I've been a music fan since my parents gave me a record player for Christmas when I was still in grade school. The first record I remember owning was "Sesame Street Disco." I've been a professional writer since 2004, but writing long before that. My first published work was in a middle school literary magazine and was a story about a zoo in which the animals could talk.
Out-of-State Plates is a double-album of B-sides, live cuts, and unreleased material from power pop masters Fountains of Wayne is a treasure trove of catchy hooks and witty lyrics.
Opener “Maureen” is the type of song FOW do so well – a big rocker about a lovely woman and unrequited love. “California Sex Lawyer” is a great example of Chris Collingwood and Adam Schlesinger’s song craft. It’s a funny song skewering rich douche bags, many of whom probably love the song and don’t realize it’s a kick in their crotch. “Janice’s Party” is Collingwood’s salute to his friend’s annual shindig. “Karpet King” is a bonus track from 1997 that was, according to Schlesinger’s liner notes, “a live staple during our first few tours when we only had one album’s worth of material to choose from.” “I Know You Well” is a song Collingwood wrote for his brother’s wedding. “You’re Just Never Satisfied” is full of stadium rock riffs as Schlesinger throws up his hands yet again over trying and failing to please his girl.
Other standouts on the first disc are the 1999 bonus track “I’ll Do the Driving” (a song that angered Collingwood’s wife, according to his notes), the lovely “Places” (a salute to his wife, Barbara – the inspiration for their single “Barbara H.,” which was the A-side of this track), and their 1997 live cover of ELO’s “Can’t Get It Out of My Head.”
Disc two starts with the previously unreleased “The Girl I Can’t Forget,” a great tune about missing a great girl Schlesinger met when he was blitzed drunk and now can’t remember well. A low-key cover of Britney Spears’ “…Baby One More Time” follows it. “Elevator Up” is a sharp rocker about drug addicts. “Comedienne” (a 1997 bonus track) is a funny story about a comic who isn’t sure if she’s failing or succeeding.
Other highlights from this disc are the 1997 live version of “She’s Got a Problem,” a cover of Jackson Browne’s “These Days” done in one take, a triple shot of winter holiday songs (“I Want an Alien for Christmas,” “The Man in the Santa Suit,” and “Chanukah Under the Stars”), and a lovely tribute to Collingwood’s grandfather called “Imperium.”
This is a great collection of not only FOW songs, but also power pop tracks that any fan of the genre would love.
I, for one, am glad that electro and synthwave is making such a nice comeback. It might be due to the fact that I’m a Generation X kid who grew up on new wave synth music and experimental music ruling 1980’s cinema and the FM pop airwaves. I don’t know if Delicate Steve is a fellow Gen X’er, but he certainly loves the music from that era and displays that affection on his latest album – Till I Burn Up.
Opening with heavy synth bass and stuttering processed beats on “Way Too Long,” Till I Burn Up gets off to a great start by sounding like a robotic funk band doing a weird interpretation of Pink Floyd records. “Freedom,” like the track before it, revels in snap-crackle-pop guitar riffs and percussion. “Selfie of a Man” has a great title and a swaggering android sound that pokes fun of how social technology causes us to prevent more false versions of ourselves to the world at large.
The title track is full of crunchy guitar riffs with cool synth stabs behind them. “Purple Boy” is a short instrumental lead-in to the ethereal “Ghost” before the futuristic hit man theme of “Rat in the House.” Seriously, it sounds like something off a cool VHS movie you forgot existed. “Rubberneck” sounds like it’s from a scene in that movie in which the sexy bounty hunter that looks like a living Patrick Nagel painting walks into a smoky nightclub full of neon where they serve glow-in-the-dark drinks.
“We Ride on Black Wings” brings in soaring synths perfect for the song’s subject matter (death, and not being afraid of it). The short “Vacant Disco” is also aptly titled. The underlying quiet menace of the synths on “Madness” reveals some of Delicate Steve’s love for Gary Numan records, I think, and I love how his guitar sounds like it’s filtered through a Transformer’s vocal chords. The album fades out with “Dream,” a lovely track that reminds me of some of John Carpenter‘s quieter themes.
Synthwave is back, my friends, and thank heavens for folks like Delicate Steve for dusting off the old keyboards and sequencers to help it return.
Keep your mind open.
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We’re less than three full months into 2019 and I’ve already found what is likely to be one of the top 10 albums of the year – American Love Call by Durand Jones and the Indications.
Blending soul, jazz, and funk, American Love Call is a love letter, sermon, and warning to the United States in times of sound and fury and fear.
Starting with the beautiful “Morning in America” (My top single of the year so far.), Jones and his crew bring us tales of average people across the country trying hard to just get by while the rich get richer and Congress does nothing but sling mud. “It’s morning in America, but I can’t see the dawn,” Jones sings. It’s a soulful gut punch. The psychedelic touches on “Don’t You Know” take you straight back to vintage soul records from the 1960’s. It makes you want to dress sharp. “Circles” has Jones so spun up in love with someone who doesn’t care about him that he doesn’t know where to turn or what to do next.
“Court of Love” is a soulful ballad with slow-dance guitar and sad doo-wop backing vocals. The groove on the lovely “Long Way Home” is as downright wicked as the lyrics about trying to work one’s way back from sin are relatable to everyone. The love of family, and love in general, is prevalent throughout the record, of course, and this track is a standout on that theme. You’d swear “Too Many Tears” was part of a collection of tracks from early Motown B-sides.
Speaking of Motown, “Walk Away” brings the Temptations to mind with its lush string section and sultry sound (and that flute solo!). “What I Know About You” is another lesson in sexy grooves. The simple organ chords add a layer that almost carries you away with them. Another jaw-dropping groove comes with the drums on “Listen to Your Heart” – a song about giving into love and passion that the band does so well. It’s probably on five thousand make-out playlists by now.
“Sea Gets Hotter” is a song about holding it together with the one you love while the world falls apart around you. “How Can I Be Sure” has a bass groove suitable for a 1970’s bachelor pad in outer space. The closer is the slow dance-inducing “True Love.” The drum beats in this are slicker than clarified butter in a hot skillet.
I wrote earlier that American Love Call is a love letter, sermon, and warning to America. It’s a love letter to the country that inspires so many, a sermon to a country that needs to embrace love more than ever, and a warning against turning away from love and chasing after things that will only bring heartache in the end. Embrace your neighbors, lovers, friends, strangers, and foes. It’s the call we all must heed.
Keep your mind open.
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The Beths are back in North America for their largest headline tour in support of 2018’s breakout album, Future Me Hates Me(available now via Carpark Records). The band has already sold out shows in Toronto, New York City, Washington, DC, and Chicago. Today, they share the video for “Uptown Girl” compiled on their last North American tour in the fall. After this current run which includes a stop at SXSW, The Beths will continue onto Australia and Europe where they’ve started selling out shows and upgrading to bigger venues. Then, they’ll bookend the summer festival season at Primavera Sound, Pickathon and Pukkelpop. The band will also be releasing its debut EP, Warm Blood, on vinyl for the first time via Carpark Records. The official release date is April 26th with some copies being available to purchase on tour soon. Pre-order here.
Sun. Mar. 10 – Tampa, FL @ Festival Gasparilla Mon. Mar. 11-Fri. Mar. 15 – Austin, TX @ SXSW (w/ Bad Bad Hats) Sat. Mar. 16 – Dallas, TX @ Not So Fun Wknd (w/ Bad Bad Hats) Sun. Mar. 17 – Houston, TX @ Satellite Bar (w/ Bad Bad Hats) Thu. Mar. 21 – Melbourne, AUS @ Forum Fri. Mar. 22 – Melbourne, AUS @ Forum Sun. Mar. 24 – Hobart, AUS @ Republic Bar & Café Thu. Mar. 28 – Fortitude Valley, AUS @ The Foundry Fri. Mar. 29 – Fortitude Valley @ The Tivoli Sat. Mar. 30 – Newtown, AUS @ Enmore Theatre Sun. Mar. 31 – Leichhardt, AUS @ Crowbar Thu. Apr. 4 – Collingwood, AUS @ The Gasometer Hotel Fri. Apr. 5 – Adelaide, AUS @ Thebarton Theatre Sat. Apr. 6 – Adelaide, AUS @ Jive Thu. Apr. 11 – Perth, AUS @ Badlands Bar Sat. Apr. 13 – Perth, AUS @ Astor Theatre Tue. May 7 – Birmingham, UK @ Hare & Hounds Wed. May 8 – Oxford, UK @ The Wheatsheaf Thu. May 9-Sat. May 11 @ Brighton, UK @ The Great Escape Sun. May 12 – Leeds, UK @ Gold Sounds Festival Mon. May 13 – Edinburgh, UK @ Sneaky Pete’s (SOLD OUT) Tue. May 14 – Glasgow, UK @ G2 (MOVED DUE TO DEMAND) Wed. May 15 – Manchester, UK @ Band on the Wall (MOVED DUE TO DEMAND) Thur. May. 16 – London, UK @ The Dome, Tufnell Park (SOLD OUT) Fri. May 17 – Bristol, UK @ Fleece (MOVED DUE TO DEMAND) Sat. May 18 – Wrexham, UK @ Ty Pawb Arts Hub (Focus Wales) Sun. May 19 – Ramsgate, UK @ Ramsgate Music Hall Tue. May 21 – Paris, FR @ Supersonic Wed. May 22 – Colmar, FR @ Le Grillen Thu. May 23 – Lyon, FR @ Sonic Sat. May 25 – Madrid, ES @ Tomavistas Tue. May 28 – Dornbirn, AT @ Spielboden Wed. May 29 – Munster, DE @ Gleis 22 Thu. May 30 – Groningen, NL @ VERA Fri. May 31 – Nijmegen, NL @ Merleyn Sat. June 1 – Hilvarenbeek, NL @ Best Kept Secret Festival Sun. June 2 – Barcelona, ES @ Primavera Sound Sat. Aug. 3 – Happy Valley, OR @ Pickathon Thu. Aug. 15 – Trondheim, NO @ Pstereo Sun. Aug. 18 – Haasselt, BE @ Pukkelpop Wed. Aug. 28 – London, UK @ Heaven
I hadn’t seen the Bob Mould Band in concert since New Year’s Eve 2014 at the Metro in Chicago. That was a blast, and now one of my rock heroes was kicking off my year of live music in 2019. An added bonus was meeting Mr. Mould on Clark Street a few blocks south of the venue. I got to shake his hand and tell him thanks for everything, so the day was a win.
Opening for him were Chicago’s Airstream Futures. Unfortunately, none of the photographs I took of their set turned out well, but I can tell you that they played an energetic set of punk with pop riffs. Their drummer has impressive chops, and their lead singer had a lot of energy despite, as she mentioned, being fired from her full-time job earlier that day.
Mr. Mould and his pals, Jason Narducy on bass and Jon Wurster on drums, came out swinging with a triple threat of “The War,” “A Good Idea,” and “I Apologize.” There was barely time to catch your breath when they were tearing into “See a Little Light” and “Sunny Love Song” – a track of his new record, Sunshine Rock.
There were many moments when I thought a mosh pit would, and should, have broken out, but the crowd was mostly aging punks (like yours truly) who are afraid of twisting a knee or running out of breath in a pit (unlike yours truly). Such moments came with songs like the title track of the new album, “Hey Mr. Grey,” and “If I Can’t Change Your Mind.”
One thing Mr. Mould assured everyone of during the show was that he can still shred. He tore his guitar up during multiple songs and wowed many of us with the kinds of solos you rarely hear at punk rock shows anymore.
The encore of “Never Talking to You Again,” a cover of Sonny Curtis‘ “Love Is All Around,” and “Flip Your Wig” was another sonic assault that left everyone wanting more, as a good encore should. You can’t go wrong with a Bob Mould show. He’s still putting out great music and destroying stages. Don’t miss him.
Working as both a loving homage to his (in)famous home town of Endicott, New York and as another weird walk through the world of bedroom rock, Gary Wilson’s newest record, The King of Endicott, is another bizarre, romantic, funky, fun piece of work from him.
“Don’t be afraid when I hold your hand,” Wilson sings on the intro of the record as Captain Beefheart-like warped saxophone warbles behind him. Then “The Town of a Thousand Lights” kicks in with peppy organ and electric drums as Wilson offers to be your tour guide / date for the night in a town he finds as enthralling as Paris. His vocals are particularly happy throughout it. It sounds like he’s having a blast.
He’s having a blast on his keyboards on “The Lonely Park,” too, as he sings about taking his girlfriend (Linda?) to a quiet park before it gets too late and before she changes her mind. The walk continues on “Walking in the Rain Tonight.” Wilson just wants to hold hands with his girl (Linda? Karen?) and stroll along as smoothly as his keyboard riffs without a care. Isn’t that what we all want?
“I Think I’m Falling in Love” has Wilson wondering what’s wrong with his girl (Linda? Karen? Debbie? Sheryl?) as he sees her crying at her own reflection while he declares his love for her (from outside her room, or her house?). The bouncy beats and keys keep you upbeat despite the sad nature of the tune. “The king of Endicott is sad tonight,” Wilson sings on the title track. He’s lonely on another Friday night. He’s a king without a queen, but he never gives up hope. Wilson never gives up hope on this or any other record, really. He’s an eternal optimist, and determined to find love someday. That’s evidenced on the near-slow jam “I Don’t Want to Be Alone.”
“I Dream of My Secret Girl” could be the title to every one of Wilson’s records, or even his songs, because they all share the theme of unrequited love, being a gentleman despite heartbreak, romance, and thrilling adventure in magical lands – even if that land is as simple as Endicott, New York. Speaking (again) of Endicott, “Midnight in Endicott” is a recap is a bouncy “part two” of sorts to “I Don’t Want to Be Alone.”
“A Perfect Day in Endicott,” according to Wilson, involves him crying “a million tears” after a friend leaves town, but getting cheered up by his remaining pals after he calls them up on his new telephone and asking if they want to hang out with him (and why wouldn’t you?). Wilson’s synths on “Mary Walked Away” are positively groove-inducing. “Another Dimension” is a warped instrumental that borders on dream and nightmare.
“Where did Linda go?” Wilson asks on “It’s Summer Time.” It’s a question he’s asked for years. In this instance, Linda has ditched him during a date at the movies. He tries to remain upbeat with the pleasant weather and all the pretty girls partying at the city pool, but he’s still blue. The album ends with “Hail to the King” – a pitch-shifting declaration from Endicott’s king that fades out just as Wilson is about to give us a history lesson of the town and probably his heart. It leaves you with questions, as most of Wilson’s albums do.
Wilson is an odd duck, but he’s a romantic odd duck and that’s why us fans of his love him. His albums are the soundtracks of loneliness and hope. He’s the king of not only Endicott, but forlorn lovers everywhere.
The cover for Pink Mexico‘s new album, Dump, shows a man who appears to be in his 60’s wearing black socks with sandals hitting a long-haired, tattooed young’un in red socks and combat boots with a shovel while standing in front of a locked, graffiti-covered storage shed or garage. I’m not sure what this image is supposed to convey, but I can’t help thinking it’s a tongue-in-cheek poke at Millennials, hipsters, and, yes, people older than them. It’s a mix of “Turn down that racket, you damn hippies!” and “Will you old folks stop bitching about everything?”
Starting with “Thumbsucker,” Pink Mexico (Robert Collum, Ian Everall, and Grady Walker) unload great hooks out of the gate and a wild guitar solo to let you know this is going to be a wild ride. “High Dive” brings to mind early Wavves cuts with its surf touches amidst the fuzz and buzz and lyrics about being so stoned you think you might die. Speaking of such subjects, “Prescription Overdose (P.O.D.)” confronts that subject head-on as the band pleads for friends of theirs to scale back on the pills.
“Dirty & Stupid” is an ode to screwing up a great relationship due to too much partying (“If you need me, I’ll be wasted…How did I get home? Why am I all wet?”). “Sex Happiness” is about a similar theme – trying to remember the afterglow of great sex. The vocal reverb is a great touch to the fuzz and squawks of the guitars. “Girlfriend” keeps the themes of sex and confusion with lyrics like, “Do you know what it means to be happy on your own?” battling with “I think I love you, but this is too new.” The brief fade-in and fade-out of “WSLY” is a bit of a fake jab to the near-doom metal right cross of “Shit River.” The squeaks and squeals of the guitars on “Rattlebrain” might leave you feeling that way.
“I’ve heard it all before.” the band yells on “Fuckhead” – which could be a verbal smackdown to political leaders, bosses, contemporary rock radio, or all of the above. The beats and riffs of “Liberty Kid” will get you jumping and remind of early Nirvana cuts. While we’re on the subject of Nirvana, one can’t help but think the brief “Psycho Juice” is a tribute to Kurt Cobain due to its lyrics about suicide by gunshot.
“Heartfist” begins with throbbing synth-bass and fuzzy vocals and then turns into a heavy psychedelic jam about heartbreak and anger (“She turned my heart into a fist.”). It’s a cool way to end the album – fuzzy psychedelia after so much heavy hitting.
The album’s title is as intriguing as the cover. Does the dump refer to how the lyricist feels inside after so much relationship trouble, the status of a relationship, an actual place, the state of the nation, or the need to dump / vent all of his anger? It’s probably all of them, and all of them get bludgeoned by the raucous energy of this record.
Coming in at a hot eleven minutes, Warish‘s debut EP contains five wild tracks of grungy punk that their label, RidingEasy Records, describes as a combination of Nirvana and Misfits, andthat’s accurate.
Beginning with “Bones,” guitarist / vocalist Riley Hawk sets the stage with buzzsaw riffs that Ty Segallwould love. Drummer Bruce McDonnell starts literal and metaphorical mosh pits with his ferocious beats on “Voices.” He and Hawk put out enough energy for a six-piece, let alone a two-man band.
The chant of “Fight for your life!” on “Fight” (not to mention the pedal-to-the-metal drumming) is sure to get your blood pumping. “Human” is the longest track on the EP, and it’s not even three minutes long. It’s probably a good thing it isn’t longer, because I’m not sure the human body or speakers built by humans could withstand the face and wire-melting power of it for more than two minutes and thirty-nine seconds. The EP ends with “Shivers,” a hard-hitting fuzz-fest that leaves you nearly out of breath.
A full-length album by these two will be one of the heaviest records of this generation if their self-titled EP is any indication. Get on the bandwagon now.
Smalltown Supersound is pleased to announce the release of 58-year-old Norwegian composer Erik Wøllo’s Sources. Early Works 1986 – 1992, out March 29th. Additionally, Wøllo shares the ethereal and atmospheric “Ody to Sea.”
Listen to “Ody to Sea” – https://youtu.be/rBw8rKXHDcM
Wøllo, who has been a professional artist since 1980, has covered a wide range of styles, from rock and jazz to experimental electronic and classical music. He was one of the first Norwegian composers who adapted a minimalistic style, building a bridge between grand symphonic realms and gentle, serene sounds. His musical statements range from slowly-drifting kaleidoscopic passages to epic soaring guitar melancholy, to upbeat ever-changing sequences and compelling melodies. Possessing a sense of drama and storytelling, Wøllo has been composing and performing music for films, theater, ballets, and art exhibitions, as well as music for string quartets and large orchestras.
Sources joins Wøllo’s nearly 40-album catalogue. Comprised of 10 previously unreleased tracks, Sources was originally recorded surrounding the album sessions that spun Dreams Of Pyramids (1984), Traces (1985), and Silver Beach (1986). This was the start of a very fruitful and inspired period for Wøllo, thanks to modernized technology like MIDI and inspiration from music from all over the globe. “There was lots of new equipment coming out during these years, and this reflects the music I made at the time.” Wøllo says. “There was also a lot of great electronic music released. I was inspired by artists like Hassell, Eno and Budd. Also a big influence was Klaus Schulze after seeing him at the legendary Oslo club, Club 7 in 1984.” The spacey sounds on Sources show a clear line of cosmic excursions between Wøllo’s early releases to modern day fellow Norwegian travelers Lindstrøm, Bjørn Torske, and Prins Thomas.
Sources remained untouched, transferred from tapes that Wøllo had made years ago, before Helge Sten (Deathprod) mastered the material in his Audio Virus Lab. The collection was mostly created with a Roland MSQ 700 sequencer, in real time with several MIDI synths/modules recorded directly to either a 2-track stereo recorder or 4-track Tascam Portastudio.
“I am very happy that the album feels like one whole. I do not often look back, and I rarely listen to my own releases after they are released,” says Wøllo. “Sometimes I get positively surprised discovering new aspects of my older material. This is music made on impulse and with an eagerness to create. Not much thought was put into how it would be released. At least this is the way I remember it.”
Sources. Early Works 1986 – 1992 Track list: 1. Blooming 2. Swamp Land 3. Soft Journey 4. Under Water 5. The Near Future 6. Big Sky 7. The Movie 8. Luftreise 9. Native Dance 10. Ody At Sea
Pre-orderSources. Early Works 1986 – 1992 http://smarturl.it/sts342-preorder
“The Indications get even better on new LP ‘American Love Call,’ which contains frequent jolts of Frankie Lymon falsetto from drummer Aaron Frazer. Much of contemporary R&B is forceful and rugged; on tracks like ‘Court of Love’ and ‘Sea Gets Hotter,’ the Indications stay wonderfully delicate.” — Rolling Stone
Just ahead of the release of their sophomore album, American Love Call (out March 1st on Dead Oceans/Colemine Records), Durand Jones & the Indications are thrilled to share the album’s third single, “Long Way Home.”
“Aaron [Frazer] was playing something on guitar and I felt like it really went with something I was writing in my journal, a reflection on my experience with the justice system in America,” says Jones. “Aaron liked what I had and added his own perspective to it, about refugees, immigrants and the systemic obstacles they face on arrival. I can’t help but think of the brothers and sisters in America’s prison system whose lives are ruined over minor convictions. How some of my friends at home now navigate their young adult lives as felons, and all the barriers— social, political and economic— that come along with that. I also think of how we are not walking these trials alone. And if you’re willing to give a hand to help something, it usually comes back around when you need it. We have to show up for each other.”
Helmed by foil vocalists Jones and Frazer (drums), The Indications’ sound of “old-school soul with a new-school honesty” (NPR’s All Things Considered) is rounded out by Blake Rhein (guitarist), Kyle Houpt (bassist), and Steve Okonski (keyboard). The Indications will tour the US extensively this spring in support of American Love Call. A full list of tour dates are below.
Watch/Share: “Long Way Home” stream – https://youtu.be/o0P1dkvNSMI
“Morning In America” video – https://www.youtube.com/watch?v=SANEafqL5io
“Don’t You Know” video – https://youtu.be/A9rDPXoGSDg
Durand Jones & the Indications’ Tour Dates: Mon. March 18 – Houston, TX @ White Oak Music Hall Tue. March 19 – Dallas, TX @ Club Dada Thu. March 21 – Santa Fe, NM @ Tumbleroots Fri. March 22 – Phoenix, AZ @ Crescent Ballroom — SOLD OUT Sat. March 23 – San Diego, CA @ Casbah — SOLD OUT Mon. March 25 – Tustin, CA @ Marty’s On Newport — SOLD OUT Tue. March 26 – Los Angeles, CA @ Teragram Ballroom — SOLD OUT Wed. March 27 – Los Angeles, CA @ Teragram Ballroom — SOLD OUT Thu. March 28 – Santa Barbara, CA @ SOhO Restaurant & Music Club — SOLD OUT Fri. March 29 – Oakland, CA @ The New Parish — SOLD OUT Sat. March 30 – San Francisco, CA @ The Independent — SOLD OUT Mon. April 1 – Portland, OR @ Wonder Ballroom Tue. April 2 – Seattle, WA @ Neumos Thu. April 4 – Salt Lake City, UT @ The State Room Fri. April 5 – Denver, CO @ Bluebird Theater Sat. April 6 – Kansas City, MO @ recordBar Sun. April 7 – Omaha, NE @ The Waiting Room Tue. April 9 – Minneapolis, MN @ 7th Street Entry Wed. April 10 – Madison, WI @ High Noon Saloon Thu. April 11 – Chicago, IL @ Thalia Hall Fri. April 12 – Columbus, OH @ A&R Music Bar Sat. April 13 – Carrboro, NC @ Cat’s Cradle Sun. April 14 – North Charleston, SC @ High Water Festival Tue. April 16 – Washington, DC @ Rock & Roll Hotel Wed. April 17 – Brooklyn, NY @ Music Hall of Williamsburg Fri. April 19 – Philadelphia, PA @ First Unitarian Church Sat. April 20 – Uncasville, CT @ Wolf Den at Mohegan Sun Resort Sun. April 21 – Boston, MA @ Brighton Music Hall Mon. April 22 – Baltimore, MD @ Ottobar Wed. April 24 – Cincinnati, OH @ The Woodward Theater Fri. April 26 – Nashville, TN @ The Basement East Sat. April 27 – Oxford, MS @ Double Decker Arts Festival Sun. April 28 – Atlanta, GA @ Terminal West Sat. May 11 – Bloomington, IN @ Indiana University w/ Neko Case Fri. June 14 – Flagstaff, AZ @ Pepsi Amphitheater w/ Rebelution Sat. June 15 – Chula Vista, CA @ North Island Credit Union Amphitheater w/ Rebelution Sun. June 16 – Santa Barbara, CA @ Santa Barbara Bowl w/ Rebelution Mon. June 17 – Los Angeles, CA @ The Regent Theater Wed. June 19 – Fresno, CA @ Woodward Park Amphitheater w/ Rebelution Thu. June 20 – San Luis Obispo, CA @ Avila Beach Golf Resort w/ Rebelution Fri. June 21 – Sacramento, CA @ Papa Murphy’s Park (Bonney Field) w/ Rebelution Sat. June 22 – Berkeley, CA @ The Greek Theatre at UC Berkeley w/ Rebelution Sun. June 23 – Bend, OR @ Les Schwab Ampitheater w/ Rebelution Thu. June 27 – Boise, ID @ Idaho Botanical Garden – Outlaw Field w/ Rebelution Fri. June 28 – Eugene, OR @ Cuthbert Amphitheater w/ Rebelution Sat. June 29 – Redmond, WA @ King’s County Marymoor Park w/ Rebelution Sun. June 30 – Bonner, MT @ KettleHouse Amphitheater w/ Rebelution
Pre-order American Love Call* – https://ffm.to/americanlovecall
*Dead Oceans exclusive bundle includes the album on limited transparent orange vinyl, limited edition transparent purple “Morning in America b/w Cruisin’ to the Park” Colemine Records white label promo 7”, a 7” adapter and poster.
