I have yet to see Flat Worms live. This seems like a crime to me. They’re a great power trio with darkly humorous lyrics and power you cannot deny. So, Live in Los Angeles (recorded in 2019) will have to do until I can catch them at a somewhat dingy venue that feels like a sweatbox and smells like beer mixed with incense.
“Pearl” starts off the raucous set with Will Ivy‘s guitars sounding like a sped-up hotel fire alarm and his vocals bringing angry post-punk lyrics about keeping up with the Joneses to the crowd. “Motorbike” roars like its namesake and Justin Sullivan‘s chops on the drums turn on a dime at any given moment. The live version of “Into the Iris” slows it down a bit but doesn’t lack in power. It’s almost a sludge rock tune in the first half and then kicks into near-punk fury for the second half. It’s songs like this in which Tim Hellman excels on bass. He can lock down any track at any speed and in seemingly any genre, and he plays like a time bomb is about to off on “Plaster Casts.”
“Condo Colony,” a great takedown of gated communities and HOA madness, absolutely slays on this. It’s impossible to choose which of the three is killing it more. The short-instrumental “Scattered Palms” explodes into the snarky “11816.” The album ends with “Red Hot Sand,” and yes, it’s blistering. Hellman’s bass is frantic, Ivy’s guitar is a race car tearing up a dirt track, and Sullivan’s drums threaten to crack the floor under you.
It’s a great capture of a trio clicking on all fronts and crushing everything around them. If you can’t see them live, this is a worthy alternative.
Before Electroclash and the wave of 00’s Dance-rock there was The Faint, emerging in the late 1990s in Omaha, Nebraska—a place known more for stoic practicality than synth-punk. In that unlikely setting of beige restraint, they pioneered a sound that combined the melodic essence of new wave, the raw edge of post-punk, and the robotic futurism of Detroit electro. Breaking free from indie rock’s humble comfort, they arrived armed with synths, dark eyeliner, and a raw, frenetic energy that dared audiences to actually feel something real, somethingprimal. The late ’90s and early 2000s indie scene was overdue for a shock, and The Faint delivered—not just as a band, but as an invitation to cast off coolness, to sweat, to move, and to live fully in the moment.
Onstage, the band turned every show into a raucous dance party. In a time of understated guitar rock, flannel shirts and torn blue jeans, their DIY foot-controlled lighting rig and all-black wardrobe was eyebrow raising. Behind unironic smoke machine clouds, keyboardist Jacob Thiele’s priest collar lent an eerie vibe while frontman Todd Fink delivered a fractured vision of a hyper-sexed cyber dystopia. The electro-punk beats of his brother Clark Baechle supplied the pulse and energy, and later, death metal guitarist Dapose infused a raw tension with his howling atonal guitar work. It was clear that this was more than a nostalgic nod to the 80’s. It was a spark from theunderground, foreshadowing an era of dance-oriented indie music that is still reverberating in the work of some of today’s most vital emerging artists.
The distinctive, synth-driven sound that brought The Faint to wide acclaim first surfaced on 1999’s Blank-Wave Arcade. The album was raw and daring, striking its own chord between early synth-pop pioneers (The Human League, New Order) and more recent heroes like Fugazi and Sonic Youth. The band’s blend of new wave, and DIY post-punk was trailblazing, and when the new millennium dawned that sound took hold of the zeitgeist, launching the band to new critical commercial peaks. 2001’s now classic Danse Macabre found itself scratching an itch that many indie rockers didn’t know they had. Wet From Birth followed in 2004 with its unusual electro-orchestral arrangements, cementing The Faint’s reputation as pioneers of the indie synth scene.
Today, 25 years removed from its release, The Faint are returning to announce a reissue of Blank-Wave Arcade, and Wet From Birth, which just celebrated its own 20th anniversary. Both reissues will arrive on the band’s longtime label home Saddle Creek on March 14th. This will be the first time that The Faint’s full catalog has been available on vinyl. To mark the announcement the band are sharing an unreleased Wet From Birth-era track entitled “Zealots,” and and accompanying remaster of Wet From Birth track “I Disappear.”
Fink says of “Zealots”:
“This song came from a dream Jacob had (our late keyboard player). In the dream, people were chanting, “You will know we are zealots by our guns,” . The lyrics are about the paradox between Christianity’s core message of love and the obsession with guns among some of its followers.”
In celebration of these reissues, The Faint will be embarking on extensive touring throughout 2025. Full details of those dates can be found below.
Tour Dates
Mar-21 – Santa Barbara, CA @ SoHo
Mar-22 – Las Vegas, NV @ Backstage Bar & Billiards
Mar-24 – Tucson, AZ @ 191 Toole
Mar-25 – Santa Fe, NM @ Meow Wolf
Mar-27 – Tulsa, OK @ The Vanguard
Mar-28 – Kansas City, MO @ Warehouse on Broadway
Mar-29 – St. Louis, MO @ Delmar Hall
Mar-31 – Cincinnati, OH @ The Ballroom at The Taft
Iconic post-punk band Pink Turns Blue present their new single ‘Stay For The Night’, a celebration of the post-punk / goth rock / darkwave community and the second single from their new ‘Black Swan’ album, to be released on limited edition vinyl, CD and digitally via Orden Records.
Today made up of Mic Jogwer (vocals, guitar), Paul Richter (drums) and Luca Sammuri (bass), Pink Turns Blue – named after a Hüsker Dü song – emerged in 1985 in the first generation of gothic rock.
This new single follows the lead track ‘Black Swan (But I Know There Is More to Life)’, the album’s only ballad, offering ample fruit for thought. Delving into profound questions about existence, it reflects on life’s purpose and the beauty of the world.
‘Stay for the Night’ is meant for the dance floor. While we are an alternative rock band, founded in the post-punk era of the 80s, many of our fans wear black or dress as goths. And we often play in clubs that play darkwave music or goth rock at the after show party. The key message of the song is about unequal love, with one person wanting to leave the relationship or the group or going home instead of staying in the club with their (black-clad) friends and the other person asking to stay to sort things out, to give the relationship or the evening another chance,” explains Mic Jogwer.
“This is also a love song to the post-punk / goth rock community for being with all these years. Very often, we stay for the after-show party and immerse ourselves in the very open-minded and diverse dancing crowd. This is home. After the show, we can just close our eyes and float with the music and our friends… All we need is love. All we need is friends. Thank you so much for being with us. See you on the dance floor.”
After 2021’s widely acclaimed ‘Tainted’ album, the companion ‘Tainted Tour 2022’ EP and successful American and European tours with often-sold-out concerts, the Berliners’ new studio album will be followed by their ‘Black Swan’ tour, which sees them visit clubs through Germany in April.
This new collection is aptly named ‘Black Swan’, a term used for an unexpected event that, in retrospect, is rationalized as if one could have prepared for it.
Pink Turn Blue’s debut album‘If Two Worlds Kiss’ advanced the darkwave sub-genre while becoming a seminal post-punk album. Emerging from the fear and uncertainty of a divided Cold War Germany and inspired by Joy Division, The Sound and The Chameleons, they have since released a dozen full-length LPs and have become known for their trademark blend of post-punk, alternative rock and new wave.
Pink Turns Blue has achieved pretty much everything an indie band could wish for – Album of the Year (Byte FM), Best Album of 2021 (Post-Punk.com), singles reaching number 1 in the German Alternative Charts and Indie Disco Top 40, excellent reviews in worldwide music press, well attended and sold-out club concerts spanning from Los Angeles to Yerevan.
As of January 10, ‘Stay For The Night’ is available everywhere, including Apple Music, Spotify, and Bandcamp. February 28 brings the release of the full ‘Black Swan’ album – digitally on all streaming platforms with limited-edition vinyl and CD editions now available for pre-order. Tickets for 2025 concerts can already be ordered at https://pinkturnsblue.com/live-dates.
We’ve reached the top of the peak. Who’s the grand champion? Read on to learn more.
#5: Fake Youth Cult – White Light / Black Noise
This stunning industrial / darkwave album is loud and heavy enough to cause the damage seen on this cover. This album came out of nowhere for me and about knocked me out of my chair.
#4: Maquina – Prata
Speaking of heavy damage, the cover to Maquina’s Prata album appears to feature a piece of steel that’s been shot, pried, scratched, and gouged. It’s a fitting image for a record full of wild noise punk, assaulting post-punk guitars, and grindhouse vocals.
#3: LAIR – Ngélar
This Indonesian funk / psych band was one of my top discoveries of 2024. They blend traditional Indonesian music with psych-rock, South Pacific juke, and other stuff you can’t quite define.
#2: GUM / Kenny Ambrose-Smith – Ill Times
Possibly the best collaboration of the year, this album combines the powers of two excellent Australians to create synth-psych that covers a lot of heavy topics with uplifting beats (i.e., the death of a parent – Kenny-Smith’s father, fear of the future and your place in it). I hope this isn’t just a one-time thing for them.
#1: A Place to Bury Strangers – Synthesizer
I mean, come on. One of my favorite bands creates an album that has a record sleeve that’s also a circuit board that you can turn into a real synthesizer that they also used to make the album. Only APTBS could pull off something like this and make an excellent record to go with it. It’s like a Moebius strip of post-punk psychedelic power that wallops you from the first note.
Onto 2025! Which albums are you anticipating the most?
I’m not sure that NORMANS‘ self-titled album can be described by one genre. Post-punk? Yes. Noise rock? Sure. Gothic? At times. Intriguing? Definitely.
Lead singer (and bassist) Matthew Reid comes out swinging, and screaming, on “John Hockey,” while drummer Michael Rudes hits his kit so hard that it sounds like he was pissed about being stuck in traffic for an hour on the way to the studio. The guitars, from Kyle Souza and Collin Fish are all over the place, causing absolute chaos the whole time. In other words, they picked a perfect track to open the record.
“Shut Up I’m Shopping” is a great, angry slap at consumerism and the rat race. “Murder Rich” changes gears and drops you into dance-punk while Reid claims, “You’re a secondhand son of a bitch. You’re a car going over a cliff.” to let you know he’s not impressed with your wealth and knows your pursuit of it will only end in misery.
The drums and bass on “Anti-Crusoe” switch it up again, now taking us into Wall of Voodoo-like desert rock as Reid sings about forever being a wanderer (“I’m a beast without no home. I hate everything…So go on and touch me.”). “Firepower” is, interestingly, a bit low key compared to other tracks, although still loud and wild, preferring to subtly work in the back of your brain for most of it.
“Dead Snakes” gets a bit trippy with added vocal effects (mostly echoes) and the guitars sounding like they were recorded in an empty swimming pool on a space station. “Healing an Eyesore” is downright frightening, with Reid’s vocals sounding the most frantic on the whole album.
“Schloss Loss” adds a little krautrock to the mix, thumping with deep synth bass to nudge / shove you to the dance floor. “Bending the Branch” is great dance-punk with its strange guitar riffs, relentless bass, and frenzied drumming. Closing with “Fury on the Island,” NORMANS just go nuts for the finish. Souza and Fish sound like they’re using claw hammers on their guitars, Reid’s bass stomps around like an angry sumo wrestler, and you can practically feel Rudes’ sweat hitting your face as he wails on his kit.
It’s a wild record that will almost leave you breathless. Keep your eyes on these guys. They’re dangerous.
The top 15 live shows I saw in 2024 range from doom metal to post-punk. Read on!
#15: The Well – Stubb’s BBQ – Levitation Austin, November 03, 2024
The Well never disappoint. They opened this night of metal at Levitation Austin’s main stage and set a high bar right away. The mix of older material with upcoming stuff from (hopefully) a new record landing this year was top notch.
#14: The The – Salt Shed, Chicago, IL, October 25, 2024
Here’s a band I wasn’t sure I’d ever get to see live. Matt Johnson returned with a new The The album and then a world tour. It was his first time in the U.S. in over two decades. They played two sets: The first being The The’s new album, Ensoulment, in its entirety and the second being a “time traveler’s set” of classic material. Johnson still sounds great.
#13: A Place to Bury Strangers – Stubb’s BBQ – Levitation Austin, October 31, 2024
Here’s another band who never disappoint. It was my girlfriend, Holly’s, first time seeing APTBS. I told frontman Oliver Ackermann (dressed, like his bandmates, as a vampire for Halloween) before the show that I envied her innocence. Her review? “I need a neck adjustment after that.” I don’t think I can sum it up better.
#12: Jon Spencer – Stockroom East, South Bend, IN, July 11, 2024
Holy $#!+. Jon Spencer and the rhythm section of The Bobby Lees played a forty-minute drive from my house. This small venue almost couldn’t handle their energy. The small crowd at this show got a great gift from them.
#11: Gang of Four – Far Out Lounge – Levitation Austin, November 01, 2024
Here’s another band I wasn’t sure I’d get to see live. This great set by Gang of Four was one of the top highlights of 2024’s Levitation Austin Music Festival for me. Everyone in this crowd was hyped to see them, and Jon King smashing a microwave with an aluminum ball bat was gold.
My top ten shows of 2024 include some old favorites and one final (?) tour. Come back tomorrow for more!
If you need a blast of frenetic garage rock, look no further than Dion Lunadon‘s newest EP, Memory Burn. Lunadon specializes in this kind of wild, near-panicked rock and roll that’s designed to make you stomp your boots or shake you out of them.
“Goodtimes”(a song about how too much of a good time usually becomes a bad time) starts with growling bass, then kicks in hammering drums, sand-blaster guitars, and fuzzy freak-out vocals. “New York” could’ve been a New York Dolls song in a previous life, and Lunadon’s love of that glam-garage band is evident throughout the track.
“Out in My World” practically throttles you from the first note as Lunadon claims that he’s “livin’ in a scam” while the guitars around him either sound like they’re on fire or being played with hand mixer. Lunadon rails about communication, or the lack thereof, on “Get Back to You,” which has some of the rowdiest riffs on the whole record.
Whereas that track might be the rowdiest, “Hollywood Blues” is the grimiest with Lunadon claiming “I lost my halo.” The EP closes with “Zenith Forever,” a raucous burner that barely leaves anything left behind when it’s over.
The whole EP is about fifteen minutes in length and feels like a high intensity aerobic workout by the time it’s done. It will burn your memory and calories.
Today Guelph, Ontario hell-raisers Bonnie Trash announce details of their new album, ‘Mourning You’, which is set for release on February 28th on Hand Drawn Dracula. Along with the announcement they have shared the first single and video from the album, entitled “Veil of Greed”.
‘Mourning You’ is, put bluntly, an album about death. Not death in the macabre, violent, or outrageous sense, but death as you or I might know it. A spectre lurking around the corner. Capricious, indiscriminate, and unexpected. Ordinary and all the more terrifying for it. Real. Fear in the eyes of a loved one about to die, and the fear in your eyes – staring back.
Bonnie Trash is the horrorgaze project of twin sisters Emmalia & Sarafina Bortolon-Vettor, wedding post-punk’s steely-eyed austerity to goth rock’s brooding grandeur.
‘Mourning You’ finds Bonnie Trash embracing a newfound sense of urgency. A lifelong project christened in 2017 with the release of ‘Ezzelini’s Dead’, the band’s debut EP which found the pair mining the Trevisan dialect and archaic Italian folklore of their heritage to grisly effect. Where their first full length, ‘Malocchio’ (2022), shrouded Bonnie Trash’s nightmares in dusky dreamlike reverb, ‘Mourning You’ is vivid and immediate. Emboldened by the addition of Emma Howarth-Withers on bass and Dana Bellamy on drums – whose thunderous rhythms sharpened 2024’s ‘My Love Remains the Same’ EP into a fine-edged blade – ‘Mourning You’ is less a post-mortem fantasia than a sudden, swift dagger to the heart. This is sorrow not as a lingering bruise, but a gushing wound.
Bonnie Trash unveil their new project with this first single “Veil of Greed”. Emmalia’s gripping and unyielding guitar riff with all the icy malice of Nine Inch Nails’ Pretty Hate Machine introduces the urgency of the uncomfortably ordinary horror story that unfurls across the record. The song’s gruesome imagery – feasting on hearts with rotten teeth – finds Sarafina worshipping at the altar of her agony. “I bow down before you and I know / You feed.”
“When you lose the one you love so dearly, it’s a cut that’s so deep, it rips your heart out of your chest. You try to continue on, but you suffer and you bleed” the twins comment. “Grief is like an open wound that will never fully heal. It can consume you if you let it. Sometimes, it’s best to let it feed, allowing the pain to exist with the beautiful memories you hold close to your heart.”
Sarafina, the band’s singer and lyricist, has described the album as being about “losing someone you love. It’s about the horrors of grief, haunting you every day.” Inspired, largely, by the passing of Nonna Maria – who provided interstitial narration across the band’s early work – it’s these intimate details which render the songs on ‘Mourning You’ so devastating. The record explores love and grief as kindred spirits. Grief as love with nowhere to go. Love determined by the fear of its loss. A blood pact. A life for a life. The gnarled claw of remorse gripping you in twilight’s terror.
Though inspired by the shocking iconography of horrorshows, slasher flicks, and psychological thrillers, Bonnie Trash turns cinematic tropes on their head. Rather than fashioning nightmares into reality, the band paints reality as a nightmare, rife with pain, suffering, and gothic theatre. Bonnie Trash understands that everyday atrocities haunt the periphery of our lives. A black cloud looming on the edge of our vision. Curses abound. You can’t ward them off. You’d best make an unholy racket.
‘Mourning You’ is out February 28, 2025 on Hand Drawn Dracula. In mourning, all is lost.
The sound of What Is Success, Open Head’s second album and debut for Wharf Cat Records (out Jan 24), started with an argument in the practice space. The members of the heaviest band in Kingston, NY, and perhaps the entire world, were tired of their instruments. The post-punk they’d been playing together for the previous five years or so was beginning to feel like a sort of prison—the opposite of the freedom they initially got together to pursue.
“Nothing sounded good,” remembers Jared Ashdown, one of the band’s two guitarist-vocalists. “It was, ‘I hate my guitar,’ ‘I hate my bass,’ Alright, then let’s stop playing them.”
Something clicked. Bassist Jonathan McCarthy gravitated toward synthesizer, playing low notes like idling hovercraft. Ashdown picked up a sampler loaded with industrial field recordings made by drummer Daniel Scwhartz, running them through a bevy of effects pedals and using them as uncanny percussion instruments. Schwartz himself began incorporating rhythms drawn from Open Head’s mutual love of left-field electronic dance music. Rather than actually putting down their guitars, Brandon Minnervini and Ashdown delved further into their ongoing exploration of extended techniques, turning their instruments into celestial chimes or electric motors, sometimes vast and textural and other times pinprick-precise.
This new approach has paid dividends for Open Head, who have been attracting more and more attention of late. Recent underground favorites, who have shared stages with bands like, Geese, Dummy, Show Me The Body, Cola, and Water From Your Eyes over the past couple of years, the band’s newest material has come in for critical praise as well, with early singles “Catacomb” and “House” attracting attention from Pitchfork,Stereogum, Consequence, BrooklynVegan and Post-Trash who described “House” as “a pummeling, ruinous single that draws deep from the well of NYC avant-garde.”
Today, the band are back with a new preview of their LP, a track called “N.Y. Frills” that is premiering with FLOOD.
Open Head say of the track:
In a sort of homage to New York No-Wave, N.Y. Frills is an encounter with the monotone Goliath that is Manhattan. Our guitarist Brandon Minnervini sings the song, and together with bassist Jon McCarthy he wrote it while working for a fabrication business in Kingston, sanding designer aluminum shelving. Every so often, Brandon would be tasked with delivering the products to ultra-wealthy patrons in New York City.
A drive that started at a dusty Kingston warehouse would end in the alien opulence of a Manhattan penthouse, or a private AI sports betting clubs, or a ‘development workshop’ full of untouched fabrication machines occupying prime manhattan real-estate, and then back again. Brandon brushed up against the type of wealth most never see. The song is a meditation on contact with those who live with such extravagance, and their detachment from those who make it possible on physical and material level. From a similar perspective the song describes Open Head’s relationship with New York City in general–one of both proximity and distance, where the city is always within reach, yet the band is always a visitor, an outsider to its tempo, its density and its size.
Lyrically, the song is the return journey from a brush with the extravagant. It begins in the high-rise, amidst the luxury class, and with each verse drops “lower still,” until the narrator sinks to become the ground itself—no different than the physical earth that supports the weight of the city. “Heaven’s gate, sink and wait, object love, interest rates.”
Today, DITZ share new single ‘Taxi Man’ taken from their recently announced new album Never Exhale out 24th January 2025 via Republic Of Music and Domino Publishing. They also announce a string of intimate in-store performances at some of the UK’s best record stores.
Never Exhale is the sound of a band that hasn’t stopped for a breath. DITZ have toured relentlessly since the release of their first record The Great Regression and the songs that form their newest offering were written across Europe, often on off days and in borrowed rehearsal rooms just to break up the long drives – it’s album that reflects the sound of the road.
Formed in late 2015, DITZ came together after vocalist C.A. Francis, guitarist Anton Mocock, and bassist Caleb Remnant, went to watch METZ and Lightning Bolt at Concorde 2 in Brighton, turning to each other and saying “let’s do that”, with guitarist Jack Looker and drummer Sam Evans later joining.
Singer C.A. Francis said of the track, “We’ve been talking playing most of this new album live for a year now. Out of all the tracks, Taxi Man has been the most requested.
We wrote it across a couple of days in Cologne, in a disused air raid bunker. We properly fell out while we were writing it. There was nothing coming for so long until we stumbled into Taxi Man. The whole song came together pretty quickly and is now collectively our favourite track to play live. It’s one of those moments you hope to recreate again sometime but can’t really imagine the scenario.”
It could be said that the band treat recording and release of music as an afterthought. Often playing songs live years before their release, tweaking them as they go. Sonically the album has its roots in the usual DITZ influences, classic noise rock such as The Jesus Lizard or Shellac, or the obtuse post punk of the Fall, but also brings in fresh influences. It’s political, but ultimately personal, and the album themes reveal themselves more on further listens.
Never Exhale was largely recorded at Holy Mountain studios in London during a freezing cold January. The process was fraught with obstacles, as the original plan to record in Rhode Island was abandoned when DITZ were offered a support tour with IDLES. Although the album was still mixed by the originally intended engineer, Seth Manchester (Model/Actriz, Lingua Ignota, Big Brave). The result is a record hardened by the pressure of its own making. Laboured but not loved.
Overall the album is a clear development from their first effort. A sign of things to come.
DITZ are:
C.A. Francis (Vocals) – they/them Anton Mocock (Guitar) – he/him Sam Evans (Drums) – he/him Jack Looker (Guitar) – he/him Caleb Remnant (Bass) – he/him
30th Nov 24 – Nos Reves Font Du Bruit – Troyes, France 7th Dec 24 – Zeitgeist Festival – Nijmegen, Netherlands
13th Dec 24 – Post Punk Strikes Back Again – Porto, Portugal
24th Jan 25 – Resident – Brighton, UK 25th Jan 25 – Banquet – Kingston, UK
26th Jan 24 – Vinilo – Southampton, UK (Matinee) 26th Jan 25 – Rough Trade East – London, UK (Evening) 27th Jan 25 – Rough Trade – Bristol, UK 28th Jan 25 – Jacaranda – Liverpool, UK 29th Jan 25 – Vinyl Whistle – Leeds, UK
20th Jan 25 – Staggeringly Good Brewery – Southsea, UK
5th Feb 25 – Music Box – Lisbon, Portugal 6th Feb 25 – Sala El Sol – Madrid, Spain 7th Feb 25 – Sala Upload – Barcelona, Spain 10th Feb 25 – Lido – Berlin, Germany 12th Feb – Hus – Stockholm, Sweden 13th Feb 25 – Huset-KBH – Copenhagen, Denmark 14th Feb 25 – Kent Club – Hamburg, Germany 15th Feb 25 – UT Connewitz – Leipzig, Germany 17th Feb 25 – Chumury – Warsaw, Poland 18th Feb 25 – Cafe V Lese – Prague, Czech 19th Feb 25 – Rhiz – Vienna, Austria 20th Feb 25 – Kranhalle – Munich, Germany 22nd Feb 25 – Bogen F – Zurich, Switzerland 23rd Feb 25 – Arci Belleza – Milan, Italy 25th Feb 25 – Club Transbo – Lyon, France 26th Feb 25 – Astrolabe – Orleans, France 27th Feb 25 – Antipode – Rennes, France 1st Mar 25 – La Maroquinerie – Paris, France 2nd Mar 25 – Witloof – Brussels, Belgium 3rd Mar 25 – Rowtown – Rotterdam, Netherlands 4th Mar 25 – Gebaude 9 – Cologne, Germany 5th Mar 25 – Rockhal – Esch-zur-Alzette, Luxembourg 6th Mar 25 – Paradiso THT – Amsterdam, Netherlands 7th Mar 25 – Vera – Gronigen, Netherlands 8th Mar 25 – L’Aeronef – Lille, France
25th Mar 25 – Hug & Pint – Glasgow, UK 26th Mar 25 – Brudenell Social Club – Leeds, UK 27th Mar 25 – Bodega – Nottingham, UK 28th Mar 25 – Yellow Arch – Sheffield, UK 29th Mar 25 – Voodoo Daddy’s, Norwich, UK 1st Apr 25 – YES Pink Room – Manchester, UK 2nd Apr 25 – Hare & Hounds – Birmingham, UK 3rd Apr 25 – The Garage – London, UK 4th Apr 25 – Chalk – Brighton, UK 7th Apr 25 – Control Club – Bucharest, Romania 8th Apr 25 – Pave Club – Sofia, Bulgaria 9th Apr 25 – Rover Bar – Thessaloniki, Greece 10th Apr 25 – Arch Club – Athens, Greece 11th Apr 25 – Zō Centro Culture Contemporanee – Catania, Italy 12th Apr 25 – Wishlist, Roma, Italy
