It’s that time of year again for me to start the countdowns of my favorite live shows, singles, and albums of the year. I’m starting with live shows. I saw close to sixty bands this year (and possibly over sixty if you add in partial sets), so here are the ones that topped the upper half.
#30 – Hoover iii – Levitation Austin – November 07th
Hoover iii were a pleasant surprise as the first band my wife and I saw at Levitation Austinthis year. They played a fun set of southern California shoegaze that was a great kick-off for our festival weekend.
#29 – Elephant Stone – Levitation Austin – November 08th
It’s always good to see Elephant Stone live, and their set at the second night of Levitation Austin was one of the heaviest sets I’ve heard them play. They threw in a lot of material from their upcoming album, Hollow, so it was cool to be among the first folks to hear that stuff live.
#28 – Bev Rage and the Drinks – Subterranean – Chicago, IL – October 01st
Queercore punk rock on a small stage with Halloween candy and pumpkin spice Oreos being handed out to the crowd? What’s not to like? I’d heard a lot of good things about Ms. Rage and the Drinks’ live shows, and I wasn’t disappointed. They were also a great opener for…
#27 – Shonen Knife – Subterranean – Chicago, IL – October 01st
You can never go wrong with a Shonen Knife show, and they put on a fun, rocking set of candy-powered rock that had the whole crowd bouncing.
#26 – Willie Nelson – Memorial Coliseum – Ft. Wayne, IN – August 05th
2019 ended up being a “year of legends” for us, as we saw many legendary performers this year. Among them was Willie Nelson, who played a fun set of classic hits and fun covers. His set wasn’t long due to age and what was later revealed to be some breathing issues, but it was still cool to finally see one of the greatest songwriters of all time.
Who makes it into the top 25? Come back tomorrow to find out.
RidingEasy Records proudly announce the official reissue on physical and digital formats of the extremely rare 1970 proto-metal album Randy Holden – Population II. Considered one of the first doom metal albums ever, the ex-Blue Cheer guitarist’s solo debut has long been sought out by collectors. The remastered full length will be available on all streaming platforms for the first time, with a master more true to the original mix on LP, CD and streaming.
This weekend, Saturday December 21st, Holden will perform a rare live show at the Whiskey A-Go-Go in L.A. supported by drummer Mario Rubalcaba (Earthless, RFTC, OFF!) It will be a career-spanning set featuring songs from theFender IV, the Sons of Adam, the Other Half, Blue Cheer, and his solo work, including Population II. Tickets and info HERE.
“Godzilla just walked into the room. People just stood there with their eyes and mouths wide open.”
To hear Randy Holden describe the audience’s reaction in 1969 to his solo debut performing with a teeth-rattling phalanx of 16 (sixteen!) 200 watt Sunn amps is about as close as many of us will get to truly experience the moment heavy metal music morphed into existence. However, at last we have unearthed the proper fossil record. Population II, the now legendary, extremely rare album by guitarist/vocalist Holden and drummer/keyboardist Chris Lockheed is considered to be one of the earliest examples of doom metal. Though its original release was a very limited in number and distribution, like all great records, its impact over time has continued to grow.
In 1969, Holden, fresh off his tenure with proto-metal pioneers Blue Cheer (appearing on one side of the New! Improved! Blue Cheer album and touring for the better part of a year in the group), aimed for more control over his band. Thus, Randy Holden – Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present.
“I wanted to do something that hadn’t been done before,” Holden explains. “I was interested in discordant sounds that could be melodic but gigantically huge. I rented an Opera house for rehearsal, set up with 16 Sunn amps. That’s what I was going for, way over the top.” And over the top it is. The 6-song album delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. It’s incredibly heavy, but infused with a melodic, albeit mechanistic, sensibility.
“At the time, I was hearing these crazy melodies everywhere I went,” Holden says. “I thought I was going crazy.” For example, one day he slowly rooted out a powerful sound that had been nagging him and discovered it coming from a ceiling fan. “Machinery all around us doesn’t turn in a perfect rhythm. That’s what I was tuning into, I heard the music and the discordant sounds coming from the machinery. It was perfect for rendering the machine we built.”
Troubles with the album’s release bankrupted Holden, who subsequently left music for over two decades. It was bootlegged several times over the years, but until now hasn’t seen a proper remaster and has yet to be available on digital platforms. “The original mastering just destroyed the dynamics of it,” Holden says. “They flattened it out. Now we got a really nice remaster that should be the closest thing to the original recording.”
Population II will be available on LP, CD and download on February 28th, 2020 via RidingEasy Records.
I was talking with a friend of mine over the summer and he asked me if I’d heard anything by this new English band called Black Midi.
“I don’t know what they’re doing, but it’s pretty cool,” he said.
That’s as good of an explanation of them and their debut album, Schlagenheim, as I can give. The band (Geordi Greep – guitar and vocals, Matt Kwasnievski-Kelvin – guitar, Cameron Picton – bass, and Morgan Simpson – drums) mixes prog-rock, math rock, shoegaze rock, kraut rock, Japanese black MIDI rock (for which they are named) and, for all I know, actual rocks to produce music that is baffling, intriguing, and mesmerizing. The band have stated in interviews that the music they’ll make in ten years will sound nothing like they’re making now. They love experimenting. I heard an interview in which one member said they’ll sometimes jam for two or three hours and only take two or three minutes of material from it. They blatantly defy any attempt to label their music, which some people might find maddening, but it somehow makes my job easier. It’s like when another friend of mine described Aqua Teen Hunger Force by saying, “Once I knew there was nothing to ‘get,’ I got it.”
The album opens with guitars pleading for their lives on “953” as a drum kit is beaten into oblivion by Simpson doing an impression of a drunken kung fu master. The lyrics, which have something to do with the wages of sin (I think) take a back seat to the chaos around them. Just to screw with your head more, “Speedway” starts off quiet and mellow (despite its title) and adds robotic vocals to further disassociate the band with the listener’s expectations.
“Reggae” is anything but reggae (although one could possibly compare it to some of The Police‘s more experimental tracks, as they loved reggae, but why bother?). It’s sharp drumming and post-punk guitars in some sort of three-way with the odd lyrics about “fresh leather shoes” and strutting in style. One can only guess that “near DT, MI” was written while the band was driving to or from there. Don’t expect it to sound like any Detroit bands (Stooges, MC5, White Stripes) because it’s more like angry punk band from Math-magic Land. You’ll understand once you hear the guitars and keys.
The band has been known to wear cowboy hats onstage, which, along with “Western,” might be hint to their secret love of country music. Lyrics about being up before daylight and unrequited love certainly qualify, but this is country music filtered through the computers used to pilot the Mars rover.
“Of Schlagenheim” has Greep singing of a woman with a hot temper while his bandmates create some kind of post-punk madness behind him (and some of Picton’s heaviest fuzz on the record). “bmbmbm” could be a Goblintrack in an alternate universe. “She moves with purpose,” Green singing while a woman cackles, laughs, and / or madly babbles in the background and Picton’s bass thuds like a hammer.
“Years Ago” is like riding a rollercoaster designed by H.P. Lovecraft, and the closer (and first single), “Ducter” is a track that’s evolved from when Greep and Kwasnievski-Kelvin used to busk in train stations that blends kraut rock synths with prog-rock jams.
I realize that this review is almost worthless, and you’ll understand this realization when you hear Schlagenheim. Another friend of mine saw Black Midi at the 2019 Pitchfork Music Festival in Chicago. He told me their live set was a highlight of the weekend. I told him what my friend said about them.
“I don’t think they know what they’re doing either,” he said, “but they were amazing.”
Keep your mind open.
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Supergroups aren’t as rare as they used to be, and most of them aren’t as good as they should be. One comes along every now and then that is an exemplary example of the term, and L’Epee is such a band.
Consisting of Lionel and Marie Liminana (of The Liminanas), Anton Newcombe (of The Brian Jonestown Massacre), and Emmanuelle Seigner (of Ultra Orange and Emmanuelle), L’Epee’s debut album, Diabolique, is a stunning album of psychedelic rock inspired not only by the band members’ own projects, but also by The Velvet Underground, European film scores from the 1960’s (the album’s name is inspired by the Mario Bava film Danger: Diabolik), and garage rock.
The opener, “Une Lune Etrange” (“A Strange Moon”), has a French title and English lyrics. The whole album bounces back and forth between English and French vocals, adding another layer of coolness to the record. The first track brings Liminana’s guitar work to the forefront as Seigner (who does lead vocal duties throughout the record) sings about not having a care in the world as things devolve around her. She is in control of her own world and destiny.
“Lou” is a loving tribute to Lou Reed that chugs along with heady drumming by Marie Liminana and incense smoke synth and reverb effects by Newcombe. “Dreams” sounds like an unearthed Parisian garage rock single recorded in 1967. This is no surprise when you consider Newcombe has a practical warehouse of vintage gear from the era the band used to create a perfect sound to reflect the time period.
Seigner’s vocals on “La Brigade Des Malefices” (“The Hex Brigade” or “The Cursed Brigade,” depending on how you translate it) are almost spoken word poetry behind Joy Division-like beats and distorted guitars. The hand percussion on “On Dansait Avec Elle” (“We Were Dancing with Her”) is a nice touch, almost creating a waltz inside a psychedelic trip.
I don’t know if “Ghost Rider” has anything to do with the comic book characters (either the western hero on horseback or the flaming skull-headed guy on a motorcycle), but it would be a fitting song on a movie soundtrack for them. Seigner sings of “sadness all around me” as she views the world from the other side of the veil (“Baby, I’m dead.”). Mrs. Liminana’s beats are like a throbbing heart and her husband’s guitar work is like a distant echo.
“Grande” (“Tall” / “Large”) has Middle Eastern rhythms and “Springfield 61” brings in church bells to create one of the brightest songs on the album. “Un Rituel Inhabituel” (“An Unusual Ritual”) is almost an instrumental of Newcombe and Mr. Liminana going back and forth with waves of guitar while Seigner sings simple “La la la” sounds and Mrs. Liminana pounds her kit for the back of the club. The closer, “Last Picture Show,” references multiple 1960’s films (“Get Carter,” “Dressed to Kill,” and others) as Seigner sings about a mysterious woman and Mrs. Liminana unleashes relentless beats.
Diabolique is easily one of the best debut albums of the year, and certainly one of the best psych-rock releases of 2019. I hope this collaboration continues, because this is the stuff of dreams.
Apparently not needing sleep like other human beings, Australian psychedelic juggernauts King Gizzard and the Lizard Wizard have announced spring 2020 tour dates through the U.S. and Canada. Tickets are already on sale. As you can see from the poster, these shows include three three-hour marathon sets – two in Colorado (one of which is already sold out) and one in California. Don’t miss your chance to see them live. KGATLW never disappoint.
The title of the third album by Long Beach, California shoegazers Highlandsis intriguing – Wish You Were. There’s no ellipses or question mark or any other punctuation at the end of it, but it feels like a statement. It’s not “Wish You Were Here” or “Wish You Were Gone.” It’s Wish You Were. Were what, you ask? I like to think the answer to that question is, “Present,” but I have a feeling from some of the themes on this album that the answer refers to existence (“I wish you were real.”).
The first lyric to the opening track, “Dr. Ron,” is “Just who we are, no one has an idea.” Scott Holmes and J.P. Bendzinski‘s guitars criss-cross over each other like ripples on a pond from two different stones and Beau Balek‘s bass adds a slight bubbling menace while Justin Ivey‘s drum beat sounds simple but hides multiple layers within the track. If you think “Routine Dream” sounds like My Bloody Valentine, you’re probably right. MBV’s influence on the band is obvious from the opening powerful, echoing guitar chords (and dig that cool reverb!).
The vocals on “Flew Away” are barely perceptible at times, but still effective as they mix with guitar chords that remind one of sun bouncing off your sunglasses. The lyrics, as best as I can understand them, seem to sing of regret (“It’s too late.”) and accepting that you have to move on after people depart from your life (and sometimes their own). “Dizzy ’84” has some spaghetti western guitar touches that I love.
“You Have to Wait” brings in a little krautrock and electro flavor as it soars around the room. The guitars and bass on “Staring Away” sound like a ghost train rolling along abandoned tracks. Don’t worry about Ivey’s drums being left behind, because they’re in front on “Wilmore Town.” He and Balek drive the track while Holmes sings about taking things as they come and just being there – especially as we approach the end. The album is full of this sort of existential curiosity. It’s not quite dread, but the idea of facing death is certainly a theme running throughout the record, as is the realization that our actions can and do affect people we may never know…and we have to be ready to deal with those effects when they return to us.
Take, as another example, “Careful What You Wish.” It gleams as much as the southern California sun on the ocean at sunset, but the vocals (and the title) hide sage advice about desiring an imagined future instead of embracing what’s in front of you. The guitar solo on it in the biggest on the album. I don’t know if it’s Holmes or Bendzinski playing it, but it’s superb. “Unknown Moderation” brings in Cure-like bass and texture. The closer is “Cosmic Sigh,” with Balek’s bass paying tribute to Peter Hook and the rest of the band waxing the Silver Surfer’s board alongside him. The title can refer to a lot of things, but my guess is Highlands uses it to describe a moment of enlightenment when we realize how connected we are to everything.
This is a solid shoegaze record that will be much appreciated by fans of the genre. It brings you into the presence with its mesmerizing beats and hooks and reminds us to just be.
Austin trioThe Well announce yet another round of North American, EU and UK tour dates in support of their critically acclaimed new album Death and Consolation (RidingEasy Records.) The band has spent much of the year on tour, and now continue the trek into 2020, sharing some US dates with label mates Zig-Zags and R.I.P. These will be The Well’s first ever tour in the UK, having only played London’s DesertFest in 2019, and fans’ first opportunity to see the band performing songs from the new album. Please see all dates below. The band also recently shared a new video via Brooklyn Vegan. Watch & share the 4K UHD video for album track “Raven” which was directed, shot and edited by William Orendorff HERE. (YouTube.) 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 is available on LP, CD and download via RidingEasy Records. Orders are available HERE.
THE WELL TOUR 2020: 01/22 – Milan, IT @ Ligera 01/23 – Bologna, IT @ Freakout 01/24 – Turin, IT @ Ziggy 01/26 – Lille, FR @ La Bulle Cafe 01/27 – Tours, FR @ Le Canadian Cafe 01/28 – Nantes, FR @ La Scene Michelet 01/29 – Bordeaux, FR @ Les Voutes 01/30 – Dijon, FR @ Peniche Cancale 01/31 – Rennes, FR @ Le Melies 02/01 – Paris, FR @ Espace B 02/03 – Brighton, UK @ Hope & Ruin 02/04 – Milton Keyes, UK @ The Craufurd Arms 02/05 – Glasgow, UK @ Broadcast 02/07 – London, UK @ Black Heart 02/08 – Bree, BE @ Ragnarok 02/09 – Berlin, DE @ Zukunft am Ostkreuz 02/10 – Salzburg, AT @ Rockhouse 02/19 – El Paso, TX @ Monarch 02/20 – Phoenix, AZ @ Yucca Tap Room 02/21 – San Diego, CA @ Til Two Club *02/22 – Oceanside, CA @ The Pourhouse *02/23 – Los Angeles, CA @ Permanent Records Roadhouse *02/25 – San Francisco, CA @ The Knockout 02/26 – Nevada City, CA @ The Brick 02/27 – Portland, OR @ High Water Mark +02/28 – Seattle, WA @ Substation +02/29 – Vancouver, BC @ TBA +03/02 – Kalispell, MT @ Old School Records 03/03 – Missoula, MT @ TBA 03/04 – Boise, ID @ The Shredder 03/05 – Salt Lake City, UT @ Kilby Court 03/06 – Denver, CO @ Streets of London 03/07 – Albuquerque, NM @ The Launchpad * w/ Zig-Zags+ w/ R.I.P.
Husker Du‘s third album, New Day Rising, is as scorching today as it was in 1985. The band (Grant Hart – drums and vocals, Bob Mould – guitar and vocals, and Greg Norton – bass and vocals) were moving away from hardcore punk to more melodic tunes…but just barely.
The opening title track comes in hard to shove you into a real or imaginary mosh pit wherever you happen to be at the time. “The Girl Who Lives on Heaven Hill” has Norton’s vocal chords shredding as hard as Mould’s guitars. Norton’s bass drives “I Apologize” as Mould sings about trying to make amends in a relationship going bad due to his short temper. Norton and Hart’s backing vocals (and Hart’s sharp cymbal crashes) give boost to Mould’s plea.
Gen X punk rockers like Hart, Mould, Norton, and myself still remember the anger we felt during the Reagan Era. Husker Du wrote about this on “Folk Lore” – a song that still rings true today with lyrics like “Now the women scream for equal rights, their man wants to have an affair, children learn to hate the world, and no one seems to care.” The abrupt end with the lyric “One thing I know for sure, your heroes always die.” is like right hook to the jaw.
Norton is pissed about someone turning their back on him in “If I Told You.” “I couldn’t convince you if I tried. You weren’t around the time that I cried,” he sings while Hart’s snare drum rolls sound like machine gun fire and Mould somehow turns up the fuzz on his guitar even more.
“Celebrated Summer” has Mould reminiscing about how fast time passes when you spend it “getting drunk out on the beach, or playing in a band” with your friends. “Perfect Example” switches things up with quieter guitars and slightly slower drums as Mould almost whispers lyrics about moving on from a bad relationship but still hoping he’ll be remembered for the good times.
Norton’s bass line on “Terms of Psychic Warfare” is instantly recognizable if you’re a fan of the band, and Hart’s vocals are a scathing rebuke of someone he left at the curb (“You’ve got your own bed now. I suggest that’s the one you sleep in.”). “59 Times the Pain” takes on a bit of shoegaze and sludge that’s almost disorienting. “Powerline” keeps the melodic drone going a bit longer, and “Books about UFOs” is a sweet love song to a girl who spends her time looking at the stars instead of what’s right in front of her.
“I Don’t Know What You’re Talking About” is a solid rocker about that guy everyone knows who rambles on like he’s an expert on everything yet gets angry when he’s confronted with facts that counter his argument. Huh. That sums up 2019 well, doesn’t it? “How to Skin a Cat” is weird chaos that you have to hear in order to appreciate. I can’t do it justice here. “Whatcha Drinkin’?” is a fun punk blast about getting drunk, regretting it, and getting drunk again later. The album ends with “Plans I Make” – an absolute barn burner of a tune with Mould going bonkers, Norton playing like he’s also driving a Grand Prix race car at the same time, and Hart trying to access the basement by pounding his kit through the floor. I realized how much Husker Du inspired A Place to Bury Strangersupon hearing it for the first time.
New Day Rising is a punk classic. It’s essential. All Husker Du is, really.
Guitarist / vocalist Ed O’Brien of Radioheadrecently released the first single, “Brasil,” from his upcoming solo record. It’s a dreamy track that mixes synthwave, house, and psychedelia with O’Brien’s excellent vocals. He started writing “Brasil” back in 2013 and it’s now available to stream and pre-order as a 12″ single. You can also watch the cool video here.
Shopping announce All Or Nothing, their new album out February 7th on FatCat Records, and present the video for lead single, “Initiative.” Following 2018’s The Official Body, the songs that make up All or Nothing are the band’s boldest yet; confident, elastic, streamlined grooves that crackle with energy and intention. The trio’s vision – deeply queer; political by default – place them in a radical lineage of dance, a continuum connecting disco and post-punk to Chicago house and EDM.
Storming lead single “Initiative” was written in a Seattle basement. Like the album as a whole, the track thrums with purpose, marking a confident new phase for the band. Referencing governments who shirk responsibilities but place the blame on individuals, the song has a frustrated groove that’s propelling, motivated by necessity to keep going against the grain. The accompanying video, directed by JackBarraclough, is brightly-stylized, and stars the band themselves.
Though the band members now live countries away from each other – guitarist RachelAggs (Trash Kit, Sacred Paws) and drummer AndrewMilk (Current Affairs) in Glasgow and BillyEaster (Wet Dog) in Los Angeles – the trio returned to London for an intense, 10-day period. For All Or Nothing, they teamed up with US-based producer DaveyWarsop to record, shifting their stripped-down ethos to one that took a leap into pop production. Talking Heads, YYYs, Bronski Beat and LCD Soundsystem are among the artists to feature on the production inspo playlist the band created for NickSylvester, who mixed the record, in Los Angeles.
Along with cleaner, new production values, All Or Nothing sees Shopping experiment further with the sonic additions that coloured The Official Body. Jubilantly ‘80s synths and electronic percussion add new textures to their signature minimalist dynamic.
Four albums in, Shopping are as committed and focused as ever, regardless of any distance. “We found ourselves singing about being true to yourself, in an often binary and belligerent digital age, and reclaiming agency when it feels like our personal freedom and privacy is constantly eroding.” In an era dominated by spin and surveillance, All Or Nothing invites us to remember what really moves us, in dance and in life.
All Or Nothing Tracklist: 1. All Or Nothing 2. Initiative 3. Follow Me 4. No Apologies 5. For Your Pleasure 6. About You 7. Lies 8. Expert Advice 9. Body Clock 10. Trust In Us
Shopping Tour Dates: Fri. Feb. 7 – London, UK @ Rough Trade East Sun. Feb. 9 – Bristol, UK @ Rough Trade Bristol Mon. Feb. 10 – Nottingham, UK @ Rough Trade Nottingham Thu. March 5 – Portland, OR @ Mississippi Studios * Fri. March 6 – Seattle, WA @ Sunset Tavern * Sat. March 7 – Vancouver, BC @ The Biltmore * Mon. March 9 – Reno, NV @ Holland Project * Tue. March 10 – San Francisco, CA @ Rickshaw Stop * Wed. March 11 – Los Angeles, CA @ 1720 * Thu. March 12 – San Diego, CA @ UCSD * Sat. March 14 – Tucson, AZ @ Club Congress (Spring Thing) * Mon. March 16 – Sat. March 21 – Austin, TX @SXSW Mon. March 23 – Tallahassee, FL @ The Bark * Tue. March 24 – Atlanta, GA @ The Masquerade – Purgatory * Wed. March 25 – Durham, NC @ The Pinhook * Thu. March 26 – Washington, DC @ DC9 * Fri. March 27 – Philadelphia, PA @ Boot & Saddle * Sat. March 28 – Brooklyn, NY @ Elsewhere * Sun. March 29 – Portsmouth, NH @ The Press Room * Tue. March 31 – Toronto, ON @ The Monarch * Thu. April 2 – Detroit, MI @ Deluxx Fluxx * Fri. April 3 – Fort Wayne, IN @ The Brass Rail * Sat. April 4 – Chicago, IL @ Subterranean * Sun. April 5 – Minneapolis, MN @ 7th Street Entry * Tue. April 7 – St. Louis, MO @ Sinkhole * Wed. April 8 – Lawrence, KS @ White Schoolhouse * Thu. April 9 – Denver, CO @ Hi Dive * Fri. April 10 – Salt Lake City, UT @ Kilby Court * Tue. May 5 – London, UK @ The Lexington Wed. May 6 – Paris, FR @ Supersonic Fri. May 8 – Utrecht, NL @ ACU Sat. May 9 – Hamburg, DE @ Molotow (SkyBar) Sun. May 10 – Copenhagen, DK @ VEGA Ideal Bar Mon. May 11 – Berlin, DE @ Urban Spree Thu. May 14 – Vienna, AT @ Fluc Café Fri. May 15 – Prague, CZ @ Meetfactory Sat. May 16 – Munich, DE @ Milla Sun. May 17 – Bern, CH @ Reitschule/Rössli Tue. May 19 – Winterhur, CH @ Albani Thu. May 21 – Luxembourg, LU @ De Gudde Wellen Sat. May 23 – Offenbach, DE @ Hafen 2
