Category: Rock

The Beths – Future Me Hates Me

Coming in with possibly the wittiest album title of the year (Future Me Hates Me), New Zealand’s the Beths show up with some much-needed pop-punk and joie de vivre right now.

The fun fuzz that opens “Get No One” is somehow topped by the delightful rhythm guitar that follows it.  You’re tapping your feet right away and wanting to blast the album’s opener out of your car as soon as possible.  The title track is as fun as you’d hoped it would be as lead singer Elizabeth Stokes tells us about how she’s setting herself up for “future heartbreak, future headaches,” but she’s still going through with a relationship.  “Uptown Girl” isn’t a cover of the Billy Joel song (although I’m sure they’d have fun with that), but it is a raucous salute to partying all night and the aftermath that often brings.

“You Wouldn’t Like Me” has Stokes warning a potential lover about the hazards of dating her.  “You wouldn’t like me if you saw what was inside me,” she sings, but the peppy nature of the song leads us to believe that was she thinks are faults are in reality charms.  “Not Running” has an urgent energy to it (despite the title) with Jonathan Pearce‘s guitars constantly moving forward and not looking back.

“Little Death” is a rocker about orgasms.  “Happy Unhappy” has Stokes both lamenting and loving the start of a new relationship and how its going to break her out of her comfortable rut.  “River Run: Lvl 1” might refer to a video game I’ve never played, but the theme of a lovers’ game seems to run through the whole tune.  The groovy grooves, rock anthem drums (by Ivan Luketina-Johnston) and vocal harmonies of “Whatever” make it one of the catchiest tracks of 2018 (and I love the subtly heavy bass by Benjamin Sinclair on it).  The album ends with “Less Than Thou,” another love song in which Stokes gets in her own way when it comes to love, but powers through it with shining guitars and happy beats.

Future Hates Me is one of the peppiest and most clever albums of the year.  It’s a perfect summer rock record, or a perfect record for breaking your winter blues if you’re in New Zealand this time of year.

Keep your mind open.

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Wharf Cat Records has brought us a new post-punk supergroup -Public Practice.

DARK OPTIMISM IN DEADPAN VOCALS AND FUNK GROOVES – STEREOGUM

Wharf Cat Records is pleased to introduce Public Practice – a Brooklyn DIY supergroup of sorts, featuring members of freshly-dead punk project WALL and local pop band Beverly. Comprised of singer Sam York, guitarist Vince McClelland, synth/bassist and vocalist Drew Citron, and drummer/programmer and producer Scott Rosenthal, their serious chops and dance-inducing live set are already pulling them into the sharp foreground of a scene growing all too warm-and-fuzzy.

Public Practice’s debut EP, Distance is a Mirror, is a confident, juried testimony of love steeped in dark optimism. Dry, deadpan vocals chant over skittish guitar and danceable 70s grooves—songs snapping like rubber bands—seesawing between post-punk and its insomniac twin sister disco. With contradicting references as overt as Talking Heads (without the shoulders), but as specific as Haruomi Hosono of Yellow Magic Orchestra (with some polka dots), the band is carrying a funky torch that does not get lit too often.

By the end of the short and bitter-sweet 4-song EP, punctuated by Sam York’s sign-off of “no you can’t take it back now,” Public Practice anchors themselves as a new band with wisdom like their influences, bringing songs distinctly fresh as they are familiar. Public Practice will privately change your mind about where guitar music is going. Tired of the familiar? Seeing dots? Wake up!

TBR 10/26 // First 150 EP’s Hand-Numbered // Special Edition EP’s (limited to 250) Feature Flexi-Disc w/Remixes by Austin Brown (Parquet Courts) and House of Feelings // All LP’s Include Insert w/Lyrics // Also Available on CD
PRE-ORDER: PUBLICE PRACTICE – DISTANCE IS A MIRROR EP SPECIAL EDITION W/REMIXES FLEXI ($20)
PRE-ORDER: PUBLICE PRACTICE – DISTANCE IS A MIRROR EP REGULAR EDITION (14$)

Keep your mind open.

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Live: The Flaming Lips and Le Bucherettes – August 16, 2018 – Clyde Theatre – Ft. Wayne, Indiana

It was a grey night.  Rain had been falling.  My wife was on the phone with her boss and trying to sort out work drama that had been bothering both of them for a week.  She and the whole Ft. Wayne area, it seemed, needed a boost of love and fun.  They got it from the Flaming Lips and Le Bucherettes at Ft. Wayne’s Clyde Theatre on August 16th.

My wife had never been to a Flaming Lips show.  All I told her was that it would be wild and there would be balloons and confetti.  I didn’t want to spoil anything for her.

We walked in just at the start of Le Bucherettes’ set.  I’d heard of them somewhere before and made a note to check out their stuff, and this was my first full exposure to their work.  It was a wild mix of psychedelia and art punk fronted by a wild Latina (Le Bucherettes hail from Mexico) who seemed to be the child of Iggy Pop and Poly Styrene after they’d had sex in an Aztec temple.  They threw down a wild set that even had Wayne Coyne from the Flaming Lips crouching at stage right to take photos of them.  My wife and I thought they needed to play next year’s Levitation Music Festival in Austin.  They’d fit in perfectly there, and we picked up their last album at the merch table not long after their set.

Le Bucherettes

The beginning of the Flaming Lips’ set began with their cover of “Also Sprach Zarathustra” and then “Race for the Prize” off The Soft Bulletin, which included the following (of course):

My wife was already grinning by this point, and the grin never left her face the entire night.  She laughed in disbelief at the giant inflatable robot that stood at center stage over Wayne Coyne during “Yoshimi Battles the Pink Robots” – which Coyne described as a song not just about a young, female Japanese karate master fighting evil robots, but more about “Your friend who tells you they’re going to do something impossible, but they don’t know it’s impossible, and instead of you telling them it’s impossible, you tell them…Yoshimi you won’t let those robots defeat me.”

“Fight Test” is always a welcome addition to their sets, and the “Golden Throat” microphone version of the national anthem was a weird treat.  This show was the first time I heard “The Yeah Yeah Yeah Song” as well as “The Castle,” which Wayne Coyne described as a sad song, but it doesn’t feel overwhelmingly sad when he sings it.  It still sounds hopeful to me.

“The Castle”

Coyne then put on rainbow wings and jumped on a light-up unicorn that was pulled through the audience while he sang “There Should Be Unicorns,” which took on a near deep-house beat and feel live.  It’s cool on Oczy Mlody, but it’s better live.

They busted out “She Don’t Use Jelly,” which was well-received by the crowd (and was one I’d hoped they’d play), and “The Captain” after that.  There was a small temporary stage in the middle of the crowd, and I figured it was for when Coyne stepped into a giant plastic sphere and crowd surfed to it during their cover of “Space Oddity.”  I’d seen him do it at the inaugural Middle Waves Music Festival two years earlier.  I was right, and my wife, a big Bowie fan, nearly cried when she realized what song was coming.

They wrapped up the set with “How??”, “Are You a Hypnotist?”, “The W.A.N.D.”, and “A Spoonful Weighs a Ton” before coming back for “Do You Realize?”

“That made me happy,” my wife said afterwards.  “I needed that.”

We all did.  Thanks, Flaming Lips.

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Rewind Review: Thin Lizzy – Jailbreak (1976)

It’s easy to forget that Jailbreak was Thin Lizzy‘s sixth album because Jailbreak was their commercial breakthrough and is so good that it often overshadows some of their earlier work.

The title track kicks off the album, and it’s essentially a line in the sand for every rock album that came after it.  If you’re a rock band currently practicing in a garage or basement, you need to hear “Jailbreak” and realize that you had better come up with an opener with as much fire as this or your band is already doomed.  Good luck with that, by the way, because matching the crunchy groove of it is nearly impossible.  The groove on “Angel of the Coast” is almost as jaw-dropping.  Drummer Brian Downey doesn’t screw around on this or any other track.  The slight bluesy sound of “Running Back” (with nice keyboard additions by Tim Hinkley) is a nice switch-up by the band.

The way Scott Gorham and Brian Robertson‘s guitars play off each other on “Romeo and the Lonely Girl” is impressive in its subtlety and talent.  “Warriors,” a song about drug addicts, has vocalist / bassist Phil Lynott singing and playing with swagger.  I can’t figure out how he keeps up his killer bass line while singing like Iggy Pop, and the guitar solo on it is a thing of beauty.

“The Boys Are Back in Town” is, of course, their biggest hit in the United States (and pretty much everywhere else).  It shouldn’t surprise anyone, really.  The beat is straight-up rock, Lynott sings about guys everyone knows, and Gorham and Robertson’s guitars play for the cheap seats.  “Fight or Fall” could almost be a Steely Dan track with it’s jazz guitar and drum touches.  “Cowboy Song” is a rocking ode to rodeo riders, cattle wranglers, and heartbreak.  The closer, “Emerald,” has enough guitar shredding for two albums, let alone one song.  Remember how I suggested you should try to match “Jailbreak” when opening your album?  It wouldn’t hurt to close with something as excellent as “Emerald” either.

Jailbreak is a classic that actually wasn’t heralded much in its time until “The Boys Are Back in Town” won the NME Award for Best Single in 1976.  It has since grown to influence hundreds, if not thousands, of other bands, and to blast out speakers around the world.

Keep your mind open.

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Rewind Review: Windhand – Grief’s Infernal Flower (2015)

Windhand (Parker Chandler – bass, Dorthia Cottrell – vocals, Garrett Morris – guitar, Ryan Wolfe – drums) say they’re from Richmond, Virginia, but I think they secretly might be from Hyperboria, Jupiter, or beyond the Black Veil of Space and Time due to the heavy riffage they unleash on their 2015 record Grief’s Infernal Flower.

The opener, “Two Urns,” unleashes enough doom bass by Chandler to power a mission to Mars and soon Cottrell’s incense voice wraps around you like a black velvet cloak, Wolfe pounds out the rhythm of your jittery heart, and Morris shreds open your eyelids.  If that’s not enough power for you, don’t fear.  “Forest Clouds” comes next and it’s the sound of Tolkien ents marching toward a battle with orc troops from Mordor.  Cottrell sings about something dark waiting to awaken from an eight hundred-year sleep.  I love how Cottrell’s vocals have a quality that lies between sexy and menacing.  She can sing strange incantations, dire warnings, and tales of mystery and the fantastic with equal skill.

Not dark enough?  The title of “Crypt Key” should cheer you up.  It starts with an acoustic guitar over synths that sound like a faint wind, but then turns into powerful sludge.  Cottrell’s vocals on “Tanngrisnir” (a song about one of the goats who pull Thor’s chariot) are layered with just enough reverb to make them spookier than normal, and Wolfe’s drums sound like he’s been transformed into a giant doom metal centipede.  “Sparrow” is almost a blues ballad.  It’s a nice center to the album that lulls you into a peaceful place amid the dark creatures that lurk throughout the album.

“Hyperion” is the most upbeat song on the record – not necessarily by the lyrics, but definitely by the beat and straight-forward rock riffs by Morris and Chandler.  I’m not sure if “Hesperus” refers to the Greek god of the planet Venus / the Evening Star or the poem The Wreck of the Hesperus by Henry Longfellow, but both are appropriate for over fourteen minutes of great stoner metal.  Chandler’s bass and Wolfe’s drums are like primordial monsters rising from the depths to bring down a sea vessel, and Morris’ guitar and Cottrell’s vocals seemed designed to herald the arrival of a Venusian god.  It abruptly ends, much like the fate of the ship in Longfellow’s poem.  “Kingfisher” is about the same length as “Hesperus” and just as heavy.  Cottrell sings about something or someone, perhaps even her, being “all-seeing, all-knowing” while Morris throws down riffs powerful enough to probably make him levitate.  The album ends with “Aition” (a term for how religions explain the origin of a myth or legend), leaving one to think that the end of the record is actually the beginning to another journey…and Windhand does have another album coming out this October.

It’s a solid record of stoner metal that isn’t angry but certainly is menacing.

Keep your mind open.

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Rewind Review: Follakzoid – III (2015)

I’d heard of Chile’s psychedelic / shoegaze rockers Follakzoid years ago, but hadn’t picked up any of their material for reasons unknown to me.  Lo and behold, they were on the lineup for the 2018 Levitation Music Festival in Austin, Texas, so I made sure to get tickets for their set (which did sell out).  I’m glad I did because their set was one of my top three for the whole weekend, and I left determined to dive deep into their catalogue.

I’m starting with their last record, III, which is only four tracks, but the shortest is just over nine minutes long.  It’s a mesmerizing, mostly instrumental mix of ambient synths, krautrock guitars, precision drumming, shoegaze fuzz, and misty psychedelic vocals.

“Electric” opens the album and lets you know that Follakzoid’s drummer is apparently a cyborg, because I don’t know how else he can keep up such a sharp beat for over eleven minutes.  The song might be the closest I ever get to floating in zero gravity.  The guitars range from hardly being there to surging toward you like a thunderstorm.  “Earth” is a little jostling at first with the crunchy, jagged guitars but it grows into a tribal meditation with heart-pumping drums and drone synths.  The song ends with weird bleeps, bloops, and what sound like synthesized animal and weather noises.  “Piure” (named after a rare seafood in Chile) seems to melt like a candle over a skull over the course of nearly thirteen minutes.    The last track, “Feuerzeug” (German for “lighter” or perhaps anything use to light a fire), has this mantra-like guitar riff that will float through your mind for days.  Follakzoid stretched this nine-minute track into nearly twenty minutes when I saw them in Austin earlier this year, and it was amazing.  I’m not exaggerating when I tell you that it was mind-altering without the need for any kind of hallucinogens or even booze.

III isn’t so much an album as it is a sensory experience.  It can carry you away if you’re not careful, which might not be a bad thing depending on the kind of day you’re having.  This album would’ve been in my top 10 of 2015 if I’d heard it then.

Keep your mind open.

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Exploded View releases “Sleeper” from upcoming album, “Obey,” out September 28th.

EXPLODED VIEW SHARE “SLEEPERS” WITH VISUAL,
NEW SINGLE OFF OBEY, OUT SEPTEMBER 28TH VIA SACRED BONES
https://youtu.be/C6SXE9R67Wg

FIRST-EVER NORTH AMERICAN TOUR KICKS OFF OCTOBER 19TH

(photo credit – Exploded View)
     “Break free and fly above the clouds outside the lines that we were told were good for us.
Free yourself from your own prison. Remove the shackles of fear to find that the unknown is not so scary        and can be full of precious discoveries (sometimes only possible during sleep).  A constant trip comes to          an abrupt and unresolved ending with the collapse and eerie shriek of the Arp Solina.” – Exploded View
Exploded View, the international project of Berlin-based Annika Henderson, and Mexico City-based Hugo Quezada and Martin Thulin, will release Obey, their second full-length album on September 28th on Sacred Bones. The apocalyptic, yet soothing songs comprising Obey encompass all the classic dream motifs: intrigue, danger, ecstasy, hard to place, yet primordial visions, and a constant sense of movement. After presenting lead single, “Raven Raven,” the trio now share “Sleepers” and an accompanying visual made by Annika. It’s “a song that very much feels as if it’s flying above the clouds, but is still looking down on desolation from that vantage point. The song glides along on an eerie synth line — at times inviting and beautiful but then always threatening to take a turn into more discomfiting directions — while Henderson’s voice settles into this place where anxiety and fear and wonder seem to coexist. It’s a strange, beautiful composition” (Stereogum).
Leaving behind their live recording process and now a tight three-piece, Exploded View strike a special balance between precise and wild, unshackled and grounded, grooving and unhinged. The have a knack for making the esoteric feel accessible and crafting pop music out of seemingly raw consciousness. This ability to make beautiful music that feels written beyond the veil is at the heart of what makes Exploded View so captivating, and it’s on full display all over Obey. Recorded in Mexico City, the album feels like a liberation of creative impulses and expression allowing the band to reach more mature sonic territories.
Exploded View will head out on their first-ever North American tour the month following the album’s release (all dates are below).
Watch “Sleepers” Visual –
https://youtu.be/C6SXE9R67Wg

Listen to “Raven Raven” –
https://youtu.be/Zl-1qPg8iuE

“’Raven Raven’ is darkly cinematic; its initial moments of creaking synthesizer and rattling floor tom unspool like a reel of degraded film, clicking and flickering images onto a looming screen. . .
The pictures Exploded View offer may be grainy, but they’re just as grave and lasting.”
– Pitchfork

“‘Raven, Raven’ is a logical continuation of Exploded View, with the same beat-poet delivery from frontwoman Annika Henderson and tense kinetic energy from the instrumentalists, who sound a little like the members of Can jamming in Lee ‘Scratch’ Perry’s Black Ark Studios” – SPIN

“Mysterious and claustrophobically groovy” – Brooklyn Vegan

Exploded View Tour Dates:
Fri. Oct. 19 – Dallas, TX @ Nasher Sculpture
Sat. Oct. 20 – Austin, TX @ The Parish
Mon. Oct. 22 – Phoenix, AZ @ Club Congress
Wed. Oct. 24 – San Diego, CA @ The Whistle Stop
Thu. Oct. 25 – Pomona, CA @ The Glass House
Fri. Oct. 26 – Los Angeles, CA @ The Echo
Sun. Oct. 28 – San Francisco, CA @ Rickshaw Stop
Mon. Oct. 29 – Portland, OR @ Mississippi Studio
Tue. Oct. 30 – Seattle, WA @ Vera Project
Wed. Oct. 31 – Vancouver, BC @ Fox Cabaret
Thu. Nov. 1 – Chicago, IL @ The Empty Bottle
Fri. Nov. 2 – Detroit, MI @ Deluxxx Fluxxx
Sat. Nov. 3 – Toronto, ON @ The Garrison
Mon. Nov. 5 – Montreal, QC @ Sala Rossa
Tue. Nov. 6 – Boston, MA @ Middle East
Thu. Nov. 8 – Brooklyn, NY @ Rough Trade
Fri. Nov. 9 – Philadelphia, PA @ PhilMOCA
Sat. Nov. 10 – Norfolk, VA @ Charlies American Cafe
Sun. Nov. 11 – Washington, DC @ DC9
Mon. Nov. 12 – Harrisburg, PA @ The Cathedral Room

Pre-order Obey:
via Sacred Bones – https://www.sacredbonesrecords.com/products/sbr209-exploded-view-obey
via Bandcamp – https://explodedview.bandcamp.com/album/obey

Caroline Rose adds more U.S. tour dates for November.

CAROLINE ROSE EXPANDS NORTH AMERICAN TOUR
WITH HEADLINE DATES IN NOVEMBER

LONER OUT NOW VIA NEW WEST

Photo Credit: Matt Hogan

Caroline Rose has expanded her fall tour to include a set of headline dates in November. Since the release of her new album, LONER, via New West this past February, Rose has spent most of the year on the road playing sold out headline shows and opening for acts, including Mitski, Guster, and Maggie Rogers. Now, she’s gearing up for a set of dates supporting Rainbow Kitten Surprise before setting out on a headline tour with performances in New York, Boston, Toronto, Chicago, Philadelphia, Washington DC, and more. By the end of 2018, Rose will have played over 100 shows in the U.S. alone.

At the same time, critical praise for LONER has continued to flourish. The album landed on over a dozen mid-year highlight lists, including NPR Music’s “40 Favorite Albums of 2018 (So Far)” and Vinyl Me, Please’s “Best Albums of 2018 So Far.” After crediting Rose with putting on one of the best shows at SXSW, Rolling Stone recently published a profile on her, saying:

“Her music has a spaced-out intelligence, an impish energy, plenty of venom and jokes. Her perspective on the world snaps, because it’s light on its feet and has sensitive skin. Even if the structural circumstances suck… Rose can have a precise sort of play with it, criticizing the whole enterprise with a slicing one-liner.”

Rose’s knack for energetic performances and stage banter will be on full display this fall. All dates are below and new dates are in bold.

Stream Caroline Rose’s LONER

Watch/Listen/Share:
“Bikini” Video
“Soul No. 5” video
“Money” video
“Getting To Me”

Caroline Rose Tour Dates:
Sat. Sep. 15- Sun. Sep. 16 – Burlington, VT @ Grand Point North Festival
Wed. Sep. 19 – Rochester, NY @ Abilene Bar and Lounge
Thu. Sep. 20 – Lancaster, PA @ Tello 360
Fri. Sep. 21 – Asheville, NC @ The Grey Eagle
Sat. Sep. 22 – Sun. Sep. 23 – Franklin, TN @ Pilgrimage Festival
Mon. Sep. 24 – Charlottesville, VA @ The Jefferson *
Tue. Sep. 25 – Norfolk, VA @ Norva Theater *
Thu. Sep. 27 – Richmond, VA @ The National *
Fri. Sep. 28 – Port Chester, NY @ The Capitol Theatre *
Sat. Sep. 29 – Baltimore, MD @ Rams Head *
Mon. Oct. 1 – Buffalo, NY @ Town Ballroom *
Tue. Oct. 2 – Montreal, QC @ Corona Theatre *
Sat. Oct. 6 – Providence, RI @ The Strand *
Mon. Oct. 8 – Pittsburgh, PA @ Mr. Smalls *
Thu. Oct. 11 – Lexington, KY @ Manchester Music Hall *
Fri. Oct. 12 – Cincinnati, OH @ Bogart’s *
Sat. Oct. 13 – Indianapolis, IN @ Deluxe at Old National Centre *
Mon. Oct. 15 – Grand Rapids, MI @ Elevation at The Intersection *
Wed. Oct. 17 – Bloomington, IL @ The Castle Theater *
Sat. Oct. 20 – Fayetteville, AR @ George’s Majestic Lounge *
Sun. Oct. 21 – Tulsa, OK @ Cain’s Ballroom *
Tue. Oct. 23 – Oxford, MS @ Lyric Theatre *
Thu. Nov. 1 – Cambridge, MA @ The Sinclair
Fri. Nov. 2 – Hamden, CT @ Space Ballroom
Sat. Nov. 3 – New York, NY @ Bowery Ballroom
Tue. Nov. 6 – Toronto, ON @ Velvet Underground
Wed. Nov. 7 – Ferndale, MI @ The Loving Touch
Thu. Nov. 8 – Chicago, IL @ Lincoln Hall
Fri. Nov. 9 – Iowa City, IA @ The Mill
Sat. Nov. 10 – St. Paul, MN @ Turf Club
Tue. Nov. 13 – Louisville, KY @ Zanzabar
Wed. Nov. 14 – Columbus, OH @ Rumba Cafe
Thu. Nov. 16 – Philadelphia, PA @ Underground Arts
Fri. Nov. 17 – Washington, DC @ Rock & Roll Hotel

* = with Rainbow Kitten Surprise

Praise for LONER:

“[LONER is] a wonderful, rollicking beast.” – MOJO

“Loner is a thrillingly odd take on pop, braiding her sardonic lyrics with off-kilter songs that groove and groan.” – Boston Globe

“Rose has a newly loosed imagination and a flair for exaggerating the absurdities we’re living with, and the way she’s put them to use is a timely gift.” — NPR Music

“With its mix of sunny melodies and acerbic wit, the material from her newly released LP, Loner, was frenetic and freewheeling.” – Rolling Stone

“In an era of endless, ear-numbing streams, LONER grabs your chin and commands your eyes.”
— Consequence of Sound

“Rose is a fascinating person, and from DIY production trickery to her multi-role star turns in her videos, LONER represents her at her best.” — Stereogum “Artist to Watch”

“an often wickedly funny and winningly sardonic indie-pop act with lots of surprising musical moves on her new album, Loner.” – Philadelphia Inquirer

“With her newly honed interest in producing, Caroline Rose has made an unwaveringly entertaining album filled to the brim with songs that are at once contemplative and coax the listener to get out of their seat and dance.” — Rookie

“Rose is a joy to behold . . . LONER whacks the listener swiftly upside the head with our red-clad protagonist’s winning charisma, leaving ya dizzy and begging for more.” — Under The Radar

“…a punchier, studio-powered pop sound, packed with danceable beats, prominent synths, big choruses and plenty of swagger. She remains unafraid of singing about serious subjects (capitalism, sexism, death, etc.) but on LONER, she delivers them through a bold, candy-colored filter that’s always intriguing and often irresistible.” — Paste

Download hi-res press images and cover art

Official Website | Facebook | Instagram | Twitter

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Wild Nothing releases “Shallow Water” ahead of full album due August 31st.

Wild Nothing Shares New Single “Shallow Water”
Listen Here

New Album, Indigo, Out August 31 Via Captured Tracks

[Photo by Cara Robbins]
Later this month Wild Nothing will release his new album, Indigo, one of the summer’s most anticipated albums as heralded by Vulture (“another excellent entry in the catalogue of a project that has virtually perfected the art of writing about romance”) and The A.V. Club (“this is pop music at its most luxurious”). “Shallow Water” is the latest single from Indigo being shared today following “Letting Go” and “Partners in Motion.” “‘Shallow Water’ is a song for and about my wife,” says Wild Nothing’s Jack Tatum. “It can be hard to write songs about being in love that don’t come across as trite but it’s equally as hard to care about being trite when you are in love. To put it simply, it’s a song about finally arriving in the place you were meant to.” As both a return to the fresh, transcendent sweep of his debut, 2010’s Gemini, and a culmination of heights reached, paths traveled, and lessons learned while creating the follow-ups, Nocturne and Life of Pause, it’s clear Indigo is at once vintage Wild Nothing and a bold, new leap into a bigger arena.
Stream “Shallow Water” –
https://wildnothing.lnk.to/ShallowWater

Watch “Letting Go” Video – 
https://youtu.be/EuuT7HvrJF0

Stream “Letting Go” – 
https://wildnothing.lnk.to/LettingGo

Stream “Partners In Motion” – 
https://wildnothing.lnk.to/PartnersinMotion

Pre-order Indigo – 
https://wildnothing.lnk.to/Indigo

Wild Nothing Tour Dates:
(all shows with Men I Trust)
Tue. Oct. 16 – Carrboro, NC @ Cat’s Cradle
Wed. Oct. 17 – Atlanta, GA @ Terminal West
Thu. Oct. 18 – Birmingham, AL @ Saturn
Fri. Oct. 19 – New Orleans, LA @ Gasa Gasa
Sat. Oct. 20 – Houston, TX @ White Oak Music Hall
Sun. Oct. 21 – Austin, TX @ Mohawk
Tue. Oct. 23 – Santa Fe, NM @ Meow Wolf
Wed. Oct. 24 – Phoenix, AZ @ Crescent Ballroom
Thu. Oct. 25 – Santa Ana, CA @ Observatory
Fri. Oct. 26 – Los Angeles, CA @ The Regent Theater
Sat. Oct. 27 – San Francisco, CA @ The Independent
Tue. Oct. 30 – Portland, OR @ Revolution Hall
Wed. Oct. 31 – Vancouver, BC @ Imperial Vancouver
Thu. Nov. 1 – Seattle, WA @ Neumos
Fri. Nov. 2 – Boise, ID @ Neurolux
Sat. Nov. 3 – Salt Lake City, UT @ Urban Lounge
Sun. Nov. 4 – Denver, CO @ Bluebird Theater
Tue. Nov. 6 – Omaha, NE @ The Slowdown
Wed. Nov. 7 – Minneapolis, MN @ Cedar Cultural Center
Thu. Nov. 8 – Madison, WI @ Majestic Theatre
Fri. Nov. 9 – Chicago, IL @ Thalia Hall
Sat. Nov. 10 – Detroit, MI @ El Club
Mon. Nov. 12 – Toronto, ON @ Opera House
Tue. Nov. 13 – Montreal, QC @ Corona Theatre
Wed. Nov. 14 – Boston, MA @ Royale Nightclub
Fri. Nov. 16 – Brooklyn, NY @ Brooklyn Steel
Sat. Nov. 17 – Philadelphia, PA @ Underground Arts
Sun. Nov. 18 – Washington, DC @ 9:30 Club

Download hi-res press images and cover art –
www.pitchperfectpr.com/wild-nothing/
Keep your mind open.
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Shopping announce fall tour dates for North America.

Shopping To Return Stateside For Fall North American Tour
In Support Of The Official Body, Out Now On FatCat Records

Playing Hopscotch, OctFest, Basilica Soundscape, And More
(photo credit: Matthew Williams)

 

“Wiry and urgent, ‘The Official Body’ offers vibrant, chaotic catharsis at an ideal moment.” — Rolling Stone

 

“‘The Official Body’ has such an expansive and warm soul that it forces you reconsider all the wiry clichés associated with post-punk.” — Pitchfork

“…Shopping have opted for one of the most revolutionary forces of all: fun.” — NPR Music 

 

“The 10 tracks here are audacious, funky, and have that element of outsider-cool leftover from the heyday of influences like Delta 5, Gang of Four and ESG.” — Paste

Having wrapped up a short North American tour of the west coast this past summer, which included a triumphant performance at San Francisco Pride to a crowd of nearly 50,000, Shopping – the London/Glasgow-based trio of Rachel Aggs (guitar, vocals), Billy Easter (bass, vocals) and Andrew Milk (drums, vocals) – are thrilled to announce they’ll return stateside next month in support of their most recent album, The Official Body, out now on FatCat Records. Including stops at Hopscotch Music Festival, OctFest, and Basilica Soundscape, the tour will kick off in Philadelphia on Thu. Sep. 6th at PhilMOCA. A full list of dates are below, with tickets on-sale now.
Shopping Tour Dates:
Sat. Aug. 11 – London, UK @ Oslo Hackney
Thu. Aug. 30 – Dorset, UK @ End Of The Road
Fri. Aug. 31 – Baignade Interdite @ Rivières, FR
Thu. Sep. 6 – Philadelphia, PA @ PhilMOCA
Fri. Sep. 7 – Raleigh, NC @ Hopscotch Music Festival *
Sat. Sep. 8 – Washington, DC @ Rock & Roll Hotel #
Sun. Sep. 9 – New York, NY @ OctFest %
Tue. Sep. 11 – Toronto, ON @ The Garrison
Wed. Sep. 12 – Montreal, QC @ Bar Le Ritz
Thu. Sep. 13 – Allston, MA @ Great Scott
Fri. Sep. 14 – Sun. Sep. 16 – Hudson, NY @ Basically Soundscape &

* = w/ Miguel, Belle & Sebastian, MC50 and more
# = w/ No Age
% = w/ The Flaming Lips, Nile Rodgers & CHIC, Girlpool and more
& = w/ Efrim Manuel Menuck, Grouper, Stephen O’Malley’s Un Vide Dans Le Ciel and more

 

Watch/Listen/Share:
Stream The Official Body via Spotify – https://spoti.fi/2KkcdKW
“The Hype” video – https://youtu.be/JnAm6AphanY
“Wild Child” video – https://youtu.be/GWvzFYTPrRw
“Suddenly Gone” video – https://youtu.be/GVcZGVVhfkU

 

Purchase The Official Body:
via Bandcamp – http://bit.ly/2kZQL6Z
via iTunes – http://apple.co/2iBSknm
via FatCat Shop – http://bit.ly/2C3DGO8

Download hi-res album art and press images of Shopping – 
www.pitchperfectpr.com/shopping/

Shopping online:
facebook.com/weareshopping

twitter.com/SH0PP1NG
soundcloud.com/shoppingband

fat-cat.co.uk/artist/shopping

pitchperfectpr.com/shopping

Keep your mind open.

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