I might have given you an odd look in the last year or so if you’d told me that the psychedelic rock pairing of Moon Duo were making a new record that was going to include a lot of stuff that you could easily slip into a house music set.
Sure enough though, and in keeping with their nature to explore any kind of music they like, Moon Duo (Ripley Johnson and Sanae Yamada) made Stars Are the Light, a fine record of grooves influenced by 1970’s disco, krautrock, synth wave, and, naturally, psychedelia.
The opening track, “Flying,” immediately makes you feel like you’re floating not only off the ground, but through the roof of your house. The vocals never outweigh the trippy instrumentals, they only enhance them. The title track continues our drift around the Earth with bubbly synths and Moon Duo’s lyrics reflecting how all of us are unique stars in this universe.
“Fall (in Your Love)” brings in spaghetti western guitars to the slippery electronic beats. “The World and Sun” is one of the funkiest cuts on the record, mixing spaced-out synths with South American hand percussion and reverb-laced vocals to produce a sweet sound. “Lost Heads” is psychedelic bliss taking you out of orbit and floating toward the star cluster of your choice.
“Eternal Shore” boosts the krautrock influences a bit with the beats, but keeps the vocals firmly in psychedelic territory. The touch of steel drum-like synth stabs is a nice one and reflects the image of a never-ending beach on an idyllic planet. “Eye 2 Eye” brings in fuzzy guitar to race alongside EDM beats for a fast track that belongs on your next favorite anime action film. “Fever Night” slows down the album for the close, but it’s nothing maudlin. It’s a perfect end to a groovy time, almost like slipping into a hot tub after you’ve had great sex.
Stars are indeed the light, and so are we. Each of us are divine beings connected on this small orb in the middle of space. We are connected with each other and what lies beyond our senses. Moon Duo seek to remind us of this cosmic connection and acceptance that is there for us to embrace. Stars Are the Light is like a singing bowl, providing us the tones to remember who we are and who we are to each other.
I had loaded three CD’s by the Black Keys into my car’s CD player (Remember those?) for the rainy trip to Chicago on September 27, 2019 to catch them live at the United Center. I had many other albums and EP’s of theirs in mp3 format that I didn’t bother to upload to my phone before the trip because I knew I couldn’t listen to all of them in the two and a half-hour drive to the Windy City. As I listened to Magic Potion, Thickfreakness, and Turn Blue, I couldn’t help but think, “Why has it taken me so long to see these guys live?”
They’d been on my “must-see” list since at least 2011, but I could never make it to any of their tour dates. Lead singer / guitarist Dan Auerbach‘s psychedelic side projects, the Arcs, was scheduled to play at the cancelled 2016 Levitation Austin festival, so I wasn’t even able to catch that band just three years ago.
The stars finally aligned and I was able to get a decent price ticket for a seat at this level of the United Center.
That seat cost just a little more than this bad ass show poster, which most people didn’t seem to be noticing at the merch table I visited.
Signed and numbered by the artist to boot!
I didn’t catch the opening band, or even find out who they were, because I was famished by the time I got into the United Center. I munched on a small stuffed pizza (only $8.75, compared to ten bucks for a bag of gourmet popcorn smaller than an average beer stein) while they played. They didn’t sound half-bad.
The second opener was indie rock fan-favorites Modest Mouse. I had no idea what to expect from them, and was surprised to learn they were an eight-person band that included two drummers and a violinist.
They had a lot of fans at the show. I only knew one song they played in their mix of Americana and quirky rock with interesting time signatures. It wasn’t my thing, but their fans loved their set and I saw many people dancing throughout it.
The Black Keys, Mr. Auerbach and drummer Patrick Carney, came out with two backing guitarists and a bass player. The bass player and one of the backing guitarists (who also sang backing vocals) were brothers Andrew and Zachary Gabbard, and the other backing guitarist was, much to my surprise and delight, Delicate Steve – whose album TillI Burn Up is one of my favorite discoveries of the year.
Opening with an oldie but goodie, “I Got Mine,” they put on a great show mixing stuff from their new record with plenty of cuts from their large back catalogue, like “Gold on the Ceiling” (a crowd favorite) and “Fever.”
“Next Girl”
“Next Girl” followed, which sounds much heavier live than it does on an album. I have to give a lot of respect to the Black Keys’ touring sound engineers. Dan Auerbach’s guitar tones were crisp and yet had all the right fuzz (and volume!). It sounded great in a large arena, almost like they were playing in a small club. I also love how Auerbach’s guitar is plugged directly into onstage amps instead of using a wireless rig.
“Everlasting Light”
“Howlin’ for You” was another crowd favorite, and I was happy to hear “Ten Cent Pistol.” They closed the set with another crowd-pleaser, “Lonely Boy” before heading off stage so their stage crew could set up a giant inflatable electric chair.
This was the set for most of their encore, which included “Lo / Hi,” new single “Go,” and ended with the loud, dirty “She’s Gone.
It was a fun show, and worth the wait. It’s also good to see these two goofy guys filling an arena with people who love rock and blues. They’re calling this the “Let’s Rock” tour. I’m glad. All of us need to rock more.
San Diego trio The Schizophonics share a new single from their forthcoming sophomore album, People in the Sky, today via The Talkhouse. The song, “Steely Eyed Lady,” and the band, gets a fittingly astounding introduction courtesy of beloved performance artist El Vez (a.k.a. Robert Lopez): “Hits you like a train with all the passion of a young Little Richard floating through the clouds with so much raw energy. Your new favorite band should hit you like a campaign slogan. Like a religious cult or an anti-hero movie star that you fall in love with.”
BrooklynVegan recently premiered the first single “Battle Line” available to hear and share via BrooklyVegan, YouTube, Bandcamp and Spotify.
The band takes its jaw-dropping live show on the road for headlining dates throughout North America this October. Please see current dates below.
Over the last few years, The Schizophonics have built up a formidable reputation around the world as an explosive live act. Tapping into the same unstoppable combination of rock ‘n’ roll energy and showmanship that fueled The MC5 in the heyday of the Grande Ballroom, their wild live show is heavily influenced by artists like James Brown, Iggy Pop, Jimi Hendrix, Little Richard, and The Sonics. Singer/guitarist Pat Beers and drummer Lety Beers formed the band in San Diego in 2009 and have worked tirelessly since then, playing hundreds of shows around the globe and winning 7 (SEVEN!) San Diego music awards.
In 2013 they were recruited as the backing/opening band for El Vez, which helped the band make a name for itself in Europe. Since then, they’ve played in fourteen countries, and supported tours by like-minded acts like Rocket From The Crypt, Little Barrie, and The Woggles and have opened for The Damned, The Hives and Cage The Elephant. Shindig magazine described their live show “Like watching some insane hybrid of Wayne Kramer, James Brown, and the Tazmanian Devil.”
“One of my favorite live bands ever,” proclaims Tim Mays, who has run the Casbah in San Diego for 30 years and has seen literally thousands of live bands come through his doors. “The Schizophonics bring the goods every time they play,” he enthuses.
The band is more than just an outstanding live act, they’re also committed to writing great, memorable songs.
After releasing 2 singles and an EP over the last few years on Munster, Ugly Things, and Pig Baby Records, they put out their first full-length album in July 2017 titled Land of the Living on the label Sympathy For The Record Industry with famed record man Long Gone John. In January of 2019 they started work on their second LP recruiting Dave Gardner (Hot Snakes, RFTC) mixing engineer Stephen Kaye (JD McPherson, Mike Krol) and Pierre De Reeder (Rilo Kiley) to put their live, raw sound to tape. The album, titled People in the Sky, will be released on October 31st, 2019 on Pig Baby Records. Pre-orders are available HERE.
THE SCHIZOPHONICS LIVE 2019: 10/10 Los Angeles, CA @ Harvard & Stone 10/11 San Diego, CA @ Casbah 10/12 Long Beach, CA @ Alex’s Bar 10/13 Phoenix, AZ @ Rhythm Room 10/14 El Paso, TX @ The Neon Rose 10/17 Denton, TX @ Harvest House 10/18 Austin, TX @ Nicolaza’s/Far Out 10/19 Houston, TX @ Rudyards 10/20 New Orleans, LA @ TBA 10/23 Miami, FL @ Gramps 10/24 St. Petersburg, FL @ The Bends 10/25 Orlando, FL @ Wills Pub 10/26 Atlanta, GA @ Star Bar 10/27 Memphis, TN @ DKDC 10/30 New York, NY @ Union Pool 10/31 Baltimore, MD @ Otto Bar 11/01 Washington, DC @ The Pie Shop 11/02 Philadelphia, PA @ Ortlieb’s 11/03 New Haven, CT @ Café Nine 11/04 Providence, RI @ Dusk 11/05 NYC, NY @ Illegal Mezcal Private Party 11/06 Pittsburg, PA @ Get Hip 11/07 Toronto, ON @ The Baby G 11/08 Detroit, MI @ The Outer Limits 11/09 Chicago, IL @ Liars Club 11/10 Madison, WI @ Mickey’s Tavern 11/12 Appleton, Wi @ The Cold Shot 11/15 Wenatchee, WA @ Walley’s 11/16 Seattle, WA @ Freakout Festival 11/17 Portland, OR @ Twilight Café
Keep your mind open.
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Portland, OR quintet Blackwater Holylight have shared the second single from their forthcoming sophomore album Veils of Winter (RidingEasy Records). Hear and share the pop-hook laced “Death Realms” via YouTube and Bandcamp.
The band previously dropped the immediately classic lead track “Motorcycle” via YouTube and all streaming platforms last month. Blackwater Holylight hit the road later this month, supporting Thou for a handful of Southern dates, followed by the full US with former RidingEasy label mates Monolord in November. Please see complete dates below.
Blackwater Holylight, as the name suggests, is all about contrasts. It’s a fluid convergence of sound that’s heavy, psychedelic, melodic, terrifying and beautiful all at once.
As a heavy band, their songs aren’t anchored to riffs, but rather riffs come and go in waves that surface throughout the band’s meditative, entrancing songs. It’s a hypnotic sound, with orchestral structures that often build tension and intrigue before turning the song on its head — not by simply getting louder or heavier, nor by just layering elements. They expertly subvert the implied heaviness of a part, dissecting it and splaying the song’s guts out to seep across the sonic spectrum. Now, having toured extensively following the band’s wildly-successful breakout self-titled debut in 2018, Blackwater Holylight has honed their sound and identity to a powerfully captivating beast. Their live set is all about the slow build, seeming to combine the melodic tension of early Sonic Youth crossed with the laconic fever-dream blues of the first Black Sabbath album and wiry experimentation of post-punk and krautrock. The lineup on this album is Allison (Sunny) Faris (bass/vocals), Laura Hopkins (guitar/vocals) and Sarah McKenna (synths), with new guitarist Mikayla Mayhew and drummer Eliese Dorsay fleshing out their sound in exciting ways.
“The process of this album was vastly different from our first record,” says Faris. “One, because we recorded it over the course of a few weeks, whereas the first record was over the course of about a year. And two, this album was a true collaboration between the five of us. Each of us had extremely equal parts in writing and producing, we all bounced ideas off each together, and we all had a say in what was going on during every part of the process.”
“One of our favorite things about this album is that because it was so collaborative, we didn’t compartmentalize ourselves into one vibe.” She continues. “It’s heavy, psychedelic, pop, shoegaze, doom, grunge, melodic and more. The whole process was extremely organic and natural for us, we were just being ourselves.”
Veils of Winter opens with fuzzed-drenched, drop-tuned bass and baritone guitar leading a dirge riff on “Seeping Secrets.” Faris’ lilting and funereal vocals drop in, adding to the mournful atmosphere until a short turnaround progression hints at changes to come, as Faris and Hopkins harmonize eerily and the tune suddenly turns into a krautrock charge. “Motorcycle” kicks off deceptively with a heavy grunge riff building up for about 40-seconds before the song abruptly shifts gears into a synth-led post-punk harmony, sounding something like Lush meets Syd Barrett era Pink Floyd. “Death Realms” is perhaps the poppiest track, based around soaring shoegaze guitars and interwoven light vocal harmonies. Soft piano notes, occasional woozy whammy bar dives and a driving tom-tom beat solidify its hooks. “Spiders” is a creepy-crawly guitar riff and counterpoint keys, while “Moonlit” explores prog-structures with a shredding guitar solo crescendo. The penultimate track, “Lullaby” is exactly that, a lulling, expansive tune exemplifying Blackwater Holylight’s genre smashing sound as it subtly moves across a vast sonic landscape atop a hypnotic 6/8 beat and repetitive 3-note motif. Throughout the album, their songs shirk traditional verse-chorus-verse structure in favor of fluid, serpentine compositions that move with commanding grace.
Veils of Winter will be available on LP, CD and download on October 11th, 2019 via RidingEasy Records. Pre-orders are available at www.ridingeasyrecs.com.
BLACKWATER HOLYLIGHT LIVE 2019: # 09/28 Gainesville, FL @ The Atlantic # 09/29 Pensacola, FL @ Chizuco # 10/10-13 Lake Perris, CA @ Desert Daze Festival 10/24 Portland, OR @ Star Theater – Album release show 11/05 San Diego, CA @ Brick By Brick * 11/06 Tucson, AZ @ Club Congress * 11/07 Albuquerque, NM @ Sister * 11/09 Austin, TX @ Barracuda – Levitation Fest – RidingEasy Stage 11/10 Lafayette, LA @ Freetown Boom Boom Room * 11/11 New Orleans, LA @ One Eyed Jacks * 11/12 Atlanta, GA @ 529 * 11/13 Asheville, NC @ Mothlight * 11/14 Richmond, VA @ Camel * 11/15 Baltimore, MD @ Metro Gallery * 11/16 Philadelphia, PA @ First Unitarian Church * 11/17 New York, NY @ Saint Vitus * 11/20 Chicago, IL @ Reggie’s * 11/21 Indianapolis, IN @ Black Circle Brewing * 11/22 St. Louis, MO @ Fubar * 11/23 Lawrence, KS @ The Bottleneck * 11/25 Denver, CO @ Marquis Theater * 11/27 Los Angeles, CA @ Teragram Ballroom * 12/05 Seattle, WA @ Neumos ^ 12/06 Eugene, OR @ WOW Hall ^ 12/07 Portland, OR @ Bossanova Ballroom ^ # w/ Thou * w/ Monolord ^ w/ Yob
Keep your mind open.
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For their first album of 2019, Fishing for Fishies, prolific and unpredictable psych-rockers King Gizzard and the Lizard Wizard wrote a blues record and an album promoting environmentalism.
The title track instantly puts down a happy grove while the lyrics suggest that our oceans need rescued and maybe we should lay off fishing for a while. The album’s cover features a robot (Han-Tyumi from Murder of the Universe?) casting a burning fishing line into a fiery lake that might be covered in a blazing oil spill. Stu Mackenzie and Ambrose Kenny-Smith sing about the cruelty of commercial fishing and how it would be better to just let the fishies swim.
“Boogieman Sam” has a heavier groove that gets your head bobbing and toes tapping. It also lets Kenny-Smith cut loose with his harmonica, as do many of the tracks on this record. It’s fun to hear his playing in the forefront. The jazz swing of the back-to-nature ode “The Bird Song” (which gets into existential philosophy – “To a bird what’s a plane?…To a tree what’s a house?”) is great. It’s like a Steely Dan or Doobie Brothers track.
“Plastic Boogie” is another solid groove cut with Mackenzie and Kenny-Smith sharing lead vocals throughout it as KGATLW discuss how space age polymers are ruining our oceans and polluting everything in sight. “The Cruel Millenial” has Kenny-Smith singing lead while the rest of the Wizards sound like they’re having a blast playing behind him with pub-rock beats and riffs. “Real’s Not Real” bring back that cool 1970’s jazz-rock swing thing that is hard to describe, but recognizable once you hear it. They add some psych-fuzz and blues harmonica to it, which makes it even better.
Speaking of blues harmonica, it’s front and center on the sweet rocker “This Thing” (which also has a fine bass line from Lucas Skinner). “Acarine” brings in a touch of the Middle Eastern rhythms found on their album Flying Microtonal Banana as it floats along in a bit of a psychedelic haze and discusses how even the smallest of creatures are worth saving. The song slides into synthwave sounds and beats that flow well into the closing track – “Cyboogie” – which blends synthwave pulses, robotic (Han-Tyumi again?) vocals, and boogie jams.
It’s a fun record, one of KGATLW‘s most accessible in a while for listeners who haven’t heard their stuff before, and a great set up for their second album of the year – Infest the Rats’ Nest (review coming soon) – which continues the environmental themes of this one.
Keep your mind open.
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Always one to follow their creative whims, Partner (multi-instrumentalists Josee Caron and Lucy Niles) released Saturday the 14th earlier this year. It’s a five-song EP that lets them stretch their creative muscles and embrace multiple influences.
“Fun for Everyone (Minions)” is an electro-laced dance tune that has Caron and Niles telling everyone to “dance like a Minion and not give a care about anyone’s opinion.” It’s a shame if this hasn’t been remixed by multiple DJs by now, and it will be an even bigger shame if the next Despicable Me film doesn’t feature it on the soundtrack.
Partner having a song called “Stoned Thought” shouldn’t be a surprise to anyone who’s a fan of the band, since they have openly sang of their love of the herb (i.e., “Hot Knives,” “Everybody Knows You’re High”). It’s a witty song about cool things they thought of (song ideas, high philosophy, etc.) while high and now can’t remember.
“Tell You Off” is a tongue-in-cheek country tune complete with dobro and Niles rocking a harmonica solo in-between lyrics about chewing out a neighbor over their bad behavior. “Long & McQuade” is a salute to the band’s favorite music equipment store in Canada. Caron’s solo on it is outstanding.
The album ends with the downright beautiful “Les Ailes d’un Ange” (“The Wings of an Angel”) – a French vocal ballad that Partner have admitted is their attempt to write a song that fellow Canadian Celine Dion might sing.
It’s a fun EP that is a welcome appetizer for their next full-length album (which they have claimed will be a rocker. I have no doubt of this.).If you’re feeling down and need your luck to change, try Saturday the 14th.
Keep your mind open.
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The greatest surviving British punk band, The Damned, are set to release their most comprehensive collection of songs yet, with a new greatest hits collection, Black Is the Night, via BMG on November 1st. Pre-order the album here.
[Taken from the album’s liner notes]: Black Is the Night is the first truly comprehensive Damned anthology, spanning their entire career. These tracks have been specifically chosen by the band themselves and every track and every Damned album tells a different story. They are a band that never repeats themselves, with every record charting new territory and breaking new ground.
Designer Phil Smee was chosen to create the gothic artwork. Smee has worked with the band numerous times throughout their long-lasting career, as well as creating legendary designs for Motörhead, Elton John and Madness, amongst many others. Smee commented: “I loved working with the band back in the 80’s and I like to think we came up with some iconic designs. Certainly, I see the many Damned logos I came up with still used on t-shirts to this day. I’ve not cut corners with this new album, even setting all the sleeve copy by hand, which took me back to ‘The Black Album’ which I hand-lettered with a shaky pen. The Damned are a totally unique band, I’ve always loved everything they’ve done. I still get excited about every design project that comes along, but I was particularly pleased to be asked to work on The Damned’s Black Is the Night album.”
The band play Madison Square Garden with Misfits and Rancid on October 19th.
TRACKLISTING: 1. Love Song 2. Wait For The Blackout 3. Generals 4. I Just Can’t Be Happy Today 5. Bad Time For Bonzo 6. Democracy? 7. White Rabbit 8. Anti-Pope 9. Ignite 10. Melody Lee 11. Smash It Up Pt 1 & 2 12. New Rose 13. Machine Gun Etiquette 14. Neat Neat Neat 15. Stretcher Case Baby (produced by Shel Talmy) 16. Sick Of Being Sick (produced by Shel Talmy) 17. Born To Kill 18. Rabid (Over You) 19. Problem Child 20. 1 Of The 2 21. So Messed Up 22. Disco Man 23. Fan Club 24. Suicide 25. Eloise 26. Plan 9 Channel 7 27. Grimly Fiendish 28. The Shadow Of Love 29. The History Of The World (Part 1) 30. Dr Jekyll and Mr Hyde 31. Streets Of Dreams 32. Curtain Call 33. Alone Again Or 34. Lively Arts 35. Standing On The Edge Of Tomorrow 36. Stranger On The Town Fun Factory (previously deleted feat. Robert Fripp) 38. Under The Floor Again 39. Black Is The Night (new song)
Follow The Damned at: www.officialdamned.com twitter.com/@damnedtwits
Canadian psych-rockers Elephant Stone have released “Land of the Dead,” the first single from their upcoming 2020 album. The song was premiered at Brooklyn Vegan, where you can hear it now.
The track is surprisingly heavy for an Elephant Stone tune, and frontman Rishi Dhir has admitted it’s “much heavier than anything we’ve ever done. It wasn’t intentional. I just had this sitar riff and then it evolved / devolved from there.”
Stoner metal fans rejoice!
Elephant Stone are also soon to embark on their fall tour. Dates are below.
11/5 San Diego, CA @ The Casbah 11/6 Phoenix, AZ @ Yucca Tap Room 11/8 Austin, TX @ Barracuda/Levitation 11/9 Dallas, TX @ The Foundry (FREE SHOW) 11/11 Santa Fe, NM @ Rufina Tap Room (FREE SHOW) 11/12 Denver, CO @ Hi-Dive 11/13 Fort Collins, CO @ Surfside 7 11/15 Portland, OR @ Doug Fir 11/16 Seattle, WA @ Freakout Festival 11/17 Vancouver, BC @ Wise Hall 11/19 San Francisco, CA @ The Chapel 11/20 Los Angeles, CA @ Lodge Room
Never ones to rest on their laurels, the Reverb Appreciation Society (the group behind Austin, Texas’ Levitation Music Festival, as well as the Levitation France festival in Angers, France coming up this weekend) have added three more shows to their November 7 – 10, 2019 Texas lineup.
That Damo Suzuki Network show should be a trip. Nots put on a packed show the last time I saw them in Austin, and that Chelsea Wolfe / Ioanna Gika show is an added show because the first quickly sold out. I wouldn’t wait to get tickets to this second show if you missed the first one.
Clutch announce the release of “Electric Worry.” The single is the third in a series of new studio recordings that comprise the newly launched Weathermaker Vault Series and the first new official music Clutch is making available since the release of their critically acclaimed album, Book Of Bad Decisions.
The new live video uses footage from various 2019 European Summer festivals and can be seen at https://youtu.be/mtuVGOnX868
When “Electric Worry” was released in 2007 on the album From Beale Street to Oblivion nobody knew that this track would turn into one of Clutch’s most recognizable songs. It is a fan favorite and a staple at live shows. Over the course of time, the song went through changes. What you are listening to here is a brand new studio recording of the 2019 live version of the song without the keyboards and harmonica that are on the 2007 rendition. This is “Electric Worry” in its purest form.
“Electric Worry” was mixed by 6X Grammy Award winner and Clutch collaborator, Vance Powell (Wolfmother, The Raconteurs, Arctic Monkeys).
“All in all it’s just a leaner, meaner song” states vocalist Neil Fallon. “We wanted to put something out there that was representative of what we do these days since it happens to be one of our most popular songs.”
Clutch has curated their own Spotify playlist “Clutch’s Heavy Rotation”: https://open.spotify.com/playlist/3NlZsjNNOoCvwjCv58mcNR
On Friday, September 20th, Clutch will embark on a Fall tour of the US with Dropkick Murphys along with metalcore veterans Hatebreed as direct support.
Clutch Fall Tour with Dropkick Murphys: Tickets available here. (headline** and festival* dates) = no Dropkick Murphys Fri/Sep-20 Springfield, MA MassMutual @ Center Arena Sat/Sep-21 Erie, PA Erie @ Insurance Arena **Sun/Sep-22 Wilmington, DE @ The Queen (support: Lionize, Kingsnake) Tue/Sep-24 Raleigh, NC @ Red Hat Amphitheatre Wed/Sep-25 Charlotte, NC Charlotte @ Metro Credit Union Amphitheatre Thu/Sep-26 Birmingham, AL @ Avondale Brewery **Fri/Sep-27 Clarksville, TN O’Connors Outdoor Stage (support: Hatebreed, Cane Hill) Sun/Sep-29 Detroit, MI @ Masonic Temple Theatre Mon/Sep-30 Chicago, IL @ Aragon Tue/Oct-01 Minneapolis, MN @ The Myth Thu/Oct-03 Moorhead, MN @ Bluestem Center For The Arts Fri/Oct-04 Council Bluffs, IA @ Westfair Amphitheatre Sat/Oct-05 Broomfield, CO @ FirstBank Center Sun/Oct-06 Salt Lake City, UT @ The Union Tue/Oct-08 Los Angeles, CA @ The Palladium Wed/Oct-09 San Diego, CA @ Park at the Park *Fri/Oct-11 Sacramento, CA @ Aftershock Festival **Sat/Oct-12 Bend, OR @ Midtown Theater (support: Red Fang, Mos Generator) **Sun/Oct-13 Eugene, OR @ McDonald Theater (support: Red Fang, Mos Generator) Mon/Oct-14 Boise, ID @ Outlaw Field at Idaho Botanic Gardens Tue/Oct-15 Seattle, WA @ WAMU Theatre ** = HEADLINE SHOW * = FESTIVAL
