South Bay based singer-songwriter Billy Azurdia is releasing âSolamente En Mis Sueños,â on July 7, 2026. The genre bending single will be the 3rd and final release before his upcoming full length album. A danceable and ambitious departure from the straight forward tenderness of âContigo,â “Solamente En Mis Sueños” showcases Azurdia’s confident versatility, blending city pop, folk and shoegaze.
Azurdia delivers a distinct 3-act anthem that begins on a sparkling dance floor, followed by a chromatic build that releases into a massive, distorted crescendo. The lyric and emotional component describe a chance meeting, that while beautiful, leaves one with a heart full of longing and bittersweetness. The finale explodes with fuzzy guitars, and dreamy synths, as Azurdia belts “Dejame aquĂ, puedo verte sonreir” (“Leave me here, I can see you smile”).
Billy Azurdia has been writing, producing and releasing music from his solo projects and as a contributing member of multiple Los Angeles projects, including Mind Monogram and Jane Astronaut, since 2011. His most recent work is an arrival as an indie folk writer, blending earthy grit and shimmering whimsy.
âSolamente En Mis Sueños was an opportunity for me to explore unconventional structure, danceable rhythms and blending it with the singer-songwriter styled indie folk that I’ve been producing these days. I’ve had the desire to explore city pop for a long time and I love songs that don’t ever return to a previous section, like (The Beatles) Day In The Life. I ended up with something I’m really excited about.”
“Solamente En Mis Sueños” will be on streaming platforms July 7th 2026.
Music is what initially brought atmos bloom — Tilda Gratton and Curtis Paterson — together when Tilda auditioned to play bass in Curtis’ band at the University in Manchester.Â
Seven years on from those rainy nights rehearsing in Trafford, the duo, now life partners living in London, are set to release their most compelling record yet. Everythingness was born out of a series of balancing acts, the journey through youth and young adulthood, chasing adventure while longing for home and falling in love with the city where they found this home, yet still needing to escape it in order to think and create. The record maps the duo’s journey through these themes whilst staying true to what initially brought the two together. It’s set for a July 24th release via Spirit Goth.
Following last month’s release of “Everything,”today they share the new single for “Closer.” It plays into the hazy, half-lucid magic of the band’s formula.
On “Closer,” the band share:“âCloserâ explores self-love and finding peace with yourself and your inner child, whilst also missing past versions of you that no longer remain.”
atmos bloomâs first musical venture together: a psych-rock-shoegaze outfit inspired by bands such as Sonic Youth, Pavement and julie ignited a love for being in a band and making music. Their debut album Flora was born as the pandemic began to ease and restrictions in the UK were starting to be lifted. The record reflected this new beginning, a shining, shimmering record of hope that felt like an endless summer, with just a glance over the shoulder at the troubles left behind. As a result, Flora was inspired by jangly bedroom and dream pop, such as Alvvays, Beach Fossils and Cleaners From Venus.Â
On this second album Everythingness, a much different time is represented, a time with more uncertainty, painting a clear picture of the state of flux the duo found themselves in. The flow of the record reflects the endless cycle of feeling up and down and the sudden changes we all experience. From hope, self-realisation and sufficiency to fear, loneliness and unbearable pressures. The most positive and joyous parts of the album are met with the darkest and most lost. Even within individual songs we find ourselves plunged into a landscape thatâs unrecognizable from the one where we started, only to be dropped back in and end at the beginning. Neither the ups nor the downs linger for too long and the overall message of the record is left up to the listener.
Do we enjoy the light whilst weâre in it, cut loose in the dark and embrace the unpredictability? Or do we live in fear of the uncertainty thatâs around the corner, unable to embrace either the light or dark for fear of a sudden shift. The record ends with a clock-like rhythm, representing the perpetual cycle we find ourselves in, unstoppable and uncontrollable, all encompassing –Â Everythingness.
Without the restraints of trying to make a particular record, the pair unleash a wide range of influences, all explored through an honest and personal lens on this self recorded and produced work.  In particular, bands such as DIIV, Ulrika Spacek, Deerhunter, Broadcast inspired Everythingness, without betraying the duoâs foundation in both psych-rock-shoegaze and jangly bedroom/dream pop.Â
The albumâs artwork and themes reflect the environments in which the album was crafted – a patchwork, a collage, intersecting aspects of life and the world, and the journey to find our place within it.
Today, The Black Wizards announce their new album âForce Majeure & The Acts of Godâ, set for release on September 4th via Hassle Records. Alongside the announcement, the band share new single âLooseâ.
âForce Majeure & The Acts of Godâ is named after the legal phrase used to describe uncontrollable circumstances, reflecting both the chaotic conditions surrounding the recordâs creation and a sense of dark humour and defiance that runs through the album’s ten tracks.
It’s a fresh take on their sound, embodied with the garage rock swagger and bluesy stomp of todayâs new single âLooseâ, which Joana describes as âa groovy wandering on anxiety thoughts and feeling trapped inside your own head.â She adds: âIt’s about accepting those thought patterns and learning how to navigate through them. With everything happening right now in this cursed world, we ride the everyday struggles of 9-to-5 jobs, low pay, poor working conditions, and so on. While it can be difficult to keep up with all this, we wanted to make it a sharp song with a straight to the point chorus, but also release the tension on the verses, relying on the wobbly synth (it’s the first time we use a synthesizer in such highlight) and steady beat.â
While compiling lyrics for the record, front-woman Joana Brito had been reading books on politics, gender and toxic masculinity, including Grayson Perryâs The Descent of Man, and those ideas bleed through songs that take aim at hollow leadership, social tribalism and the performance of power. Recent single âKilling The Buzzâ, released earlier this year on 7â single, in particular cuts through the noise with a sharp sense of humour, mocking political spectacle while refusing to surrender to it.
The recording process itself became its own exercise in chaos management. The band had originally planned to record in Sweden with Cooper Crain of CAVE and Bitchin Bajas, but after a sudden health emergency forced them to abandon the sessions and return to Portugal, they improvised. Instead, Crain flew from Chicago to Porto, where the band cut ten songs in just five intense days at Arda Recorders. Long hours, barely any breaks, constant pressure. They initially planned to record to tape, with Crain even flying over with reel-to-reel machines from the US, before technical problems forced a last-minute pivot to digital recording.
Still, the urgency works in the albumâs favour. Nothing here feels overly polished or ironed flat. The rough edges remain intact, giving the record a volatile energy that mirrors the instability that inspired it. âItâs kinda nice to see imperfections these days when everything evolves into AI-based,â says Brito.
For all its anger, though, âForce Majeure & The Acts of Godâ is ultimately driven by connection rather than nihilism. Long embedded within northern Portugalâs fiercely independent rock community, The Black Wizards remain committed to collaboration, grassroots creativity and building spaces for outsiders like themselves. âWe want to encourage kids to get off their smartphones and pick up a guitar, paint, or just be creative,â says Brito. âWe want to make the world a safer place for all the freaks like us.â
In the face of chaos, The Black Wizards choose movement, noise and each other. Thereâs magic in that.
Fat Dogâthe undefinable, raucous South London bandâare back with a bang with their subtly named new single, âGo Fuck Urself.â With 80s-tinged, airy synths and dripping in melodica, “Go Fuck Urselfâ is three minutes of propulsive, jubilant electro-pop. Itâs an irascible, exasperated rant wrapped in joyous hooks and Balearic grooves.
As frontman, songwriter and chief rabble rouser Joe Love coolly sings: âSome jokers play the same old game / No one to annoy / Find a mirror and the person to blame,â the song breaks out into a euphoric, technicolor anthemâan ode to escapism when the thing you are trying to escape is yourself.
Co-produced by Love with Oli Bayston (Kelly Lee Owens, Alexis Taylor), âGo Fuck Urselfâ follows Fat Dogâs standalone singles âPray To Thatâ and âPeace Songâ and their âbrilliant, dark, and downright batshit crazyâ (DIY) debut album, WOOF., released in 2024.
The video, directed by Nine Screens (Dylan Coates and Travis Barton), sees the band take to a wrestling ring to convey the message they must share with the world. Watch the Video for Fat Dogâs âGo Fuck Urself.â
âGo Fuck Urselfâ marks the first taste of music from the bandâLove, Chris Hughes, Morgan Wallace, Ellis Dickson, Michael Dunlop, Dillon Harrison and Jed Bevingtonâin 2026 and sets the stage for new music to come. Alongside the single, Fat Dog have confirmed a mammoth UK and European headline tour including a hometown show at Londonâs Brixton Academy on October 24th. Before that, the band will play their largest ever shows supporting the Foo Fighters at three European arena dates, support Kneecap at their Crystal Palace show in London, and play a number of festivals including End of the Road, Dour, Reeperbahn, Bearded Theory and more. It looks like weâre set for another Year of the Dog.
Riviera Gaz â the multinational trio of guitarist/vocalist Gustavo Riviera (leader of long-running Brazilian rock outfit Forgotten Boys), multi-faceted bassist/keyboardist Paulo Kishimoto (Pitty, Forgotten Boys) and drummer Steve Shelley (Sonic Youth) â have announced the release of their second studio album Catacroma, due August 21 via Shelley’s imprint, Vampire Blues. Weaving together a psychedelic collective consciousness where fuzzy riffs, glam rock energy, fearless studio experimentation, and Can-inspired grooves all melt together to form new mercurial elements, the 11-track collection presents an elevated expression of sound, stretching straight-ahead rock songs into strange and sprawling cosmic experiences. First single, “Monomania (Edit),” an abbreviated mix of the longer album track, is out now and accompanied by a video directed by Tomas Spicolli.
“The song ‘Monomania’ evokes the soundtrack to a road movie, with constantly transforming landscapes, shifting colors and a steady rhythm that takes the listener from earthly horizons to a post-industrial future,” says Riviera. “It’s a celebration of obsession. It presents a world where irrational desires, impossible dreams and personal fixations are encouraged. Within the territory of obsession, of mania, an invitation to surrender to your ‘psychotic dreams’ and trust in the impossible.”
While earlier Riviera Gaz material was largely Rivieraâs songs fleshed out by the group, Catacroma is a more completely balanced collaboration, with multiple sessions where everyone contributed from start to finish. Additionally, the band intentionally distanced themselves from the sterile digital aesthetic of modern recording, opting out of using click tracks, pitch correction, or instrument plug-ins, yet embracing the mixing phase of production as a means to organize the wild sound of the record. Extensive editing directly informed by techniques absorbed from famed producer Roy Cicala (John Lennon, Jimi Hendrix, Forgotten Boys), the subtractive atmospheres of the ‘Elemental Remixes’ of Lennon’s Mind Games, and Brazilian rock pioneer Erasmos Carlos whose most far out material became a central factor of how the songs were composed, resulting in moments like when âLonely Moonâ shifts unexpectedly between earthly heaviness and black hole spaciness, the emphasized tension between stoic acoustic chords and malicious layers of fuzz on âName the River,â and drawing out of multicolored textures on the slow-blooming instrumental âCrime Scene.â
Lyrically, Catacroma moves through the same waves of the surreal and the unknown as the music. The album title itself is a word made up by the band, assembled from âCataâ (from the Greek katĂĄ, something that crosses, that goes downwards or inwards) and âChromaâ (color, tone, tint). This is meant to represent a core of color that expands into sound, but also has a political meaning when color symbolizes territories of dispute â not only sensory elements, but also tools of resistance, affirmation, and confrontation. The word carries the gesture of traversing the chromatic spectrum, dismantling invisible hierarchies that order what can or cannot be seen and heard. This is the starting point for lyrical pictures that summon up haunted hotel rooms, hyper-realistic poetry, a crime in the Hudson Valley where a son believed his mother was Medusa and would turn him to stone, and other shards of abstract thought.
Taken in its totality, Riviera Gaz‘s sophomore effort Catacroma is an aesthetic world of its own design. Its eleven tracks are a hall of fun house mirrors where killer songs break apart and come back together organically, never taking expected turns and always ending up somewhere even more interesting than where they began.
Following electric shows at The Great Escape & across the UK, Lisbon’s party-starters MAQUINA. have shared “dança (ft. Dame Area)” – a second cut from their forthcoming new album âBODY TRANSMISSIONâ, due out July 10th via Fuzz Club.
MAQUINA. embody all the sweaty togetherness and euphoria a collective music experience has to offer. The buzzy Lisbon trio have been getting punks to dance and club kids to pogo â âmaking the bubbles connect a little bitâ â with such fervour they routinely pack out venues and inspire multiple waves of crowdsurfing at any given live show.
On their new LP they bottle that energy, and they donât waste any time getting started. Today they share the albumâs party-popping opener âdançaâ, a track pumped and primed to turn heads and get the blood flowing, featuring bratty punk vocals from Silvia Konstance and synths from Viktor L. Crux of Barcelona-based duo Dame Area. Inspired by the pairâs work, MAQUINA. invited them to collaborate on the track, with Konstance swapping her native Italian for Portuguese. The track sets up the heartbeat of the record, all relentlessly propulsive 4/4, feral shrieking, and a smoking guitar line that cuts through the three-note bass riff with searing focus.
Speaking on the track, MAQUINA. comment: “‘dança’ explores a moment of introspection: the importance of being with oneself, of making space for an intimate moment, even if through dance. When words fail, the body speaks. âI just want to danceâ becomes a statement suspended between inward reflection and the need for release.”
With over 250 gigs and numerous festival appearances across Europe already under their belt MAQUINA. are on a high after their first tour of Brazil and KEXP performance. The three-piece ring in a new chapter with their second LP âBODY TRANSMISSIONâ: a head-banging trip through high-energy noise-rock, motorik metal, and industrial punk that doesnât stop moving.
The result is a full-body rush geared towards the dance-floor with âno breaksâ; a club-ready rock record steered by the trioâs guitar, drums, and bass combo. âIt was the most challenging and fun weâve ever had in the studio because we pushed ourselves to write songs rather than just capturing jams,â say the band. âWe wanted it to feel heavy, focused, and relentless. We kept the tempo up and the energy peaking â itâs an ‘always-on’ record.â
According to Wooden Overcoat‘s frontman, Brant Hajek, “Recording this EP almost ruined my life, and I hope it sounds like it.”
Hajek wrote, played, recorded, mixed, and edited Hello Sunbeam by himself, wanting “…to make something that sounds old but fresh…something that sounds warm and dense, but somehow also airy.” Mission accomplished, sir, as the EP is psychedelic, dreamy, and fuzzy.
Opening with “Home,” you immediately get the sense of sunbeams waking you in the morning and moonbeams illuminating your late night party that same day. It’s delightfully hooky. “Finally Arrived,” a song about the frailty of human connection, is lush and almost misty. It’s like catching a jasmine smell on the wind and you don’t know its origin, but you want to find it so you can hang out there for hours.
“Heaven Right Now” continues to explore how frail we are and uses reverb-soaked guitars and vocals to show how many of us are always on the edge of the ledge and ready to fall and shatter…yet it’s still hopeful and captivating. It’s no secret that Hajek wrote the album during a dark period of his life. His mother was diagnosed with cancer, he was going through a breakup, and the world was both literally and figuratively on fire (even his band’s name is a nickname for a coffin).
The vocal harmonies on the closing track, “I Knew You Would,” blend well with the psych-surf guitar and soft beats. I’m willing to bet it’s about Hajek’s relationship turning sour and an outcome he saw coming and knew he couldn’t avoid. The guitar solo on it is a standout.
The title of the EP comes from a mantra that Hajek would say when he felt things crushing in on him. It was to remind him that the sun was still there and, as Gandhi once put it, “In the midst of darkness, light persists.” Hello Sunbeam acknowledges the dark, but also embraces the light.
Margate, UKâs Tokyo Tea Room create music inspired by human emotions, exploring themes of longing and the ephemeral nature of existence. Today, they release âEyes Off You,â an atmospheric track about obsessive love. Written and produced by the bandâs Daniel James Elliott, âEyes Off Youâ captures the passion of desire through mesmerizing synth, guitar and dreamy vocals by Beth Dunn. True to their introspective universe, yet with a slightly more pop aesthetic, they transform vulnerability into something melodious and danceable.
On âEyes Off You,â Tokyo Tea Room dive into the murky waters of obsessive love. Weaving a narrative around a love you can’t let go of, even when it hurts, they capture the fatalism of an impossible but all-consuming obsession, singing: âCanât quit loving you like I was born to lose // Everything I do just leads me back to you.â
Tokyo Tea Room is a timeless project whose message transcends the music itself. The band arouses passions and emotions, taking listeners on a journey within a tender, comforting bubble. Their debut album, No Rush, established them as one of the most compelling emerging acts in alternative music, resonating with a growing global audience. With millions of monthly listeners and a sold-out debut North American tour, the band are rapidly building momentum, particularly in the US, where their audience continues to expand. With new music on the horizon, Tokyo Tea Room are entering a defining new chapter, evolving their sound while staying rooted in the emotional depth that defines their work.
Tokyo Tea Room will return to North America this fall touring in support of forthcoming new music. A full list of dates are below and tickets are on sale now.
Tokyo Tea Room Tour Dates: Thu. Sep 24 – Vancouver – Hollywood Theatre Sat. Sep 26 – Seattle WA – Neumos Mon. Sep 28 – San Francisco CA – Bimbo’s 365 Club Wed. Sep 30 – Los Angeles CA – Teragram Ballroom Fri. Oct 2 – San Diego CA – Quartyard Sat. Oct 3 – Tucson AZ – Club Congress Mon. Oct 5 – Austin TX – 29th St. Ballroom Tue. Oct 6 – Houston TX – White Oak Music Hall Wed. Oct 7 – Dallas TX – Club Dada (indoors) Fri. Oct 9 – Atlanta GA – Terminal West Sat. Oct 10 – Durham NC – Motorco Music Hall Sun. Oct 11 – Washington DC – The Atlantis Tue. Oct 13 – Brooklyn NY – Music Hall of Williamsburg Wed. Oct 14 – New York NY – Bowery Ballroom Thu. Oct 15 – Boston MA – The Sinclair Fri. Oct 16 – Montreal QB – Bar le Ritz Sat. Oct 17 – Toronto ON – Mod Club Mon. Oct 19 – Chicago IL – Lincoln Hall
Thanks to all who tuned in to help celebrate the birthday of Boy Georgewith the Deep Dive of Culture Club on WSND. Hereâs the set list in case you missed it:
Culture Club – Karma Chameleon
Johnny Osbourne – Mr. Walker
Wang Chun – Dance Hall Days
London – Everyoneâs a Winner
The Damned – Neat Neat Neat
Adam and The Ants – Car Trouble
Bow Wow Wow – Do You Wanna Hold Me
Sex Pistols – Pretty Vacant
Culture Club – White Boy
Culture Club – Iâm Afraid of Me (demo)
Dennis Brown – Money in My Pocket
Culture Club – Do You Really Want to Hurt Me?
The Isley Brothers – Itâs Your Thing
Culture Club – Time (Clock of the Heart) (extended mix)
Roxy Music – Angel Eyes
Culture Club – Iâll Tumble 4 Ya (12â remix)
Stevie Wonder – Uptight (Everythingâs Alright)
Culture Club – Church of the Poison Mind
Helen Terry – Love Lies Lost
The Hideaways – Hide Out
Gilbert OâSullivan – Matrimony
Culture Club – Itâs a Miracle (live)
Blue Mink – Melting Pot
Sailor – A Glass of Champagne
Culture Club – Letâs Dance (live)
The Beach Boys – Passing Friend
P.P. Arnold – Electric Dreams
Culture Club – The War Song
Culture Club – Donât Talk About It
Culture Club – Move Away (live)
This Way Up – Tell Me Why
Mikey Craig and The Method – Iâm a Believer
Heartbeat UK – Jump to It!
Jesus Loves You – Bow Down Mister
Pet Shop Boys – Domino Dancing
Culture Club – I Just Wanna Be Loved
Culture Club – Your Kisses Are Charity (Blouse and Skirt mix)
After exploding onto the scene with their acclaimed 2023 EP Paradise, Wishy released their debut LP Triple Seven on Winspear in the summer of 2024. The album was one of the more critically-beloved debuts in recent memory, earning praise from outlets like Pitchfork (“a standout voice in a new generation of shoegaze”), Stereogum (“one of the best indie rock debuts in recent memory“), the NME (“one of the most exciting new rock bands operating anywhere right now“), Paste (“one of the most irresistible, unshakeable albums of the year“) Uproxx (“one of the best new bands in indie rock writ large“), and landing on Best of 2024 lists from publications like The New York Times, GQ and Alt Press.
The band’s run of success has showed no signs of slowing in 2025, which saw the release of a follow up EP called Planet Popstar, a Colbert performance, a run of tour dates with Momma, and appearances at Kilby Block Party and Riot Fest.
Today, Wishy are back to announce their sophomore LP Nature’s Pill (out October 2nd on Winspear). To mark the occasion they are sharing the album’s lead single “Lovesick,” a swooning gem sung by Nina Pitchkites that recalls The Cure at their most pop-forward and The Sundays at their buoyant best.Â
Pitchkites says of the track:
Thereâs not much more that needs to be said about yearning in 2026, but here it is anyway. Kevin and I are stupidly romantic people who like twee pop so that combination alone was a recipe for a cheeky âmain characterâ song. We really leaned into the overzealous lyrics here because 1) weâre allowed, 2) can do whatever we want and 3) itâs fun đ yay!
In addition to previously announced August tour dates with The Beths and Beach Bunny, Wishy are announcing a run of headline dates that will take them across the US in the fall. Full details can be found below.
Wishyâs origins go way back, to when Krauter and Pitchkites met in high school in Indianapolis. Some years and a few projects later, they joined forces to form Wishy, rounding out the lineup with guitarist Dimitri Morris, bassist Mitch Collins, and drummer Conner Host. The groupâs musical synergy was intense from the jump and the beginning of their career has been a prolific burst: the Mana and Paradise EPs in 2023, debut LP Triple Seven in 2024, and a follow-up EP Planet Popstar in 2025. After those releases met acclaim and the bandâs stature rose, the conception of Natureâs Pill was fundamentally different.
Wishyâs Natureâs Pill captures a world where life feels unpredictable and overwhelming, yet full of possibility. On their vibrant sophomore record, Wishy entertains the madnessâcapturing romantic frustration, neurotic desire and the melodrama that ensues from simply being human in a jubilant remix of the past. Natureâs Pill bears all of Wishyâs trademarks: zany lyrics transfiguring melancholia into freedom, choruses set to become instant classics, and an unholy fusion of sugary grunge, indie rock and dream-pop.
Written more collaboratively than past releases, the group reconvened with Triple Seven co-producer Ben Lumsdaine in Los Angeles, where the quintet packed into a tiny studio and tracked half the songs live in the room, imbuing the album with the immediate energy of a band in sync after heavy touring. It gave them the ability to synthesize an even greater array of touchstones this time around, with the â90s dream-pop and alt-rock of Triple Seven fusing with â80s college rock and â00s indie.
Underneath it all, Wishy locate a tenacity to keep trying anyway. âBeing in an indie band feels bizarre when the world is on fire,â Krauter concludes. âWhat can you do at the end of the day other than carve out some spaceâat the very least I have my imagination and I can invite others to join me there. At a certain point you need to say fuck it and roll with it.â Sometimes you canât make sense of it all. Natureâs Pill finds Wishy gleefully giving into the madness. After all: If life is absurd, all the possibilities are up to you.
Tour DatesÂ
07/25 â Cleveland, OH @ House of Blues * 07/26 â Indianapolis, IN @ Deluxe at Old National Center * 07/27 â St. Louis, MO @ Delmar Hall * 07/31 â Santa Fe, NM @ The Bridge *& 08/01 â Tucson, AZ @ Rialto Theatre *& 08/02 â Las Vegas, NV @ House of Blues *& 08/04 â San Luis Obispo, CA @ Madonna Inn *& 08/06 â San Diego, CA @ SOMA *& 08/07 â Pomona, CA @ The Fox Theater *& 08/08 â Santa Ana, CA @ Observatory *& 08/11 â San Jose, CA @ San Jose Civic *& 08/14 â Spokane, WA @ Knitting Factory *& 08/15 â Portland, OR @ Courthouse Square *& 08/16 â Seattle, WA @ Woodland Park Zoo *& 08/17 â Boise, ID @ Shrine Social Club Ballroom * 08/18 â Bozeman, MT @ The ELM * 08/20 â Omaha, NE @ Slowdown * 09/18 â Cincinnati, OH @ Fountain Square $ 09/26â09/27 â Sao Paolo, Brazil @ Balaclava Festival 10/03 â Indianapolis, IN @ WISHYFEST @ Atomic Duckpin 10/09 â Columbus, OH @ Ace of Cups 10/10 â Toronto, ON @ The Garrison 10/11 â Montreal, QC @ Bar Le Ritz 10/13 â Portland, ME @ SPACE 10/14 â Boston, MA @ Brighton Music Hall 10/15 â Philadelphia, PA @ First Unitarian Church 10/17 â New York, NY @ Racket 10/18 â Washington, DC @ Atlantis 10/20 â Durham, NC @ Stanczyks 10/21 â Atlanta, GA @ The Earl 10/22 â Asheville, NC @ Revival 10/23 â Nashville, TN @ Blue Room 10/25 â Minneapolis, MN @ 7th St Entry 10/26 â Milwaukee, WI @ X-Ray Arcade 10/27 â Chicago, IL @ Lincoln Hall
w/ Beach Bunny *& w/ Beach Bunny and The Beths $ w/ Ratboys
Keep your mind open.
[I’ll feel lovesick if you subscribe…or maybe if you don’t. I’m not sure.]
