News – Page 106 – 7th Level Music

Okay Kaya invites you to the “Psych Ward” with her new single.

Okay Kaya – the project of Norwegian-born, New York-based Kaya Wilkins – shares the new single/video, “Psych Ward,” from Watch This Liquid Pour Itself, her forthcoming album out January 24th on Jagjaguwar. She also announces initial performances in support of Watch This Liquid Pour Itself. A full list of dates can be found below.

“Psych Ward,” produced by Kaya with co-production from Christoph Andersson (Cautious Clay), follows previously released singles/videos “Asexual Wellbeing,” “Baby Little Tween,” and “Ascend and Try Again.” On “Psych Ward,” Kaya’s scene of nurses making rounds is based on her personal experience of time spent in a hospital. Kaya describes the track and the video in her own words:

“This is basically a Hospital Evaluation Form. The last few days I was in a hospital a nurse unlocked one of the cabinets and let me use the rec room guitar, to play outside of art therapy class. I wrote what I saw to understand how I felt. It turned into this funny bop, I wanted it to feel like a Ramones song or something.

I wrote the lyrics in a very literal way as I often tend to do. When it was time for a music video I took the words ‘do the rounds’ even more literally by making Kaya pole dance in her daydream during her morning fitness routine. The fitness routines were always to an ABBA greatest hits CD, it felt much too ecstatic compared to the heavily drugged hospital bodies, barely out of bed, barely moving. I wanted the video to show that effort, because I am scared to forget. This whole album is filled with moments I am scared to forget, coming right at you projectile style.”

Although Kaya recorded most of Watch This Liquid Pour Itself herself, she also collaborated with producers Jacob Portrait (UMO, Whitney, (Sandy) Alex G) and John Carroll Kirby (Solange, Kali Uchis) to fully realize her ideas for how this record should sound. Each of the music videos for the new record are co-directed by Kaya and Adinah Dancyger, and were shot respectively in Germany, Japan, Norway, and New York.

Additionally, Kaya is pleased to announce that all of her music videos will be screening later this month – January 15th at Film Noir in New York and January 23rd at Now Instant in Los Angeles. She’ll also be performing solo on January 27th at the Van Leeuwen Ice Cream shop in Williamsburg, Brooklyn as part of her Van Leeuwen collaboration. Kaya’s special “Eat Your Feelings” a vegan black sesame ice cream flavor, will be available for a limited time at their Williamsburg, Lower East Side and Silverlake (Los Angeles) scoop shops.
Watch “Psych Ward” Video –
https://www.youtube.com/watch?v=8Nedrz5vDug

Watch “Asexual Wellbeing” Video –
https://www.youtube.com/watch?v=OHrpUlmplkY

Watch “Baby Little Tween” Video –
https://www.youtube.com/watch?v=dZP6B1ZzzPY

Watch “Ascend and Try Again” Video –
https://www.youtube.com/watch?v=bAhAG4jaZwsPre-order Watch This Liquid Pour Itself –
https://okaykaya.ffm.to/watchthisliquid

Okay Kaya Tour Dates:
Mon. Jan. 27 – Brooklyn, NY @ Van Leeuwen Ice Cream (RSVP)
Tue. Jan. 28 – New York, NY @ Whitney Museum of American Art (DJ Set)
Thu. Feb. 13 – Brooklyn, NY @ National Sawdust
Fri. Feb. 28 – Oslo, NO @ By:Larm
Mon. March 2 – Paris, FR @ Pop Up
Wed. March 4 – London, UK @ SET
Sun. March 8 – San Diego, CA @ CRSSD
Mon. March 9 – San Francisco, CA @ Cafe Du Nord
Tue. March 10 – Los Angeles, CA @ Moroccan Lounge
Tue. March 17 – Sat. March 21 – Austin, TX @ SXSW
Fri. May 8 – Berlin, DE @ Pitchfork Festival

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Khruangbin and Leon Bridges’ new single, “C-side,” is A-side quality.

“This is as much an atmosphere as a song, warm and leisurely and insinuating.” — The New York Times

“…a meditative, twangy song that blends the band’s Thai-funk proclivities with Bridges’ rootsy vocals.” — Rolling Stone

“…a sun-baked, languid rock song that coasts on Bridges’ smooth vocals.” — Pitchfork, The Most Anticipated Albums of 2020

Khruangbin & Leon Bridges will release Texas Sun, their forthcoming collaborative EP, on February 7th via Dead Oceans, in partnership with Columbia Records and Night Time Stories Ltd. Following the EP’s title track, a slow rolling song about the pull of the unique Texas landscape, they today offer its second single, “C-Side,” a shimmering track comprised of wah-wah guitar lines, burbling Latin polyrhythms, and soft vibraphone. Stream “C-Side” below.

Listen To “C-Side” by Khruangbin & Leon Bridges –
https://youtu.be/JF2jxqQVloM

Their first time writing with a vocalist, Texas Sun finds Khruangbin—comprised of Laura Lee (bass), Mark Speer (guitar), and Donald “DJ” Johnson (drums)—tailoring their exotic funk to Bridges’ soulful melodies. On the EP, these Texas natives meet up somewhere in the mythical nexus of the state’s past, present, and future—a dreamy badlands where genres blur as seamlessly as the terrain. The state’s music is as varied and wild as its geography, producing Southern rap pioneers Geto Boys and UGK, lysergic trailblazers The 13th Floor Elevators, and genres-unto-themselves like St. Vincent, Gary Clark Jr., and Beyoncé. Texas Sun lives here too, a record that calls equally to the chopped-and-screwed hip-hop fans rattling slabs on the southside of Houston, to those who grew up on listening to both mariachi and post-hardcore out on the Mexican borders of El Paso, to the Austin acid-dropping art school kids.

Texas Sun started on the road and wrapped up in the studio. Both Bridges and Khruangbin had been touring nonstop behind their acclaimed sophomore LPs when their paths converged for a joint North American tour in 2018, a run of shows stretching from Los Angeles to New York. Although both of their musical lanes were slightly different, they shared a dusty, laid back vibe. When a Khruangbin session yielded a song that seemed like it might pair well with Bridges’ voice, the band sent it over. Bridges returned the track with his vocals the very next day. They all soon decamped to the studio with engineer Steve Christensen, hoping to make it into a B-side. But everything flowed so naturally, it was obvious this would be something bigger, leading to Texas Sun.

Listen to “Texas Sun” by Khruangbin & Leon Bridges –
https://youtu.be/zSWNWWREtsI

Pre-order Texas Sun —
https://ffm.to/texassun

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Tropical Fuck Storm announces North American tour.

Australian band Tropical Fuck Storm are pleased to announce a North American tour in support of Braindrops, their newest album released last year on Joyful Noise Recordings. The band will bring “their good old-fashioned down-under rock kick to the gut” (Chicago Reader) of a live show across the states, including some cities they have yet to visit. Tickets are on sale now.

Tropical Fuck Storm – comprised of Gareth Liddiard and Fiona Kitschin (The Drones), Erica Dunn, and Lauren Hammel – was formed around 2017 in the city of Melbourne, Victoria along Australia’s south-eastern coast. Following their debut album, 2018’s A Laughing Death in Meatspace, Braindrops overflows with compelling sounds and visions that reflect the often dark and fractured reality of life on planet Earth as we hurtle toward environmental and social decay at a frighteningly rapid clip. Listening to the album is a jarring and exhilarating experience, full of pulsating grooves, black humour, dissonant experimentation, and unsettling dystopian plot-lines.

Braindrops is an unrelenting work, from an unrelenting musical ensemble. “Tropical Fuck Storm is a full on thing,” Liddiard offers. “Everything we do, we do it to the death.”
Purchase Braindrops –
https://bit.ly/2ZPsO2Y

Watch “Braindrops” Video –
https://www.youtube.com/watch?v=12eYBC_5FV4

Watch “Who’s My Eugene?” Video –
https://www.youtube.com/watch?v=88do5cmxHsI

Tropical Fuck Storm Tour Dates:
Tue. March 31 – Los Angeles, CA @ Bootleg Theater
Thu. April 2 – Iowa City, IA @ Mission Creek Festival
Fri. April 3 – Detroit, MI @ Deluxx Fluxx
Sat. April 4 – Toronto, ON @ The Legendary Horseshoe Tavern
Sun. April 5 – Montreal, QC @ Bar Le Ritz P.D.B.
Mon. April 6 – Cambridge, MA @ The Sinclair
Wed. April 8 – Philadelphia, PA @ Johnny Brenda’s
Thu. April 9 – Brooklyn, NY @ Music Hall of Williamsburg
Sat. April 11 – Baltimore, MD @ Metro Gallery
Mon. April 13 – Atlanta, GA @ The Earl
Tue. April 14 – Nashville, TN @ The End
Wed. April 15 – Bloomington, IN @ The Bishop
Thu. April 16 – Chicago, IL @ Lincoln Hall

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Too Free release “ATM” ahead of debut album due February 21st.

Too Free – the Washington, D.C. based trio of Awad Bilal (Big Freedia, Vasillus), Carson Cox (Merchandise), and Don Godwin (Callers, Impractical Cockpit) – announce Love in High Demand, their debut album out February 21st on Sister Polygon. In conjunction with today’s announcement, they share a video for lead single “ATM.”

WATCH VIDEO FOR “ATM”
https://youtu.be/bErEP9TJCQY

LISTEN TO “ATM”
https://smarturl.it/loveinhighdemand

Too Free is born of the most innate curiosity – their only mission is a desire to connect with others in the space that music creates. Drawing from improvisation and experimentation, they deconstruct their songs to their most necessary elements, leaning into their collective punk ethos and DIY backgrounds. Taking energy that projects a reverence for legacy with the opposite of nostalgia, they lead with a principle of imagining a future and being in it – intentionally making music that skews towards the inclusive and accessible instead of making things insular and pretentious.

Relying on the power of movement and improvisation, each track on Love in High Demand provides an empathetic space for the listener. Drawing equally from elements of South Florida freestyle and Jersey electro into DC’s signature polyrhythms, the record is a continuous refinement of the virtue of motion – each composition rooted in propulsive energy that envelops. Aiming to make something with a more utopian outlook that counters the pervasive pessimism, archaic ideologies and dystopian timelines we interact with on a daily basis, they approach this project with an open-endedness that incorporates higher concepts of what pop art can sound like.

“ATM” examines the duality of attention. Too much can go to one’s head, corrupting a sense of common ground and innate empathy of the human experience, but on the flip side, the effects of too little unlock desperate feelings inside of us, rendering our morality obsolete. “ATM” is about that beautiful, healthy middle ground where it’s okay to desire being noticed, and was consciously written for marginalized people who don’t always have the platform of being seen. The track is an homage to the group’s shared love of ballroom music and the everlasting courtship between the dancer and the music.

Says frontperson and lyricist Awad Bilal, “When we see people who look like us, engaged in situations we could see ourselves in, and have our experiences reflected back at us – we feel seen – and that is everything.”

PRE-ORDER LOVE IN HIGH DEMAND –
https://sisterpolygonrecords.bigcartel.com/product/pre-order-too-free-love-in-high-demand-lp-spr-033

LOVE IN HIGH DEMAND TRACKLIST:
1. Gold
2. Elastic
3. Touch Upon Touch
4. ATM
5. X2
6. The Void
7. Breathing Underwater
8. Wanna Let Me Know
9. No Fun

Too Free online:
https://toofree.bandcamp.com/
https://www.instagram.com/toofreedc/
https://www.pitchperfectpr.com/too-free/
https://www.sisterpolygonrecords.com/artists/too-free

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Caroline Rose proclaims she will “Feel the Way I Want” in her new single.

“I realized at some point that I’m not going to fit into any one box, and maybe that’s a good thing. This record is me embracing being an outsider making my own path.”
— Caroline Rose

Caroline Rose announces Superstar, out March 6th on New West Records, lead single/video “Feel The Way I Want,” and a North American tour. The follow up to 2018’s acclaimed LONER, Superstar is a bigger, badder, glitter-filled cinematic pop record. It’s an underdog story, and one not far off from Rose’s real life. After years of struggle to release what would ultimately become LONER, Rose found herself in the midst of a new widespread audience, one both intrigued and perplexed about how and where to place her. This feeling of otherness, combined with a developed set of studio skills and a challenge to “make something from nothing,” marked the beginning of Superstar—the story of a shamelessly odd hero, or rather anti-hero, on a quest to become a someone.

Inspired by cult classics such as The Bitter Tears of Petra Von Kant, Mulholland Drive and the mockumentary Drop Dead Gorgeous, Superstar plays out like a film. After the protagonist receives a mistaken phone call from the glamorous Chateau Marmont hotel in album opener “Nothing’s Impossible,” they (gender neutral pronoun) take it as a sign toward a star-studded future and leave behind everything in pursuit of a newly established destiny. What ensues is a cinematic paradox that in one moment finds them strutting down a neon strip in full Saturday Night Fever hip-swing, and the next, sipping a dirty martini at the rundown apartment complex pool dwelling on life’s unfortunate turns. It’s a narrative Rose pulled directly from the somewhat shameless desires of her own growing ambition, as well as the public breakdowns of several notable celebrities. “To me, there’s both humor and horror in hubris and what it takes in order to be successful. I wanted to make a story out of those parts of myself that I find largely undesirable and embarrassing, then inject them with steroids.”

The goal of lead single “Feel The Way I Want” is to “have people, including myself, not know whether to love or hate this person. They’re kind of like a walking eye roll who’s easy to dismiss, but at the same time you admire their determination. It’s the Kanye effect.” The accompanying video, directed by Rose, was made on an iPhone over the course of an 11-day road trip from Hollywood, California to Hollywood, Florida.

Since LONER’s release, Rose began formulating the ideas and songs for Superstar in between the band’s near-incessant touring schedule, from playing sold out headline shows across the country and beyond to becoming fan favorites at some of the world’s biggest festivals. She wrote, recorded and produced Superstar in her home studio, as well as on a portable rig set up in green rooms while on tour.

Superstar will be available across digital retailers, compact disc and vinyl. The album will also be the Vinyl Me, Please”Essential Record of the Month” for March and will be available on colored vinyl exclusively from VMP. Direct-to-Fan and Independent Retail editions will feature an exclusive, fold-out 24×36″ poster autographed by Rose and are available for pre-order now.
Watch Caroline Rose’s Video for “Feel The Way I Want” –
http://newwst.com/crftwiwPR

Pre-order Superstar –
http://newwst.com/superstar

Superstar Tracklist:
1. Nothing’s Impossible
2. Got To Go My Own Way
3. Do You Think We’ll Last Forever?
4. Feelings Are A Thing Of The Past
5. Feel The Way I Want
6. Freak Like Me
7. Someone New
8. Pipe Dreams
9. Command Z
10. Back At The Beginning
11. I Took A Ride

Caroline Rose Tour Dates:
Fri. March 6 – Albany, NY @ The Hollow
Sat. March 7 – Burlington, VT @ Higher Ground
Wed. March 11 – Pittsburgh, PA @ Club Café
Thu. March 12 – Pittsburgh, PA @ Club Café
Fri. March 13 – Cleveland, OH @ Beachland Tavern
Sat. March 14 – Columbus, OH @ Skully’s
Wed. March 25 – Brooklyn, NY @ Music Hall of Williamsburg
Thu. March 26 – Cambridge, MA @ The Sinclair
Fri. March 27 – Philadelphia, PA @ Underground Arts
Sat. March 28 – Washington, DC @ Black Cat
Wed. April 1 – Iowa City, IA @ Mission Creek Music Festival
Thu. April 2 – Milwaukee, WI @ Turner Hall Ballroom
Fri. April 3 – Chicago, IL @ Lincoln Hall
Sat. April 4 – Minneapolis, MN @ Fine Line Music Hall
Fri. April 24 – Dallas, TX @ Club Dada
Sat. April 25 – Houston, TX @ White Oak Music Hall: Upstairs
Sun. April 26 – Austin, TX @ Antone’s
Tue. April 28 – New Orleans, LA @ Gasa Gasa
Wed. April 29 – Oxford, MS @ Proud Larry’s
Thu. April 30 – Nashville, TN @ The Basement East
Fri. May 1 – Sun. May 3 – Atlanta, GA @ Shaky Knees Festival

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ThunderStars release “Not That Far” from upcoming EP.

Austin shoegaze trio ThunderStars share a new single from their forthcoming album, Number Stations today via Treble Zine. Hear and share “Not That Far” HERE. (Direct Bandcamp.)

Echoes & Dust previously hosted lead track “Ride” HERE. (Direct Bandcamp.)

ThunderStars is a shoegaze/dreampop band from Austin TX. Formed in the fall of 2018, it marks the return to music of longtime Margot & the Nuclear So and Sos multi-instrumentalist, Erik Kang (guitar, lead vocals). The 3-piece solidified when Sven Bjorkman (drums), posted a random thought about creating a band to use the name ThunderStars, which was coined by his toddler daughter during a stress-fueled trip to the hospital.

This art-out-of-chaos theme has hung over the band since its inception. After their second live show, their bassist, Omar Richardson, was assaulted by a vagrant outside the venue, which resulted in a concussion and subsequent trip to the ER. This incident was covered extensively in Austin news, which raised the band’s profile unexpectedly. ThunderStars demos also were well received publicly, and the band subsequently received considerable radio and podcast plays, as well as show bookings with many touring acts.

Number Stations will be available on January 10th, 2020 on LP and digital on Mariel Recording Company. Pre-orders are available HERE.

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Blackwater Holylight announces March U.S. west coast tour.

“This quartet has been burning up stages all around their hometown, fueled by their abrasive blend of doom metal, psych rock, goth and a tangy soupçon of pop music… They landed a spot on the 2018 Best New Band poll in alt-weekly Willamette Week, but could quickly take over the world.” — Paste Magazine
“They mesh elements of doom, Krautrock and atmospheric indie into one bewitching rock whole.” –Classic Rock Magazine
“A greasy, sun-baked rock jam calling back to the genre’s classic days while showcasing a heavy doom edge that gives it a modern spin.” 6 Best New Songs Right Now — Revolver Magazine

Portland, OR quintet Blackwater Holylight announce March 2020 headlining tour dates today, while also releasing a new video. The clip is a dramatic art short film set to the song “Jizz Witch” from the band’s 2018 self-titled debut album. Watch/share the video via YouTube HERE. Please see current tour dates below.
Blackwater Holylight released their acclaimed sophomore album Veils of Winter (RidingEasy Records) in October 2019. Hear/share Veils of Winter: YouTube, Bandcamp, Spotify.

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Coachella announces 2020 lineup.

The Coachella Valley Music and Arts Festival has announced its lineup for the two April weekends (10-12th, 17-19th) this year. As expected, it’s a weird mix that already has some people praising it and others deriding it.

If you ask me, the Friday dates are the best bang for your buck. Rage Against the Machine, Calvin Harris, King Gizzard and the Lizard Wizard, IDLES, Peggy Gou, Amyl and the Sniffers, Sleaford Mods, and Friendly Fires on one bill are worth the price of admission.

As for the Saturday dates, Thom Yorke and Caribou would be great to see, sure, but the announcement that was blowing up Twitter was that Danny Elfman would be playing there. No one yet knows if he’s bringing an orchestra to perform tunes from his many film scores, Oingo Boingo tunes, or a combination of both. Either way, it’s tempting to fly to California just to see his set. Fatboy Slim will put on a fun set on Sunday nights, I’m sure, but the rest of that lineup doesn’t thrill me.

Get your tickets while you can. The first weekend is already sold out.

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RidingEasy Records is reissuing Randy Holden’s rare 1970 doom metal album – “Population II.”

RidingEasy Records proudly announce the official reissue on physical and digital formats of the extremely rare 1970 proto-metal album Randy Holden – Population II. Considered one of the first doom metal albums ever, the ex-Blue Cheer guitarist’s solo debut has long been sought out by collectors. The remastered full length will be available on all streaming platforms for the first time, with a master more true to the original mix on LP, CD and streaming.

This weekend, Saturday December 21st, Holden will perform a rare live show at the Whiskey A-Go-Go in L.A. supported by drummer Mario Rubalcaba (Earthless, RFTC, OFF!) It will be a career-spanning set featuring songs from the Fender IV, the Sons of Adam, the Other Half, Blue Cheer, and his solo work, including Population II. Tickets and info HERE.

“Godzilla just walked into the room. People just stood there with their eyes and mouths wide open.”

To hear Randy Holden describe the audience’s reaction in 1969 to his solo debut performing with a teeth-rattling phalanx of 16 (sixteen!) 200 watt Sunn amps is about as close as many of us will get to truly experience the moment heavy metal music morphed into existence. However, at last we have unearthed the proper fossil record.
Population II, the now legendary, extremely rare album by guitarist/vocalist Holden and drummer/keyboardist Chris Lockheed is considered to be one of the earliest examples of doom metal. Though its original release was a very limited in number and distribution, like all great records, its impact over time has continued to grow.

In 1969, Holden, fresh off his tenure with proto-metal pioneers Blue Cheer (appearing on one side of the New! Improved! Blue Cheer album and touring for the better part of a year in the group), aimed for more control over his band. Thus, Randy Holden – Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present.

“I wanted to do something that hadn’t been done before,” Holden explains. “I was interested in discordant sounds that could be melodic but gigantically huge. I rented an Opera house for rehearsal, set up with 16 Sunn amps. That’s what I was going for, way over the top.”
And over the top it is. The 6-song album delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. It’s incredibly heavy, but infused with a melodic, albeit mechanistic, sensibility.

“At the time, I was hearing these crazy melodies everywhere I went,” Holden says. “I thought I was going crazy.” For example, one day he slowly rooted out a powerful sound that had been nagging him and discovered it coming from a ceiling fan. “Machinery all around us doesn’t turn in a perfect rhythm. That’s what I was tuning into, I heard the music and the discordant sounds coming from the machinery. It was perfect for rendering the machine we built.”

Troubles with the album’s release bankrupted Holden, who subsequently left music for over two decades. It was bootlegged several times over the years, but until now hasn’t seen a proper remaster and has yet to be available on digital platforms. “The original mastering just destroyed the dynamics of it,” Holden says. “They flattened it out. Now we got a really nice remaster that should be the closest thing to the original recording.”

Population II will be available on LP, CD and download on February 28th, 2020 via RidingEasy Records.

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Irreversible Entanglements return with wild 23-minute “single.”

Free jazz collective Irreversible Entanglements – comprised of poet/MC Camae Ayewa (aka Moor Mother), saxophonist Keir Neuringer, trumpeter Aquiles Navarro, bassist Luke Stewart, and drummer Tcheser Holmes – return with a new standalone single, “Homeless/Global,” out now via International Anthem and Don Giovanni. “Homeless/Global” is an unabridged take from the first moments of a recent Philadelphia recording session, and is the first piece of new music the group has released since their 2017 acclaimed self-titled debut. Their forthcoming follow-up LP will see release in spring of 2020.

Stream “Homeless/Global” –
https://intlanthem.bandcamp.com/album/homeless-global

“Homeless/Global” stretches out inside a vacuum of time, running over 23 minutes in a blink of an eye. The track starts by falling backwards into an energetic recollection of Strata East swing, swelling forcefully till it bursts into the foreboding preach of Ayewa. Her poem is wide-ranging, touching on migration, exile, and border violence. Ayewa runs down an inventory of Black history that “no one remembers.” The band builds back up through soaring saxophone by Neuringer, before the rhythm section simmers down to a deep pocket of psychedelic groove held together by Stewart’s mantric basslines and textured by Navarro’s extended trumpet technique, as drummer Holmes dances dynamically around a pulse. “Homeless/Global” captures the essence of the band in improvisational ritual, and the increasingly powerful capacity they’ve collectively developed over 2+ years on the road.

A statement on the music, from the band: “As with the session for our first album, we began this session by just setting studio levels and hitting that record button. ‘Homeless/Global’ was the first thing we played, no script, no plan. It’s a studio take that reflects what we do live: take the stage without a map, navigate the world in deep, telepathic, contrapuntal communion with each other and the histories we’re tapping into, push into the known and unknown, and arrive at the end together.“

Originally performing as two different ensembles at a Musicians Against Police Brutality event in 2015 (in response to the NYPD slaying of Akai Gurley), the five musicians that now make up Irreversible Entanglements recognized a shared ethos, and shortly after, assembled as a single unit for an impromptu studio date at Seizure’s Palace in Brooklyn. That session yielded their debut album Irreversible Entanglements (released by International Anthem & Don Giovanni in September 2017). Critical and communal acclaim for the album (including “Best of 2017” nods from NPR Music, WIRE Magazine, Bandcamp, and others) fueled a high demand for the band in the live setting, and the group have since spent much of 2018 and 2019 on the road. They have collaborated in performance with many legends of creative music including Amina Claudine Myers, Pat Thomas, and Nicole Mitchell; and their highest profile shows have included Pitchfork Music Festival in Chicago, Le Guess Who Festival In Utrecht NL, Barbican in London, and the Smithsonian in Washington DC.

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