Post-punk – Page 30 – 7th Level Music

CHAI’s upcoming album, “Punk,” is going to be amazing if the single, “Fashionista,” is any indication.

LISTEN TO “FASHIONISTA”
https://bit.ly/2sPcNKG

WATCH “GREAT JOB!”
https://youtu.be/5Odk94mxeHU
Japanese four-piece CHAI may worship at the altar of kawaii – their homeland’s culture of cute– but they’re not about to be pushed around by the idle bosses and the ignorant patriarchy. The ultra-concise pop of their debut LP PINK is about to be overhauled on their new album. CHAI are ready to light the fuse; CHAI are PUNK (out March 15th via Burger Records).

“’PUNK’ for us, of course, is not the genre of music,” say the band. “‘PUNK’ to us is to overturn the worn-out values associated with ‘kawaii’ or ‘cute’ created up to this point. ‘PUNK’ is a word that expresses a strong sense of self. To be yourself more, to become the person you truly want to be, to believe in yourself in every instance!”

First single “Fashionista” is a rebellious demand for self-acceptance in the face of society’s pressures: “Even if you don’t dress or do your makeup like how society expects you too, you’re still a “Fashionista” by expressing yourself how you want to. You decide what you want to wear, how you want to look, what you don’t want to wear, and that is what makes you a Fashionista!”

At the core of their music is the concept of “Neo-Kawaii.” They outlined to concept in several interviews in 2018. In Pitchfork’s Rising interview, it’s described as “a move towards the embrace and celebration of human imperfection. ‘Neo-Kawaii’ is properly summarized on the single ‘N.E.O.’ from Pink, which directly comments on oppressive beauty standards, offering a list of supposed imperfections that translate to ‘Small eyes/Flat nose/No shape/Fat legs!’ CHAI seek to reclaim them as perfect.”

Late last year, the band also shared the delightfully insane video for“GREAT JOB,” another song off the forthcoming album, where CHAI compare house work to ridding yourself from all negativity. “Some people look at house work as a negative duty but it’s actually a positive duty that represents a refreshed, new you.” Yuuki picks up on this: “Of course we want to continue show our style of positivity-meets-pop but in life there’s definitely times of sadness, times of frustration and even irritating moments that with PUNK, we want everyone to know can be used as energy to fuel the positivity from the negativity”.

Their inner strength comes out in the music. If PINK was a plastic, hyper-bright introduction, then PUNK is a deeper, more impactful graduation. It’s the movement from vivid orange to radiating red. Drummer Yuna adds: “Compared with our first album, PUNK represents a more concentrated version of our individualities.”

Yuuki crafted the irrepressible album sleeve, with a laughing girl bursting through a shell. The message, they say, is clear: “Hello, New Me!”

PUNK TRACKLISTING
1. CHOOSE GO!
2. GREAT JOB
3. I’m me
4. Wintime
5. THIS IS CHAI
6. Fashionista
7. FAMILY MEMBER
8. Curly adventure
9. Feel the BEAT
10. Future

CHAI TOUR DATES
Mon. Mar. 11 – Sun. Mar. 17 – Austin, TX @ SXSW
Mon. Mar. 18 – Washington, DC @ Union Stage
Tue. Mar. 19 – Brooklyn, NY @ Market Hotel
Wed. Mar. 20 – Toronto, ON @ The Velvet Underground
Fri. Mar. 22 – Sat. Mar. 23 – Boise, ID @ Treefort Music Festival
Mon. Mar. 25 – Los Angeles, CA @ The Moroccan Lounge
Wed. Mar. 27 – San Francisco, CA @ Rickshaw Stop
Fri. Mar. 29 – Seattle, WA @ The Vera Project
Sat. Mar. 30 – Portland, OR @ Holocene

PRAISE FOR CHAI

“Moments of pure joy are in short supply these days; a Chai show is a reprieve.”
– Pitchfork [RISING FEATURE]

“Drawing inspiration from the likes of Basement Jaxx, Tom Tom Club, and Devo—groups that have also crafted their own signature, unconventional sounds that defy the pop landscape—the band plays preconceived definitions of cute against each other to create their own new one.”
– FLOOD Magazine

“CHAI bursts with an energy that is carefree, effervescent, and unmistakably feminine”
– She Shreds

“Giddy, frenzied pop” – Bust Magazine, 5/5

CHAI Online:
http://chai-band.com/
https://twitter.com/CHAIofficialJPN
https://www.instagram.com/chaiofficialjpn/
https://www.facebook.com/CHAIofficialJPN/

Keep your mind open.

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Rewind Review: Art Brut – Bang Bang Rock & Roll (2006)

It’s a bit shocking to realize Art Brut‘s Bang Bang Rock & Roll came out 13 years ago this year, because it sounds like it was recorded yesterday. The wild post-punk / no wave record is bound to be a classic.

“Formed a Band” has Art Brut singing its praises and encouraging the listener to “stop buying your albums from the supermarket. They only sell records that have charted, and Art Brut, we’ve only just started.” Chugging guitars roar almost nonstop throughout it. The funny “My Little Brother” is a great song about worrying your siblings are turning into hipsters with bad taste in music (“…he made me a tape of tootles and B-sides. And every song, every single song on that tape said exactly the same thing. Why don’t our parents worry about us?”).

“Emily Kane” is one of Art Brut’s greatest hits as lead singer Eddie Argos sings an ode to the girlfriend he had when he was fifteen and still misses. “Rusted Guns of Milan” is a funny story about Argos not being able to have sex with a beautiful woman due to him having drank too much (although he claims otherwise), it being too dark, and his mind being elsewhere – perhaps thinking about Emily Kane.

“Modern art makes me want to rock out,” Argos sings on “Modern Art” – a crunchy, squeaky, loud tune about artwork and its effect on him. “Good Weekend” has Argos bragging about a new girl he’s met…or has he? One can’t help but wonder if he’s made up the whole story in an attempt to impress friends or give an excuse for preferring to be alone. It’s a fun garage rock track with a beat you can’t ignore.

“I can’t stand the sound of the Velvet Underground,” Argos sings on the title track (even though the song does devolve into a VU type of riffing by the end). He just wants songs that don’t retread old cliches (“No more songs about sex and drugs and rock and roll. It’s boring.”), even though he and the rest of the band embrace those cliches throughout the whole album. “Fight!” has Argos drunk and ready to take on a bigger, drunker guy outside the pub while his bandmates cheer him on. It’s a punk track in the middle of a no wave album. It’s great.

“Moving to L.A.” has Argos considering a move far away from dreary English weather and “drinking Hennessy with Morrissey on a beach.” It’s a fun send-up of California pretentiousness and rock. “Popular culture no longer applies to me,” Argos sings on “Bad Weekend.” Boy, I can relate to that. Ian Catskilkin‘s guitars hit hard on it, driving the tune to almost a racing speed. Those guitars flow in and out of distortion on “Stand Down” – a track about admitting when you’re wrong. “18,000 Lira” might be a song about touring in Italy. “These Animal Meanwe@r” is a heavy song about bullying that channels Weezer and Pixies. “Really Bad Weekend” is a tale of Argos nearing cheating on his girlfriend, but being rescued by he and / or his near-lover falling asleep instead. “Maternity Ward” ends the album with Argos telling kids in a maternity ward that “everything’s gonna be all right.” I hope he still means that thirteen years later.

It’s a fun, snarky, witty record that rocks harder than you might expect. It heralded good things for the band, who just released a new record last year. They’re also touring again, which is good news for all of us.

Keep your mind open.

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Priests release title track from new album, “The Seduction of Kanas,” due this April.

WATCH “THE SEDUCTION OF KANSAS” https://youtu.be/coR59SSPWv8 LISTEN TO “THE SEDUCTION OF KANSAS” http://smarturl.it/TheSeductionOfKansas

What is at stake in the seduction of Kansas? Like a gavel or hammer, the question rattles across the second LP from Washington, D.C. rock iconoclasts Priests: The Seduction of Kansas, out April 5th via their own Sister Polygon Records. They announce their new album today alongside a massive world tour and a video for the title track.

Entering their eighth year as a band, Priests—drummer Daniele Daniele, vocalist Katie Alice Greer, and guitarist G.L. Jaguar—remain an inspired anomaly in modern music. A band on its own label—jolting the greater music world with early releases by Downtown Boys, Snail Mail, Sneaks, and Gauche—they are living proof that it is still possible to work on one’s own terms, to collectively cultivate one’s own world.

Priests enlisted two primary collaborators in writing, arranging, and recording The Seduction of Kansas. After playing cello, mellotron, and lap steel on Nothing Feels Natural, multi-instrumentalist Janel Leppin (Mellow Diamond, Marissa Nadler) returned to breathe air into Priests’ demos, serving as primary bassist and a fourth songwriting collaborator on The Seduction of Kansas. The band also found a kindred spirit in producer John Congleton (Angel Olsen, St. Vincent), recording for two weeks at his Elmwood Studio in Dallas. It marked the band’s first time opening up their creative work to collaborate with someone outside of their DC-based community—a decidedly less hermetic approach. Priests found a third collaborator in bassist Alexandra Tyson, who has also joined the touring band. The songwriting process found the group once again analyzing the textures and scopes of albums as aggressive as they are introspective, like Massive Attack’s Mezzanine, Portishead’s Third, and Nine Inch Nails’ Downward Spiral.

The first single, “The Seduction of Kansas,” is Priests’ purest pop song to date. It is dark and glittering—though there is still something fantastically off about it, decadent and uneasy at once. As journalist Thomas Frank explored in 2004’s What’s the Matter With Kansas?, the ideological sway of Kansas has often predicted the direction in which the U.S. will move—whether leaning socialist in the 1800s or going staunchly conservative in the 1980s. Illustrating Kansas’ potent place in our national imagination—as well as “a chorus of whoever is trying to persuade the social consciousness of Kansas”—Greer sings brilliantly of a “bloodthirsty cherub choir” in a cornfield, of “a drawn out charismatic parody of what a country through it used to be,” beckoning that “I’m the one who loves you.” The song does what Priests do best: They make us think, stir us with complexity. As for “seduction,” the word has long evoked pleasure, sex—but it can become propaganda, a tactic of manipulation, a ploy in the politics of persuasion. “There’s something sinister about the idea of seducing a whole state,” says drummer Daniele Daniele. “You’re clearly up to something. Why would you do it?” The title—like Priests—is a moving target, probing questions about the realities and mythologies of America in 2019 without giving in to easy answers.

THE SEDUCTION OF KANSAS TRACKLISTING 1. Jesus’ Son 2. The Seduction of Kansas 3. Youtube Sartre 4. I’m Clean 5. Ice Cream 6. Good Time Charlie 7. 68 Screen 8. Not Perceived 9. Control Freak 10. Carol 11. Interlude 12. Texas Instruments

PRIESTS 2019 TOUR DATES Fri. March 8 – Savannah, GA @ Savannah Stopover Music Festival Sat. March 9 – Birmingham, AL @ The Firehouse Mon. March 11 – Fri. March 15 – Austin, TX @ SXSW Sun. March 17 – Nashville, TN @ Exit / In Mon. March 18 – Knoxville, TN @ The Pilot Light Mon. April 15 – Philadelphia, PA @ Union Transfer Tue. April 16 – Brooklyn, NY @ Elsewhere Thu. April 18 – Cambridge, MA @ The Sinclair Fri. April 19 – Montreal, QC @ Casa Del Popolo Sat. April 20 – Toronto, ON @ The Garrison Sun. April 21 – Detroit, MI @ El Club Mon. April 22 – Chicago, IL @ Lincoln Hall Thu. April 25 – Madison, WI @ High Noon Saloon Fri. April 26 – Minneapolis, MN @ 7th Street Entry Sat. April 27 – Omaha, NE @ Reverb Sun. April 28 – Des Moines, IA @ Vaudeville Mews Tue. April 30 – Bloomington, IN @ The Bishop Wed. May 1 – Columbus, OH @ Ace of Cups Sat. May 11 – Brighton, UK @ The Great Escape Sun. May 12 – Bristol, UK @ Rough Trade Mon. May 13 – Manchester, UK @ YES (Pink Room) Tues. May 14 – Glasgow, UK @ The Hug and Pint Wed. May 15 – Leeds, UK @ Brudenell Social Club Thu. May 16 – London, UK @ 100 Club Fri. 17 May – Lille, FR @ Aeronef Sat. 18 May – Paris, FR @ Supersonic Mon. 20 May – Brussels, BE @ Botanique (Witloof Bar) Tue. 21 May – Cologne, DE @ Bumann & Sohn Wed. 22 May – Munich, DE @ Import/Export Thu. 23 May – Zurich, CH @ Rote Fabrik Fri. 24 May – Heidelberg, DE @ Queer Festival (Karlstorbahnhof) Sat, 25 May – Amsterdam, NL @ London Calling Mon. 27 May – Aarhus DK @ Tape Tue. 28 May – Copenhagen, DK @ Loppen Wed. 29 May – Berlin, DE @ Kantine am Berghain Thu. 30 May – Hamburg, DE @ Hafenklag (Goldener Salon) Fri. 31 May – Hilvarenbeek, NL @ Best Kept Secret Festival Sat. 1 June – Neustrelitz, DE @ Immergut Festival Sat. June 15 – Washington, DC @ 9:30 Club Sun. June 16 – Durham, NC @ The Pinhook Mon. June 17 – Atlanta, GA @ Drunken Unicorn Tue. June 18 – New Orleans, LA @ Gasa Gasa Thu. June 20 – Houston, TX @ White Oak Music Hall Fri. June 21 – Austin, TX @ Barracuda Sat. June 22 – Dallas, TX @ Club Dada Mon. June 24 – Albuquerque, NM @ Sister Tue. June 25 – Phoenix, AZ @ Valley Bar Wed. June 26 – San Diego, CA @ Soda Bar Thu. June 27 – Los Angeles, CA @ Teragram Ballroom Sat. June 29 – Oakland, CA @ Starline Social Club Mon. July 1 – Portland, OR @ Polaris Hall Tue. July 2 – Vancouver, BC @ The Bitmore Wed. July 3 – Seattle, WA @ Neumos Sat. July 6 – Salt Lake City, UT @ Kilby Court Sun. July 7 – Denver, CO @ Lost Lake Tue. July 9 – Kansas City, MO @ The Record Bar Wed. July 10 – St. Louis, MO @ Off Broadway

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

PRE-ORDER THE SEDUCTION OF KANSAS Sister Polygon pre-order* – http://sisterpolygonrecords.bigcartel.com iTunes Pre-order – https://apple.co/2TvJs3c

*First 350 people who pre-order via Sister Polygon Records directly will receive a 18″x24″ glossy poster and a The Seduction of Kansas enamel pin.

Priests Online: website: http://www.666priests666.com/ spr website: http://sisterpolygon.com/ bandcamp: https://priests.bandcamp.com/ twitter: @PRIESTS_TWEET facebook: @priestsband instagram: @insta_priests

Keep your mind open.

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Top 30 Albums of 2018: #’s 5 – 1

We’ve reached the top. Here are my five favorite albums of 2018.

#5: CHAI – Pink – These Japanese ladies are not only challenging your concepts of attractiveness and what is or isn’t “cute” by being fiercely DIY, they’re also challenging anyone who dares to try rocking as hard as they.

#4: Miss Red – K.O. – This is a dangerous and sexy dancehall record featuring fast, stunning vocals by Miss Red and powerhouse beats by the Bug. They’re the best tag team since the British Bulldogs.

#3: Here Lies Man – You Will Know Nothing – “What if Black Sabbath played Afrobeat?” is how this band was described by their label. I can’t describe it better than that. It’s full of dark beats, heavy bass, and African rhythms. You can’t miss.

#2: BODEGA – Endless Scroll – Easily my favorite post-punk record of the year and one of the best records reflecting life in 2018. It skewers hipsters, relationships, partying, and technology and is even heartbreaking a couple times.

#1: A Place to Bury Strangers – Pinned – Any record by APTBS is going to be among my top picks of the year, and I knew as soon as I heard the interesting direction they took with the addition of Lia Braswell on drums and vocals that anyone trying to dislodge this record from my #1 spot would have to bring its A-game (as APTBS does at every live show). It’s dark, loud, creepy, and sinks deep into your brain when you hear it.

Thanks for all the views in 2018. A lot of good records are already slated for 2019: The Night Beats, the Chemical Brothers, the KVB, and (let’s hope) the Chromatics just to name a few.

Keep your mind open.

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Top 30 Albums of 2018: #’s 20 – 16

We’ve reached the top 20!

#20: Diagonal – Tomorrow – My wife doesn’t really like shoegaze music. She just doesn’t get it. This record, however, made her say she might grow to like shoegaze. I can’t write a better recap than that.

#19: Blackwater Holylight (self-titled) – This debut from these dark psych rockers has sexy goth touches, doom riffs, and psychedelic flair that made it high on my list this year.

#18: Neko Case – Hell-On – Case’s latest is another beautiful record of masterful songwriting, sometimes heartbreaking lyrics, and plenty of folk, Americana, and outlaw touches.

#17: Shopping – The Official Body – This post-punk fun-fest is poppy, peppy, and punky. It’s fun from beginning to end.

#16: Terminal Mind – Recordings – Speaking of punk, this reissue of rare material from Austin, Texas punk legends Terminal Mind was a great time capsule from the Regan administration and full of anger, chugging riffs, and trashing of authority figures.

Keep your mind open.

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Top 20 Singles of 2018: #’s 5 – 1

Here we go!

#5: “Limp Wrist” by Bev Rage and the Drinks – This queercore punk delivers a wallop in under two minutes. This song floored me when I heard it, and I started telling everyone I knew about Ms. Rage and her band.

#4: “How Did This Happen!? by BODEGA – The return of post-punk continues with this great NYC band and this single that trashes hipsters. I couldn’t stop listening to this once I heard it.

#3: “Blinded by the LEDs” by Lindstrom – If you need an amazing EDM track, floor-filler, workout playlist topper, or just something to be stunned by, look no further.

#2: “Make Me Feel” by Janelle Monae – Easily the sexiest song of the year. I can’t describe it any better than that.

#1: “Always Elsewhere” by Ron Gallo – This Zen-punk jam became my mantra after hearing it. It was a much-needed crack with a Zen master’s stick during months of chaos both local and domestic. Gallo‘s suggestion that we embrace presence instead of the willful scattering of our attention is a battle call.

Thanks for reading. Up next, the top 30 live acts I saw in 2018.

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Top 20 Singles of 2018: #’s 10 – 6

We’re in the top 10 now. Let’s get right to it.

#10: “Never Coming Back” by A Place to Bury Strangers – I was excited to learn that Lea Braswell was the new drummer for APTBS. I thought she’d match the powerhouse duo of Oliver Ackermann and Dion Lunadon well, and this single not only proved me right, but it also heralded a new sound for the band that was outstanding.

#9: “Asia (Adrenaline)” by Hprizm – This single, and really the whole album, reveals more and more with each listen. Plus, the beats on it are great (That referee’s whistle used for timing!). It’s a song that makes you want to explore more of Hprizm‘s catalogue (as you should).

#8: “Fighting” by Here Lies Man – I was sent this by HLM‘s label, Riding Easy Records, in a clever scheme to make me fascinated with HLM’s heavy Afrobeat jams. The scheme worked, because this single was not only all over my earbuds, I even heard it on BBC 6 Music.

#7: “Great Job” by CHAI – These post-punks from Japan are fully committed to the DIY life and have serious musical chops. You can’t help but love them, especially when they make music as good as this single from their new record due later this year.

#6: “Curse of the I-5 Corridor” by Neko Case – Stunningly beautiful, this song is a prime example of Case‘s vocal wonders and songwriting skill. Few artists nowadays can write and sing a song like her, and even fewer could write and sing something like this.

Who made the top 5? That will be revealed tomorrow!

Keep your mind open.

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Top 20 Singles of 2018: #’s 15 – 11

#15: “Christmas Time Is Here” by Khruangbin – Seriously, their cover of the Vince Guaraldi Trio classic is a pure delight and a lovely oasis during the crazy Christmas season.

#14: “I Came Back to Bitch” by L7 – The exact opposite of the above track, this tune is a kick in the junk from these punk legends who have been simmering with aggression and fire for a few years now. It was a welcome comeback for them and a great example of what to expect on their upcoming album this year.

#13: “Black Habit” by MIEN – Possibly the creepiest track on my top 20 list. This song was the first single release by this psychedelic supergroup, and it instantly got under your skin and crawled around in there.

#12: “Fresh” by D-Tension – Full disclosure, D-Tension and I knew each other in middle school. He grew up to be a major player in the Boston hip-hop scene and on Boston radio and this year he put out one of the best hip-hop singles of 2018. My jaw dropped when I heard this.

#11: “The Hype” by Shopping – I knew this song by these British post-punks was going to be in my top singles list as soon as I heard it. The bass groove is wicked and the track feels and sounds like a good time.

Who makes the top 10? Come back tomorrow to find out, amigos.

Keep your mind open.

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Live: Flasher, Public Practice, and Gong Gong Gong – Dec. 4th – The Hideout – Chicago, IL

As soon as I saw Flasher, Public Practice, and Gong Gong Gong were playing at Chicago’s Hideout (a great small venue with an appropriate name, as it is concealed in an industrial area), I knew it was going to be a good show. All three are creating post-punk rock that’s clever, timely, and powerful.

Gong Gong Gong opened the show, and you could immediately tell there was a buzz about them in the crowd. I met one woman who specifically came to see them because she’d read a write-up about them in the Chicago Reader and wanted to hear these two guys from Beijing who didn’t have or need a drummer. They don’t need one because there’s enough percussion between the guitar and bass riffs to support an industrial band. It was a fascinating set full of songs that sound like they belong in a David Lynch film. I’m calling it now – Look for Gong Gong Gong to be on the bill for the 2019 Pitchfork Music Festival.

Public Practice came out and gave everyone a lesson on how you own a stage. They played their entire Distance Is a Mirror EP (one of the best releases of the year, in my opinion) and a couple tracks I hadn’t heard yet. They left you hungry for more, much more. I hope this tour gives them plenty of ideas for new tracks. I was delighted to see them selling WALL records at their table, too. Everyone needs WALL records.

Flasher threw down an energetic set that warmed you up from the chill outside. The tracks they played off their great debut, Constant Image, were almost double speed. They weren’t screwing around up there. It was definitely the most punk of the three post-punk sets. Unfortunately for my wife and I, we had to leave early during their set due to a long drive home and a predicted storm of freezing rain heading for our route. As you might’ve guessed from reading this, we made it home safe.

As I figured, this was / is a great lineup for a tour. Don’t miss it if it comes near you.

Keep your mind open.

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Iceage release “Broken Hours” from latest record.

Iceage Unveil New Single, “Broken Hours”
http://mat-r.co/brokenhours

(Photo credit – Christian Freidlander)
“[Beyondless] seeks release in letting loose, in the pleasure music can give from creating wild, anarchic spaces within the framework of pop music song structures. There’s an art to summoning up chaos and an equal reward in keeping that chaos under control.” — Fresh Air

“On their astonishing fourth album, [Iceage] reach for pop-gothic grandeur with more tenacity and abandon than ever.” — Pitchfork [Best New Music]

“Beyondless’s achievement is that it preserves what made Iceage powerful and unique while allowing that character to mature into a sound that feels older, wiser, and more emotionally expansive.”
— Vulture

“[Beyondless] feels like the long-awaited delivery on the promise this band has always possessed, the moment when they could rise to the next echelon of today’s indie landscape.”
— Stereogum [Album of the Week]

Following “Balm Of Gilead” released earlier in the month, “as snarling and clobbering as anything you could hope for from the band” (The Fader), Iceage today unveil a second new single with “Broken Hours.” A five minute epic of doom-laden swing and crashing, spidery riffs that backdrop Elias Bender Rønnenfelt’s howling incantation: “Dying figures, they settle in / Broken hours / It lingers on” – it’s another heart-racing transmission from a band at the peak of their craft.

Iceage cap off their 2018 North American touring tomorrow night in Brooklyn with a show at Elsewhere; their biggest ever UK headline show follows in London on December 7th.

Beyondless, released this past June via Matador, is the culmination of Iceage’s output so far. It boasts an earthy and hypnotic sound that pays tribute to American music, from country honk brawls to sleazy soul revues to cocaine blues. Echoes of The Waterboys to Exile-period Stones to John Cale are laced with a ubiquitous air of ecstatic abandon and channelled via masterful songwriting. Throughout their career, the band’s charm has rested in their running ahead of themselves with blind confidence; on Beyondless, Iceage are treading with a disarming assurance, but no loss of charm.
Listen to Iceage’s “Broken Hours” –
http://mat-r.co/brokenhours

Watch/Listen/Share:
Beyondless album stream – http://smarturl.it/Beyondless
“Balm of Gilead” – http://mat-r.co/balmofgilead
“Catch It” Video – http://mat-r.co/CatchIt
“Pain Killer” feat. Sky Ferreira – http://mat-r.co/PainKiller
“The Day The Music Dies” Video – http://mat-r.co/TheDayTheMusicDies
“Take It All” – http://mat-r.co/TakeItAll
“Under The Sun” Video – https://youtu.be/P-nOdShPN-g

Iceage Tour Dates:

Wed. Dec. 5 – Berlin, DE @ Bi Nuu
Thu. Dec. 6 – Kortrijik, BE @ De Kreun
Fri. Dec. 7 – London, UK @ Hackney Arts Centre ∞
Wed. Jan. 30 – Ljubliana, SI @ Ment Festival
Fri. March 1 – Copenhagen, DK @ Store Vega

∞ = with Astrid Sonne, Helm and Warmduscher

Download hi-res images & album art — www.pitchperfectpr.com/iceage/

(“Broken Hours” cover art)

Official Website | Instagram | Facebook | Iceage Blog

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