Category: Rock

Slowdive – self-titled

2017 has been a good year for shoegaze music because two legendary British shoegaze bands returned this year with excellent new material. One of these bands is RIDE, and the other is Slowdive (Nick Chaplin – bass, Rachel Goswell – guitar and vocals, Neil Halstead – guitar and vocals, Christian Savill – guitar, Simon Scott – drums).

Slowdive’s self-titled album is perhaps the lushest, loveliest record of the year. The opener, “Slomo,” immediately seems to lift you off the ground and send you into an idyllic sky with its floating guitars and ghostly vocals about “curious love.” The band has lost nothing in the last twenty years. They only seem to have improved on everything. The title of “Star Roving” (a song about sharing love even when it seems daunting) couldn’t be more appropriate. It’s a sonic blast that burns as bright as a comet.

Goswell’s vocals on “Don’t Know Why” start subtle but then the entire song opens like a flower and becomes a stunning piece about trying to escape the memories of a lover who has moved on to someone else. “Sugar for the Pill” was the first Slowdive had released in two decades, and it immediately set the music world on fire. It’s no surprise, because the song is stunning. Slightly goth bass, echoing guitars, lush synths, and smoky vocals about not being able to live up to a lover’s expectations all mix together to produce one of the prettiest songs of 2017.

“Everyone Knows” bursts with energy, whereas the follow-up “No Longer Making Time” is like a lovely walk through a morning fog that is lifted by the sunrise. Slowdive has mastered the art of making guitars both loud and soothing. “Go Get It” is a master course on how to put together a shoegaze song: shifting levels of distortion and reverb, solid drumming, and mysterious vocals.

The album ends with “Falling Ashes” – which is little more than a rain-like piano riff, subdued guitars, and quiet vocals (often repeating the album’s theme, “Thinking about love.”), but that’s all Slowdive needs to hold you in the moment.

I know most of this review is merely I saying, “This record is gorgeous,” but that’s the best way I can put it. Parts of it sound like Slowdive stepped out of a time machine from the 1990’s, but other parts of it are rich with new energy that’s hard to describe.

“Gorgeous” is the best word that comes to mind.

Keep your mind open.

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Flat Worms’ new single, “Pearl,” sure to melt your face.

FLAT WORMS ANNOUNCE SELF-TITLED DEBUT ALBUM,
OUT OCTOBER 20TH VIA CASTLE FACE

WATCH VIDEO FOR DEBUT SINGLE, “PEARL”
https://youtu.be/HA7AU95C_zU
 [photo credit: Cayal Unger]

Flat Worms announce their self-titled debut full-length album, due out October 20th via Castle Face. Today the band, comprised of Will Ivy (Dream Boys, Wet Illustrated, Bridez), Justin Sullivan (Kevin Morby, the Babies) and Tim Hellman (Thee Oh Sees, Ty Segall, Sic Alps) also share the Kevin M. Gossett directed video for lead single, “Pearl.”

Having already released a 7” on Volar, Flat Worms continue their ride on a buzzsaw wave of feedback-tipped riffs into the middle distance, smog choked sunset receding in the rearview, a thousand yard dead-pan surgically pinned to a high octane set of boredom energized punk pistons. Flat Worms – an ears-a-ringing missive from the end of the cul-de-sac, the mirage of direction wavering above a mid-sized American suburb at dusk, constellations bleached black by the sprawl. A little Wipers, a little Wire, and a lot of late-capitalist era anxious energy – Flat Worms scratch the itch quite nicely, we think.
Watch video for “Pearl” –
https://youtu.be/HA7AU95C_zU

Flat Worms Tracklisting:
01. Motorbike
02. Goodbye Texas
03. Pearl
04. Accelerated
05. White Roses
06. 11816
07. Followers
08. Faultline
09. Question
10. Red Hot Sand

Pre-order Flat Worms:
https://midheaven.com/item/flat-worms-by-flat-worms

[Flat Worms album artwork]
Flat Worms online:
Instagram
Bandcamp

King Gizzard and the Lizard Wizard – Murder of the Universe

In this day and age, I’m fairly certain that few bands could make a good concept album.  Fewer still could make one about a cyborg who wants to be fully human while interacting with a wizard attempting to stop a monster from destroying all of creation.  King Gizzard and the Lizard Wizard have done just that, however, with Murder of the Universe.

In case you’re unaware, this is KGATLW’s second album of the year, and they plan to release three more before the end of 2017.  The first was the excellent Flying Microtonal Banana and the third, a collaboration with Mild High Club called Sketches of Brunswick East is already available for pre-order.

Lyrically and sonically, Murder of the Universe links up well with Flying Microtonal Banana and the outstanding Nonagon Infinity.  It’s like they’re a complete trilogy, and some people have suggested the robot in Nonagon Infinity‘s lead track, “Robot Stomp,” is the cyborg caught up in the Murder of the Universe.  You can also hear the beginning of Nonagon Infinity‘s “People Vultures” on this new record (on “Some Context”).

The album’s intro, “A New World,” has a haunting poem spoken by a young woman describing the aftermath of a nuclear war and how even more horrible things are to come afterwards.  The first is an “Altered Beast (Part 1).”  The band comes out like an angry, roaring bear from of its den.  Parts 2, 3, and 4 of the song alternate with the three-part “Altered Me.”  The war’s survivor realizes he must adapt to the new environment and new beastly overlord to survive (or did the beast alter him for a dark purpose?).  Each song flows seamlessly into the next and KGATLW slays each part.  Guitars assault you from every direction but can still stop on a dime.  The double drumming is insane, and the synths bring a wild, weird 1980’s horror film vibe to the whole thing.

The survivor has become an altered beast by the end of “Altered Beast IV,” feeling nothing but still remembering his humanity and the idea of freedom.  He has lost the concepts of “Life / Death,” but still clings to the idea of revenge.  He finds a possible ally in “The Lord of Lightning” (in which lead singer Stu Mackenzie yells “Nonagon infinity!” a few times).  It’s a wicked song that would leave anyone who’d never heard a KGATLW song before dumbfounded.  It tells the story of an epic mystical battle yet the song blasts by you like something shot from a catapult.

“The Balrog” could be the altered beast, but he is certainly the Lord of Lightning’s enemy.  The song is a sonic fiery claw in your brain with crazy percussion and even wilder guitars.  “The Floating Fire” is all that’s left after the war between the Balrog and the Lord of Lightning.  The Balrog becomes “The Acrid Corpse” by the end of it, but only eternal darkness remains after the Lord of Lightning leaves.

The future is left to the few survivors who have become cyborgs in order to live in the new world.  It’s all “Digital Black” in this new time.  People have willingly given up their humanity (“We’ve turned our bodies into computers…”) in a quest for what they thought was perfection.  The bass riff in this is great, as is the hard-hitting beat throughout it.

One such cyborg is “Han-Tyumi the Confused Cyborg,” the survivor of the original meeting with the altered beast.  All he wants is to vomit and die.  He wants pain, stench, and some sort of end instead of his endless digitized illusion of life and pleasure.  His “Vomit Coffin,” a machine of his own design, might help him do it.  It’s another weird rocker mixed with digitized vocals and synth grooves as Han-Tyumi gives himself over to full digitization in order to free himself (and perhaps the world) from his living death.

The title track has Han-Tyumi expanding far beyond his physical form until he’s traveling at the speed of light and infiltrating every living cell and atom.  The only way for him to find death is to destroy everything, and he does it.

So, yeah, it’s not a happy-go-lucky record.  It’s a crazy concept record about a giant monster attack nearly destroying the world and changing the few survivors left into cyborgs who are left with an even bleaker world after a lightning god battles a giant fire monster, which drives one of the few cyborgs with any shred of humanity left to destroy the entire universe in order to free himself from an eternal life of cold, digital monotony.

Why haven’t you bought it by now?

Keep your mind open.

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“Welcome to an Altered Future,” has the cyborg, Han-Tyumi, describing how the digital age led to the death of the world thanks to artificial intelligence.  “We turned our bodies into computers,” the band’s lead vocalist, Stu, sings on

Comacozer – Kalos Eidos Skopeo

Australian psych / stoner rock powerhouse Comacozer have returned with another instrumental freakout – Kalos Eidos Skopeo.  The name of the album, of course, is a play on the words “kaleidoscope” or “kaleidoscopic,” suggesting that the music can be viewed / interpreted many different ways at once.

Take the opener, “Axis Mundi” (the cosmic / world axis), for example.  It begins with squawking guitars that sound like something from a slasher film soundtrack, but the track becomes almost a meditative piece by the time it reaches the five-minute mark thanks to skillful use of guitar reverb and subtle yet precise drumming.

“Nystagmus” might bring on its namesake (involuntary twitching of the eyes) with its cosmic jam guitars, slightly creepy bass, and doom metal drumming.  I love how “Hylonomus” (the name of the earliest known reptile) starts off sounding like it’s a spaghetti western song and then morphs into a Middle Eastern-flavored dream that might be happening in the mind of an ancient lizard dozing in the stump of a massive, dead tree.  It then morphs a second time into a great groove that belongs in a car chase sequence in a big budget film.  It’s great to hear Comacozer cut loose like this.

Need to knock out a wall in your house to expand your kitchen?  Don’t bother with sledgehammers.  Just play the closer, “Enuma Elish,” and aim your speakers in the right direction.  The song is about the Babylonian creation myth which involves – among other things – the god Marduk defeating the goddess of the oceans and creating the earth and sky out of her body.  Comacozer somehow manages to put all this epic stuff into one song (that last nearly 12 minutes).

You might have noticed that this album only contains four songs.  Don’t let that worry you, because all of them are around thirteen minutes in length.  It’s a full album of instrumental cosmic psychedelia and worth every penny.

Keep your mind open.

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Shame release a sharp new post-punk single – “Concrete.”

UK’S SHAME RELEASE NEW SINGLE & VIDEO, “CONCRETE“, TOUR NORTH AMERICAN IN NOVEMBER

DEBUT ALBUM COMING IN EARLY 2018

WATCH THE VIDEO FOR “CONCRETE”
https://www.youtube.com/watch?v=_MVLqZpnwow

Today, one of the UK’s most talked about young bands (and new Dead Oceans signing) Shame shares their new single and video, “Concrete.” A bracing jolt of a song, “Concrete” races forward on a tightly wound post-punk riff, its call-and-response vocals capturing the turmoil and schizophrenic internal dialogue of the song’s subject matter.

“It’s about someone who’s trapped in a relationship and they’re being pummelled into surrender,” says singer and lyricist Charlie Steen. “It’s not about a physically abusive relationship – more an emotionally and psychologically draining one. The call-and-response vocals [between Steen and bassist Josh Finerty] is the central figure’s own internal dialogue. They are dealing with two different things that they don’t want to address.”

The band cite The Fall, Parquet Courts, Country Teasers, Television Personalities and Wire among their biggest influences, and the icily claustrophobic sound of “Concrete” sets it in a lineage with Magazine, Joy Division and Siouxsie & The Banshees.

As a lyricist, Steen is a modern flâneur, forensically observing the lives of others around him as they unspool and fracture, with Hubert Selby Jr. and Irvine Welsh his primary literary influences. “That graphic and harsh style of writing always interested me,” he explains. “It’s not about the shock factor; it’s about the fact they are talking about these things in such great detail without stripping anything back.”

The London five piece have swiftly earned a reputation as one of the most visceral and exhilarating live bands in the UK, their combustible shows being honed through a heavy touring schedule in the UK and across Europe. Cutting their teeth on the squat-punk scene in the Queen’s Head in Brixton in 2015, where they were taken under the wing of Fat White Family, the white heat of their gigs quickly landed them support slots with Slaves and Warpaint. They were also personally invited by Billy Bragg to play the Left Field stage at Glastonbury this year.

Following two official singles –”The Lick”/”Gold Hole” and “Tasteless” on Fnord Communications as well as the digital-only Theresa May-baiting “Visa Vulture” (described by Steen as “the worst love song ever”) – “Concrete” is the first track to be released as part of their record deal with Dead Oceans.

“We started this band as a joke that went too far,” deadpans Steen. “What we do is quite strange and quite weird, but I get to meet a lot of people and I get to hear a lot of things. I am interested in the surrealism of reality.”

Shame are: Charlie Steen (vocals); Sean Coyle-Smith (guitar); Eddie Green (guitar); Charlie Forbes (drums); and Josh Finerty (bass).

PRAISE FOR SHAME“This U.K. band marries performance, poetry and punk in a way I won’t soon forget.” – Bob Boilen, NPR Music

“Grimy post-punk with a whiff of menace” – Q

“Expect them to turn up the heat even more as they progress” – Time Out 

“The forefront of a compelling new scene in the capital” – NME 

SHAME TOUR DATES (North American dates in bold)
Sat. Sep. 30 – Margate, UK @ By The Sea Festival
Mon. Oct. 9 – Bristol, UK @ Louisiana
Tue. Oct. 10 – Leeds, UK @ Lending Room
Wed. Oct. 11 – Manchester, UK @ Soup Kitchen
Thu. Oct. 12 – Edinburgh, UK @ Sneaky Pete’s
Fri. Oct. 13 – Liverpool, UK @ Buyers Club
Sat. Oct. 14 – Dublin, IE @ Workamn’s Club
Wed. Oct. 18 – London, UK @ Scala
Sat. Oct. 21 – Cardiff, UK @ Swn Festival
Tue. Oct. 24 – Copenhagen, DK @ Loppen
Wed. Oct. 25 – Groningen, NL @ Vera
Fri. Oct. 27 – Amsterdam, NL @ London Calling Festival
Thu. Nov. 2 – Reykjavik, IS @ Iceland Airwaves Festival
Fri. Nov. 10 – Brooklyn, NY @ Baby’s All Right
Sun. Nov. 12 – Philadelphia, PA @ PhilaMOCA
Mon-Nov-13 – Washington, DC @ DC9
Wed. Nov. 15 – New York, NY  @ Home Sweet Home
Thu. Nov. 16 – Allston, MA  @ The Great Scott
Fri. Nov. 17 – Montreal, QC  @ M for Montreal
Sat. Nov. 18 – Toronto, ON @ Hard Luck
Sun. Nov. 19 – Buffalo, NY  @ Mohawk Place
Mon. Nov. 20 – Arden, DE  @ Arden Gild Hall +
Fri. Dec. 1 – Paris, FR @ Point Ephemere
Sun. Dec. 3 – Frankfurt, DE @ Zoom *
Mon. Dec. 4 – Heidelburg, DE @ Halle O2 *
Wed. Dec. 6 – Köln, DE @ Gebäude 9 *
Thu. Dec. 7 – Munster, DE @ Gleis 22 *
Fri. Dec. 8 – Essen, DE @ Hotel Shanghai *
Sat. Dec. 9 – Dresden, DE @ Groove Station *
Mon. Dec. 11 – Hannover, DE @ Bei Chez Heinz *
Tue. Dec. 12 – Bremen, DE @ Lagerhaus *
Wed. Dec. 13 – Hamburg, DE @ Knust *
Thu. Dec. 14 – Braunschweig, DE @ Eule *
Fri. Dec. 15 – Rostock, DE @ Helgas Stadtpalast *
Sat. Dec. 16 – Berlin @ Festaal Kreuzberg *
Fri. Feb. 2 – Adelaide, AU @ Laneway Festival
Sat. Feb. 3 – Melbourne, AU @ Laneway Festival
Sun. Feb. 4 – Sydney, AU @ Laneway Festival
Sat. Feb. 10 – Brisbane, AU @ Laneway Festival
Sun. Feb. 11 – Perth, AU @ Laneway Festival

+ with Ought
* with Gurr

Ty Segall has a new single for you.

TY SEGALL PRESENTS NEW SINGLE, “ALTA”
It’s a new day in the world of Ty Segall, and every truly new day means another truly great song! Captured in gleaming widescreen, “Alta” is a hometown jam that Ty (with his Freedom Band) has been playing at shows all over the place this year. It’s a nature jam as well – basically a “f**k-the-last-500-years” jam – which shows just how far back Ty‘s willing to go to get really back to nature. It’s a love song to the natural state of hometown grounds – and to convey the feelings, a wistful electric piano lick is ridden out on some crazy guitar horses and Ty’s heartstruck vocal. Ty(guitar, vocals, percussion) now reconvenes with the Freedom Band — Emmett Kelly (guitar, vocals), Mikal Cronin (bass, vocals), Charles Moothart (drums) and Ben Boye (keyboards) – for new single, “Alta,” recorded at Electrical Audio with Steve Albini during a break on tour this past spring. A shining new day indeed!
Listen to Ty Segall’s “Alta” –
https://tysegall.bandcamp.com/track/alta
https://itunes.apple.com/album/id1288117513

Ty Segall Tour Dates:
Thu. Oct. 5 – Tucson, AZ @ The Rialto Theatre
Fri. Oct. 6 – Santa Fe, NM @ Meow Wolf
Sat. Oct. 7 – Denver, CO @ Summit Music Hall
Sun. Oct. 8 – Boulder, CO @ Fox Theatre
Tue. Oct. 10 – Las Vegas, NV @ The Bunkhouse Saloon
Fri. Oct. 13 – Joshua Tree, CA @ Institute of Mentalphysics

Live: Kasabian and Slaves – Chicago, IL – September 19, 2017

I still don’t know why Kasabian didn’t sell out their Chicago House of Blues show last week.  They sold out Chicago’s Metro a couple years ago when I saw them with Bo Ningen.  Yet, here they were with fellow Brits Slaves in a venue about the same size, but tickets were still available at the box office an hour before the show.  As one guy behind me in the crowd said, “These guys sell out at Glastonbury.  Where the hell is everybody?”

That’s not to say there was barely anyone in the place.  The venue was nearly full, and I was happy to see so many people there in time for Slaves’ set.  I’ve been keen on this duo since I heard their single “Where’s Your Car, Debbie?”  Their newest album Take Control was one of my top records of 2016.

They came out oozing punk attitude and were soon tearing through songs like “Sockets” and “White Knuckle Ride.”  My friend, Portia, had just seen them open for Buzzcocks earlier in the month and knew their set.  She and I were the only people in the audience, it seemed, who knew how to reply when Slaves’ drummer and lead singer, Isaac Holman, told the story about how a man once asked him, “Where’s your hi-hat?” after a gig.  The correct response, by the way, is “Fuck the Hi-Hat.”  My friend and I were yelling it so much during the build-up to the song that people around us thought we were angry drunks.

People were still buzzing about them after their too-brief seven-song set, and I’d like to see them in a small venue where they’re the headliners.  I’m sure that would be nuts.

Kasabian soon emerged and ripped into a fun set that had the crowd bouncing for most of the show.  They started with “Ill Ray” and “Bumblebee” and had the crowd in their hands by the time they reached “Ez-Eh.”

A funny moment happened when they messed up the introduction to “Underdog.”  “That’s the first time that’s happened,” said lead singer Tom Meighan.  “I’m glad you were all here to see it.”  They jumped back on the horse and nailed the song.  Everyone laughed with them.  Up next were three solid cuts, “Shoot the Runner,” “You’re in Love with a Psycho” (from their newest record, For Crying Out Loud), and “Club Foot.”

The rest of the show was just as fun, with “Empire,” “L.S.F.,” “Bless This Acid House,” “Vlad the Impaler,” and “Fire” being good highlights.  It was a fun Tuesday night crowd (perhaps that’s why it didn’t sell out) rocking to two solid bands.  It’s too bad if you missed it.  Much praise also to the HOB and tour sound crews.  The mix for both bands sounded great.

Keep your mind open.

[Don’t forget to subscribe before you go.]

She-Devils – self-titled

She-Devils’ (Audrey Ann Boucher and Kyle Jukka) self-titled record is a lovely blast of electro dream pop that we need more of in this world right now. The opener, “Come,” is a slightly trippy seduction and (“Don’t try to resist me,” Boucher sings) I think a salute to orgasms. It’s the best song about such subjects since Frankie Goes to Hollywood sang about them. The follow-up, “Hey Boy,” mixes shoegaze and electro so well that you can barely tell where one influence ends and the other begins. I like the low-tuned guitar throughout it by Jukka, and Boucher’s voice is playful and a little bit dangerous. It’s the kind of track the Dum Dum Girls used to make.

“Make You Pay” feels like something out of a shoegaze sweat lodge as Boucher sings about exacting revenge (via firearm) against her cheating lover. In “Darling,” however, she professes her love again as the guitars shuffle like a soft shoe dancer around her. “How Do You Feel” and “Blooming” are ethereal dream pop songs in which Boucher questions both her lover’s intentions and her desires. “I can’t do anything for you,” she sings on “You Don’t Know.” Her lover doesn’t know what love is, so she can’t help him see what’s bugging her.

On the weird and wonderful “The World Laughs,” Boucher boldly proclaims “I want to go inside of you…” Well, well, well. The guitars sound almost like something from a reggae record that’s been left out in the Jamaican sun too long. Trust me, it’s pretty neat. “Never Let Me Go” and the closer, “Buffalo,” are haunting love songs with Boucher’s vocals coming at you like incense smoke down a dimly lit hall and Jukka’s instrumentations ranging from Angelo Badalamenti influences to hints of psychedelic-era Brian Wilson.

This is the kind of album that makes you want to hear the next sooner rather than later. Improving on this already fine record will mean something stunning in the future.

Keep your mind open.

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RIDE – The Weather Diaries

This has been a good year for shoegaze. Two legendary British shoegaze bands returned after long absences with great records. One of them is RIDE (Andy Bell, Loz Colbert, Mark Gardener, and Steve Queralt), whose newest record, The Weather Diaries, is a welcome return and a sharp piece of work.

Opener “Lannoy Point” has the layered, echoing guitars you love from RIDE and lyrics about being wiser with the passage of time. They’re ready to get a lot of stuff off their chests. You can’t help but think the hard-hitting “Charm Assault” is about certain politicians on both sides of the pond. Lyrics like “Your charm assault has scarred the world. It looks so ugly as your lies begin to unfurl.” and “Privilege abused at every turn. Serious as a heart attack, he’s standing. He sets fire to your world and lets it burn.” hit as hard as the drum beats.

“All I Want” was one of the first singles off the record, and the decision to make it so was a no-brainer. It blends shoegaze and electro very well (and those drum beats are jaw-dropping), and the lyrics cover familiar shoegaze ground – loneliness and the urge to improve one’s lot in life. “Home Is a Feeling” is lovely dream pop, and the title track could be about global warming, but I think it’s about being overwhelmed by media (“When I was younger, it was simple. You didn’t have to question everything.”) – and the guitars build to a static-like roar by the end.

The name of “Rocket Silver Symphony” pretty much sums up the way the song sounds. It’s electric, bold, bright, and bursting with energy. “Lateral Alice,” a song taken from some of Andy Bell’s dreams, is a kick-ass rocker. “Cali” is Bell’s love letter to surf, sand, and sun in the U.S. The guitars in it are as wonderful as you hope they’ll be in such a song, and the vocals get ahold of your mind and won’t let go. You’ll want this on every summer playlist you make now.

“Impermanence” is a beautiful song about the end of things – life, relationships, even random physical objects like windowpanes. Bell tries to cope with the end of a relationship (while guitars soar all around his vocals) by meditating on the impermanence of all things, but it doesn’t help him much. “White Sands” (another song referencing beaches) muses on illusions we create and our struggles to let go of them. It’s hypnotizing in many ways, as is most of the record.

Good shoegaze always hypnotizes you. It causes you to get lost in dreamscapes and to notice the moment around you. It’s nice to have these musical Zen masters back among us.

Thanks to RIDE for being groovy cats when I met them at Pitchfork Music Festival earlier this year.

Keep your mind open.

[It would be charming if you subscribed.]

Clutch announces winter tour dates.

CLUTCH ANNOUNCE WINTER PSYCHIC WARFARE TOUR DATES WITH DEVIN TOWNSEND PROJECT & THE OBSESSED
Clutch has just announced Winter tour dates for the continuum of their Psychic Warfare tour. Supporting the tour will be Devin Townsend Project and The Obsessed. Fan club pre-sale tickets will start at 2:00pm ET today, public stale starts 10am ET on Friday.  Exclusive fan club pre-sale tickets and show info available here: mt.cm/clutch.  The on sale date for the 4 Florida shows is TBD due to the hurricane in the region. Check the bands official website www.pro-rock.com for all upcoming ticket and show info.
Clutch will be entering the studio in early 2018 to begin work on their 12th studio album.
Psychic Warfare is the latest and eleventh studio effort from Clutch.  The disc debuted at No. 11 on the Billboard 200, No. 2 on the Billboard Independent,  No. 1 on the Billboard Hard Rock and Billboard Rock charts.     Psychic Warfare was produced by longtime producer Machine (Lamb Of God, Every Time I Die).
Clutch, Devin Townsend Project and The Obsessed Tour Dates:
Wed, 11-29-17               Greensboro, NC at Cone Denim Entertainment Center
Fri, 12-01-17                  Myrtle Beach, SC at House Of Blues                         
Sat, 12-02-17                 St Petersburg, FL at Jannus Live                                          
Sun, 12-03-17                Fort Lauderdale, FL at Revolution                    
Tue, 12-05-17                Saint Augustine, FL at Backyard Stage @ St Augustine Amphitheatre
Wed, 12-06-17               Pensacola, FL at Vinyl Music Hall                          
Fri, 12-08-17                  Baton Rouge, LA at Varsity Theatre                                                     
Sat, 12-09-17                 San Antonio, TX at The Aztec Theatre                       
Sun, 12-10-17                Houston, TX at House Of Blues                         
Tues, 12-12-17               Springfield, MO at Gillioz Theatre                       
Wed, 12-13-17               Lincoln, NE at Bourbon Theatre                       
Fri, 12-15-17                  Peoria, IL at Limelight Eventplex                     
Sat, 12-16-17                 Nashville, TN at Marathon Music Works
Wed, 12-27-17               Clifton Park, NY at Upstate Concert Hall
Thu, 12-28-17                Sayreville, NJ at Starland Ballroom
Fri, 12-29-17                  Richmond, VA at The National                      
Sat, 12-30-17                 Knoxville, TN at The International                 

Sun, 12-31-17               Columbus, OH at Express Live

CLUTCH:
Neil Fallon – Vocals/Guitar
Tim Sult – Guitar
Dan Maines – Bass
Jean-Paul Gaster – Drums/Percussion
For more  information, check out the band’s website: