Review: Motörhead – Everything Louder Forever

How do you even attempt to create a collection of Motörhead‘s forty-year career? If you’re BMG Records, you put together Everything Louder Forever, which they describe as “the definitive assembly of Motörhead songs that have created [a] cultural phenomenon, and represents the first time all the eras of the band’s recorded history have been represented in one place.”

Starting with the classic, frantic “Overkill,” Everything Louder Forever packs so much power into two CDs / four LPs that it’s bursting at the seams. Lemmy Kilmister‘s heavy bass comes to the forefront on “We Are Motörhead” and never leaves for the rest of the collection. “Fast” Eddie Clarke‘s guitar solo on “Snaggletooth” (a song named after the band’s logo) is stunning. Brian “Robbo” Robertson‘s piano pounding adds a fun touch to “Rock It.”

The fuzz of “Orgasmatron” never gets old. Mikkey Dee‘s drums on “Sacrifice” are bonkers and make you stop in your tracks and pay attention. “Killed by Death” is still one of Motörhead’s wittiest tracks, as is “Smiling Like a Killer,” in which Kilmister takes on the persona of a happy man with a dark, deadly secret. “Keys to the Kingdom” is a good example of how well Motörhead could groove.

The double kick drum on “Burner” is perfect for the afterburner energy of it. “Just ‘Cos You Got the Power” has Kilmister at some of his angriest on the vocals and some of Micheal “Würzel” Burston‘s best guitar work. “R.A.M.O.N.E.S.” is a fun tribute to fellow rockers. “I Ain’t No Nice Guy” features Ozzy Osbourne on guest vocals and Slash on guitar. The compilation ends, appropriately, with “Motörhead.”

It’s full of great tracks, too many to list and review here. It works as both an introduction to the band and a fine addition to an established collection.

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[Thanks to Maria at Adrenaline PR.]

Jacques Greene releases great new track, “Taurus,” ahead of his next EP.

Photo by Jacques Greene

Jacques Greene today announces a new EP, Fantasy, out January 28th (digitally) and April 8th (physically), with the EP available today as NFTFantasy pushes Greene further into his down-tempo, trip-hop, and ambient influences than ever before, all while maintaining his signature style. In conjunction with today’s announcement, Greene shares Fantasy’s hypnotic lead single, “Taurus.” “In my mind there’s a real soothing, meditative core to this,” says Greene, “and the almost relentless repetitive nature of the aggressive breaks is meant to tip over into full mediation mode. There’s angst – but there’s trying to move through it.” 

Listen to “Taurus” by Jacques Greene

The things you hear when you’re alone. Walking through Mount Royal or other wooded areas you might notice a branch break. As much as I value my alone time and the subtle things you can pick up around and within yourself in those moments, a certain loneliness and anxiety permeates the quiet at some point. The past couple years created ample opportunity for that anxiety and loneliness to stretch its legs and make itself comfortable. This record was born out of weeks of willing a form of peace and inspiration into my surroundings. A large part of that came from working with Leanne Macomber on some vocals. Through a desire to form new connections and throw more humanity into the work. We made a variety of song sketches that I mostly reworked into the final recordings here. We spoke a lot about where our heads were at, certain key phrases, triggers and emotions. Joel Ford, whom I worked on Dawn Chorus with, mixed the record and helped me wrangle a few cats to get this across the finish line. Restless at home in Canada, feeling the restlessness of all my friends and loved ones I kept in touch with as much as possible, trying to make something that made the quiet a bit more peaceful.”
 — Jacques Greene

Since releasing his last studio album Dawn Chorus in 2019, Jacques Greene scored the short film Exhaust starring Jimmie Fails (The Last Black Man in San Francisco), Glenn Kaino’s installation piece Tidepools (alongside Nosaj Thing), and the video game Home School. Additionally, Greene released remixes for artists including Montreal disco legends LimeKacy Hill, Kllo, Elohim, and more. In 2020, Greene made headlines for creating “Promise,” the first single released with associated NFT that staked the owner to music publishing, and the following year released ANTH01, a collection of unearthed tracks spanning the earliest years of his career alongside previously unreleased tracks.  

Fantasy Tracklist:
01. Taurus
02. Memory Screen + Fantasy
03. Relay
04. Sky River ft. Satomimagae
05. Leave Here

Pre-Order Fantasy

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[Thanks to Sam at Pitch Perfect PR.]

Review: Yard Act – The Overload

Coming out of the 2022 gate with strong chops and wit, Yard Act‘s The Overload has already set the bar high for post-punk albums (and ones in other genres, for that matter) to come.

The title track opens the record with a breakneck dance bass riff from Ryan Needham while lead singer James Smith sings about “The overload of discontent…The constant burden of making sense. It won’t relent.” Good grief, is he right. “Dead Horse” is a punch at Brexit and racism in England (“England, my heart bleeds. Why’d you abandon me? Yeah, I abandoned you, too, but we both know I wasn’t the one lied to, and I’m not scared of people who don’t look like me, unlike you.”)

“Payday” and “Rich” are a nice double-punch, both with crunchy guitar by Sam Shjipstone. “Payday” is all about getting rich on the efforts of others and getting away with it. “Rich” is a witty track about how wealth often brings misery and / or desire to become richer despite having everything you need.

“The Incident” seems to have Smith, Needham, Shjipstone, and drummer Jay Russell almost each playing their own song, but it somehow works and produces a funny tune about the different set of rules for CEOs and VIPs, even though their reputation and worth is built on illusions (“We’ve created rules that you can’t find in the book, a different type of prison for a different type of crook. Ever since the incident, my complete incompetence has been exposed to everyone and rendered me irrelevant.”)

“Witness (Can I Get a?)” is a fun punk riff on trying to get people to agree with whatever you’re yelling about at the time. “Land of the Blind” is a song about graft played with beats great for walking your dog, strutting to the ring, or working the catwalk. “Quarantine the Sticks” takes on both bad police and corporate practices. It reminds me of some of Sleaford Mods‘ stuff in its delivery and message.

“Tall Poppies” might have the hardest-hitting lyrics on the entire record as Smith spins a tale of a good joe who has a decent life and dies in his nice home, knowing he had a good run. It’s an allegory for everyone trying to make do with the hand they’ve been dealt and make the world a bit better in their own way (“We cry because children are dying across the sea, and there is nothing we can do about it. Whilst we benefit from the bombs they dropped, which we had no part in building. We are sorry, truly we are sorry. We are just trying to get by, too.”)

“Pour Another” has some of Russell’s coolest beats while Smith sings about pals kicking back with a few pints while the world burns around them. “100% Endurance” has Smith telling all of us to tell everyone we love that we love them and all of us have the means within to be happy (“Everything has already happened. Time is an illusion. It’s hippie bullshit, but it’s true.”)

A neat thing about The Overload is that it doesn’t overload you. It delivers all the goods, yes, and plenty of bite and beats, but it doesn’t hammer you over the head or try so hard that Yard Act become self-parodies or annoying. In other words, they crafted a damn fine album.

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[Thanks to Tom at Hive Mind PR.]

Anika announces remix album and tour dates.

Photo by Jam Rostron

Anika announces Change: The Remixes, out February 11th on Sacred Bones and Invada, and shares “Planningtochange” (Planningtorock Remix). As an avid fan of dance music and the communal power of the club, Anika wanted to give her 2021 album Change a wider range by entrusting it to some friends in contemporary electronic music – PlanningtorockDave ClarkeLauren FlaxMaral, and PDBY. The result is a remix record that illustrates both the underlying compositional depth of the album and its ability to inspire equally exciting new songs.

Anika elaborates: “Change is quite a specific album. It was made in the context of the lockdown, very much a headphones, inside-your-head record. As a big fan of DJing and dancing in dark spaces, I wanted this to go further, keep growing, expanding, so I asked some friends from very different worlds to take it somewhere else, beyond the bird-filled hills of Brandenburg. This is what happened.”

Planningtorock’s Jam Rahuoja Rostron adds: “Anika is a dear old friend of mine and I’ve loved her music right from the beginning. Her latest LP is sooooo good and I really love Change so I was super happy be able to make a remix for this which was also a lot of fun to make.

Anika will also tour North America in May and June. All dates are below and tickets are on sale now here.

Stream “Planningtochange” (Planningtorock Remix)

Pre-order Change: The Remixes

Change: The Remixes Tracklist:
1. Planningtochange (Planningtorock Remix)
2. Never Coming Back (Dave Clarke Remix)
3. Critical (Lauren Flax Remix)
4. Finger Pies (Maral At The Controls Dub Mix)
5. Freedom (PBDY Remix)
6. Change (Lauren Flax Remix – bonus track) 

Anika Tour Dates:
Feb. 11 – Berlin, DE @ Volksbühne
March 9 – Koln, DE @ Bumann & SOHN
March 11 – Lille, FR @ L’Aeronef
March 12-13 – Saint-Malo, FR @ La Route Du Rock Hiver
April 17 – London, UK @ Moth Club
April 18 – Manchester, UK @ Yes (Basement)
April 19 – Glasgow, UK @ Nice N Sleazy
April 20 – Bristol, UK @ Louisiana
May 13 – Austin, TX @ Oblivion Access Festival
May 15 – San Diego, CA  @ Casbah
May 16 – Los Angeles, CA @ Lodge Room
May 17 – San Francisco, CA @ Rickshaw Stop

May 19 – Portland, OR @ Mississippi Studios
May 20 – Seattle, WA @ Vera Project
May 21 – Vancouver, BC @ The Fox Cabaret
May 23 – Chicago, IL @ Empty Bottle
May 25 – Toronto, ON @ The Garrison
May 26 – Montreal, QC @ Fairmount Theatre
May 28 – New York, NY @ Knockdown Center
May 29 – Philadelphia, PA @ Johnny Brenda’s
May 30 – Washington, DC @ Union Stage

May 31 – Knoxville, TN @ Pilot Light
June 1 – Nashville, TN @ Third Man Records
June 2 – Memphis, TN @ Crosstown Arts
June 3 – Dallas, TX @ Club Dada

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]

Yard Act releases “Rich” ahead of full album due January 21st.

Photo by Phoebe Fox

The buzzing Leeds band Yard Act are preparing to release their highly anticipate debut The Overload later this month (Jan 21st) via Island Records and their own imprint Zen F.C., and today they are sharing their final single from the album, a track called “Rich.” The album arrives following a banner year for the band, and the excitement around them has continued to heat up at the start of 2022. Following a late 2021 appearance on Later…w/ Jools HollandElton John called Yard Act one of his favorite new bands in an NME feature (he described their sound as “a different ball game“), the band were named an NPR Slingshot artists for 2022 with NPR proclaiming that “Yard Act will be 2022’s breakthrough English post-punk act“, saw features in Rolling Stone and The Guardian, and their album has received some glowing early reviews including 5* reviews from Rolling Stone UK and DIY Magazine, 4.5* stars from Uncut, 4* and the coveted album of the month award from MOJO.  

WATCH: Yard Act’s “Rich” video HERE

Speaking about the new track, which follows the November single “Payday“, frontman James Smith explains: “‘Rich’ is the natural successor to ‘Payday’. That’s the end of the story right? Success! Status! Security! Except, there’s always more money to be made, and you’re deemed a failure if your life starts to head back in the direction it came from. It’s about being so lost you’re sure you know exactly where you are and how you got there. I also wrote it because I thought it would be quite funny if Yard Act made a shit ton of money after I’d written an anti-capitalist concept album. It’ll be funny if I’m singing this song on stage when I’ve made my mint.

He elaborates: “At worst it makes no sense, at best it comes off as pretentious, but that’s the point I’m trying to make when I write anything really. Things only really make sense if you exclude the bits that don’t back up the point you’re trying to make. I’m a hypocrite just like everyone else. I don’t have the answers and I’m just trying to do the best I can. It’ll never be good enough though. Enjoy the ride, life is short and you never know what’s round the corner.

The accompanying video is the band’s fourth collaboration with director James Slater and his production team, following ‘The Overload’, ‘Land Of The Blind’, and ‘Payday’ and further develops the world Yard Act have created and the characters that exist within it. 

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King Gizzard and the Lizard Wizard team up with DJ Shadow for a remix of “Black Hot Soup.”

Video still

Today, King Gizzard & The Lizard Wizard release a new single/video, “Black Hot Soup (DJ Shadow “My Own Reality” Re-Write),” from their forthcoming remix album, Butterfly 3001, out January 21st on KGLW. Following last month’s “Neu Butterfly (Peaches Remix)” and “Shanghai (Dub By The Scientist),” King Gizzard continue their remix streak with “Black Hot Soup (DJ Shadow “My Own Reality” Re-Write)” and expand on it with an accompanying video directed by John Angus Stewart, starring iconic Australian author, satirist, radio presenter and documentary maker John Safran, and featuring appearances from Alkiviadis Grapsas and John Dimoulas.  

Watch the Video for “Black Hot Soup” (DJ Shadow “My Own Reality” Re-Write) 

“’Black Hot Soup’ is an almost perfect way to describe the world as we know it in the present. A bubbling, thick, sticky, confusing angry place that seems to be made for generations long past. Therefore I wanted to portray a character somehow revelling in the chaos, dancing on the ashes of society. There is an inherent freedom watching someone hitting bottom so hard with a smile. To me it’s a non cynical representation of expression through music! As DJ Shadow fully reworked ‘Black Hot Soup’ I cast John Safran to fully re-work the song again within a performance. Calling it a dance is a stretch, I’d call it more of a full body dry heave.” – John Angus Stewart 
King Gizzard’s Joey Walker elaborates: “We’ve put off doing a remix album for a long time. Maybe it was conscious, maybe it wasn’t. But it’s happening now. That’s not to say that Butterfly 3000 makes the most sense to remix. It might seem like the obvious one, but it’s not. Yes it’s electronic. But so is a fridge. Have you tried to dance to Butterfly? It’s hard. It ties your shoelaces together. It’s duplicitous in its simplicity. But Butterfly 3001 expands on this. It also deviates and obliterates. We’re honoured to have such esteemed people go to work on these songs. We hope you love this album as much as we do. See you in DA CLUB!!!”

Listen to “Neu Butterfly” (Peaches Remix)

Listen to “Shanghai” (Dub by The Scientist)

Pre-Order Butterfly 3001

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[Thanks to Jacob at Pitch Perfect PR.]

Wah Together release single from upcoming album, “Let’s Wah Together,” due March 04, 2022.

“Sayonara” is the debut  single by Wah Together which features Phil Mossman (ex LCD Soundsystem), Vito Roccoforte (The Rapture), Steve Schiltz (Longwave) and front woman Jaiko Suzuki (Electroputas)On “Sayonara”, Infectious Japanese Yé Yé beats swipe right on noisy, noir-tinged motorik excursions to form a psychedelic garage-rock power couple at 45 rpm.  “Sayonara” bids a fond farewell to sweet memories of a lost lover with skewed-but-sugary ‘60s pop melodies, swinging, big beat drumming and no-wave guitar rave-ups like The Runners Four-era Deerhoof raining on Broadcast’s Tender Buttons parade.  Wah Together is an impassioned defense for a shared act of creation.  Tracked spontaneously and principally live, “Sayonara” captures the immediacy and spontaneity of a group of musicians listening to— and playing off— one another with genuine affection, curiosity and joy.

On their debut LP, Let’s Wah Together, the NYC-based quartet revel in the communal delight that happens when happy accidents are caught on tape. Tracked principally live and in close quarters, Let’s Wah Together captures the immediacy and spontaneity of a group of musicians listening to—and playing off— one another with genuine affection, curiosity, and joy. From the skronk n’ stomp of “I’m A Swimmer” to the Japanese Yé Yé beat inflected “Sayonara,” the dense ear-busting wistfulness of “Teen Vito” and the storming acidic drive of “Out! Out! Out!,” Let’s Wah Together is a loud and commanding recommitment to the cooperative spirit and familial love that always marks New York’s most vital eras.

New York City might be a gilded husk of its former self, but Wah Together have blown out a hole in the sweat-stained wall, churned up the asphalt and uncovered untrammeled layers of the city’s garage/psych-underground. No mere ruddy-cheeked baby-band, Wah Together instead assembles a loose group of friends and musicians, each seminal to the city’s musical legacy. The band met-cute in 2019 at a “chance” jam session Mossman slyly arranged in his dark DUMBO basement studio roping in long-time friend and drummer Vito Roccoforte to play with guitarist and producer Steve Schiltz.

The sound the three produced that day was an emphatic mix of contorted rave-ups, feedback drenched space oddities and pulsating Krautrock but it might have only remained a sprawling and allusive project the three conjured periodically if not for Jaiko Suzuki. Suzuki, former go-go dancer, avant-garde percussionist and occasional Coney Island “mermaid,” leant vocals to a variety of projects but never really sung in a band until being recruited by her old pal Roccoforte. Suzuki’s voice, at once both effervescent and direct, digs into her bandmates tightly linked motorik and shoegazed jams, coaxing out hooks and adding ballast to the shattering volume they produce.

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[Thanks to Steven at Dedstrange.]

Shilpa Ray hits hard on her newest single, “Bootlickers of the Patriarchy.”

New York City’s Shilpa Ray shared “Bootlickers of the Patriarchy,” a scathing new track written about Senator Susan Collins and her infamous press conference after the Kavanaugh/Blasey Ford hearings. “It’s about women who succeed from undermining the success of other women or choose to gain success from exploiting the oppression of other women,” says Ray. “This is a character who has taken many forms throughout history, the kind of woman who seems perfectly content playing Gamma to the Alpha male. ‘Bootlicker’ is my direct challenge to the notion of ‘women supporting other women,’ as well as the falsehoods and unrealistic expectations that come with a statement like that.” 

“I wrote the song to be played in two different arrangement styles, the first half being slow and haunting and the second going balls-to-the-wall rage. I was re-exploring a lot of industrial/proto-industrial music I had listened to as a teenager in the 90s and used some elements of synth/drum machine sounds to convey all that anger, panic and darkness.”

“Bootlickers of the Patriarchy” is backed with a cover of Ministry’s “I’m Not An Effigy.” Ray explains: “I was obsessed with the Ministry album With Sympathy when writing tracks for my next full length album. It is the record Al Jourgenson has stated multiple times that he’s ashamed of most, which is saying a lot considering this man’s autobiography. I teamed up with my friend Heather Elle of Flossing, formerly of post punk bands Bodega and The Wants for this collaboration. It’s my first official recorded track where I’m playing guitar, so as the saying goes, it’s never too late to pick up a new instrument and get totally lost in it.“

The two tracks are on 7” vinyl and is available to order from Northern Spy here.

Shilpa Ray began releasing music in 2006 with her projects Beat The Devil and later Her Happy Hookers. In 2011, she began touring with Nick Cave as a backup singer and supporting act, playing under her own name and going on to release highly lauded works, including Last Year’s Savage (2015) and Door Girl (2017). Bootlickers of the Patriarchy 7” follows 2020’s standalone tracks “Manic Pixie Dream Cunt” and “Heteronomative Horseshit Blues” which earned critical praise from Paste Magazine, Brooklyn Vegan, Louder Than War, MXDWN, FLOOD Magazine, Alt Citizen, American Songwriter and Billboard, among many others.

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[Thanks to Cody at Clandestine PR.]

A Place to Bury Strangers encourages us to focus on the good times with their new single, “Hold on Tight.”

Last month, post-punk legends A Place To Bury Strangers announced their sixth studio album, See Through You, out February 4, 2022 on Dedstrange, and shared its lead single “Let’s See Each Other.” Today, they return with “Hold On Tight,” a noise-pop ripper bursting with chaotic delirium. The accompanying video, directed by Meriel O’Connell, sees bandleader Oliver Ackermann moonlighting as the concierge of New York’s most eccentric hotel. When a candlelit dinner suddenly turns into a lovers’ quarrel, Ackermann joins a mysterious lone patron (drummer Sandra Fedowitz) and maître d’ (bassist John Fedowitz) to bring the noise. “When the getting’s good, I hold on tight. Sometimes I forget to enjoy where I am and the people around me. It is critical to be thankful and enjoy existence and have fun. Having a bad night? Reflect and kick yourself into gear,” says Ackermann.

Watch “Hold On Tight” Video

A Place To Bury Strangers have been delighting and astonishing audiences for close to two decades, combining post-punk, noise-rock, shoegaze, psychedelia, and avant-garde music in startling and unexpected ways. See Through You is an explosive journey which explores the listener’s limits of mind-bending madness while simultaneously offering the catchiest batch of songs in the band’s discography. Outpacing even their own firmly blazed path of audio annihilation, See Through You repeatedly delivers the massive walls of chaos and noise that every A Place To Bury Strangers fan craves in spades. It’s a nod of the cap to the art school ethos of the band’s origins, while forging a new and clear direction forward. 
Watch/Stream “Hold On Tight”

Watch “Let’s See Each Other” Video

Pre-order See Through You

A Place To Bury Strangers 2022 Tour Dates
Mon. January 31 – Washington, DC @ Songbyrd #
Tue. February 1 – Philadelphia, PA @ Johnny Brenda’s #
Wed. February 2 – Montreal, QC @ Bar Le Ritz #
Fri. February 4 – Toronto, ON @ Lee’s Palace #
Sat. February 5 – Detroit, MI @ El Club #
Sun. February 6 – Chicago, IL @ Empty Bottle
Mon. February 7 – Milwaukee, WI @ Cactus Club #
Tue. February 8 – Minneapolis, MN @ First Ave. 7th Street Entry #
Fri. February 11 – Seattle, WA @ Neumos %
Sat. February 12 – Portland, OR @ Mississippi Studios %
Sun. February 13 – Vancouver, BC @ Rickshaw Theatre %
Tue. February 15 – San Francisco, CA @ The Chapel %
Wed. February 16 – Los Angeles, CA @ Teragram Ballroom %
Fri. February 18 – San Diego, CA @ Soda Bar %
Sat. February 19 – Tucson, AZ @ Hotel Congress %
Tue. February 22 – Denver, CO @  Larimer Lounge %
Wed. February 23 – Lawrence, KS @ The Bottleneck %
Fri. February 25 – Nashville, TN @ The High Watt %
Sat. February 26 – Atlanta, GA @ 529 %
Sun. February 27 – Chapel Hill, ND @ Cat’s Cradle
Fri. March 4 – Brooklyn, NY @ Music Hall of Williamsburg !
Wed. March 9 – Hamburg, DE @ Hafenklang &
Thu. March 10 – Dresden, DE @ Beatpol &
Fri. March 11 – Warsaw, PL @ Klub Poglos &
Sat. March 12 – Prague, CZ @ Futurum &
Sun. March 13 – Bratislava, SK @ Randal Club &
Mon. March 14 – Budapest, HU @ Durer Kert &
Wed. March 16 – Bucharest, RO @ Control Club ^
Thu. March 17 – Sofia, BG @ Mixtape5 ^
Fri. March 18 – Thessaloniki, GR @ Eightball ^
Sat. March 19 – Athens, GR @ Temple ^
Mon. March 21 – Skopje, MK @ 25th of May Hall ^
Tue. March 22 – Belgrade, RS @ Club Drugstore ^
Thu. March 24 –  Zagreb, HR @ Mochvara ^
Fri. March 25 – Bologna, IT @ Freakout Club ^
Sat. March 26 – Rome, IT @ Largo ^
Sun. March 27 – Milan, IT @ Legend Club ^
Tue. March 29 – Zurich, CH @ Bogen F ^
Wed. March 30 – Munich, DE @ Backstage ^
Thu. March 31 – Martigny, CH @ Caves Du Memoir
Fri. April 1 – Paris, FR @ La Trabendo *
Sat. April 2 – London, UK @ Lafayette *
Mon. April 4 – Antwerp, BE @ Kavka *
Tue. April 5 – Munster, DE @ Gleis 22 *
Wed. April 6 – Amsterdam, NL @ Melkweg *
Thu. April 7 – Groningen, NL @ Vera *
Sat. April 9 – Stockholm, SE @ Hus 7 *
Sun. April 10 – Oslo, NO @ John Dee *
Mon. April 11 – Copenhagen, DK @ Pumpehuset *
Tue. April 12 – Berlin, DE @ Hole 44 *
Wed. April 13 – Cologne, DE @ MTC *

# with Glove
% with TV Priest
& with Jealous
^ with Plattenbau
* with Lunacy
! with Native Sun, GIFT

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[Thanks to Patrick at Pitch Perfect PR.]

CHAI to release “Wink Together” remix EP ahead of a massive tour.

This year, CHAI made their Sub Pop debut with WINK, securing their position as “a professional purveyor of whimsy” (The New York Times). Today, the band announces their forthcoming WINK TOGETHER EP,  a reimagination of songs from their beloved record, and reveals “END” (Confidence Man Remix).  For WINK TOGETHER, CHAI tapped their favorite artists from around the world for what they call their “most powerful album yet.” Collaborators include Korea’s Beenzino, Japan’s ZAZEN BOYS and STUTS, as well as Australia’s Confidence Man. “CHAI and ConMan are a match made in party heaven,” Confidence Man explains. “When we heard their track ‘END,’ we just knew we had to put our hands all over it. Make the girls the 90’s hip hop stars they truly are. And if we do say so ourselves, it’s truly turned into the collab of our dreams.” 

LISTEN TO “END (CONFIDENCE MAN REMIX)”

Today’s remix is a small taste of what CHAI have in store with WINK TOGETHER, as well as what they will bring to their 2022 North American tour of the same name. The WINK TOGETHER tour will see CHAI bookending their run of dates supporting Mitski, including stops in Chicago, Brooklyn, and Los Angeles.

WINK TOGETHER Tracklist 1. END (Confidence Man Remix) 2. ACTION (with ZAZEN BOYS) 3. Miracle (Scoobert Doobert Remix) 4. PING PONG! (Busy P Remix) 5. Nobody Knows We Are Fun (STUTS Remix) 6. Donuts Mind If I Do (with Beenzino) 

CHAI TOUR DATES
Fri. Feb. 4 – Chicago, IL @ Lincoln Hall
Sat. Feb. 5 – Milwaukee, WI @ Cactus Club
Sun. Feb. 6 – Minneapolis, MN @ 7th Street Entry
Wed. Feb. 9 – Toronto, ON @ Lee’s Palace
Fri. Feb. 11 – Cambridge, MA @ The Sinclair
Sat. Feb. 12 – Philadelphia, PA @ The Foundry
Sun. Feb. 13 – Washington, DC @ Union Stage
Tue. Feb. 15 – Brooklyn NY @ Elsewhere
Thu. Feb. 17 – Asheville, NC @ The Orange Peel *  – SOLD OUT
Fri. Feb. 18 – Raleigh, NC @ The Ritz * – SOLD OUT
Sat. Feb. 19 – Atlanta, GA @ The Eastern * – SOLD OUT
Mon. Feb. 21 – Birmingham, AL @ Iron City * – SOLD OUT
Tue. Feb. 22 – New Orleans, LA @ Civic Theatre * – SOLD OUT
Thu. Feb. 24 – Houston, TX @ White Oak Music Hall (Outside Lawn) * – SOLD OUT
Fri. Feb. 25 – Dallas, TX @ The Bomb Factory * – SOLD OUT
Sat. Feb. 26 – Austin, TX @ Austin City Limits Live at the Moody Theater * – SOLD OUT
Mon. Feb. 28 – Phoenix, AZ @ The Van Buren * – SOLD OUT
Wed. March 2 – Los Angeles, CA @ Shrine Expo Hall * – SOLD OUT
Thu. March 3 – Los Angeles, CA @ Shrine Expo Hall * – SOLD OUT
Fri. March 4 – Oakland, CA @ Fox Theater * – SOLD OUT
Sat. March 5 – Oakland, CA @ Fox Theater * – SOLD OUT
Mon. March 7 – Portland, OR @ Arlene Schnitzer Concert Hall * – SOLD OUT
Wed. March 9 – Seattle, WA @ Moore Theatre * – SOLD OUT
Thu. March 10 – Seattle, WA @ Moore Theatre * – SOLD OUT
Sat. March 12 – Seattle, WA @ The Crocodile
Sun. March 13 – Portland, OR @ Doug Fir Lounge
Tue. March 15 – San Francisco, CA @ Bimbo’s 365 Club
Thu. March 17 – Los Angeles, CA @ Teragram Ballroom
*= supporting Mitski 

CHAI Online:
https://chai-band.com/en/
http://pitchperfectpr.com/chai/
https://twitter.com/CHAIofficialJPN
https://www.instagram.com/chaiofficialjpn/
https://www.facebook.com/CHAIofficialJPN/

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[Thanks to Jacob at Pitch Perfect PR.]