Nik Havert

Omni Sound to release “When There Is No Sun” – a reimaging of the music of Sun Ra.

(Ricardo Villalobos courtesy of Omni Sound)

Omni Sound is excited to announce When There Is No Sun, a global recording project uniting visionary electronic music producers to reimagine the universe of Sun Ra, out March 27th. Commissioned by Omni Sound and curated by Ricardo Villalobos, When There Is No Sun brings together Underground Resistance, Chez Damier & Ben Vedren, Calibre, A Guy Called Gerald, SHE Spells Doom, Barış K, and Ricardo Villalobos himself to draw from Omni Sound’s recordings of Living Sky by the Sun Ra Arkestra and My Words Are Music, a spoken-word album of Sun Ra’s poetry. The producers pull fragments of sound and text into their own creative orbits, passing through the portal that Sun Ra opened into a realm where the impossible is possible.

Invocations by Saul Williams, Anthony Joseph, Mahogany L. Browne, Abiodun Oyewole, Tunde Adebimpe, and Tara Middleton turn rhyme into rhythm and resistance into revelation. Rooted in deep reverence for Sun Ra’s legacy, yet reaching forward as a living, generative force, When There Is No Sun is not a tribute but a continuum. Each contributor balances the pulse of electronic music with the spirit of experimentation, embodying Sun Ra’s conviction that sound is a vessel for transformation.

In conjunction with today’s announcement, Omni Sound present “When Angels Speak” by Underground Resistance featuring Saul Williams. As one of Detroit’s most influential and uncompromising musical movements, Underground Resistance bring their anti-extractive, futurist vision of techno rooted in independence, resistance, and Black empowerment to the title track of Sun Ra’s rare 1966 album, released on their Saturn label. Williams, an internationally acclaimed poet, musician, actor, and filmmaker contributes a distinct blend of lyrical intensity and cultural insight.

Listen to “When Angels Speak” by Underground Resistance feat. Saul Williams

One of the most radical musical pioneers of the 20th century, Sun Ra used jazz, electronics, poetry, and performance to expand the possibilities of sound, identity, and imagination. A composer, bandleader, philosopher, and visionary, Ra didn’t just play music, he invented a universe. At the core of his philosophy is freedom through creation. He taught that the world’s dominant narratives—history, race, time, even gravity—are prisons of the mind, and that through music, myth, and performance, one could transcend these limits and reclaim control of destiny.

The artists featured in When There Is No Sun, in their own way, embody Sun Ra’s conviction that sound is a vessel for transformation. They are not united by genre but by purpose—artists who use rhythm, language, and imagination to rewire perception and open portals to new worlds.

Pre-order When There Is No Sun

When There Is No Sun Release Events:
Tue. March 17 – Cape Town, ZA @ Pan African Space Station (streaming event only)
Fri. March 20 – Wuppertal, DE @ Open Ground (feat: Ricardo Villalobos & Chez Damier)
Fri. April 10 – New York, NY @ Nublu (feat. Sun Ra Arkestra & Chez Damier)
Fri. July 31 – Amsterdam, NL @ Dekmantel Festival (feat. Saul Williams & Underground Resistance)

Keep your mind open.

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[Thanks to Sam at Pitch Perfect PR.]

Stolen Nova releases funky new single – “Shame.”

Today, LA-based Josh Landau aka Stolen Nova proves he is the intersection of skate grit and art-school cosmic glamour with his video for new single “Shame.”

Landau says, “Shame” is a lament over the death of a relationship. It’s dwells on the struggle of a perfect love no longer sparking and feeling the change happen beyond your control. It’s got a Funkadelic-y bass groove and an Andre 3000 inspired flow to the 2nd verse.

It’s the first Stolen Nova track to feature the London live band of Hattie Steel on drums and Rose Rey on bass. We wrote and recorded the song one Sunday last year with Lava La Rue in South London. Lava also directed the music video with their fabulously unique eye. It’s been a standout at shows for the last year and it’s exciting to let it out into the world.

Stolen Nova is the latest evolution of Josh Landau, an L.A. native raised on the fumes of surf wax, amp feedback, and Dogtown mythology. In the late 2000s, while most high schoolers were discovering MySpace, Landau was immersed in the sounds of Jimi Hendrix, Prince, Black Flag, and Black Sabbath, a kid orbiting the punk and skate scenes of Venice Beach and Beverly Hills’ empty swimming pools. His DNA was forged in distortion, rebellion, and sunburned West Coast idealism that refuses to die.

Before Stolen Nova, Landau spent the better part of a decade leading The Shrine, the hard-charging power trio that tore across the globe and shared stages with Iron Maiden and Slayer. The Shrine wasn’t just a band, it was a lifestyle emblem for a generation raised on Thrasher Magazine, Dogtown decks, and loud amps. They collaborated with Shepard Fairey (who designed the band’s artwork and invited them to perform at his Damaged exhibition), released a signature Converse skate shoe, and built an official Dogtown skateboard with Z-Boy legend Jim Muir.

When the feedback faded, Landau didn’t slow down, he reinvented. Stolen Nova emerged as his solo experiment in color, texture, and cosmic groove: the sound of a skater-turned-songwriter chasing new energy. After a stretch of couch-surfing in London, he returned home to record “Vortex,” a swirling introduction to his new vision. Then came “Lauren Bacall,” a cinematic single paired with a technicolor video shot in London. The track earned support from Apple Music’s Matt Wilkinson, who spotlighted it on Breaking, and from KROQ-FM’s Locals Only, where it landed in the Top 10 Songs of the Year. Coverage followed from Interview Magazine, Office, i-D, Another, Marvin, and HUCK, confirming that Stolen Nova had fully arrived.

Now, in 2026, Landau’s world is spinning faster than ever. Between playing guitar for 070 Shake on her worldwide tour, opening for TV on the Radio across Australia, and collaborating with Marshall, he’s also set to release “Shame,” his next single co-written and produced by Lava La Rue. He will co-headline Pappy & Harriet’s on March 28 with Mark Mothersbaugh, and his debut full-length as Stolen Nova arrives September 4, 2026.

Keep your mind open.

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[Thanks to Alex at Terrorbird Media.]

A Place to Bury Strangers drop “Acid Rain” on all of us.

New-York based band A Place To Bury Strangers release “Acid Rain,” the second single from their new rarities album, Rare And Deadly, out April 3rd via Dedstrange. Following lead single, “Everyone’s The Same,” “Acid Rain” was born out of the first Trump presidency and pulses with unruly energy.

Reflecting on the track and era, Oliver Ackerman says; “Cruelty felt not just normalized, but weaponized. Watching people in power openly coerce others into silence, compliance, and violence was horrifying, and still is. What shook me most was how casual it all felt, how easily people turned their heads while others were being crushed.” In the song’s opening lines, Ackerman sings: “Cover your eyes // Cover your face // Walk in line // Don’t embrace.”

He continues: “The chanting at the beginning was recorded during the George Floyd protests in Manhattan and Brooklyn, real voices, real streets, real fear mixed with hope. For a moment, it felt like maybe people would finally wake up and refuse this racist machinery. But here we are, still watching detention centers, modern slavery, and countless other atrocities continue under different names. ‘Acid Rain’ is rage, grief, and disbelief all colliding at once, the sound of watching history repeat itself while knowing exactly how wrong it is.”

The accompanying video was shot on January 16th, 2026, for one song, one stop and a bridge. A Place to Bury Strangers took over the New York City subway and turned it into a moving stage for a raucous rendition of “Acid Rain.” The track detonates in real time as the train makes its way through the Williamsburg Bridge into the Lower East Side, no choreography, no script. All this industrial pulse and feedback over screeching train tracks was shot guerrilla-style, this video is not a reenactment. It’s a live wire running through a frozen subway car of lucky witnesses who showed up anyway. Bold, relentless and built to last. New York at its finest.

Watch the “Acid Rain” Video

Rare and Deadly cracks open a decade-long vault of raw nerve and sonic chaos from A Place To Bury Strangers. Spanning 2015–2025, this collection of demos, B-sides, abandoned experiments, and forgotten fragments reveals the band at their most unfiltered—caught between breakthrough ideas and beautiful mistakes. Pulled from Ackermann’s personal archive of late-night recordings, blown-out tapes, and half-finished sessions, here the interference is closer, the electricity more dangerous, the edges left jagged on purpose.

What makes Rare and Deadly truly unprecedented is that every format tells a different story. The CD, cassette, vinyl, and digital editions each feature their own unique tracklisting, a fractured release strategy that is almost unheard of. No single version contains the “complete” album. Instead, each format becomes its own window into the archive, revealing alternate paths, missing links, and parallel versions of the band’s inner life. It’s a deliberately unstable document: the album shifts depending on how you choose to hear it, mirroring the chaos of its creation.

Across these recordings, you can hear the evolution of Ackermann’s restless mind. Some pieces feel like prototypes for future chaos, seeds that later bloomed on studio albums. Others are dead ends—ideas too volatile, too strange, or too personal to ever fit the frame of a proper release. But together they form a secret history of the band, a parallel world of possibilities that existed just outside the spotlight. The tracks contain riffs mutated by malfunctioning pedals, songs born from gear pushed past its limits, or delicate melodies overwhelmed by walls of feedback until only their ghosts remain.

Rare and Deadly is less a compilation and more a documentary—an aural snapshot of how sound takes shape before it hardens into something finished. You hear the room, the accidents, the restless experimentation, the immediacy of a moment being captured before it disappears. It’s a reminder that A Place To Bury Strangers has always thrived in this in-between space: the tension between control and collapse, melody and noise, beauty and distortion.

Pre-order Rare And Deadly

Watch:
“Acid Rain” video
“Everyone’s The Same” video

Rare And Deadly Tracklists Per Format

A Place To Bury Strangers Tour Dates:
Tue. April 7 – Hamburg, DE @ MS Stubnitz
Wed. April 8 – Leipzig, DE @ UT Connewitz
Thu. April 9 – Praha, CZ @ Futurum Music Bar
Fri. April 10 – Brno-město, CZ @ Kabinet múz
Sat. April 11 – Bratislava, SK @ PINK WHALE BAR
Sun. April 12 – Budapest, HU @ A38
Mon. April 13 – Belgrade, RS @ Karmakoma
Tue. April 14 – Sofia, BG @ Mixtape 5
Wed. April 15 – București, RO @ Control Club
Fri. April 17 – Thessaloniki, GR @ Eightball Club
Sat. April 18 – Athina, GR @ Gazarte
Mon. April 20 – Rome, IT @ Monk Club
Tue. April 21 – Florence, IT @ Ex Fila
Wed. April 22 – Bologna, IT @ Social Center TPO
Thu. April 23 – Milan, IT @ Santeria
Fri. April 24 – Zurich, CH @ Bogen F
Sun. April 26 – Brussels, BE @ Magasin 4
Mon. April 27 – Cologne, DE @ Gebäude 9
Wed. April 29 – Utrecht, NL @ De Helling
Thu. April 30 – Deventer, NL @ Burgerweeshuis
Fri. May 1 – Eindhoven, NL @ Fuzz Club Festival 2026

Keep your mind open.

[Don’t forget to subscribe!]

[Thanks to Patrick at Pitch Perfect PR.]

Rewind Review: Satan’s Pilgrims – Plymouth Rock: The Best of Satan’s Pilgrims (2004)

If you’re in need of some fun modern surf-rock, look no further than Satan’s Pilgrims. They showed up on my radar when I heard their song “Gravewalk” on a Halloween-themed rockabilly / surf compilation, and I’d been intrigued by their “monster-surf” sound since. Lo and behold, I stumbled upon Plymouth Rock: The Best of Satan’s Pilgrims in a Las Vegas wrecka stow (Record City) and snatched it up for less than ten bucks.

“Vampiro” starts off disc one (of two) with cool horror-rock grooves, and then “Que Honda?” shows off wild drumming. The squeaky, skronky guitars of the title track are bonkers. “Super Stock” covers a favorite subject of surf-rockers – fast cars. “Grave-Up” has that weird kind of spooky organ sound you want in horror-rock. “Creature Feature” is another great horror-rock tune that uses samples of old horror movie scores to good effect. “Soul Pilgrim” adds, yes, soul to the mix with the funky, groovy, soulful organ notes throughout it. “Badge of Honor” brings in some spaghetti western guitar riffs.

Highlights from disc one include the snappy opener “Soul Creepin'” (with some downright sexy bass and organ). “Haunted House of Rock” slinks and slithers all around you. The jangly guitars on “The Outsider” mix well with the harmonica riffs on it. A fun riff on Chuck Berry‘s “If You Wanna Dance with Me” (“If You Wanna”) makes you want to find a sock hop somewhere. “Green Chili” is another Morricone-flavored track with its great guitar work.

Again, if you’re a fan of instrumental surf-rock, this is for you. If you’re not a fan, this is still for you.

Keep your mind open.

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Review: Nevaris – SoundSession

One of the things I like best about dub music is that it’s the kind of music that always finds me when I need it. Sometimes I just need to chill out, or to take a breath, or to get laid, or remember to stop worrying about things out of my control. Dub music is perfect for all of that, and Nevaris has returned with another solid dub record for all of that – SoundSession.

The album consists of four tracks, all of them recorded in a single session in May 2023. They bring together Nevaris and his excellent hand percussion work with heavyweights like Peter Apfelbaum (saxophone, flute), Will Bernard (guitar), Matt Dickey (guitar), DJ Logic (turntables), Jojo Kuo (percussion), Bill Laswell (production), Lockatron (drums), Jonathon Maron (bass), and Angel Rodriguez (percussion).

“Ninth Sun” immediately hooks you from the first few notes and settles you into what you know is going to be a groovy, trippy time. Apfelbaum’s saxophone is practically incense smoke moving through the room. It’s jazzier on “Remedy,” with neat, stretched guitar sounds from Bernard and Dickey, and sizzling hand percussion and distorted synths that bring spaghetti westerns and back alley Negril bars to mind.

Lockatron is locked-in on “Document,” putting the whole band in his pocket and letting them know they can go bonkers and he’ll be the silver cord anchoring them to the material plane. DJ Logic’s scratches and long, almost droning guitar chords seem to extend the space around you. Apfelbaum’s saxophone solo on the track is high-class.

The album’s final track is its biggest. “Dub Orchestra” clocks in at nearly eighteen minutes with Logic’s scratches sounding like a mystical crow or raven chattering away as it leads you down a winding path. Apfelbaum’s flute is something on the wind you hear as you walk, and the percussion from Nevaris, Kuo, Lockatron, and Rodriguez is a treat. All four improvise with each other with no one overpowering the other. It’s a long, cool trip and worth the drive.

The record is just what you need, whether you know it or not.

Keep your mind open.

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[Thanks to Shauna at Shameless Promotion PR.]

Wrecka Stow: Crocodisc – Paris, France

Located at 42 Rue des Écoles (across from the Collège de France), Crocodisc takes up two store fronts and both are jammed full of records and discs.

“Don’t be afraid to ask what you’re looking for!” – Good advice. There’s *a lot* to dig through here.

That’s just one wall. One of the storefronts is mostly rock and electronica. It has sections for stuff from the U.S., the U.K., and, of course, Europe.

The other storefront is full of cool jazz, soul, reggae, afrobeat, and funk records from all over the globe.

All of that in just one corner of the store.

I was lucky to walk out of this place with only a few electro CDs (Portishead, St. Germain) and not spend all the euros in my pocket here.

Make sure to not have any pending appointments if you go there. You’ll be digging through bins for an hour at least.

Keep your mind open.

[Don’t forget to subscribe before you go.]

Wrecka Stow: Grace Records – Gilbert, Arizona

Found in an upscale shopping center at 2200 East Williams Field Road, Grace Records is a nifty place with a good mix of vinyl, CDs, shirts, and other oddities to peruse in the Phoenix suburb. It’s a simple layout, yet full of stuff to search.

Video games, mystery boxes, claw games, vinyl, CDs, and a “bloody Ric Flair” shirt all in one place.

They had a good collection of import stuff as well. This back wall is covered in good i import stuff ranging from anime soundtracks to punk rock.

One of my favorite parts of checking out all these record stores is seeing the fun, weird mixes of stuff on display, such as…

Want to do some crate digging? Then dive into bins like these…

They have some fun oddities, too, like this box set that I didn’t know existed…and didn’t purchase.

I instead walked out with a used five-disc CD box set of an eight-hour DJ set by John Digweed at a Brooklyn show for a mere twenty bucks. I was stunned at the bargain.

Also, the Mexican place at the other end of the block is pretty good.

Keep your mind open.

[Don’t forget to subscribe before you go.]

Wrecka Stow: Record City – Las Vegas, Nevada

Located at 300 East Sahara Avenue in Las Vegas, Nevada, Record City appears on the outside to be a simple brick building near some prime real estate but is like a TARDIS once you open the door.

The amount of stuff in the store is amazing. I don’t know if there are more vinyl records or DVDs in the place. There was a good amount of CDs, too.

I knew I was in a fun place when I looked left upon entering and saw these crates.

A Cramps import version of Songs The Lord Taught Us next to that cool Siouxside and The Banshees record? Come on! Their new wave section was also impressive.

The variety in the place is excellent. Check out this mix of records for example.

L-R: Can, Ian Dury, Sheena Easton, Frankie and The Knockouts

Another highlight of the place is their collection of neat soundtracks and movie scores on vinyl on display above their massive DVD collection.

That “Judgment Night” soundtrack alone is worth the purchase price.

It’s a fun place, full of bins and dusty boxes to explore. One box I found on the floor had vintage Escape from the Planet of the Apes loose trading cards in it among various picture of Elvis Presley. I almost bought them, but opted for CDs from Cypress Hill, A Tribe Called Quest, and Satan’s Pilgrims instead.

Don’t miss it if you’re in Sin City.

Keep your mind open.

[Don’t forget to subscribe before you go.]

A Place to Bury Strangers set to release “Rare and Deadly” rarities album on April 03, 2026.

New-York based band A Place To Bury Strangers announce their new rarities album, Rare And Deadly, out April 3rd via Dedstrange, and release the lead single, “Everyone’s The Same.” Following 2024’s Synthesizer, Rare and Deadly cracks open a decade-long vault of raw nerve and sonic chaos from A Place To Bury Strangers. Spanning 2015–2025, this collection of demos, B-sides, abandoned experiments, and forgotten fragments reveals the band at their most unfiltered—caught between breakthrough ideas and beautiful mistakes. Pulled from Oliver Ackermann’s personal archive of late-night recordings, blown-out tapes, and half-finished sessions, these tracks pulse with the unruly energy that has always defined APTBS, but here the interference is closer, the electricity more dangerous, the edges left jagged on purpose.

What makes Rare and Deadly truly unprecedented is that every format tells a different story. The CD, cassette, vinyl, and digital editions each feature their own unique tracklisting, a fractured release strategy that is almost unheard of. No single version contains the “complete” album. Instead, each format becomes its own window into the archive, revealing alternate paths, missing links, and parallel versions of the band’s inner life. It’s a deliberately unstable document: the album shifts depending on how you choose to hear it, mirroring the chaos of its creation.

Across these recordings, you can hear the evolution of Ackermann’s restless mind. Some pieces feel like prototypes for future chaos, seeds that later bloomed on studio albums. Others are dead ends—ideas too volatile, too strange, or too personal to ever fit the frame of a proper release. But together they form a secret history of the band, a parallel world of possibilities that existed just outside the spotlight. The tracks contain riffs mutated by malfunctioning pedals, songs born from gear pushed past its limits, or delicate melodies overwhelmed by walls of feedback until only their ghosts remain, as on today’s single, “Everyone’s The Same.”

Reflecting on the track, Ackerman says: “I had a dream where a man led me to a brook, peaceful and calm. When he turned his head slightly, I saw the most evil smile imaginable. But when I looked directly at him, it was just the back of his head again. Beauty and horror coexisting in the same space. It felt like hell leaking into something serene. Maybe that’s reality sometimes. And maybe pretending otherwise is a kind of survival.”

Stream “Everyone’s The Same”

Rare and Deadly is less a compilation and more a documentary—an aural snapshot of how sound takes shape before it hardens into something finished. You hear the room, the accidents, the restless experimentation, the immediacy of a moment being captured before it disappears. It’s a reminder that A Place To Bury Strangers has always thrived in this in-between space: the tension between control and collapse, melody and noise, beauty and distortion.

Pre-order Rare And Deadly

Rare And Deadly Tracklists Per Format

A Place To Bury Strangers Tour Dates:
Tue. April 7 – Hamburg, DE @ MS Stubnitz
Wed. April 8 – Leipzig, DE @ UT Connewitz
Thu. April 9 – Praha, CZ @ Futurum Music Bar
Fri. April 10 – Brno-město, CZ @ Kabinet múz
Sat. April 11 – Bratislava, SK @ PINK WHALE BAR
Sun. April 12 – Budapest, HU @ A38
Mon. April 13 – Belgrade, RS @ Karmakoma
Tue. April 14 – Sofia, BG @ Mixtape 5
Wed. April 15 – București, RO @ Control Club
Fri. April 17 – Thessaloniki, GR @ Eightball Club
Sat. April 18 – Athina, GR @ Gazarte
Mon. April 20 – Rome, IT @ Monk Club
Tue. April 21 – Florence, IT @ Ex Fila
Wed. April 22 – Bologna, IT @ Social Center TPO
Thu. April 23 – Milan, IT @ Santeria
Fri. April 24 – Zurich, CH @ Bogen F
Sun. April 26 – Brussels, BE @ Magasin 4
Mon. April 27 – Cologne, DE @ Gebäude 9
Wed. April 29 – Utrecht, NL @ De Helling
Thu. April 30 – Deventer, NL @ Burgerweeshuis
Fri. May 1 – Eindhoven, NL @ Fuzz Club Festival 2026

Keep your mind open.

[Don’t forget to subscribe!]

[Thanks to Patrick at Pitch Perfect PR.]

Stuck hit the gym, and your face, with “Deadlift.”

Stuck—the Chicago based trio of Greg Obis (vocals, guitar), David Algrim (bass), and Tim Green (drums)—release “Deadlift,” the second single/video from their forthcoming album, Optimizer, out March 27th via Exploding in Sound. Arriving on the heels of the “tightly-wound” (Brooklyn Vegan) lead single, “Instakill,” “Deadlift” is slower and sadder, delivering an unsparing look at the loneliness of workout culture; on the song’s chorus, Obis sings: “I know, I know, // you’ve heard it before // I never feel so alone // when the weight hits the floor.”

“I have become somewhat of a gym rat over the last several years,” Obis reflects. “Lifting weights has been indispensable for my physical and mental health. And yet, when I’m in a dark place, the gym can sometimes underscore feelings of loneliness and futility. ‘Deadlift’ uses the gym as a way to look at how atomized we have become; fixating on ourselves in public, locked into our fitness routines with our headphones, barely acknowledging the other people in the room, optimizing our wellness while racing to a red light.”

The song’s video was directed, produced, and edited by Austin Vesely and stars performer, actor and comedian Alex Grelle. “Austin Vessely’s video takes on these ideas from the opposite direction,” says Obis. “Working with him and Alex Grelle on this was a real treat. Alex is an incredible performer and improviser, and I still laugh when I watch him go all out in the video. We gave Austin very little to work with here in terms of a concept, and we’re super stoked with what he came up with.”

Watch the Video for “Deadlift”

Optimizer, the third album from Stuck reports live from the front lines of a society on the decline, where every attempt toward self-improvement only locks you into a more efficient downward spiral. The album is their most ambitious and eclectic collection of songs yet, without losing the nervy, quirked-up approach to post-punk that they’d established on their first two full-lengths.

To record Optimizer, Stuck reached out to engineer and producer Andrew Oswald (Marble Eyed, Powerplant, and Smirk). Oswald suggested that they track at Electrical Audio, the legendary Chicago recording studio once run by the late Steve Albini. With Albini’s passing still fresh, the opportunity to record at Electrical took on a personal significance for Obis; recording at Electrical would simultaneously help a local institution fill out their calendar in a moment of tragic instability and affirm Stuck’s place in a lineage of fiercely independent Chicago rock bands. Stuck are proud, in the humble way that any good Midwestern folks are proud, of embodying that archetype. Not only did Obis take over Chicago Mastering Service from Shellac’s Bob Weston when the latter decamped abroad, but Stuck’s choice of album title subconsciously mirrored Big Black’s classic Atomizer.

Optimizer continues their incorporation of synthesizers and also brings along more backing vocals, bigger choruses, and even blast beats. Oswald made his name recording extreme metal bands like Mortiferum and Caustic Wound. Though it is by no means a metal record, Oswald brought that genre’s level of tactile closed mic detail to Optimizer, resulting in the most high-definition and physically propulsive Stuck record yet. Previous Stuck albums needled you, using fast twitch guitars to keep you on edge. Optimizer goes straight for the emotional haymaker.

Pre-order Optimizer

Watch the Video for “Instakill”

Stuck Live
Fri. Apr. 3 – Detroit, MI @ Outer Limits
Sat. Apr. 4 – Toronto, ON @ The Garrison
Sun. Apr. 5 – Montreal, QC @ L’Esco
Tue. Apr. 7 – Kingston, NY @ Tubby’s
Wed. Apr. 8 – Brooklyn, NY @ Baby’s All Right
Thu. Apr. 9 – Boston, MA @ Deep Cuts
Sat. Apr. 11 – Philadelphia, PA @ Warehouse on Watts – Cambridge Hall
Sun. Apr. 12 – Washington, DC @ Comet Ping Pong
Fri. April 24 – Chicago, IL @ Sleeping Village [Record Release Show]

Keep your mind open.

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[Thanks to Jacob at Pitch Perfect PR.]