Nik Havert

Emily Jane White says “Show Me the War” on her new single.

Emily Jane White, the intriguing Northern California-based songwriter who Pitchfork noted for her ability to pair her “wispy and sweet” vocals with “world-weary” introspection and Brooklyn Vegan has championed for her “gothy, ethereal folk” releases Alluvion on March 25 via Talitres.

“’Show Me the War’ calls attention to the convergence of misogyny and racialized violence as a pervasive worldwide epidemic,” explains White. “During the summer of 2020 in Oakland, California, I wrote this song in response to the many political uprisings sparked by the murder of George Floyd. ‘Show Me the War’ also highlights more global examples of injustice like femicide in Juarez, Mexico and the near-total abortion ban in Poland. By grieving the many losses resulting from social and ecological injustice, we shed light on these unacceptable epidemics and those deeply affected by them, further enabling change.”

News of the Alluvion’s forthcoming arrival is paired with today’s release of “Show Me The War” and its accompanying, Bobby Cochran-directed video (https://youtu.be/ENrsd0YjjBs). The black and white clip filmed in Oakland features local teen dancers Satya Zamudio, Olivia Wenzler, Dinah Cobb, Kalia Morales, and Lina Santos, displays bold Gen Z women powerfully claiming public spaces with their art form, touching the sacredness of nature, while also contending with current social justice issues and the climate crisis.

Rooted in a moment of catastrophe, Alluvion is an album about personal and collective grief resulting from the loss of human life and the continued loss of our natural world. We live in a moment of merging traumas, of converging environmental, social, and political crises. These crises are exacerbated by our lack of cultural practices for individual and also shared, public grieving–which is not without consequence. Emily’s album offers a space to consider where grieving is absent in our world, and where it is deeply necessary. Grief moves in waves and cycles, and through its flood we can build anew. Alluvion: the gradual addition to the land by the wash of water against a shore.

Alluvion was produced by and arranged by multi-instrumentalist Anton Patzner (Foxtails Brigade, Bright Eyes) and mixed by Alex DeGroot (Zola Jesus).

Keep your mind open.

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[Thanks to Monica at Speakeasy PR.]

Dream, Ivory get “Blue” on their new single.

Southern California’s Dream, Ivory – a duo composed of brothers Christian and Louie Baello – shares the new video for the single, “Blue,” from their self-titled debut album on AWAL. Dream, Ivory is the product of long hours spent in their Lake Elsinore bedroom, Christian helming the production and Louie growing into lead vocalist. Only 11 months apart, the Baellos shared everything – clothes, toys, and music. “We played rock-paper-scissors to choose who got to keep a Gorillaz album; Louie won and I cried the entire way home,” says Christian. “He ended up giving it to me because he felt bad.”

Raised in a Filipino household, Christian and Louie’s parents wanted them to be stars. “Ever since we were kids, our Dad would always tell us that our star is shining, and will forever shine on,” say the brothers. Their parents enrolled them in piano lessons, which they both hated at the time. “We would dread going to class, because we wanted to go and play like the other kids. Now, we are so grateful that we had the opportunity.” Their earliest musical experiments included reenacting guitar solos from performance videos they watched online and sharing their own cover songs on YouTube, which would be the impetus to creating their own art.

“When we first started Dream, Ivory I was still in high school and it was a way of self-expression,” says Louie. Dream, Ivory’s hazy and melancholic atmosphere was inspired by bands such as Beach Fossils, Slow Dive, and Beach House. “Blue” is an enthralling glimpse into their collaborative energy. “It’s a typical ‘heartbreak song,” adds Louie. The accompanying video was produced by Hungry Ghosts, and is the first in a series of new videos the band will be sharing ahead of more new music in 2022.

Watch Dream, Ivory’s “Blue” Video

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[Thanks to Patrick at Pitch Perfect PR.]

Rewind Review: Buck Owens – Live from Austin TX (2017)

Recorded live at the famous Austin City Limits on October 23, 1988, this half-hour session from the legendary Buck Owens is like stomping the gas pedal of a moonshiner’s truck to the floor while crying over lost love.

Opening, of course, with his mega-hit “Act Naturally,” Owens gets everyone dancing right away. Terry Christofferson‘s steel guitar on “Together Again” is the song of weeping after a missing lover has returned after a long absence. “Love’s Gonna Live Here” is a toe-tapping, booty-shaking swinger.

Owens’ “Crying Time” is another classic and one that everyone can relate to at some time in their life. He knows the loneliness we’ve all known. Just when you’re feeling blue, he unleashes “Tiger By the Tail” to shake you out of it (and Jim Shaw‘s lively piano helps, too). “A-11” is a clever track that has Owens pleading with a stranger not to play a song on the jukebox that will remind him of the woman who left him.

“Hot Dog” epitomizes country swing. “Put a Quarter in the Jukebox” is both fun and sad at the same time, as many classic country songs are. “Memphis” is the first Chuck Berry cover in the performance, and it’s a dandy. As if one country legend tearing up the ACL stage wasn’t enough, Owens brings out Dwight Yoakam to perform “Under Your Spell Again” with him, and their vocal styles pair up perfectly with each other. “Johnny B. Goode” is the second Chuck Berry cover that closes out the show to a raucous crowd.

It’s a great recording, and it’s clear that Owens was having a great time throughout it.

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Lucy Dacus makes everyone swoon with “Kissing Lessons.”

Lucy Dacus released Home Video via Matador last year, solidifying her place as one of music’s best storytellers, with a remarkable showing on year-end lists. After a series of flyers appeared in several US cities last week with tear-off tabs for a “Kissing Lessons” hotline, a stream of callers to the number then reported being able to hear a new song by Dacus. No longer requiring a phone, “Kissing Lessons” is now available as a single for all to hear. It is accompanied by a video directed by Mara Palena. Complete with hand-drawn hearts and Polaroids, “Kissing Lessons” is another gem mined from Dacus’ childhood in Richmond, Virginia. It was recorded and mixed during the Home Video sessions, and stood out with its sweet and relatable reflection of childhood infatuation as Dacus sings atop infectious guitars, “We’d take turns being seduced // Imagining the day it would come into use // Imagining the day we’d start breaking hearts // And taking names.”

“Kissing Lessons” and “Thumbs Again” will be released as a 7” on June 3rd. The 7” is available for pre-order now.

Next week, Dacus kicks off a US tour where she will play many cities not yet visited in support of Home Video, and a few rescheduled shows from the fall. Additionally, after selling out three Brooklyn Steels last year, Dacus announces a headline performance at New York City’s SummerStage in Central Park on Thursday, July 21st. Tickets go on sale this Friday, February 4th at 12pm Eastern.
Watch Lucy Dacus’ Video for “Kissing Lessons”

Pre-order “Kissing Lessons”/“Thumbs Again” 7”

Watch/Listen/Share
Stream/Purchase Home Video
Watch “Hot & Heavy” Video
Watch Tiny Desk (Home) Concert
Watch “VBS” Video
Listen to “Thumbs Again”
Watch “Brando” Video
Watch The Tonight Show Starring Jimmy Fallon Performance

Home Video Tour
(new dates in bold)
Wed. Feb. 09 – Pitts, PA @ Stage AE *
Thu. Feb. 10 – Detroit, MI @ Majestic *
Fri. Feb. 11 – Newport, KY @ Ovation *
Sat. Feb. 12 – Indy, IN @ Egyptian Room *
Mon. Feb. 14 – Milwaukee, WI @ Turner Ballroom Valentine’s Day *
Tue. Feb. 15 – Chicago, IL @ Thalia Hall (Rescheduled Date) * – SOLD OUT
Thu. Feb. 17 – Minneapolis, MN @ First Ave (Rescheduled Date) * – SOLD OUT
Fri. Feb. 18 – Iowa City, IA @ Englert Theatre (Rescheduled Date) * – SOLD OUT
Sat. Feb. 19 – Lawrence, KS @ Liberty *
Sun. Feb. 20 – OK City, OK @ Tower Theatre *
Wed. Feb. 23 – Athens, GA @ Georgia Theatre *
Thu. Feb. 24 – Asheville, NC @ Orange Peel *
Fri. Feb. 25 – C-Ville, VA @ Jefferson * – SOLD OUT
Sat. Feb. 26 – Asbury Park, NJ @ Stone Pony * – SOLD OUT
Mon. Feb. 28 – Ithaca, NY @ Hangar Theatre
Tue. Mar. 01 – Holyoke, MA @ Gateway City Arts
Thu. Mar. 03 – Providence, RI @ The Strand
Sat. Mar. 05 – Baltimore, MD @ Ram’s Head
Fri. Mar. 18, 2022 – Leeds, UK @ Brudenell Social Club ^ – SOLD OUT
Sat. Mar. 19, 2022 – Leeds, UK @ Brudenell Social Club ^ – SOLD OUT
Sun. Mar. 20, 2022 – Glasgow, UK @ St. Lukes ^ – SOLD OUT
Mon. Mar. 21, 2022 – Dublin, IE @ Olympia Theatre ^
Wed. Mar. 23, 2022 – Manchester, UK @ Gorilla – SOLD OUT
Thu. Mar. 24, 2022 – Bristol, UK @ Marble Factory ^
Fri. Mar. 25, 2022 – London, UK @ Kentish Town Forum
Sat. Mar. 26 – London, UK @ Rough Trade – In-Store Performance
Sun. Mar. 27 – Brighton, UK @ Concorde 2 ^
Tue. Mar. 29, 2022 – Brussels, BL @ Rotonde ^ – SOLD OUT
Wed. Mar. 30, 2022 – Amsterdam, NL @ Paradiso Noord ^
Thu. Mar. 31, 2022 – Cologne, DE @ Artheater ^
Sat. Apr. 02, 2022 – Hamburg, DE @ Molotow ^
Sun. Apr. 03, 2022 – Copenhagen, DK @ Loppen ^ – SOLD OUT
Mon. April 04, 2022 – Aarhus, DK @ Atlas ^
Wed. Apr. 06, 2022 – Oslo, NO @ Parkteatret ^
Thu. Apr. 07, 2022 – Stockholm, SE @ Nalen Klubb ^
Sat. Apr. 09, 2022 – Berlin, DE @ Lido ^
Sun. Apr. 10, 2022 – Jena, DE @ Trafo ^
Tue. Apr. 12, 2022 – Vienna, AT @ Chelsea ^
Wed. Apr. 13, 2022 – Munich, DE @ Milla ^
Thu. Apr. 14, 2022 – Zürich, SU @ Bogen F ^
Fri. Apr. 15 – Paris, FR @ La Maroquinerie ^
Thu. Jul. 21 – New York, NY @ SummerStage in Central Park #
Sun. Aug. 7 – St. Charles, IA @ Hinterland Festival
Fri. Aug. 26 – London, UK @ All Points East Festival
Sat. Aug. 27 – Sun. Aug. 28 – Darmstadt, DE @ Golden Leaves Festival
Thu. Sep. 1 – Sun. Sep. 4 – Salisbury, UK @ End of the Road Festival

* = with Indigo De Souza
^ = with Fenne Lily
# = with Hop Along

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[Thanks to Jessica at Pitch Perfect PR.]

Rewind Review: Ibibio Sound Machine – Doko Mien (2019)

When I type “afrobeat” into my post here, my computer’s autocorrect feature changes it to “acrobat.” It makes a bit of sense, actually, because Ibibio Sound Machine combining Nigerian afrobeat with house music so well that they are like acrobats moving all around you with astounding skill on their 2019 album Doko Mien.

Opening track “I Need You to Be Sweet Like Sugar (Nnge Nte Suka)” sounds like a Curtis Mayfield track mixed with 64-bit video game blips. Eno Williams‘ soulful, powerful vocals grab you by the ears and don’t let go and Derrick McIntyre‘s bass roots down the whole thing. You think that’s funky? Wait until you hear “Wanna Come Down,” a track that mixes Max Grunhard‘s synths with his saxophone and Tony Hayden‘s trombone and Scott Baylis‘ trumpet so well that you’re not sure where one of the them ends and the other begins.

The title track (also known as “Tell Me”) could be an LCD Soundsystem cut if LCDSS were even funkier. “I Know That You’re Thinking About Me” brings in more soul smoothness to seduce you. “I Will Run” is a synthwave love song that makes you want to make out on the dance floor. “Just Go Forward (Ka I So)” is a call to action (“Just go forward, don’t look back!”) that everyone needs to hear – and follow.

“She Work Very Hard” has some of Alfred “Kari” Bannerman‘s most interesting guitar work on the record, sounding at times like he’s in a funk band, other times in a krautrock band, and other times like he’s in a shoegaze band. “Nyak Mien” is pure afrobeat joy. “Kuka” is even a bit psychedelic.

“Guess We Found a Way” is a trippy slow jam that, if you play it in the presence of a potential lover, you had better be prepared for something to happen. The album ends with “Basquiat” – a fittingly funky tribute to the funky artist who left us far too soon.

Acrobatic afrobeat, indeed.

Keep your mind open.

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Levitation France announces first wave of 2022 lineup.

Levitation France has announced the first group of bands scheduled to play the 2022 festival in the cool town of Angers. This is also the first year the festival will be a three-day event. Tickets are on sale now.

The lineup is already looking good. The Brian Jonestown Massacre will surely bring in a large crowd, and it will be cool to see Kim Gordon perform. Death Valley Girls and Frankie and the Witch Fingers always put on good performances, and I won’t miss Automatic‘s set.

I’m hoping to see Earthless, King Gizzard and the Lizard Wizard, Shame, and Dry Cleaning on the bill. Don’t miss out on it if you can get there.

Keep your mind open.

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Review: A Place to Bury Strangers – See Through You

A Place to Bury Strangers has a new rhythm section (the husband and wife team of John and Sandra Fedowitz on bass and drums, respectively) and with it Oliver Ackermann‘s most personal album to date – See Through You. The album is full of nods towards the band’s past sounds, continuing explorations of familiar themes (i.e., the insidious way technology continues to separate us), and movements to the future and new ways of pushing the sonic envelope.

The references to Ackermann’s past bandmates are inescapable, and he’s made it no secret that the lineup change, the pandemic, and the world lockdown changed his perspective on pretty much everything. The album’s opener (with its cool, robotic bass lick from John Fedowitz), “Nice of You to Be There for Me,” might be a sarcastic jab or it might be a genuine acknowledgment. It’s up to us to decide, as much of APTBS’ music is always open to multiple interpretations. Ackermann’s guitar work on it is somehow disjointed and jazzy at the same time.

“I’m Hurt,” however, pretty much tells you how Ackermann’s feeling. Sandra Fedowitz’s beats in it are pure industrial, perfectly backing up the dark, heavy feel of Ackermann’s mind. The song belongs in a modern giallo film. “Let’s See Each Other” might be the friskiest song Ackermann’s ever written. “Open your heart to me. Explore the fantasy, we’ve got the chance to be together. Let’s meet up late tonight, indulge in pure delight…” I mean…come on! Then again, knowing Ackermann, the song is probably about online fantasies and how they never pan out to be what you think they will.

“I never thought you’d get so low,” Ackermann sings on the fuzzy “So Low.” One interesting thing about See Through You is how the album has some of Ackermann’s clearest vocals yet it doesn’t slouch on the raw, loud power of APTBS’ catalogue. “So Low” is a good example of this. You can make out pretty much every word, but it’s still as loud as a saw mill. Just to surprise you, however, “Dragged in a Hole” is almost the opposite on the vocals, as they’re almost melded with the monster growls of Ackermann’s guitar and John Fedowitz’s bass.

“There’s no way to make it right. It wasn’t even done on purpose. You should know it’s not your fault, and I know no one deserves this.” Those are the opening lyrics of “Ringing Bells,” a track in which Ackermann apologizes to someone (Past bandmates? A former lover? Deceased relatives?) and Sandra Fedowitz goes completely nuts on her drum kit, being the yang rage to Ackermann’s yin grief. “I Disappear (When You’re Near)” has a cool, warped darkwave vibe to it that makes it a standout.

“Anyone but You” is surprisingly peppy with happy dance rhythms provided by Mr. and Mrs. Fedowitz. I can’t help but wonder if “My Head Is Bleeding” is a sort of sequel to “To Fix the Gash in Your Head,” one of APTBS‘ earliest tracks. “My back’s against the wall,” Ackermann sings on “Broken” – a track with frenetic energy to reflect his state of mind. John Fedowitz cranks up his bass on “Hold on Tight,” which you need to do throughout the entire track because it might knock you flat.

Synths and guitars meld well together on “I Don’t Know How You Do It,” almost to the point where you’re not sure where one ends and the other begins. It’s a strong shoegaze track, and a tip of the hat to The Jesus and Mary Chain with its sound. This sound continues on the uplifting closer, “Love Reaches Out,” with Ackermann singing, “I’ll always have the warmest thoughts of you.”

See Through You is one of APTBS’ most interesting releases as of late, even improving on the Hologram EP released not long ago that started exploring these themes of loss and hope. Ackermann is always exploring and innovating, and this record sets his bar even higher for the next.

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]

Review: Jacques Greene – Fantasy

Mostly made and recorded while he was self-isolation in Canada, Jacques Greene‘s new EP, Fantasy, came out of Greene’s exploration into presence and the blissful side of solitude.

The first track on the album, “Taurus,” hooks you within six seconds with its killer beats and meditative vocal sounds. “Memory Screen + Fantasy” is layered with trance beats, ambient chords, and images of Greene reliving his childhood through, like many of us, his computer or phone screen and memories.

According to Greene, “Relay” was made on multiple machines and recorded straight live and only fiddled with a bit in later editing. It’s a fun track that sounds like hip video arcade music. “Sky River” has thick electro-beats backed with haunting, smoky vocals from Somimagae about awakening the light within us. “Got to leave here. You are not the only one.” are the only lyrics of “Leave Here,” the closing track on the EP that, as Greene puts it, are “…kinda the most direct reference to the Get Me the Fuck Out of Here vibe of this whole record.”

Mission accomplished, Mr. Greene. This EP, brief as it is (just over twenty-one minutes), is a wonderful escape from winter chills, lockdown blues, or wherever you find yourself wishing for peaceful space.

Keep your mind open.

[I fantasize about you subscribing.]

[Thanks to Sam at Pitch Perfect PR.]

The Wife Guys of Reddit cook up some “Pig Fat” with their newest single.

Following the fêted success of 2021’s Wet and Tired, The Wife Guys of Reddit are back with their forthcoming single “Pig Fat” – a song that poses two questions:

What would happen if I literally decided to fight God?
What would happen if God turned out to be a little bit sexy?

Arion Xenos and Niamh MacPhail once again lend their vocal talents to the track, melding their trademark irreverence with a healthy dose of spunk. The addition of seasoned instrumentalists Elise Atkinson and Angus Fernie to The Wife Guys of Reddit’s ranks shines through on this single, with the band concocting their thickest
sound yet. While their hardest studio release to date, this shift should come as no surprise to those who have managed to catch one of the band’s protean live shows; Xenos said of “Pig Fat”: “With the band being able to flesh out the single together in the studio, we were able to properly experiment and push the boundaries of what we want The Wife Guys to be: “Pig Fat” bridges that gap between mellower past studio releases, and the wired energy of our live performances.” Not content with stopping there, the single release will be accompanied by a found footage horror-inspired homemade video, demonstrating the full creative prowess of this outfit.

In spite of their recent inception shortly before Christmas 2020, the self-titled ‘purveyors of soupy rock’ have already sparked interest in DIY circles across the globe, gaining coverage in BBC Radio Scotland with Vic Galloway, NARC. Magazine, Tenement TV, Amazing Radio with Jim Gellatly, and KXSF Radio, among others. The
band are additionally looking forward to weirding out the 2022 live circuit at Left of the Dial Festival, The Great Western, NXTGN Festival, and supporting She Drew The Gun on tour; as well as working on their forthcoming
EP, produced by Catholic Action’s Chris McCrory.

“Pig Fat” is out 25/02/2022.

Keep your mind open.

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[Thanks to Arion of The Wife Guys!]

Failure announces 2022 North American tour dates. Tickets are on sale now!

Failure have announced a North American tour in support of their recently released, widely-praised sixth album, Wild Type Droid.

Ken Andrews said of the live outings: “I have not been this excited to bring new material to the stage since Fantastic Planet. Prepare yourself for an out-of-body experience.”

The dates, which kick off on June 2 in San Diego and run for five weeks before culminating in a hometown show at Los Angeles’ Regent Theatre, are on-sale today at 10 am local time. All shows will open with a special preview of the forthcoming Failure documentary.

Wild Type Droid (https://failure.ffm.to/wildtypedroid) arrived in December via the band’s own label, Failure Music. Rolling Stone called the 10-song collection “incredibly expansive,” Guitar World described the album as “one of the most inspiring alternative guitar records to arrive in 2021,” and Paste Magazine said the trio “make a career-defining statement.”

“To me, it captures a lot of the new musical approaches and techniques we were going for on this album, but somehow is still quintessential Failure,” Ken Andrews explained as news of the album was revealed. “We’ve been together long enough to know that some of our best ideas come directly from these experimental sessions. For this album, we simply cultivated that methodology for a much longer time than we have in the past. It brought out the trio aspect of the band. There was a feeling we could really push the individual parts further away from each other and let the more interesting and challenging combinations take center stage.”

Failure is Ken Andrews (vocals, guitar, bass, programming), Greg Edwards (vocals, guitar, bass, keys), and Kellii Scott (drums, percussion). Forming in early ‘90s Los Angeles, the trio have released six albums: Comfort (1992), Magnified (1994), Fantastic Planet (1996), The Heart Is A Monster (2015), In The Future Your Body Will Be the Furthest Thing from Your Mind (a series of EPs released as an album in 2018), and Wild Type Droid (2021). The group is considered one of the era’s most influential rock bands with Vice, in an all-encompassing retrospective upon the band’s return saying: “While many of their contemporaries became prolific by releasing an ungodly amount of materials, Failure’s [initial] three-record catalog is minuscule, but just as important in terms of content, style, and music texture.”

Keep your mind open.

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[Thanks to Monica at Speakeasy PR.]