Category: Rock

Pitchfork Music Festival artist spotlight: Tame Impala

Australian psych-rockers Tame Impala have a huge following.  They’ve been together since 2007 and have produced quite a bit of material in the last 11 years.  I missed them in Austin a few years ago when they played the Levitation festival there, but they’re closing the Pitchfork Music Festival on Friday.  I’m sure it will be a packed set and a big freak-out for a crowd dehydrated, sunburned, and fuzzy from alcohol, fried chicken, and other odd substances.

Keep your mind open.

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Pitchfork Music Festival Artist Spotlight: Melkbelly

Chicago noise-punk outfit Melkbelly are playing one of the earliest sets (1:45pm on Friday) at this year’s Pitchfork Music Festival in their hometown, and it would be well worth leaving work early to see them.  Their fierce rock has an edge to it that will slap you out of your doldrums and fire you up for the rest of the festival.  Their 2017 album Nothing Valley was one of the best of the year, and I’ve heard their live performances are game-changing.  Don’t miss them.

Keep your mind open.

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Howard release “Oh Dear Brother” from album due this September.

Howard Share “Oh Dear Brother” From New Album, Together Alone, Out September 14th On Fashion People
https://soundcloud.com/listentohoward/oh-dear-brother/
(photo credit: Sonya Kitchell)

As the song starts out, Howard mixes a folksy riff with a choppy syncopated beat. When the horn section comes in, the song transforms into a rounded out, funk groove. This is the first album from Howard to be recorded with a full band, and the extra instrumentation adds full-bodied warmth, helping the song blossom.” — Stereogum, on “Oh Dear Brother”

“The video’s kitschy collage-style animation, as well as the zany, exaggerated expressions of the band’s characters, elevate the classic outsider-falls-for-girl narrative into something refreshing and whimsical.” — NPR Music, on “Your Honor” video
Today, Howard are thrilled to share, “Oh Dear Brother,” the newest single from their forthcoming album Together Alone, out September 14th on Fashion People. “The song started more personally and gradually became more about the political state of affairs when things were coming to a climax around the election,” says guitarist/vocalist Howard Feibusch. “It is about our growing inability to listen to each other and the sense of turmoil that happens when our dialogue becomes a screaming match. It is not a topic I’m entirely comfortable writing about because I fear that it’s just polluting the atmosphere with more noise on a topic too many people have an opinion about.”

 

Stream Howard’s “Oh Dear Brother” — 
https://soundcloud.com/listentohoward/oh-dear-brother/
Watch a Behind-The-Scenes Video On The Making Of “Oh Dear Brother” — 
https://youtu.be/YrdJa6mTpVU

 

Together Alone follows Howard’s debut album, 2015’s Religion, and it’s companion EP, Please Recycle. It’s the first album from 30-year-old multifaceted bandleader Howard Feibusch’s project to be recorded with the full band — composed of Feibusch (guitar, vocals), Alex Chakour (guitar, synth, backup vocals), Myles Heffernan (bass), and Chris Holdridge (drums) — that so capably toured behind Religion. It’s also an aching, restless, and altogether lovely document of the paradoxical sensation in which we feel more isolated than ever in the face of increasing togetherness and connectivity—a modern sentiment wrapped in music that’s timeless in its timbre.

Listen/Share:
“Your Honor” video — https://youtu.be/JXRHCs5ZZms
“Mother’s Wedding” stream — https://spoti.fi/2xJ1Wab



Pre-order Together Alone — https://howard.pmstores.co/

Download hi-res images & album art — http://pitchperfectpr.com/howard/

(Together Alone Cover Art)

 

Website | Facebook | Twitter | Instagram | Soundcloud

Keep your mind open.

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Blackwater Holylight release new single and announce west coast tour dates.

BlackWater HolyLight share first video from RidingEasy debut album, announce West Coast tour dates
 Rewiring “heavy music” w/ hints of Sonic Youth, Chelsea Wolfe, Raincoats, Stooges, Beefheart, et al.
  Watch “Wave of Conscience” video (YouTube)
Hear & share Blackwater Holylight album (Bandcamp) (Brooklyn Vegan)
“Flat out it’s one of the best heavy psych debut albums you’ll hear in 2018.” — The Obelisk
“This quartet has been burning up stages all around their hometown, fueled by their abrasive blend of doom metal, psych rock, goth and a tangy soupçon of pop music… They landed a spot on the 2018 Best New Band poll in alt-weekly Willamette Week, but could quickly take over the world.” — Paste Magazine
“They mesh elements of doom, Krautrock and atmospheric indie into one bewitching rock whole.” –Classic Rock Magazine
Portland, OR quartet BlackWater HolyLight share the first video from their breakout debut album today. Watch and share “Wave of Conscience” via YouTube.
BlackWater HolyLight also announce West Coast tour dates starting August 3rd. Please see current dates below.
 
Their self-titled RidingEasy Records debut has received unanimous press praise and continues to grow. Brooklyn Vegan recently streamed the entire album HERE. (Direct YouTube.)
The notion of “heavy music” is continuing to expand of late, with many intrepid artists finding new ways to incorporate the power of traditional metal into new music, but without all of its trappings. Enter Portland, OR quartet BlackWater HolyLight to further swirl musical elements into a captivating hybrid of emotional intensity. Heavy psych riffs, gothic drama, folk-rock vibes, garage-sludge and soaring melodies all collide into a satisfying whole with as much contrast as the band’s name itself.
“I wanted to experiment with my own version of what felt ‘heavy’ both sonically and emotionally,” says founder and vocalist/bassist Allison (Sunny) Faris. “I also wanted a band in which vulnerability of any form could be celebrated.” BlackWater HolyLight — Faris, guitarist/vocalist Laura Hopkins, drummer Cat Hoch and synth player Sarah Mckenna — formed upon the breakup of Faris’ longtime band and she sought a fresh start. “In my last band I was the only female in a group of 6, so I wanted to see how my song writing and vulnerability could glow taking the drivers seat and working with women.”
The band’s self-titled debut begins with a simple, almost grunge-like riff as a chorus of voices introduce a melodic line in call-and-response until the band kicks in, slowly building into crescendo like a lost outtake from Led Zeppelin‘s Houses of the Holy. Elsewhere, “Sunrise” begins with a chorus-drenched post-punk groove until a sonic boom of heavily distorted guitar skree erupts out of nowhere. Nearly as suddenly, the song returns to its lulling core, subtly building the tension until it ruptures completely in a blast of noise. Likewise, “Carry Her” establishes a dark, sparse melody and distinctly thin sounding drums not far removed from early work of The Cure. However, BlackWater HolyLight’s penchant for surprise attack finds a sudden shift into a doom-like dirge, colored with eerie synth notes and pounding shards of fuzz. Throughout the album, their songs shirk traditional verse-chorus-verse structure in favor of fluid, serpentine compositions that move with commanding grace. The band expertly, yet subconsciously, incorporates hints of Chelsea Wolfe, Celebration, Captain Beefheart, The Raincoats, The Stooges, Pink Floyd, Jane’s Addiction and more to form their unique brand of dark’n’heavy transcendence..
BlackWater HolyLight was recorded by Cameron Spies at Gold Brick Studios and The Greenhouse, and with Eric Crespo at Touch Tourcher Recording in Portland. The album is available on LP, CD and download, released April 6th, 2018 via RidingEasy Records on LP & CD at www.ridingeasyrecs.com and digital at blackwaterholylight.bandcamp.com.
BLACKWATER HOLYLIGHT LIVE:
08/03 Nevada City, CA @ Cooper’s
08/04 Oakland, CA @ Elbo Jack London
08/07 Las Vegas, NV @ Bunkhouse
08/08 Los Angeles, CA @ Zebulon w/ Zig Zags
08/09 Oceanside, CA @ Pourhouse w/ Red Wizard
08/10 Fresno, CA @ Full Circle

08/11 Arcata, CA @ Alibi

Artist: BlackWater HolyLight
Album: BlackWater HolyLight
Label: RidingEasy Records
Release Date: April 6th, 2018
01. Willow
02. Wave of Conscience
03. Babies
04. Paranoia
05. Sunrise
06. Slow Hole
07. Carry Her
08. Jizz Witch

On The Web:

Keep your mind open.
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Rewind Review: The Duke Spirit – Bruiser (2011)

Full of wonderful fuzz and lovely vocals, the Duke Spirit‘s Bruiser begins with the rock solid “Cherry Tree,” a song about regret following a break-up.  All the guitars on it surge with power as lead singer Liela Moss claims she doesn’t look back on the past with hope, but we all know otherwise.  “Procession” flips the story a bit, with the former subject of Moss’ affections acting like he’s cool with everything, but her knowing that he’s on the verge of cracking at any moment.    “Villain” has lovely piano and vocals by Moss while Oliver Betts puts down beats that are harder than you realize at first.  The song’s about two people who know they’re probably bad for each other, but will most likely hook up regardless of that fact.

In case you haven’t guessed by now, the name of the album hints to the many songs on the record about the dangerous side of love, lust, and attraction.  “Don’t Wait,” about the struggle to let go of someone after they’ve left (“Oh such a heavy love rolls out like a blanket.  Why must it fold up on me?”) has that great mix of rock, shoegaze, and soul that the Duke Spirit do so well.  Marc Sallis struts his bass stuff on “Surrender,” in which Moss sings that she just wants to surrender to a lover.  Moss’ voice is already seductive enough, but it’s borderline devilish when she sings lyrics like “Oh the weather got worse , so you’ll have to stay here.”

“Bodies” has another slick Sallis groove that paves the way for shoegaze riffs from Luke Ford and Toby Butler.  There’s a short piano breakdown in the middle that catches you off-guard before Betts and the rest wallop you upside the head.  “Delux” has organ and glockenspiel that ticks like a music box and warnings from Moss to a lover to keep his eyes and hands on her instead of someone else.

“Sweet Bitter Sweet” seems to be about sex with lyrics like “I’m coming with you, for there’s nobody else,” but you can never be sure with Moss’ writing.  She can be deceptive and her use of metaphor is top-notch.  It’s sexy even if it isn’t about sex.  I’d be a gibbering idiot if she sang this to me in a smoky bar.  Well, I’d be a gibbering idiot if she just walked into a room with me, but that’s beside the point.  In “Running Fire,” Moss tells a lover that he can chase a future he can never fully grasp or he can return to the moment (and her) and be much happier.  Ford and Butler shred on “Everybody’s Under Your Spell” (which has a great burn-out / fade-out at the end.

“Northbound” has some of Betts’ best beats on the record while Moss sings about a bad day becoming a better day as she realizes she’s going to end it by seeing her lover.  “Homecoming” has a similar theme, but Moss can’t help but wonder if her happiness is an illusion.

Love can be bruising, but bruises and scars are sometimes the remains of a hard-fought but worthy battle.  Bruiser and the Duke Spirit show us that love is worth it.  Love is the thing for which we should all fight.  What else is there?

By the way, certain versions of this album have bonus remixes of “Procession” (by Gary Numan, no less), “Cherry Tree” (by SONOIO), “Bodies” (by Black Onassis), and “Don’t Wait” (by Loose Meat).

Keep your mind open.

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Live: The Eagles – June 20, 2018 – New Orleans, LA

Seeing the Eagles for the first time was a night of many firsts.  It was my first time not only seeing the classic rock band, but also my first time seeing a live music show in New Orleans (a city known for live music), my first time seeing Vince Gill (who is playing with the Eagles on this tour as a supporting guitarist and vocalist), and my first time seeing a show in a stadium suite.

This was a long-awaited dream come true for my wife, who is a big fan of the Eagles.  Unfortunately, she never got to see them with Glenn Frey, but his son, Deacon Frey, is playing his father’s guitar parts and singing his father’s lyrics quite well.

The suite had the nice view of the stage as seen above, but we quickly learned that ordering from the “suite menu” isn’t sweet for your wallet, as shown in the example below.

That bowl of chips and dip costs $32.00 at the Smoothie King Center suites.

Luckily, there were a large number of us in the suite and people with better paying jobs than I who could afford such things (not to mention booze), and the Eagles soon made us forget about overpriced snacks.

Opening with “Seven Bridges Road” (which made my wife nearly leap out of her chair in joy), they played a night of greatest hits that tore through (among many others) “Take It Easy” (with Deacon Frey on lead vocal), “One of These Nights,” “Take It to the Limit,” “Tequila Sunrise,” and “Witchy Woman” before Joe Walsh took front and center with “In the City.”

I was happy to hear bassist Timothy Schmit sing “I Can’t Tell You Why” (one of the Eagles’ most underrated hits, if you ask me) and Vince Gill did a great lead vocal on “New Kid in Town.”  I didn’t know until the crowd went nuts for him and Don Henley reminded all of us non-locals that Gill is a New Orleans native.  As a result, his vocals on their cover of Fats Domino‘s “Walkin’ to New Orleans” were a big hit.  Another surprise cover was of Tom Waits‘ “Ol’ ’55.”

My favorite Eagles songs are the rockers with blues influences, and “Those Shoes” is at the top of the list.  I was happy to hear an almost sludgy version of it with Don Henley having fun with the vocals.

They did two encores.  The first, of course, was “Hotel California,” which had a neat trumpet intro.  The second included Joe Walsh’s “Rocky Mountain Way” and “Desperado.”  In case you didn’t know, Walsh still shreds.  He hadn’t lost a thing since we’d seen him open for Tom Petty in St. Louis.

It was a fun night.  They didn’t disappoint.  My wife said it was the best concert she’d ever attended.  That alone made it worth the trip.

Keep your mind open.

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Rewind Review: Captain Beefheart and His Magic Band – The Mirror Man Sessions (1999)

Recorded sometime between 1965 and 1967 and originally released in 1971, Captain Beefheart and His Magic Band‘s Mirror Man album was a bit of a hot mess when it was released.  It was compiled of four tracks taken from a recording session that was supposed to be for a double album called It Comes to You in a Plain Brown Wrapper that was never finished or released due to them being dropped by their label (Buddha Records).  According to John Platt’s liner notes for this 1999 re-release, “In 1971 someone at Buddha reviewed all the extant tapes, and a decision was made to issue a single album’s worth of material under the title Mirror Man.  What they chose were the three live-studio cuts plus ‘Kandy Korn.'”  The Mirror Man Sessions includes those four tracks as well as five more previously unissued cuts by the good Captain and his lads.  The four original tracks were also placed in an alternate order than the original album “for aesthetic reasons” that Buddha Records claims “for the time being at least…is as close as we can reasonably get to the Captain’s original intentions.”

The four original tracks are (in this album’s order) “Tarotplane,” “25th Century Quaker,” “Mirror Man,” and “Kandy Korn.”  I’m not sure anything I can write would do justice to “Tarotplane.”  It’s a nearly twenty-minute psychedelic freak-out masterpiece with the Captain’s harmonica, shinei, and vocals sounding like a warped, scratched 78rpm record you found in the back of an old blues honkytonk.  “25th Century Quaker” is so freaky that its beats from John French sound like a bag of oranges rolling down the stairs.

“Mirror Man” starts out with some of Captain Beefheart’s signature grungy harmonica work before Jeff Cotton and Alex St. Clair Snouffer‘s guitars let loose with warped chords that sound like they’ve been left out in the sun all day.  The Captain’s vocals are either distant and funky or sound like they’re coming through a damaged megaphone.  “Kandy Korn” is, on its face at least, about the waxy, sugary Halloween snack (“They look so good, I wanna eat ’em.”).  I’m willing to bet it’s about something else, but I’ll let you make the call.  It melts like candy on the roof of a VW van, and it practically sends you into a trance around the three-minute mark.

“Trust Us (Take 6)” has the Captain encouraging all of us to trust not only him and the Magic Band, but also people outside our comfort zones.  The rhythm of it is more urgent than you realize at first.  It becomes a toe-tapper and lingers a bit in jam band land.  It also has a neat fake fade out and fade in that I’m sure has fooled many DJs in its time.  It gets more warped the longer it goes.  “Safe As Milk (Take 12)” is one of the Magic Band’s biggest hits.  It has a cool, weird groove to it that’s hard to describe and the right amount of fuzz without being overwhelming.  The Captain’s vocals are playful and you can tell that his singing style influenced everyone from Tom Waits to Mike Patton and Les Claypool.

“Beatle Bones N’ Smokin’ Stones” is an obvious poke at the Beatles and the Rolling Stones.  The Captain has fun with “Strawberry Fields Forever” lyrics (reverbed and stuttering) and Keith Richards’ blues riffs (turning them into almost calliope music).  “Moody Liz (Take 8)” has near-country guitar licks that transform into psychedelic oddities.  The lyrics are barely recognizable, but that’s okay because the track is more a showcase for Cotton and Snouffer’s bizarre yet fascinating guitar work.  The album ends with “Gimme Dat Harp Boy,” and the Captain getting to strut his stuff on harmonica while the Magic Band drives the funk bus.

This might not be the best place to start your Captain Beefheart musical journey, but it’s essential listening if you’re a fan of his work and psychedelic blues.

Keep your mind open.

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Bodega – Endless Scroll

BODEGA‘s Endless Scroll is probably my favorite post-punk record of 2018 so far.  Consisting of Nikki Belfiglio (vocals), Heather Elle (bass), Ben Hozie (guitar and vocals), Montana Simone (drums), and Madison Velding-Vandam (guitar), the quintet offering a sharp commentary on hipsters, the digital age, sex, masculinity, femininity, and politics.

No track better sums up their thoughts on the world of 2018 than the opener – “How Did This Happen!?”  Aren’t we all asking that every day here in the U.S.?  “It’s the world now, don’t discriminate.  Everyone is equally a master and a slave,” Hozie sings.  Preach it, brother.  He name checks failing bookstores, people curating their playlists more than their relationships, and people angry for no damn reason.  “Bodega Birth” shows off more of Elle’s slick bass lines as Hozie and Belfiglio sing about how the internet, which should be the greatest educational tool of all time, is now a colossally boring shopping mall.

Elle’s bass takes the lead on “Name Escape” as Hozie sings about how he can’t remember names of people he sees all the time, even though he can notice things like someone wearing different pants than the last time he saw him.  Also, he doesn’t often care (“Have I heard the latest something ’bout so-and-so? / No, I have not, my son.  Now I don’t want to know.”).  Again, preach it, brother.  “Boxes for the Move” is a story of heartbreak following a break-up as Hozie leaves his lover’s place with “fifteen soggy boxes” of stuff and wishing he had the booze that used to be in the boxes he got from the liquor store.  “I Am Not a Cinephile” is a collective middle finger to movie snobs and other ultra-hipsters.

Hozie and Velding-Vandam’s squeaky guitars on “Can’t Knock the Hustle” sound like alarm klaxons or steel being hammered by a blacksmith.  Belfiglio invites us all to love ourselves (if you get the drift) on “Gyrate” – even if you want to do it “in the middle of a party, in the middle of the floor.”  “Jack in Titanic” is Hozie’s commentary about modern expectations of masculinity.  It’s wonderfully catchy, and is currently tearing up airwaves in England.  I’ve heard it on BBC 6 Music every time I listened to the station for the last three weeks.  “Margot” is a tale of internet lust (ending with a computerized voice saying, “I touch myself while staring at your chat text box.”).

Elle and Simone are in perfect synch on “Bookmarks” while Hozie and Belfiglio sing about how easy it is to get distracted from work when the endless internet is in front of you.  “Warhol” has the band proclaiming “Form against everything” and making fun of people thinking their fifteen minutes of fame is still in effect.  “Charlie” is their latest single and a touching tribute to a friend of Hozie’s who drowned on New Year’s Eve 2007.  “Williamsburg Bridge” sounds like a Velvet Underground track with Elle’s bass groove, Simone’s tribal drumming, and Hozie and Velding-Vandam’s guitars squawk in the background.  “Truth Is Not Punishment” has Hozie singing about worrying about his mother and trying to convince a friend that honesty is the best policy (even when he’s not sure he believes that).  The guitars in it build to near-manic levels, reflecting Hozie’s angst.

This is one of the best and catchiest albums of 2018 so far.  I’m glad that post-punk is having a great revival, and bands like BODEGA are leading the charge.

Keep your mind open.

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Japanese post-punkers CHAI to reissue debut album on Burger Records.

INTRODUCING: CHAI

JAPANESE SENSATIONS TO PHYSICALLY REISSUE
DEBUT ALBUM PINK VIA BURGER RECORDS

NEW YORK & LOS ANGELES SHOWS IN SEPTEMBER;
WATCH VIDEOS FOR “N.E.O.” AND MORE

Today marks a very special day. It is the day that a larger American audience is introduced to Japanese sensations CHAI. Fusing sonic elements of artists like Basement Jaxx, Gorillaz, CSS, and Tom Tom Club, with lyrics focused on self-empowerment and re-defining the definition of “kawaii,” or cute in Japanese, CHAI have amassed a devoted following in their home country. Those lucky enough to catch them on their all-too-brief visits to the US around SXSW understand what those on the other side of the globe already know: CHAI are incredibly special and should probably be the biggest band in the world.

On September 7th, Burger Records is pleased to physically reissue CHAI’s debut album, PINK, appearing in the US on vinyl, CD, and cassette for the first time. Additionally CHAI (identical twins Mana and Kana and former school classmate Yuna and Yuuki) will come to the US for their first-ever headlining show in New York and will return to Los Angeles later this year. Dates and venues are listed below; tickets go on sale Friday, June 22nd, at 10AM EST.

To give you an idea of what is in store, check out the amazing video for “N.E.O.” (which is well on its way to 2 million views), as well as an incredible live performance for a YouTube Music Session. Additionally, watch the videos for “Boyz Seco Men” and “I’m Me,” but be warned, this might spur a CHAI Youtube hole from which you may never extricate yourself.

WATCH “N.E.O.” OFFICIAL VIDEO
https://www.youtube.com/watch?v=YMGf3zyhG94

WATCH “N.E.O.” YOUTUBE MUSIC SESSION
https://www.youtube.com/watch?v=KFSspQc2Tzw

WATCH “BOYZ SECO MEN” VIDEO
https://www.youtube.com/watch?v=psHh6OsA-mU

WATCH “I’M ME” VIDEO
https://www.youtube.com/watch?v=z-aKOc5nN2c

STREAM PINK
Spotify: https://spoti.fi/2t3dNKV | Apple Music: https://apple.co/2t0s0YV
CHAI TOUR DATES (US dates in bold)
Mon. Sept. 10 – Los Angeles, CA @ The Echo [tickets]
Wed. Sept. 12 – Brooklyn, NY @ Rough Trade [tickets]
Mon. Oct. 15 – Bristol, UK @ SWX w/ Superorganism
Tue. Oct. 16 – Liverpool, UK @ Arts Club w/ Superorganism
Wed. Oct. 17 – Belfast, NIR @ Limelight 1 w/ Superorganism
Thu. Oct. 18 – Dublin, IE @ The Academy w/ Superorganism
Sat. Oct. 20 – Glasgow, UK @ SWG3 w/ Superorganism
Sun. Oct. 21 – Sheffield, UK @ The Leadmill w/ Superorganism
Mon. Oct. 22 – Leeds, UK @ Stylus w/ Superorganism
Wed. Oct. 24 – London, UK @ 02 Shepherd’s Bush Empire w/ Superorganism
Thu. Oct. 25 – Manchester, UK @ 02 Ritz w/ Superorganism
Fri. Oct. 26 – Cambridge, UK @ Cambridge Junction w/ Superorganism
Sat. Oct. 27 – Portsmouth, UK @ Pyramids Centre w/ Superorganism
Sun. Oct. 28 – Brighton, UK @ Concorde 2 w/ Superorganism
Tue. Oct. 30 – Oxford, UK @ 02 Academy w/ Superorganism

PINK Album Art

PINK TRACKLISTING
1. Hi Hi Baby
2. N.E.O.
3. Boyz Seco Men
4. Horechatta
5. Fried
6. She Is Kitty
7. Gyaranboo
8. Kawaii Hito
9. Walking Star
10. Sayonara Complex
11. Flat Girl

PRE-ORDER PINK ON VINYL: http://burgerrecords.11spot.com/chai-pink.html

CHAI Online:
http://chai-band.com/
https://www.instagram.com/chai_official/
https://twitter.com/2525_chai
https://www.facebook.com/CHAIJAPAN/

Keep your mind open.

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A Place to Bury Strangers to release “Re-Pinned” – a remix of their newest record – this October.

A Place To Bury Strangers Announce Remix Album, Re-Pinned,
Out October 5th Via Dead Oceans

Listen To Slowdive’s “Frustrated Operator” Remix
https://youtu.be/vCyRkpLYTVg

Fall North American Tour Dates Added

[Re-Pinned artwork]

A Place To Bury Strangers released their new album, Pinned, earlier this year via Dead Oceans. Today, they announce Re-Pinned, a remix record coming out October 5th via Dead Oceans. Re-Pinned features remixes from Slowdive, Trentemøller, No Age, METZ, Eric Copeland, Roly Porter, Davy Drones, and TBO. “We’re so thrilled to be able to curate this remix record,” explains Oliver Ackermann. “Re-Pinned has such a cool mix of bands we’re friends and fans of and musicians we’ve loved for years. It really helps paint a picture of where Pinned descended from and is a nice combination of our peers and influences.”

“It is also such a dream come true and an honor to have our label mates Slowdive remix ‘Frustrated Operator,” which is being shared today. “Slowdive was such an influence on A Place To Bury Strangers as there really is no artist that does epic, scary and beautiful soundscapes like them. In fact, this band started when my friends Tim and Dave were asking if I wanted to play drums in a band that sounds like Slowdive. So, there it is set in stone as it has come full circle! I can die now,” continues Ackermann.

The vinyl version of Re-Pinned will be available for purchase at A Place To Bury Strangers’ live dates leading up to its release, including next month’s performance in New York City with Os Mutantes and the subsequent European tour. Upon the release of Re-Pinned, A Place To Bury Strangers will tour North America starting October 6th. A full list of dates is below.

Listen To Slowdive’s “Frustrated Operator” Remix:
https://youtu.be/vCyRkpLYTVg
Re-Pinned Tracklist:
1.  Never Coming Back (Trentemøller Remix)
2.  Frustrated Operator (Slowdive Remix)
3.  Situations Changes (Davy Drones Remix)
4.  I Know I’ve Done Bad Things (No Age Remix)
5.  Never Coming Back (Eric Copeland Remix)
6.  Execution (METZ Remix)
7.  Was It Electric (TBO Remix)
8.  Never Coming Back (Roly Porter Remix)
A Place To Bury Strangers Tour Dates:
Sunday, July 15 – New York, NY @ Le Poisson Rouge (Festival En Orbita w/ Os Mutantes, Martin Rev, Lee Ranaldo & Yonatan Gat)
Saturday, August 18 – Philadelphia, PA @ The Sound Hole
Friday, August 24 – Eindhoven, NE @ Effenaar (Fuzz Club Festival)
Saturday, August 25 – Utrecht, NE @ Ekko
Tuesday, August 28 – Paris, FR @ Le Petit Bain
Wednesday, August 29 – Bordeaux, FR @ Salle Des Fetes Du Grand Parc
Thursday, August 30 – Madrid, ES @ Moby Dick Club
Friday, August 31 – Porto, PT @ Hard Club
Saturday, September 1 – Lisbon, PT @ RCA Club
Sunday, September 2 – Barcelona, ES @ Sala Sidecar
Tuesday, September 4 – Zurich, CH @ Bogen F
Wednesday, September 5 – Acquaviva, IT @ Live Rock Festival
Thursday, September 6 – Milan, IT @ Circolo Magnolia
Friday, September 7 – Bologna, IT @ Freakout Club
Saturday, September 8 – Zagreb, HR @ Culture Factory
Monday, September 10 – Budapest, HU @ Durer Kert
Tuesday, September 11 – Vienna, AT @ Chelsea
Thursday, September 13 – Cologne, DE @ Gebaude 9
Friday, September 14 – Ostend, BE @ Leffingeleuren Festival
Saturday, September 15 – Rouen, FR @ Le 106
Monday, September 17 – London, UK @ Hoxton Square Bar & Kitchen
Saturday, October 6 – Seattle, WA @ Clock-Out Lounge (w/ Kraus)
Sunday, October 7 – Portland, OR @ Holocene (w/ Kraus)
Tuesday, October 9 – Oakland, CA @ Starline Social Club (w/ Kraus)
Friday, October 12 – Moreno Valley, CA @ Desert Daze
Monday, October 15 – Salt Lake City, UT @ Urban Lounge (w/ Kraus)
Tuesday, October 16 – Denver, CO @ Globe Hall (w/ Kraus)
Thursday, October 18 – St. Louis, MO @ Off Broadway (w/ Kraus)
Friday, October 19 – Chicago, IL @ Empty Bottle
Saturday, October 20 – Indianapolis, IN @ HI-FI Indianapolis (w/ Kraus)
Monday, October 22 – Nashville, TN @ The Basement East (w/ Kraus)
Tuesday, October 23 – Louisville, KY @ Zanzabar (w/ Kraus)
Thursday, October 25 – Columbus, OH @ Ace of Cups (w/ Kraus)
Friday, October 26 – Detroit, MI @ El Club
Sunday, October 28 – Toronto, ON @ Horseshoe Tavern
Monday, October 29 – Montreal, QC @ Theatre Fairmount
                                                                                                                        
Pre-order Re-Pinned – https://aptbs.ffm.to/re-pinned

A Place To Bury Strangers online:
http://www.aplacetoburystrangers.com/
https://www.facebook.com/aplacetoburystrangers/
https://twitter.com/aptbs
https://aplacetoburystrangers.bandcamp.com/
http://deadoceans.com/artists/aptbs/

Keep your mind open.
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