pastels and midday sun.” – NPR Music
Emerging from underground venues in Chicago’s Northwest side, NE-HI made its name on both its live energy and cleverly wrought guitar anthems. Today, they announce their second album Offers (out 2/24 on Grand Jury), and share the video for their first single, “Stay Young,” directed by Weird Life Films. On Offers, the band takes those basement-forged instincts and refines them; lets its guitars explore new angles, and focuses its songwriting. The result is, we daresay, a stunner if not a statement that there is a wide range of post-punk possibilities yet to be explored.

Born in Chicago’s vibrant DIY scene during the summer of 2013 – specifically within the walls of now-defunct basement venue Animal Kingdom – three friends from college, Jason Balla (guitar/vocals), Mikey Wells (guitar/vocals) and James Weir (bass) linked up with drummer Alex Otake with the purpose of scoring a friend’s film, which resulted in the formation of NE-HI. They tapped into what Balla calls the scene’s “wild, young energy,” playing go-for-broke at its home base. But quickly the band’s disparate influences — Wire’s post-punk, Springsteen’s everyman anthems, along with echoes of dreamy atmospheres of Dave Roback’s Rain Parade and the jangly buzz of Kiwi pop legends The Clean began burning through. Their self-titled debut was released in April of 2014 on Manic Static to critical acclaim, both locally (Chicago Tribune & Sound Opinion’s Greg Kot listed it as his #4 local album of the year) and nationally (Paste, Noisey, Stereogum, and Consequence of Sound have all pointed to NE-HI as a band to keep on your radar).

Offers drones, it captivates with soaring pop, it shimmers with atmosphere, always changing, looking. It finds the distant influence of forebears in cerebral guitar pop presented with a familiarity that typifies great FM rock hits. The Midwestern boys (two from Chicago, one from Wisconsin, and one from Minnesota) in NE-HI have a knack for knitting something comfortable and warm from those art school cast-offs and cult favorites. NE-HI’s music demands to be lived in.

1. Palm Of Hand
2. Sisters
3. Don’t Wanna Know You
4. Offers
5. Prove
6. Out of Reach
7. Everybody Warned You
8. Drag
9. Every Dent
10. Buried On The Moon
11. Stay Young

Tue. Jan. 10 – Nashville, TN @ High Watt w/ American Wrestlers
Wed. Jan. 11 – Atlanta, GA @ Drunken Unicorn w/ American Wrestlers
Thu. Jan. 12 – New Orleans, LA @ Hi Ho Lounge w/ American Wrestlers
Fri. Jan 13 – Houston, TX @ Raven Tower w/ American Wrestlers
Sat. Jan. 14 – Austin, TX @ Sidewinder w/ American Wrestlers
Sun. Jan. 15 – Dallas, TX @ Three Links w/ American Wrestlers
Wed. Feb. 22 – Ft. Wayne, IN @  Brass Rail
Thu. Feb. 23 – Kalamazoo, MI @ Shakespeare’s Pub
Fri. Feb. 24 – Chicago, IL @ Empty Bottle
Sat. Feb. 25 – Cincinnati, OH @ MOTR Pub
Wed. Mar. 1 – Kansas City, MO @ Riot Room
Thu. Mar. 2 – Omaha, NE @ Reverb Lounge
Sat. Mar. 4 – St. Louis, MO @ Off Broadway
Sun. Mar. 5 – Milwaukee, WI @ Riverwest Public House
Fri. Mar. 10 – Lexington, KY @ Cosmic Charlie’s
Tue. Mar. 21 – Memphis, TN @ Hi-Tone backroom
Wed. Mar. 22 – Birmingham, AL @ The Syndicate
Thu. Mar. 23 – Asheville, NC @ The Mothlight
Fri. Mar. 24 – Durham, NC @ Duke Coffeehouse
Sat. Mar. 25 – Richmond, VA @ Hardywood
Mon. Mar. 27 – Washington, DC @ DC9
Tue. Mar. 28 – Philadelphia, PA @ PhilaMOCA
Thu. Mar. 30 – Brooklyn, NY @ Baby’s All Right
Fri. Mar. 31 – Cambridge, MA @ Middle East Upstairs
Mon. Apr. 3 – Kingston, NY @ BSP Kingston
Tue. Apr. 4 – Albany, NY @ The Hollow
Wed. Apr. 5 – Rochester, NY @ Bug Jar
Thu. Apr. 6 – Lakewood, OH @ Mahall’s
Fri. Apr. 7 – Columbus, OH @ Spacebar
Sat. Apr. 8 – Detroit, MI @ Marble Bar
Tue. Apr. 19 – Denver, CO @ Hi Dive
Wed. Apr. 19 – Salt Lake City, UT @ Kilby Court
Thu. Apr. 20 – Boise, ID @ Neurolux
Fri. Apr. 21 – Spokane, WA @ The Bartlett
Sat. Apr. 22 – Seattle, WA @ Barboza
Tue. Apr. 25 – San Francisco, CA @ Rickshaw Stop
Wed. Apr. 26 – Los Angeles, CA @ Bootleg Bar
Sat. Apr. 29 – Tucson, AZ @ Club Congress


“This quartet builds its songs on clean guitar lines, the kind of interwoven single-note patterns that suggest an exacting attention to melody and arrangement. The songs bob along without ever feeling rushed or unfinished, abetted by harmonies and choruses that stick around for the long haul.” – Greg Kot, Chicago Tribune/Sound Opinions

“NE-HI are Chicago’s latest breakout band, as they capture the city’s attention with their warm fuzzy tones and laid-back reverb.” – Stereogum
“Drawing on influences as varied as R.E.M. and The Clean, NE-HI know how to lace their basement rock with a danceable twist.” – Noisey
Best of What’s Next, March 2016 – Paste Magazine

“An 18-month turnaround from non-existence to the level of local establishment Ne-Hi has reached today is quick for any group, but that’s about the only thing that’s surprising about this band’s ascent.” – Consequence of Sound (CoSign Feature)

“NE-HI is one of Chicago’s most thrilling live bands” – Red Eye Chicago

“Expertly executed indie rock that features rotating vocal duties and an overall grandeur tied to gently whirling reverb and undeniably catchy guitar riffs.” – Chicago Reader
Bio, hi-res images – http://pitchperfectpr.com/ne-hi/

Ne-Hi Online:

Sharon Jones has left the building.


Sharon Jones, lead singer of the funk / soul / R&B powerhouse band Sharon Jones and the Dap-Kings has died at the young age of 60 of pancreatic cancer.  She fought a good fight, even releasing two more records and touring after her cancer diagnosis.  Her albums with the Dap-Kings were a shot in the arm to the music industry which had pretty much ignored her for years.  They couldn’t ignore her when she was dropping future classics like “100 Days, 100 Nights,” “How Do I Let a Good Man Down?”, and “Your Thing Is a Drag.”

Her live performances (none of which I ever got to see, apart from recorded video) were fiery affairs, and she caught and held your attention from the moment she stepped onstage.  You knew things were about to get real when she’d kick off her shoes so she could get down harder.

She will be greatly missed, but take heart in knowing she’s strutting with James Brown somewhere right now.

Keep your mind open.

Fire Down Below – Viper Vixen Goddess Saint


Landing like a meteor impacting the moon, Belgium’s Fire Down Below (Kevin Gernaey – guitar, Sam Nuytens – drums, Jeroen Van Troyen – guitar and vocals, Bert Wynsberghe – bass) brings us Viper Vixen Goddess Saint – a good bit of stoner rock to get you through the coming winter.

After a short, almost bluesy instrumental intro (“El Viento del Desierto”), the band comes out chugging with “Through Dust and Smoke.” Imagine punk drumming, Wolfmother guitar licks, and prog-rock vocal stylings and you’ll get an idea of this track. They come out swinging and hit a triple.

“Roadburner” has a great heavy charge throughout it, and I love the way it breaks into a faster beat even before the first lyrics. It reminds me of a mix of Helmet and Quicksand, but with epic arena rock vocals from Van Troyen. “Universes Crumble” might refer to the eventual heat death of the galaxy, but the track is cosmic in its scope. The hand percussion throughout it is a great touch that brings a bit of a meditative aspect. The first line Van Troyen sings is “You are stars.” We are made of stars and to the stars we eventually return. A universe can crumble, but even that energy is reborn into another form. The song weaves back and forth between cosmic psych-rock and prog-metal. It’s outstanding.

“Dashboard Jesus” is quite suitable for late night pedal-to-the-metal drives along European coastlines, city highways, or dusty back roads. The guitars shred hard and Nuytens seems to have grown a third arm by the time this track comes along because it sounds like he’s hitting multiple cymbals at the same time (and the breakdown he has with Wynsberghe is sweet). After another bluesy instrumental (“Resurrection”), the album ends with the appropriately titled “The Mammoth.” It’s appropriate because it’s over eleven minutes long and is has heavy as a woolly mammoth walking across a hardwood floor. It’s an epic finish to a cosmic trip, like the aforementioned meteor smacking the moon.

I had no idea there was a stoner rock scene in Belgium, so I’m glad these guys sent me their record. You should seek them out if you enjoy stoner rock, prog-rock, or psych rock.

Keep your mind open.

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