Nik Havert

Priests preach about arms dealing on new single “Good Time Charlie” from upcoming album.

WATCH “GOOD TIME CHARLIE” https://youtu.be/nEN_GTab-ro

WATCH “THE SEDUCTION OF KANSAS” http://smarturl.it/TheSeductionOfKansas

Washington, D.C. rock trio Priests – comprised of drummer Daniele Daniele, vocalist Katie Alice Greer, and guitarist G.L. Jaguar – share “Good Time Charlie,” off of their forthcoming album, The Seduction of Kansas, out April 5th via Sister Polygon Records. They also share an accompanying lyric video. Following the lead single and the band’s purest pop song to date, “The Seduction of Kansas,” “Good Time Charlie” is a tightly wound track spun out of America’s westernized vision of violence.

“I like to think of this song a little bit like the Gilligan’s Island Theme song, but for a Hollywood tale of Charlie Wilson. It’s also a little bit about 9/11 but much like Otessa Moshfegh’s My Year Of Rest And Relaxation, the character sketch is more drawn out in its absence rather than presence. I saw a documentary about the history of the United States’ relationship with the Middle East, and there was clip of an 80s lady who looked a little like Vanna White (who turned out to be Joanne Herring) saying how she wanted to get the Mujahadeen guns to fight the communists because she believed they worshipped the same god as her. So I got curious about how this story unfolded, but even more so, how the tale has been told in western culture. I watched the movie Charlie Wilson’s War and it was so unintentionally funny the way they told this story, like think of the movie Team America, except the filmmakers weren’t joking (at least I don’t think). And then I read in the film’s Wikipedia page: “The film’s happy ending came about because Tom Hanks ‘just can’t deal with this 9/11 thing.’” I don’t know why exactly but this got stuck in my head and made my brain feel like it was exploding. So, with Daniele and GL and Janel Leppin on bass, we made it into a song. Hope you like it!”

The Seduction of Kansas probes the realities and mythologies of America in 2019. Marking the first time the band has collaborated with someone outside of their DC-based community – a decidedly less hermetic approach – they found a kindred spirit in producer John Congleton (Angel Olsen, St. Vincent). The band spent two weeks recording at his Elmwood Studio in Dallas. They also enlisted help from primary bassist and fourth songwriting collaborator, multi-instrumentalist Janel Leppin, who played on the band’s previous album, Nothing Feels Natural. The songwriting process found the group once again analyzing the textures and scopes of albums as aggressive as they are introspective, like Massive Attack’s Mezzanine, Portishead’s Third, and Nine Inch Nails’ Downward Spiral.

Priests will soon embark on a North American and European tour. All dates are below.

PRIESTS 2019 TOUR DATES Fri. March 8 – Savannah, GA @ Savannah Stopover Music Festival Sat. March 9 – Birmingham, AL @ The Firehouse Mon. March 11 – Fri. March 15 – Austin, TX @ SXSW Sun. March 17 – Nashville, TN @ Exit / In Mon. March 18 – Knoxville, TN @ The Pilot Light Mon. April 15 – Philadelphia, PA @ Union Transfer Tue. April 16 – Brooklyn, NY @ Elsewhere Thu. April 18 – Cambridge, MA @ The Sinclair Fri. April 19 – Montreal, QC @ Casa Del Popolo Sat. April 20 – Toronto, ON @ The Garrison Sun. April 21 – Detroit, MI @ El Club Mon. April 22 – Chicago, IL @ Lincoln Hall Thu. April 25 – Madison, WI @ High Noon Saloon Fri. April 26 – Minneapolis, MN @ 7th Street Entry Sat. April 27 – Omaha, NE @ Reverb Sun. April 28 – Des Moines, IA @ Vaudeville Mews Tue. April 30 – Bloomington, IN @ The Bishop Wed. May 1 – Columbus, OH @ Ace of Cups Sat. May 11 – Brighton, UK @ The Great Escape Sun. May 12 – Bristol, UK @ Rough Trade Mon. May 13 – Manchester, UK @ YES (Pink Room) Tues. May 14 – Glasgow, UK @ The Hug and Pint Wed. May 15 – Leeds, UK @ Brudenell Social Club Thu. May 16 – London, UK @ 100 Club Fri. 17 May – Lille, FR @ Aeronef Sat. 18 May – Paris, FR @ Supersonic Mon. 20 May – Brussels, BE @ Botanique (Witloof Bar) Tue. 21 May – Cologne, DE @ Bumann & Sohn Wed. 22 May – Munich, DE @ Import/Export Thu. 23 May – Zurich, CH @ Rote Fabrik Fri. 24 May – Heidelberg, DE @ Queer Festival (Karlstorbahnhof) Sat, 25 May – Amsterdam, NL @ London Calling Mon. 27 May – Aarhus DK @ Tape Tue. 28 May – Copenhagen, DK @ Loppen Wed. 29 May – Berlin, DE @ Kantine am Berghain Thu. 30 May – Hamburg, DE @ Hafenklag (Goldener Salon) Fri. 31 May – Hilvarenbeek, NL @ Best Kept Secret Festival Sat. 1 June – Neustrelitz, DE @ Immergut Festival Sat. June 15 – Washington, DC @ 9:30 Club Sun. June 16 – Durham, NC @ The Pinhook Mon. June 17 – Atlanta, GA @ Drunken Unicorn Tue. June 18 – New Orleans, LA @ Gasa Gasa Thu. June 20 – Houston, TX @ White Oak Music Hall Fri. June 21 – Austin, TX @ Barracuda Sat. June 22 – Dallas, TX @ Club Dada Mon. June 24 – Albuquerque, NM @ Sister Tue. June 25 – Phoenix, AZ @ Valley Bar Wed. June 26 – San Diego, CA @ Soda Bar Thu. June 27 – Los Angeles, CA @ Teragram Ballroom Sat. June 29 – Oakland, CA @ Starline Social Club Mon. July 1 – Portland, OR @ Polaris Hall Tue. July 2 – Vancouver, BC @ The Bitmore Wed. July 3 – Seattle, WA @ Neumos Sat. July 6 – Salt Lake City, UT @ Kilby Court Sun. July 7 – Denver, CO @ Lost Lake Tue. July 9 – Kansas City, MO @ The Record Bar Wed. July 10 – St. Louis, MO @ Off Broadway

PRAISE FOR “THE SEDUCTION OF KANSAS”

“[“The Seduction of Kansas”] is a reminder of what makes the band’s sharp, cerebral music so exciting.” – NPR Music

“[“The Seduction of Kansas”] swings and glides in ways that the band’s past work only hinted at.” – Rolling Stone

“[“The Seduction of Kansas”] is like a semiotics class set to an arty dance beat: the singer Katie Alice Greer flings around signifiers of American culture — Superman, Dorothy, Applebee’s — before repeating a vow that teeters between genuine and controlling: ‘It’s true, I’m the one that loves you.’” – The New York Times

“True to the ‘seduction’ part of the equation, the song also finds Priests wielding a poppiness and slickness new to their sound.” – Stereogum

PRE-ORDER THE SEDUCTION OF KANSAS Sister Polygon pre-order – http://sisterpolygonrecords.bigcartel.com iTunes Pre-order – https://apple.co/2TvJs3c

Priests Online: website: http://www.666priests666.com/ spr website: http://sisterpolygon.com/ bandcamp: https://priests.bandcamp.com/ twitter: @PRIESTS_TWEET facebook: @priestsband instagram: @insta_priests

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Review: Ladytron – self-titled

So far, the winner of Most Intriguing Album Cover of 2019 goes to Ladytron (Mira Aroyo, Daniel Hunt, Helen Marnie, Reuben Wu) for their new, self-titled album. A young couple runs from a luxury car left abandoned on a road toward a raging forest fire. They are willingly, gleefully running toward chaos, fury, and death. If that doesn’t sum up the cultural zeitgeists for many people in the U.S. and the U.K., I don’t know what does.

Ladytron’s new album is their first new material in seven years. They’ve seen the change in the world’s political atmosphere, the further embrace of technology that is advertised as a communication tool but only drives us into our own literal and metaphorical cocoons, the Brexit vote, the 2016 U.S. presidential election, mass shootings, bombings, hurricanes, civil wars, genocides, and more things that keep us awake at night. They’ve responded with an album of searing electro and haunting hooks.

Opening with “Until the Fire,” the vintage synths and slightly spooky double vocals us Ladytron fans love immediately swirl around you as Helen Marnie and Mira Aroyo sing about the power and danger of desire. “The Island” is a lush synthwave track that has bright chords that hide a bit of menace (i.e., The last line of the song is “We are savages.”).

“I only came here for the view,” they sing to begin “Tower of Glass” – a song about not throwing stones, physical and verbal, at others. “Far from Home” sounds like “classic” Ladytron, if that’s even a proper term. The synths on it sound like they were dug out of Giorgio Moroder’s basement. “Paper Highways” brings out their love of krautrock, not to mention industrial goth.

“The Animals” is a haunting but toe-tapping song about war, racism, and the insanity of it all. “We are more like you than the ones than the ones that you view,” they sing. “Run” has processed beats that would make John Carpenter jealous and mysterious lyrics like, “Stop looking at me with a gun in your hand.” “Deadzone” has sharp-as-a-knife beats and even deadlier synth stabs and chords throughout it.

“Figurine” moves with an urgency that gets you moving right away and builds to a great rush. The synth bass on “You’ve Changed” is outstanding. I’m willing to bet the title refers to not only a particular person, but also the general public who seem to have lost their collective mind (i.e., “You’ve changed. What were you thinking?”). This song has probably been remixed by dozens of synthwave DJ’s by now to tear up dance floors, as it should.

“Horrorscope” is plain enough to understand. Again, just look at the album cover. The future is full of bad things if we don’t turn around now (“…across the hemispheres, and now it’s always near.”). “The Mountain” builds from a far echo to a state of soaring psychedelic synth bliss. “Tomorrow Is Another Day” is almost relaxing chillwave and would fit on a make-out playlist as long as you want a bit of intrigue while you’re getting your groove on with someone.

It’s a nice return for Ladytron. Synthwave is making a big comeback, and it’s good to see Ladytron taking the reins and shaking us out of our 24-hour news cycle-induced funk.

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Mdou Moctar’s “Wiwarsharnine” is another beautiful track from his upcoming new album – “Ilana (the Creator).”

Today, virtuosic Tuareg guitarist and songwriter releases “Wiwarsharnine,” the new single off his forthcoming album Ilana (The Creator), out March 29th on Sahel Sounds. This follows the first single off the record, the steadily-building-to-boil “Kamane Tarhanin,” which turned a lot of heads that had never heard Moctar’s hypnotizing music.

“Wiwasharnine” is one of the standout tracks on Ilana and a favorite in Niger. Unfolding with pop and upbeat vibe, “Wiwsharnine” contrasts somewhat with the heavy political sensibilities in the lyrics. (included below). This contrast is often at the heart of Tuareg guitar, where burning guitar solos carry fierce messages of resistance. Nevertheless, “Wiwasharnine” is a hometown anthem, and the recording stays true to it’s form with a chorus of stomping and handclaps that bring it back to an outdoor wedding in the desert.

In other Mdou-related news, on his recent US tour in January, he proved himself more than just a guitar hero, but a full-stop HERO, when, after witness a car accident on the highway in Tennessee, he jumped from his tour van and kicked open a car door to help bring one of the accident’s victims to safety. What a guy!

Moctar hails from a small village in the Azawagh desert of Niger. As a child, he taught himself to play homemade guitars, cobbled together out of planks of wood. In an area where guitar music was all but prohibited, he quickly rose to the status of local celebrity amongst the village youth. In contrast to the polished style of Imarhan or Bombino, Mdou Moctar trades in unrelenting gritty rock and has no qualms about going full shred. But Mdou’s success is not confined to guitar theatrics alone. From his experiments in autotune (Music from Saharan Cellphones, 2011), unfiltered field recordings (Afelan, 2013), DIY overdubbed folk ballads (Sousoume Tamachek, 2017), to a starring role in a Saharan remake of Purple Rain (Akounak Tedalat Taha Tazoughai, 2015), Mdou stands out amongst his peers for his unparalleled vision.

LISTEN TO ” WIWARSHARNINE”
YT: https://youtu.be/qA2zshM6A8g
SPOTIFY: http://open.spotify.com/track/1ohyPWrP4SOAdjLax4NPmA

“WIWARSHARNINE” LYRICS
This life today I understand nothing
The strongest are always the ones who eliminate the weak
This world is always changing sometimes rising sometimes falling
But nothing ever changes for my people
All the countries are in joy
But my people remain stranded
and this pains me

PRAISE FOR “KAMANE TARHANIN”

“It’s easy to imagine the breadth of Mocatar’s musical influences. [‘Kamane Tarhanin’] is a droning, hypnotic, and psychedelic meditation.” – NPR Music

“blistering and gritty psych rock” – Stereogum

“While nothing captures the live Mdou Moctar experience, this is as close as I’ve heard.”
– Afropop Worldwide

MDOU MOCTAR TOUR DATES
Thu. March 28 – Pittsburgh, PA @ Andy Warhol Museum
Fri. March 29 – Cleveland, OH @ Now That’s Class
Sat. March 30 – Detroit, MI @ Trinosophes
Sun. March 31 – Kalamazoo, MI @ Bell’s Eccentric Cafe
Mon. April 1 – Newport, KY @ Southgate House Revifval – Sanctuary
Tue. April 2 – Columbus, OH @ Ace of Cups
Wed. April 3 – Bloomington, IN @ The Bishop
Thu. April 4 – Chicago, IL @ The Empty Bottle
Fri. April 5 – Milwaukee, WI @ Milwaukee Psych Festival
Sat. April 6 – Minneapolis, MN @ Cedar Cultural Center
Sun. April 7 – Omaha, NE @ Pageturners Lounge
Mon. April 8 – Denver, CO @ Globe Hall
Tue. April 9 – Salt Lake City, UT @ Urban Lounge
Fri. April 12 – Olympia, WA @ Octapas
Sat. April 13 – Portland, OR @ Star Theater
Sun. April 14 – Seattle, WA @ Chop Suey
Thu. April 18 – Oakland, CA @ Red Bay Coffee
Fri. April 19 – Visalia, CA @ The Cellar Door
Sat. April 20 – Los Angeles, CA @ Zebulon
Sun. April 21 – San Diego, CA @ The Casbah
Mon. April 22 – Tucson, AZ @ 191 Toole
Tue. April 23 – Albuquerque, NM @ Sister
Thu. April 25 – Austin, TX @ Hotel Vegas
Fri. April 26 – Lafayette, LA @ TBA
Sat. April 27 – Lafayette, LA @ TBA
Sun. April 28 – New Orleans, LA @ New Orleans Jazz & Heritage Festival
Tue. April 30 – Birmingham, AL @ Saturn

Pre-order Ilana (The Creator) –
https://mdoumoctar.bandcamp.com/album/ilana-the-creator

Mdou Moctar Online:
https://mdoumoctar.bandcamp.com/
https://sahelsounds.com/mdou-moctar/
https://www.facebook.com/mdoumoctarofficial/

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Drugdealer announces new album, “Raw Honey,” and U.S. tour.

Drugdealer, the project led by Los Angeles-based Michael Collins, is pleased
to announce their new album, Raw Honey, due for release April 19th on
Mexican Summer. Raw Honey continues where Drugdealer’s debut album,
The End of Comedy, left off, with Collins once again leading an ace crew of
collaborators to coalesce the spirit of Drugdealer’s classically modern pop.
Watch Video For Lead Single, “Fools” —
https://drugdealer.lnk.to/Fools

Built on the foundation of a creative partnership between Collins, Sasha Winn (vocals) and Shags Chamberlain (bass, production), Drugdealer is more a
collective than band. Raw Honeywas engineered by Mac DeMarco and
features contributions of Josh Da Costa (drums), Jackson MacIntosh (guitar), Danny Garcia (guitar), Michael Long (lead guitar), and Benjamin Schwab
(backing vocals, guitar, organ, piano, wurlitzer), as well as guest vocalists like
country balladeer Dougie Poole (“Wild Motion”), Harley Hill-Richmond
(“Lonely”), and frequent collaborator Natalie Mering (Weyes Blood) whose
dulcet tones sing low before soaring on “Honey,” a track as silky as the nectar
itself.

Throughout Raw Honey, Collins and crew display their influences as a new
tapestry, one woven with the recycled fibers from thousands of tapestries that have colored our collective listening histories. As evidenced throughout Raw
Honey, Collins has an ear for penning numbers that would sound as at home
on Classic Rock radio as they would at Zebulon in Los Angeles, where any of
the contributors to Raw Honey could, perhaps, be found on any night of the
week, on stage, or in the audience supporting another Angelino’s modern pop aspirations.

Rather than hiding behind a curtain or casually sidestepping AOR tropes, Raw Honey adheres to a modern kind of creation — one that cultivates influences
and espouses reverence. An honest totem, Raw Honey isn’t tangled up in social norms, with Collins preferring to air his self-doubt as a northern star to guide
like-minded people wherever they need to go.

After playing release shows in both LA and NYC in April, Drugdealer will
tour Europe this spring and North America this summer. All tour dates are on-sale this Friday, with tickets available here.
Raw Honey Tracklist:
01. You’ve Got To Be Kidding
02. Honey
03. Lonely
04. Lost In My Dream
05. Fools
06. If You Don’t Know Now, You Never Will
07. Wild Motion
08. London Nightmare
09. Ending On A Hi Note

Drugdealer Tour Dates:
Fri. April 12 – Los Angeles, CA @ Teragram Ballroom (Raw Honey Release
Show)
Fri. April 19 – Brooklyn, NY @ Market Hotel (Raw Honey Release Show)
Sun. May 12 – Manchester, UK @ YES
Mon. May 13 – Glasgow, UK @ The Hug and Pint
Tue. May 14 – Bristol, UK @ Louisiana
Wed. May 15 – London, UK @ The Dome Tufnell Park
Thu. May 16 – Paris, FR @ Point Ephemere
Fri. May 17 – Cologne, DE @ Gewölbe GmbH
Sun. May 19 – Copenhagen, DK @ Vega (Small Hall)
Mon. May 20 – Hamburg, DE @ Aalhaus
Thu. May 23 – Brussels, BE @ Witloof Bar
Sat. May 25 – Amsterdam, NL @ De Nieuwe Anita
Wed. July 10 – Santa Fe, NM @ Meow Wolf
Fri. July 12 – Austin, TX @ Barracuda Inside
Sat. July 13 – Houston, TX @ Satellite Bar
Sun. July 14 – New Orleans, LA @ Gasa Gasa
Mon. July 15 – Atlanta, GA @ The Earl
Tue. July 16 – Washington, DC @ Union Stage
Wed. July 17 – Philadelphia, PA @ Johnny Brenda’s
Sun. July 21 – Pittsburgh, PA @ Club Café
Mon. July 22 – Detroit, MI @ El Club
Tue. July 23 – Chicago, IL @ Sleeping Village
Wed. July 24 – Minneapolis, MN @ 7th Street Entry
Sat. July 27 – Calgary, AB @ Palomino Social Club
Mon. July 29 – Seattle, WA @ Sunset Tavern
Tue. July 30 – Vancouver, BC @ The Fox Cabaret
Wed. July 31 – Portland, OR @ Mississippi Studios
Fri. Aug. 2 – San Francisco, CA @ The Independent
Sun. Aug. 4 – Pioneertown, CA @ Pappy and Harriets

Pre-order Raw Honey —
https://drugdealer.lnk.to/HoneyGoldLP

Download album art & hi-res images of Drugdealer —
http://pitchperfectpr.com/drugdealer/

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Review: Wild Fox – Wanker’s Juice

Wild Fox were the first band my wife and I saw when we attended Levitation France last year. I walked out of their set thinking, “If you need a band to open your festival, those four lads should be high on your list.”

Their new EP, Wanker’s Juice, is five songs of raucous garage shoegaze rock that starts with “African Running,” which I can’t help but think was inspired by the theme to Shaft (listen to that opening high hat). It mixes shoegaze licks with precision drumming, and slightly creepy bass lines. “Chester” brings in brighter (but still fuzzy) guitars and reverbed echoes to bounce off the back of a pub or a concert hall.

“Mursees,” the first single from the EP, mixes in a bit of surf madness and is indicative of their fiery live performances. It just slaps you upside the head with a killer bass groove, frantic drumming, and guitars that come at you like out-of-control bulldozers. “Sunday” is a fine blend of psychedelic fuzz and garage punk. The closer, “Lock,” has a great tempo for running, racing, or moshing. The chorus is “It’s gonna be all right.” That’s it. That’s all we need to know, really.

The theme of “Hang on. / Don’t worry. / It’s okay. / Better times are ahead.” is prevalent in a lot of music in the last year or so. The current political situations across the world, let alone in the European Union and the U.S., are causing a lot of stress to many. Bands like Wild Fox are encouraging us to cut loose, focus on the present, get laid (I mean, come on, that title…), and embrace life. We should all follow their lead.

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The Coathangers unleash punk fury on new single “F the NRA” ahead of U.S. west coast tour.

The Coathangers have shared a poignant and fiery new single “F The NRA” from their forthcoming album The Devil You Know, out March 8 on Suicide Squeeze. The song was written by guitarist/vocalist Julia Kugel, who felt compelled to make a political statement in the face of potential backlash in part because she is a refugee from Belarus, a country with limited freedom of speech and press. She’s expanded upon her motivations to speak out in an essay published at The Talkhouse, replete with contributions and advice from Kathleen Hanna (Bikini Kill), Brendan Canty (Fugazi/The Messthetics) and Dennis Lyxzen (Refused, International Noise Conspiracy).

From Julia Kugel: “I do not take the freedom of expression that all U.S. citizens are granted lightly. The band was confident that we wanted to put ‘F the NRA’ on the record. It provided a personal catharsis and a sense of empowerment in the wake of the immense feeling of helplessness that was weighing heavily on us as we coped with continuous reports of mass shootings. It was not until those around us started warning us of the repercussions we could face, did we realize the risk involved in yelling at the giant. My ingrained fear of speaking out came back to me. Yet the reason I am a musician is because of a need to express my truth, personal or political. I began to question everything: the rights of an artist, the responsibility of being political, the fear of backlash, and the desire to be heard.”

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The Well release “The Raven” ahead of full album due April 26th.

“Their most intimate, darkly personal record yet… Taking them out of the doom corner and giving it a raw, post-punk feel. “Raven” sounds like a Satanic, downtuned Steppenwolf, and frankly we can’t get enough.” — Kerrang!

Austin trio The Well announce their forthcoming third album Death and Consolation today, sharing the first single via Kerrang Magazine.

Death and Consolation is without a doubt a weighty album title. And, The Well is among the heaviest heavy psych bands in existence. So when we say that there’s even more darkness and intensity to the band’s third album than previous efforts, take heed. It’s a deep sea diving bell of enveloping heaviness and longing.

“This one is a little more personal,” says guitarist/vocalist Ian Graham. “2018 was a strange, dark year. A lot of change going on in my life, there was a lot of depression and coming out of it over the last year. I wanted to call this Death and Consolation, because in life that’s a constant.”
While The Well continue to walk an intriguing line between authentic early 70s doom/heavy psych and frayed weirdness of dark folk – especially with their haunting unison male/female vocals – the new album also adds the stark vibe of post-punk acts like Joy Division and early The Cure. “I feel like this album is almost more gothic. We’re big fans of post-punk,” Graham says. There’s also much less jamming, the songs are tight and concise. And, did we mention, heavy? The band tuned down a full step to C-standard tuning for this album, which gives the proceedings its monstrous sound.

Sonically, Death and Consolation picks up where The Well — Graham, bassist/vocalist Lisa Alley and drummer Jason Sullivan — left off with their widely heralded 2016 RidingEasy album Pagan Science. The band once again recorded with longtime producer/engineer Chico Jones at Estuary Studio in 2018, who has turned the knobs for all three of their albums (Jones engineered the band’s debut album Samsara with producer Mark Deutrom [Melvins, Sunn0)))] in 2013.) Samsara, released late September 2014 was ranked the #1 debut album of 2014 by The Obelisk and Pagan Science among the Best of 2016 from the Doom Charts collective. Likewise, the band’s intense — some even say “possessed” — live performances have earned them featured slots at Austin’s Levitation Fest, as well as tours with Kadavar, All Them Witches, Black Tusk and more.

“This album might be a little less produced, because I didn’t want to push technical stuff as much,” Graham says. “I’m so scared of getting too complicated when getting better at guitar. This is still kind of punk rock.”

Death and Consolation will be available on LP, CD and download on April 26th, 2019 via RidingEasy Records.

THE WELL TOUR 2019: 03/01 – Austin, TX @ Hotel Vegas 04/12 – Lafayette, LA @ Freetown Boom Boom Room 04/13 – Cypress Creek, LA @ Fête du Void Festival 04/24 – Dallas, TX @ Club Dada* 04/25 – Austin, TX @ Barracuda* 05/01 – Omaha, NE @ Slowdown* 05/02 – Denver, CO @ Hi-Dive* 05/03 – Phoenix, AZ @ Yucca Tap Room 05/04 – Sacramento, CA @ Blue Lamp 05/09 – Portland, OR @ High Water Mark 05/10 – Seattle, WA @ Substation05/12 – Calgary, AB @ Palomino 05/13 – Edmonton, AB @ Temple 05/14 – Winnipeg, MB @ The Windsor 05/18 – Taos, NM @ Monolith on the Mesa Fest 05/19 – El Paso, TX @ Monarch
* w/ Monolord

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“Brown Acid: The Eighth Trip” – a collection of rare 60’s and 70’s metal and hard rock – is coming, when else, on April 20th.

“So rare that diehard fuzz junkies say you’d have a better chance of winning the lottery than finding a physical 45 rpm single by one of the bands featured on their latest installment.” — Dangerous Minds

“Will do for hard rock, proto-metal and heavy psych what Nuggets did for garage rock, and bring it to a wider audience of collectors and music fans.” — The Guardian

The forthcoming eighth edition of the popular compilation series featuring long-lost vintage 60s-70s proto-metal and stoner rock singles, Brown Acid: The Eighth Trip is set for release, fittingly, on April 20th, 2019.

The Brown Acid series is curated by L.A. label RidingEasy Records and retailer/label Permanent Records.

About Brown Acid: The Eighth Trip: This Trip comes straight at ya with an all out attack, quite literally. The residents of St. Clair Shores should consider themselves lucky to have been so close to the greatness of Attack! “School Daze” kicks out the jams Detroit-style, but has enough flair and style to have our main man Jimi rolling over in his grave. Another prime example of why Detroit is known as Rock City!

Speaking of rock, White Rock will knock your stank-ass socks off with their 1972 burner “Please Don’t Run Away”. This 45 was privately released by this Houston-based band that reportedly played shows with Josefus, Stone Axe, and Purple Sun. And it was basically unknown until it surfaced at the Austin Record Convention in 2018! The fact that there are still completely unknown records out there to be discovered never ceases to amaze us.

They don’t say “Don’t Mess With Texas” for nothin’! Riverside called Austin home way before anyone was worried about keeping it weird. This two-sider from 1974 rips from front to back. It’s also exclusively available here and is virtually unknown. Go ahead, try to look for it anywhere. Currently, there’s no proof anywhere online that it exists.

From our neighbor up north, we bring you Luke and the Apostles! Don’t be fooled by the name, this ain’t no Xian group, even though this 45 is of biblical proportions.The flip of this single “You Make Me High” is a Faces-esque ballad of the highest caliber that will move you to tears if you’re not careful with it, but “Not Far Off” isn’t about moving you emotionally; it’s about moving you physically. Fuck jam? We think so. The Doors and Elektra Records’ producer Paul Rothchild called the Luke and the Apostles LP the “greatest album [he] never got to make”.

The lyrics to this 1977 single on Vacation Records are about as boneheaded as it gets. Hard rock songs from working class men about working hard and letting loose is a common theme in the Brown Acid realm, and “I Need My Music” by Mine Hill, New Jersey’s Tourists, is yet another great one to get you through the work week. I think we can all agree: we need our music too…among other things!

Ohio strikes again. This time a bit later than the other Buckeye State singles we’ve comped, but no less bangin’! On the Chance record label, the Bartos Brothers Band is billed as Gambler, but post-release, the band covered at least some of the copies with stickers that corrected this. There’s very little information about the Bartos Brothers Band online, and as of this writing, the release date is incorrect on Discogs and the Popsike hit very wrongly lists the genre as “Glam/Hair Metal” from the 1980s. We’re stoked to be compiling this single for the first time ever and to be setting the record straight.

And yet again, Ohio brings the thunder! We brought you the B-side of Inside Experience‘s sole 45 back on the Third Trip and now we exhaust the band’s output by presenting their especially psychedelic cover of Cream‘s “Tales of Brave Ulysses”. The band pressed and sold out of 500 copies of this record back in 1968 thanks to some airplay on Detroit’s CKLW, but they never recorded again. However, Inside Experience’s lead guitarist and singer, Marty Soski, went on to play in Lance (as heard on the Fifth Trip) and two metal bands which you will be hearing sooner than later…

Karma, slightly better known as The Contents Are, released an LP and a 45 in 1967 and then followed up with their swan song “New Mexico” in 1969. The single was oddly released under Karma on the Onk Enterprizez label with “N.S.U.” as the B-side and on Rok Records as the flip to “Future Days” as The Contents Are. Apparently, Mercury Records bought the rights to the Rok 45 with the intention to release it nationally, but never actually got around to it. Their loss!

Obviously we don’t need to go into how much great music Memphis, Tennessee has brought us over the years, but Moloch doesn’t usually get mentioned when we’re talking about the “Home of the Blues” and the “Birthplace of Rock and Roll.” Maybe we should change that. Moloch played with The MC5 and The Stoogesand recorded an LP in 1969 for the Stax subsidiary, Enterprise Records. Although the band made a great blues rock record, it sadly didn’t get the love it deserved and the band folded. Moloch guitarist, Lee Baker, reformed the band with a slightly different line-up and released this 45 in 1972 against great odds. It too was unfairly overlooked…until now.

While we’re still talking about Memphis, y’all ever heard of this guy, Elvis Presley? Apparently, he was kind of a big deal and popularized a song called “Heartbreak Hotel” back in 1956. That’s cool and all, but damn us if we don’t dig Grump‘s 1969 take on the song a whole hell of a lot more than the King’s version. Maybe that’s sacrilege, but nothing’s sacred when it comes to Brown Acid.

About the Brown Acid series: Some of the best thrills of the Internet music revolution is the ability to find extremely rare music with great ease. But even with such vast archives to draw from, quite a lot of great songs have gone undiscovered for nearly half a century — particularly in genres that lacked hifalutin arty pretense. Previously, only the most extremely dedicated and passionate record collectors had the stamina and prowess to hunt down long forgotten wonders in dusty record bins — often hoarding them in private collections, or selling at ridiculous collector’s prices. Legendary compilations like Nuggets, Pebbles, ad nauseum, have exhausted the mines of early garage rock and proto-punk, keeping alive a large cross-section of underground ephemera. However, few have delved into and expertly archived the wealth of proto-metal, pre-stoner rock tracks collected on Brown Acid.

Lance Barresi, co-owner of L.A./Chicago retailer Permanent Records has shown incredible persistence in tracking down a stellar collection of rare singles from the 60s and 70s for the growing compilation series. Partnered with Daniel Hall of RidingEasy Records, the two have assembled a selection of songs that’s hard to believe have remained unheard for so long.

“I essentially go through hell and high water just to find these records,” Barresi says. “Once I find a record worthy of tracking, I begin the (sometimes) extremely arduous process of contacting the band members and encouraging them to take part. Daniel and I agree that licensing all the tracks we’re using forBrown Acid is best for everyone involved,” rather than simply bootlegging the tracks. When all of the bands and labels haven’t existed for 30-40 years or more, tracking down the creators gives all of these tunes a real second chance at success.
“There’s a long list of songs that we’d love to include,” Barresi says. “But we just can’t track the bands down. I like the idea that Brown Acid is getting so much attention, so people might reach out to us.”

Brown Acid: The Eighth Trip will be available everywhere on LP, CD and download on April 20th, 2019 via RidingEasy Records. Pre-orders are available for digital (with immediate download of the first single) at Bandcamp, physical pre-orders at RidingEasy Records.

Keep your mind open.

[It’s an easy ride over to the subscription box, so why not drift over there before you split?]

Review: Mavis Staples – Live in London

Soul / gospel superstar Mavis Staples once said that she thought London’s Union Chapel was the best place in the world to sing. I’m willing to believe her from the sound of this great, powerful album she recorded there over the course of two nights not long ago. Live in London is a strong statement about the political state of the U.S., a funky soul record, and a high contender for best live album of 2019.

Starting with the soulful “Love and Trust,” Staples rightly declares, “The simplest things can be the hardest to do.” as her killer band breaks in with a killer groove (The album is full of them, really.). The song is about how everyone, sinners and saints alike, are looking for the same thing – love. “Who Told You That” is a smoky, subtle, sexy jam. Her cover of Talking Heads‘ “Slippery People” is a standout that she’s been singing since at least the 1980’s. It’s such a downright jam that you can’t help but shake and shimmy when hearing it.

“What You Gonna Do” is a classic blues track about preparing for death. “Take Us Back” has Staples proclaiming, “I’ve got friends, and I’ve got family. I’ve got help from all the people who love me.” She’s been in the business for decades and admits that she wouldn’t be where she is without those who supported her all those years.

Staples starts getting political on “You Are Not Alone” as she sings to those isolated and afraid in places of hostility, war, and poverty. “Every tear on every face tastes the same,” she sings. That’s truth. “No Time for Cryin'” has Staples calling us to action (“I’m going to march right up to that big [White] house. We got work to do.”) and railing against gun violence and “taking babies away from their mothers” while her guitarist plays a sizzling solo.

“Can You Get to That” has a solid groove that will keep Jack White awake at night wishing he’d come up with it. Her cover of Curtis Mayfield‘s “Let’s Do It Again” is one of the best make-out songs you’ve heard in a while. “Dedicated” starts with a lovely guitar solo and drifts into a lovely song about perseverance and those who sacrificed in the civil rights struggle. “We’re Gonna Make It” is an uplifting song about overcoming financial struggles, but Staples adds an urgency to it that reflects keeping your hopes up for better times in America.

“There just ain’t no stopping me, is it?” Staples says before launching into the album’s closer, “Touch a Hand,” a song about reaching out to strangers and neighbors alike in these times of narcissism and anger.

Live in London makes you want to catch Staples live as soon as possible (like any good live album should). Do it if you can.

Keep your mind open.

[Slip and slide over to the subscription box before you go.]

CHAI unleash another killer single – “Choose Go!” – from album due March 15th.

WATCH “CHOOSE GO!” https://youtu.be/YoCOh2r6ML0

LISTEN TO “FASHIONISTA” https://bit.ly/2sPcNKG

WATCH “GREAT JOB!” https://youtu.be/5Odk94mxeHU

Japanese four-piece CHAI shares a new single, “CHOOSE GO!,” off of their sophomore album, PUNK, due March 15th via Burger Records, and an accompanying video. Following rebellious single, “Fashionista,” and previously released “GREAT JOB,” “CHOOSE GO!” is an upbeat anthem to be free to choose whatever it is you want to do, however you want to do it. Directed by previous collaborators – Japan-based creative collective Team Mikansei (“Boyz Seco Man”) – the video features vibrant set designs, coordinated costumes, synchronized dance moves, and an eccentric twist on sports.

“Cheerleaders, who are usually known for cheering for athletes on the sideline, now become the actual athletes and are shown as baseball players! It’s the evolution of what is already in existence like sports or cheerleaders to then what would be considered non-existent or fantasy like cheerleaders turned into baseball players and barbies tossed instead of footballs by football players, which makes this music video so cool! CHOOSE GO! CHOOSE FREEDOM!”

PUNK follows their debut album, PINK. If PINK was a plastic, hyper-bright introduction, then PUNK is a deeper, more impactful graduation. It’s the movement from vivid orange to radiating red.

CHAI will bring their energetic live shows to North America in support of PUNK. All tour dates are below.

CHAI TOUR DATES Wed. Mar. 13 – Sat.. Mar. 16 – Austin, TX @ SXSW Mon. Mar. 18 – Washington, DC @ Union Stage Tue. Mar. 19 – Brooklyn, NY @ Market Hotel Wed. Mar. 20 – Toronto, ON @ The Velvet Underground Fri. Mar. 22 – Sat. Mar. 23 – Boise, ID @ Treefort Music Festival Mon. Mar. 25 – Los Angeles, CA @ The Moroccan Lounge Wed. Mar. 27 – San Francisco, CA @ Rickshaw Stop Fri. Mar. 29 – Seattle, WA @ The Vera Project Sat. Mar. 30 – Portland, OR @ Holocene PRAISE FOR CHAI

“‘Fashionista,’ similarly, is still dressed in a patina of femininity, even as resentment bubbles beneath the surface. Pitted against the capitalist behemoth of the beauty industry, CHAI know the best way to fight their enemy is from within.” – Pitchfork

“By the end of the song, dissonant guitar chords have surfaced, the beat is crashing and ricocheting around, and that cloud of voices has turned into a typhoon: a party out of bounds, or a consumer revolt?” – The New York Times, on “Fashionista”

“”CHAI bursts with an energy that is carefree, effervescent, and unmistakably feminine” – She Shreds

“Giddy, frenzied pop” – Bust Magazine, 5/5

Physical Pre-order: https://burgerrecords.11spot.com/chai-punk.html

CHAI Online:

http://chai-band.com/ https://twitter.com/CHAIofficialJPN https://www.instagram.com/chaiofficialjpn/ https://www.facebook.com/CHAIofficialJPN/

Keep your mind open.

[Choose to go to the subscription box and subscribe.]