Rock – Page 60 – 7th Level Music

Hannah Georgas keeps it Zen on “This Too Shall Pass.”

In 2020 Hannah Georgas released her Aaron Dessner-produced LP All That Emotion. Though a longtime favorite in her native Canada with a devoted international audience, the album was the most critically-acclaimed release of her career to date, earning a wave of positive attention from outlets like The Guardian, Pitchfork, NPR, The New York Times, FADER, Stereogum, New York Magazine, Consequence of Sound and Paste among many others. In 2021 she released an EP of alternate versions of tracks from the album, featuring contributions from friends and collaborators like Bartees Strange, Owen Pallett, The National’s Matt Berninger and Kate Stables, but today Georgas is sharing her first new music in three years with new single, “This Too Shall Pass”. The single is being released to mark the announce of her signing to Lucy Rose’s Real Kind Records, and is being released alongside a Joe Connor directed video, shot in London.

WATCH
Hannah Georgas’s “This Too Shall Pass”
HERE

Where Hannah’s last record, 2020’s All That Emotion, was produced alongside Aaron Dessner, her next body of work finds Georgas behind the glass. Joining her are partner Sean Sroka (of Ten Kills The Pack) in a co-production capacity, keenly aided by James McAlister on drums (one of Sufjan Steven’s regular confidantes), Graham Walsh (whose synth and bass regularly peppers records by the likes of Holy Fuck and Metz), and Gabe Wax (Soccer Mommy’s go-to collaborator, but has also worked with War on Drugs, Kurt Vile, and Spoon) whose studio know-how and multi-instrumentalist acumen was a welcome addition to the process.

Ultimately though, Georgas sought to take the reins herself, taking back control of her own destiny, and cutting out too much outside influence. Recorded in Toronto with a treasure trove of analogue equipment and a work ethic that left no idea unturned, “This Too Shall Pass” signals a line in the sand, and the beginning of a new chapter.

Hannah Georgas on “This Too Shall Pass”: “I have a lot of internal pep talks, as a way to quiet my own doubts and insecurities. This song is a reflection of that, and a reminder to go a little bit easier on myself.”

“This Too Shall Pass” is the first introduction to a larger body of work by Hannah Georgas. Further details are to be announced later this Spring.

Keep your mind open.

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[Thanks to Tom at Hive Mind PR.]

The Beths release new single and expanded tour dates.

Today, The Beths present their new single, “Watching The Credits,” and unveil their incredible Tiny Desk Concert, proving once again that they are “one of the greatest indie-rock bands of their time” (Rolling Stone). “Watching The Credits” is a terrific power pop anthem recorded during the sessions of Expert In A Dying Field, the New Zealand quartet’s acclaimed 2022 album. Born out of songwriter Elizabeth Stokes’ habit of learning everything about movies without actually watching them, “Watching The Credits” is Stokes’ imaginary view from the director’s seat. Their accompanying NPR Tiny Desk performance downsizes their beloved live performance while maintaining their signature thrilling energy.

The Beths also announce more US dates around their Bonnaroo and Newport Folk Festival appearances, bringing their incredible set (and beloved inflatable fish) to many cities for the first time. The Beths’ summer and fall dates include two nights at Denver’s Mission Ballroom, three nights at Los Angeles’ Lodge Room (surrounding their sold out show at the Hollywood Bowl supporting Death Cab for Cutie and The Postal Service), plus three nights at New York’s Music Hall of Williamsburg. Full dates are listed below and general on-sale for new dates begins Friday, March 31st at 10am local time.

Watch The Beths’ Tiny Desk Concert

Listen to “Watching The Credits”

Expert In A Dying Field, the third studio album from The Beths, was released to a wealth of critical praise, and was named one of 2022’s best releases by the likes of Pitchfork, The Ringer, and Stereogum, who praised it as “another collection of tunes that cements their status as one of the great guitar-pop bands of this present moment.” Surrounding its release, The Beths were profiled by Rolling Stone, Document Journal, The Big Takeover and more, and made their US television debut on CBS Saturday Morning. With a full, almost entirely sold out North American tour already under their belt, and supporting slots for The National, Death Cab for Cutie and The Postal Service on the horizon, The Beths are undeniably one of the most exciting indie rock bands to emerge in recent memory.

The Beths Tour Dates (New Dates In Bold)
Wed. May 24 – Bristol, UK @ SWX
Thu. May 25 – London, UK @ Electric Brixton
Fri. May 26 – Walton-on-Trent, UK @ Bearded Theory Festival
Sat. May 27 – Leeds, UK @ Live at Leeds in the Park
Sun. May 28 – Manchester, UK @ New Century
Tue. May 30 – Glasgow, UK @ The Garage
Wed. May 31 – Dublin, IE @ Whelan’s
Fri. June 2 – Barcelona, ES @ Primavera Sound Festival
Sat. June 3 – Ellerdorf, DE @ Wilwarin Festival
Sun. June 4 – Berlin, DE @ Frannz Club
Mon. June 5 – Hamburg, DE @ Uebel & Gefählrich
Tue. June 6 – Cologne, DE @ Gebäude 9
Thu. June 8 – Porto, PT @ Primavera Sound Festival
Fri. June 9 – Madrid, ES @ Primavera Sound Festival
Sat. June 10 – Dijon, FR @ VYV Festival
Mon. June 12 – Nantes, FR @ Stereolux
Tue. June 13 – Paris, FR @ Petit Bain
Wed. June 14 – Lille, FR @ Aéronef
Fri. June 16 – Kansas City, MO @ Boulevardia Festival
Sat. June 17 – Manchester, TN @ Bonnaroo Music & Arts Festival
Sun. June 18 – Birmingham, AL @ Saturn
Tue. June 20 – Orlando, FL @ The Beacham
Wed. June 21 – Tampa, FL @ Crowbar
Thu. June 22 – Gainesville, FL @ High Dive
Fri. July 14 – Utrecht, NL @ Ekko
Sat. July 15 – Rotterdam, NL @ Rotown
Sun. July 16 – Nijmegen, NL @ Valkhof Festival
Tue. July 18 – Liverpool, UK @ Hangar 34
Wed. July 19 – Newcastle Upon Tyne, UK @ Boiler Shop
Fri. July 21 – Southwold, UK @ Latitude Festival
Sat. July 22 – Steventon, UK @ Truck Festival
Sun. July 23 – Sheffield, UK @ Tramlines Festival
Fri. July 28 – Newport, RI @ Newport Folk Festival
Sat. July 29 – Omaha, NE @ Maha Festival
Tue. Aug. 1 – Philadelphia, PA @ The Met Philadelphia * [SOLD OUT]
Wed. Aug. 2 – Philadelphia, PA @ The Met Philadelphia *
Thu. Aug. 3 – New Haven, CT @ Westville Music Bowl *
Fri. Aug. 4 – Pittsburgh, PA @ Mr Smalls Theatre
Sat. Aug. 5 – Cleveland, OH @ Beachland Ballroom & Tavern
Mon. Aug. 7 – Detroit, MI @ The Fillmore *
Tue. Aug. 8 – Madison, WI @ The Sylvee *
Wed. Aug. 9 – Minneapolis, MN @ The Armory *
Fri. Aug. 11 – Denver, CO @ Mission Ballroom * [SOLD OUT]
Sat. Aug. 12 – Denver, CO @ Mission Ballroom *
Tue. Aug. 15 – Nashville, TN @ Ascend Amphitheater *
Wed. Aug. 16 – Atlanta, GA @ Cadence Bank Amphitheatre at Chastain Park
Thu. Aug. 17 – Carrboro, NC @ Cat’s Cradle
Fri. Aug. 18 – Baltimore, MD @ Baltimore Soundstage
Sat. Aug. 19 – Quincy, MA @ In Between Days Festival
Mon. Aug. 21 – Cincinnati, OH @ Woodward Theater
Tue. Aug. 22 – Kalamazoo, MI @ Bell’s Eccentric Cafe
Sun. Aug. 27 – Seattle, WA @ THING
Sat. Sep. 30 – Austin, TX @ Germania Insurance Amphitheater ^
Sun. Oct. 1 – Grand Prairie, TX @ Texas Trust CU Theatre ^
Tue. Oct. 3 – Phoenix, AZ @ Arizona Financial Theatre ^ [SOLD OUT]
Wed. Oct. 4 – Las Vegas, NV @ The Theater at Virgin Hotels Las Vegas ^ [SOLD OUT]
Fri. Oct. 6 – Seattle, WA @ Climate Pledge Arena ^ [SOLD OUT]
Sat. Oct. 7 – Seattle, WA @ Climate Pledge Arena ^ [SOLD OUT]
Mon. Oct. 9 – Berkeley, CA @ Greek Theatre ^ [SOLD OUT]
Tue. Oct. 10 – Berkeley, CA @ Greek Theatre ^ [SOLD OUT]
Wed. Oct. 11 – Berkeley, CA @ Greek Theatre ^ [SOLD OUT]
Thu. Oct. 12 – Los Angeles, CA @ Lodge Room
Fri. Oct. 13 – Los Angeles, CA @ Hollywood Bowl ^ [SOLD OUT]
Sat. Oct. 13 – Los Angeles, CA @ Lodge Room
Sun. Oct. 15 – Los Angeles, CA @ Lodge Room
Tue. Oct. 17 – Brooklyn, NY @ Music Hall of Williamsburg
Wed. Oct. 18 – Brooklyn, NY @ Music Hall of Williamsburg
Thu. Oct. 19 – Brooklyn, NY @ Music Hall of Williamsburg

* w/ The National
^ w/ Death Cab For Cutie & The Postal Service

Purchase Expert In A Dying Field

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]

Rewind Review: The Last Four Digits – Don’t Move (2016)

You often hear of a lot of music collections being described as “essential.” The term gets used to the point of near-meaninglessness, but in the case of Don’t Move, the collection of three years’ worth of material from both incarnations of Indiana synth and new wave legends The Last Four Digits, it’s true. In another universe, The Last Four (4, or 5) Digits are as well known as The B-52s or The Ramones, but in this reality, their limited output only makes their legend better.

The first eight tracks of this compilation are songs from the first version of the band, The Last Four (4) Digits with Steve Grigdesby (rhythm guitar and vocals), John Koss drums and vocals), Mike Sheets (bass and vocals), and Richard Worth (lead guitar and vocals) – with synthesizers and mixing with Dave “A.Xax” Fulton. They’re all jittery, crunchy punk cuts that remind you of those scary kids you’d see hanging out of the mall in the early 1980s (I was one of them, by the way.). Heck, “Leave Me Alone” is practically a theme song for Generation X. The weird angles of Worth’s guitar and vocals on “Fast Friends” reminds you of Joy Division tracks.

Their version of Bo Diddley‘s / Captain Beefheart‘s “Diddy Wah Diddy” swaps out most of the raunchy guitars for weird synths…and it still works. “Another Sex Crime” has plenty of swagger, and “City Streets” is grungy synth-punk that would make early Devo proud. You’ll want “(I Want to Be an) Undertaker” on all of your Halloween playlists after hearing it, and you might as well add “Coughing Up Blood” while to your “birthday songs” playlists while you’re at it. “(I Sold My Soul to) Fotomat” is perhaps the beginning of what would become one of the main themes of the second version of the band.

The Last Four (5) Digits had Sheets switch from bass to guitar, kept Joss on drums, and brought Fulton out from behind the mixing board, and added Brad “Mr. Science” Garton on keyboards and vocals and Julie Huffaker on bass and vocals. As the liner notes of Don’t Move will tell you, they embraced “Abstract Commercialism” and began including TV themes, commercial jingles, and advertising concepts in their songs and live shows. “Don’t Move” takes on a darker tone that some of their other tracks, which I love.

“Liquids” is a great example of their love of commercial culture, sampling early 1980s ads and singing about drinking colored liquids, eating colored foodstuffs, and taking lots of drugs. “Act Like Nothing’s Wrong” is a fun song about trying to figure out what’s wrong with a lover while also trying not to piss off that same lover while doing it. “Babaloo No More” is a tale of Lucy Ricardo killing Ricky after he has an affair and Fred and Ethel threatening to boot her out of their apartment if she can’t make the rent. It’s funny, weird, and gives a hard kick in the junk to re-run TV. Their cover of “Mack the Knife” is equally strange, and “I Have Rental Car” is the sound of entitled people yelling about crap that doesn’t really matter.

The last eleven tracks on Don’t Move are a recording of their performance at CBGB‘s on Valentine’s Day 1982. They open with the simple announcement of “Hi. We’re The Last Four Digits,” and then go straight in to “Liquids.” Huffaker’s bass is so heavy on the live version of “Leave Me Alone” that it almost levels the room. They turn the grisly “Coughing Up Blood” into a pogo-inducing rocker, but change the lyric “Coughing up blood on your birthday!” to “Coughing up blood on your Valentine!” in honor of that night.

They cover of “Return to Sender” and then throw down a thudding version of “Act Like Nothing’s Wrong,” followed by a nearly panicked version of “Babaloo No More.” Up next come covers of “Mack the Knife” and the theme to the wild sci-fi film The Green Slime. The live version of “I Have Rental Car” is even more frenetic and unhinged than the studio version.

It’s a crucial collection if you’re into vintage no wave / new wave stuff, and the addition of the live tracks is a boon for collectors and enthusiasts. Don’t skip it if you can find it. I scored it for 99 cents at Reckless Records in Chicago earlier this year – a massive steal.

Keep your mind open.

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Live: Pigs Pigs Pigs Pigs Pigs Pigs Pigs and The Tomblands – Sleeping Village – Chicago, IL – March 28, 2023

I almost didn’t come to this show. The venue, Sleeping Village, was over two hours’ driving time from my house. It was on a Tuesday night, and it started late – 9pm Central time, which is 10pm in the Eastern time zone where I live. I worked an eight-hour shift that day and had to work another the following morning. I guessed I wouldn’t get home until 2:30am if I was lucky.

Then I learned that this would not only be the first time Pigs Pigs Pigs Pigs Pigs Pigs Pigs would be in Chicago, but it was their first U.S. tour ever. That’s when I knew I had to be at this show, and they’d already announced tickets were running low. I snagged one of the few remaining tickets and got in a disco nap before making the drive.

This was also the first show I’d seen at Sleeping Village, which is a nice, small venue. The stage and viewing area are in a space smaller than some convenience stores. As soon as I walked in and saw the size of the space, and knew how powerful a Pigs x 7 show could be, I thought, “They’re going to destroy this place.”

First to start the demolition were local noise-psych rockers The Tomblands. They brought a wall of guitars, two drummers, and a ton of energy to the stage. They also encouraged all the locals to get out and vote in the upcoming Chicago mayoral election.

The lads from Newcastle Upon Tyne came out at 10pm (Central) sharp and kicked things off with the raucous “Mr. Medicine” off their new album, Land of Sleeper. The power they unleashed felt like someone threw open the door of a blast furnace.

(L-R: Adam Ian Sykes, John-Micheal Joseph Hedley, Matthew Baty, Sam Grant)

They tore through “Rubbernecker” and “Halloween Bolson,” with lead singer Baty bouncing, stomping, and prowling around the stage like a kabuki performer, bassist Hedley played like his guitar he was holding an electric eel, and Sykes and Grant kept trading shredding solos.

Some of us finally got a mosh pit started by the time they got to “Ultimate Hammer” and continued to floor the audience with their combination of metal, doom, and punk. “Big Rig” was especially wild, and “GNT” and closer “A66” were downright fierce.

I got to shake hands and chat a bit with the porcine quintet after the show and asked Baty how the tour had been so far, especially after it was so long coming after 2020 shut it down the first time.

“It’s been…fucking amazing,” Baty said. “We thought we’d be playing shows to, like, fifty people, and they’ve all been like this. It’s incredible.”

It was.

Keep your mind open.

Thanks to the nice young lady who let me snap this photo of the set list she scored.

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[Thanks to Pigs Pigs Pigs Pigs Pigs Pigs Pigs for the show, autographs, and chats!]

Rickshaw Billie’s Burger Patrol announce U.S. tour.

Austin trio Rickshaw Billie’s Burger Patrol announce Spring/Summer U.S. tour dates, including Shaky Knees Festival in Atlanta and Thin Line Festival in Denton. Please see all dates below. Ticket links HERE.

RBBP released their new album Doom Wop in September 2022. Hear Doom Wop on your favorite streaming service HERE. Revolver Magazine recently premiered the official video for “Heel” HERE. (Direct YouTube.)

With their 5th studio release, Rickshaw Billie’s Burger Patrol is putting a name to the style of fuzzed out, overdriven, melodic, groovy music they have been making since 2016. In 9 concise, no bullshit songs, RBBP demonstrates their ability to blend the merciless low end of Leo Lydon’s 8-String guitar, Aaron Metzdorf’s masterful chordwork on the bass, and Sean St.Germain’s driving drumwork. Lydon and Metzdorf’s vocal melodies cut through the high frequencies to deliver fresh layers to the hooks that RBBP fans have come to love.

As the name implies, Doom Wop is a heavy, melody-driven, party metal album. With riffs as big and dumb as ever, and lyrics that stab at the worst members of society and ourselves (while keeping tongue firmly in cheek), listeners will find all the elements that make up the soul of RBBP on this record.

Doom Wop is available on CD and download, released on September 23rd, 2022. Vinyl LP coming in May. Pre-orders are available HERE.

RBBP LIVE 2023:

04/21 Houston, TX – Black Magic Social Club

04/22 San Antonio, TX – Paper Tiger

04/29 Denton, TX – Thin Line Fest

05/06 Atlanta, GA – Shaky Knees Festival

05/07 Nashville, TN – The 5 Spot

05/09 Charlotte, NC – Snug Harbor

05/10 Washington, DC – Quarry House Tavern

05/11 Cambridge, MA – Middle East Upstairs

05/12 Brooklyn, NY – Saint Vitus

05/13 Philadelphia, PA – Kung Fu Necktie

05/14 Pittsburgh, PA – The Funhouse at Mr. Small’s

05/15 Chicago, IL – The Empty Bottle

05/17 Oklahoma City, OK – The Blue Note

06/09 Los Angeles, CA – Permanent Records Roadhouse

06/10 San Francisco, CA – The Kilowatt

06/13 Seattle, WA – Substation

06/14 Portland, OR – High Water Mark

06/16 Salt Lake City, UT – Aces High Saloon

06/17 Denver, CO – Hi-Dive

Keep your mind open.

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[Thanks to Dave at US / THEM Group.]

Review: Eaves Wilder – Hookey

Referencing both skipping school classes and filling songs with hooks, Eaves Wilder‘s debut EP, Hookey, is a fun record about teenage life and preferring to spend one’s time doing what you want instead of putting up with other people’s crap.

I mean, “I Stole Your Jumper” pretty much flips the table on a lover who made her feel bad. She’s done with that business, and her chugging 1990s alt-rock guitar chords only seem to fuel her sneer and desire to kick someone in the groin. Plus, she gets a new jumper out of it.

“Are You Diagnosed?” is a standout as Wilder sings about her treatment at a hospital and how that treatment was affected by her status of whether or not she was officially diagnosed with anything. “You could be dying up close, but are you diagnosed?” she sings, but you’re not going to get treatment until stacks of paperwork are completed and you’ve been through a maze of appointments, phone calls, and visits with people who have no idea what you’ve already done. The hooks in it are killer. “I’m sick of asking for help,” she says. Who wouldn’t be?

“Morning Rain” is a tale of skipping school because it’s just too lovely outside to be cooped up all day. Her guitar work in it has a sort of melted sound to it that’s difficult to pull off, but she does it well.

In “Connect the Rooms,” Wilder sings (in a somewhat distant voice sprinkled with reverb) about making music while elevating in her room thanks to certain substances. It’s clearly the most psychedelic of the four tracks and could easily earn her a spot at a Levitation festival if she wants.

This EP is the start of something big. It’s the kind of record you want to get now so later, when she’s playing big stages, you can say, “I’ve been following her since the Hookey EP.”

Keep your mind open.

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[Thanks to Jessica at Pitch Perfect PR.]

The Slingers release “No Harm Done” ahead of their debut album due July 07, 2023.

Ahead of their sold-out show at The Corner, Melbourne/Naarm 5-piece, The Slingers share new single ‘No Harm Done‘ and announce their debut full-length LP, Sentimentalism, will be released on Friday, 7 July, via Flightless Records. The 10-track LP features their summer singles ‘Living in the Age of Loneliness‘, ‘Streets of Tokyo‘ and ‘Our Last Day in the Sun‘.

In a departure from earlier guitar-driven releases, No Harm Done is played entirely on an authentic 1960s Wurlitzer (courtesy of Head Gap studio in Preston). The warmth of the Wurlitzer is counteracted by a driving kick and snare. Finally, the crooning lead vocals of Robert J Mahon are elevated by the dulcet harmonies of Melbourne artist and guest vocalist Juice Webster.

Over the last five years of eclectic releases and impassioned live performances, The Slingers have cemented themselves as one of the most unique bands in the Australian underground/alternative scene. The band signed to Flightless Records in 2020, releasing a double A-Side 7-inch vinyl, The Cruellest Cut//Kind Hearts (a collaboration with legend of the Melbourne underground, Spike Fuck). Their recordings have garnered a cult following on Youtube and Spotify, resulting in sold-out crowds in their hometown of Melbourne.

The evolution of the band culminates in their incoming full-length LP ‘Sentimentalism’. Written in a small cabin on a farm outside of Colac, Western Victoria, and produced by Errol Green (Big Yawn), the album ranges from piano ballads to purely electronic pieces and features guest appearances from ‘’Evil’ Graham Lee (The Triffids) on pedal steel guitar and Melbourne artist, Juice Webster, on vocals.

Influenced by the music of William Shatner and the films of Nick Cave, The Slingers have sought through their music to balance and synthesize several oppositional artistic forces: lyrics that are both tongue-in-cheek and haltingly sincere, a sound that is as comfortable producing outlaw country as it is exploring drum machines and synthesizers, and a live energy that borrows simultaneously from Elvis and Angel Olsen.

Keep your mind open.

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[Thanks to Flightless Records.]

Southern Lord to release long lost third and final album by California hardcore legends BL’AST.

Photo credit: Naomi Petersen Photography, courtesy of Chris Petersen Images/Punk Life
Naomi.

Frenetic, coarse and frequently atonal. Nothing is more a distillation of that sound than the mighty BL’AST! ’s final studio album, Take The Manic Ride (1989). Over 30 years later, and the album is getting the reissue treatment on Southern Lord.

In June of 1988 BL’AST! went into the studio with Black Flags’ live sound GOAT: Dave Rat (RATSOUND), and the breakneck Take The Manic Ride was recorded. This version was later destroyed after the band was dissatisfied with the original production. Now, this unmissable piece of hardcore history has been carefully restored under the strict guidance of mastering engineer Brad Boatright (also remastered the other BL’AST! albums re-released by Southern Lord). Manic Ride will be released by Southern Lord on March 10th.

Mike (Neider, guitar) comments on the reissue:

“The release of Manic Ride is essential to finish the history of past BL’AST! releases. It displays how off the beaten path BL’AST! is and always has been. The music and lyrics does not tread lightly. We’re grateful to have Manic Ride’s affiliation w/ Rat Sound/Dave Rat, SSTRecords and Southern Lord and for all of our friends, fans and family, as well as the BL’AST! blood brotherhood. For this to be released in our fortieth year as a band is truly amazing.

Rest In Power to the artist of the Manic cover, Justin Forbes.”

The original line up for Take The Manic Ride:

Dave Cooper – bass

Bill Torgerson – drums

Mike Neider – guitar

Clifford Dinsmore – vocals

Available to order via Bandcamp, and the Southern Lord, and Southern Lord Europe stores.

MANIC RIDE track listing:

Somewhere I’ve Found/Falsehood Claws
Overdrive
Out of Alignment
Start the Machine
Turn and Face the World
Blast it Back
Bones
Powerize
It’s Time
Abraxis
Look Inside

Having formed in 1983, the highly influential Santa Cruz hardcore legend BL’AST! released their first album, The Power of Expression in 1985. This debut album went on to become one of the highly sought after, must-have hardcore albums from the 80s.

BL’AST! were beyond intense, continually pushing the boundaries of hardcore with their advanced musicianship, unstoppable energic delivery and explosive live performances. This overwhelming power caught the attention of SST records, who released the band’s second album, It’s In My Blood in 1987. Their third album, Take The Manic Ride, was then released in 1989.

BL’AST!‘s wide-eyed, ambitious approach and intense perseverance became an influence for many bands to come. Shortly after the release of Take The Manic Ride the band broke up and their story was, for some time, buried by time and dust…

The band reformed in the 2000s, and released the 7” EP, For Those Who Grace The Fire, from 2015, which featured Dave Grohl on drums and Chuck Dukowski on bass. They then released Blood!, an album consisting of then-lost recordings, and remixed by Dave Grohl, in 2013. Later on, they also did a split 7″ with Eyehategod, contributing “Cut Your Teeth” in 2017.

Keep your mind open.

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[Thanks to Stephanie at Another Side.]

Covet get all happy and fun with their new single – “Firebird.”

Covet, the Bay area trio fronted by the effervescent, and wholly unique, guitar whiz Yvette Young, return with their third album, catharsis, on April 7 via Triple Crown Records.

“We did a lot of risk-taking on this album,” Yvette explains. “I try to follow what excites me without heeding anybody’s expectations. I’m leaning into melodies, tones, and textures and trying to use them to transport listeners. The whole concept is escaping into a fantasy realm where the songs depict different characters and their own worlds. Each song is like their theme song. It’s mostly instrumental, but when you close your eyes, I hope people will be transported into the character’s story. Music has always been escapism for me and a great source of therapy. My hope for this music is that it will take people somewhere and stir their imaginations, or at the very least, make them feel something. I named this record ‘catharsis’ because the word to me feels like a triumphant exodus. No matter the dire circumstances, music is one of those things that I’ve always needed to create to survive (in all senses of the word), and time and time again, I turn to guitar and songwriting as my outlet to uplift and feel like I have control over something in this chaotic universe.”

A preview of the 8-song, Scott Evans (Thrice, Samiam) produced collection arrives today with the release of “Firebird,” a track Yvette says she hopes will take listeners on a “total melodic joyride.” A Tom Flynn-directed video (https://triplecrown.ffm.to/covet-firebirdmv) debuted this morning, with the clip reflecting the origin of the song, as Yvette adds: “When my mom first emigrated to America, she balled out and got a red Pontiac Firebird. I hope it sounds like cruising down the highway with the wind blowing in your hair. I really wanted to lean into the catchiness of a melody and see how I could push some rock-n-roll tropes until something almost becomes cheesy—but not quite yet. Hopefully, the lighthearted and silly nature of the video reflects that.”

Album pre-orders, which include several limited-edition vinyl variants, CD, and digital pre-saves are available here: https://triplecrown.ffm.to/covet-catharsis.

Covet catharsis tour dates:

April 7 Portland, OR Wonder Ballroom

April 8 Vancouver, BC Biltmore Cabaret

April 9 Seattle, WA Neumos

April 11 Salt Lake City, UT Soundwell

April 13 Denver, CO Meow Wolf

April 14 Lawrence, KS The Bottleneck

April 15 St. Louis, MO Delmar Hall

April 17 St. Paul, MN Amsterdam Music Hall

April 18 Madison, WI High Noon Saloon

April 20 Chicago, IL Bottom Lounge

April 21 Ann Arbor, MI Blind Pig

April 22 Toronto, ON Lee’s Palace

April 23 Montreal, QC Café Campus

April 25 Pittsburgh, PA Thunderbird Music Hall

April 26 Brooklyn, NY Brooklyn Bowl

April 27 Boston, MA Royale

April 28 Philadelphia, PA Brooklyn Bowl

April 29 Vienna, VA Jammin’ Java

May 1 Asheville, NC The Grey Eagle

May 2 Nashville, TN Brooklyn Bowl

May 3 Atlanta, GA The Masquerade (Hell)

May 5 Dallas, TX Studio at The Factory

May 6 Austin, TX Scoot Inn

May 8 Albuquerque, NM Launchpad

May 10 Phoenix, AZ Crescent Ballroom

May 11 Solana Beach, CA Belly Up

May 12 Los Angeles, CA The Roxy

Tickets for all shows are on-sale now. Scarypoolparty and altopalo open on all dates.

Keep your mind open.

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[Thanks to Monica at Speakeasy PR.]

Kali Horse release new single, “Wigs,” that encourages you to become someone new (if you feel like it).

Kali Horse (formerly Kaleidoscope Horse) is a psychedelic art-rock band from Toronto, ON. Their sound is theatrical and dreamy – bouncing between highly melodic and rhythmic, groovy sections. Driven both by strong song-writing and abstract sound-play, the band creates dimensions that are often jarring in comparison to one another, playing on tension and release. The contrast between Desiree Das Gupta’s powerful alto, and Sam Maloney’s feathery vocal timbre creates a balance of light and heavy, backed by full band harmonies.

Kali Horse’s world is an immersive world that they invite the audience into. Kali Horse are storytellers, their music is about telling a story with sound rather than a specific genre. The band are queer, multi-instrumentalist performers whose friendship is the bond of the band.

Sam and Des have been best friends for a decade and have been making music together for 7 years under different names, they are a huge part of the Toronto music community.

Kali Horse feature guest players from the Toronto music community on their recordings, including Luna Li (plays all the strings, violin, harp), Dylan from Hot Garbage plays stand-up bass and Sam’s partner plays singing bowls and tum drum.

Regarding, “Wigs,” Kali Horse says, “Ever wanted to change everything about yourself? Wigs is about trying things on – identity, bravado. Ever had a day so bizarre you felt like a different person? Through self-experimentation you discover a healthy aggression. You remember you’re worth a little more than what you’ve been putting up with, and you want everyone to know. The drums are in 7/4, the guitars in 4. You tell the moon what to do. You let the band catch up. You might not know where you belong, but you know nothing’s going to stay the same. Electronic trash drums mixed with a live kit thrash while the synth bass waves beneath. Wigs is a command, and Kali Horse will not stay in line.”

Keep your mind open.

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[Thanks to Mar Sellars!]