Seth Walker drops the truth with his new single “The Future Ain’t What It Used to Be.”

Photo by Joshua Black Wilkins

Seth Walker has announced his eleventh album, I Hope I Know, will be released May 20 on Royal Potato Family. It’s the North Carolina-based singer/songwriter’s third studio collaboration with producer Jano Rix. Each song on the ten track collection shines with what many have come to love about Walker and his soulful Americana: diverse influences, contemplative lyrics, that signature blue tone on the guitar, and movement both geographic and spiritual. The album’s first single, “The Future Ain’t What It Used To Be” is out today (listen/share). Walker will support the album with a U.S. tour beginning in May.

I Hope I Know might best be described as Walker’s ’round-midnight album. Written in the midst of a breakup, relocating from his home in Nashville, TN to Asheville, NC, and the enduring mental struggles of the pandemic, it’s a beautiful reckoning with heartbreak, moving across states and coming to terms with the uncertainty of the future. Its tempos are slower and tonality darker than on previous work. In Walker’s words, he had to just “sit with it.” The music’s creation embodied trying and failing without forcing anything: not time, not the songwriting or its grooves, not a sense of control, not even his own healing. He credits the practice of “search and surrender,” a quest for new meaning in things he may never fully understand.

This last year and a half has personally cracked me open. In many ways, for the first time, I’m observing myself and how I relate to the music, how I sit with the feeling, the emotion, my shadow and light,” explains Walker. “I have always been in this place of action, and finally, when all this happened, I found myself in a  place of relinquishing—an  active state of inaction.”

The first sessions for I Hope I Know began in 2019, but it wouldn’t be until the second half of 2020 when Walker would truly dive into the writing and recording process. Oliver Wood—Jano Rix’s bandmate in The Wood Brothers—cowrote three of the songs, as did Walker’s longtime songwriting partner Gary Nicholson, while Jarrod Dickenson also contributed to one song. Among the album’s highlights are “Why Do I Cry Anymore,” which asks unanswerable questions about recovering from heartbreak, ultimately coming to the conclusion that love is still worth it. “Remember Me” haunts with old jazz and blues, a falsetto vocal, arco acoustic bass and dusty drums. The title track came from the “Ho’oponopono Prayer,” a Hawaiian poem about forgiveness and reconciliation that his mother sent him, which translates as “I am sorry. Forgive me. Thank you. I love you.” Special guest Allison Russell adds vocal harmonies.

Three cover songs featured on the recording offer something familiar to hold onto—a tinge of nostalgia, minus the impulse to cling to the past. The Bobby Charles‘ song “Tennessee Blues” perfectly speaks to Walker moving from Nashville into the mountains of Asheville as he tried to “figure out what just happened, post break up.”  Van Morrison‘s “Warm Love” is the perfect respite and breather. Bob Dylan‘s “Buckets of Rain” came spontaneously like a dream; Seth woke up one morning with the song in his head and quickly captured this rendition. 

The follow up to Walker’s 2019 album, Are You Open?—which debuted at No. 2 on the Billboard Blues Album ChartI Hope I Know is a distinct statement from the previous ten recordings in Walker’s discography. In its totality, the songs create a deep, but relatable journey, offering a beacon of light and ultimately safe haven, centered around the most precious of all gifts—Hope.

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P.E. discuss capitalism on “Contradiction of Wants.”

Photo by Vince McClelland

On March 25th P.E. will release their latest LP The Leather Lemon on Wharf Cat Records (Water From Your Eyes, Palberta, Lily Konigsberg). The follow up to 2021’s The Reason For My Love EP, which earned praise from outlets like StereogumBrooklynVeganBandcampThe Guardian (who had the EP’s title track on their 2021 Best Songs You Haven’t Heard list) and Pitchfork (who had the EP on their list of Great Records From 2021 You May Have Missed), the album has seen the release of two singles so far, lead single “Blue Nude (Reclined)“, and “Tears In The Rain“, a track that features Parquet Courts‘ A. Savage, and was described by Rolling Stone as “the perfect soundtrack for a neo-noir, with just a bit of tongue-in-cheek.” Today, P.E. are back with a final preview of their new LP, a track called “Contradiction of Wants”. 

LISTEN: 
to P.E. – “Contradiction of Wants” on
YouTube

This song is about the heartache and burden that is capitalism,” singer Veronica Torres explains. “Simultaneously experiencing disgust over consumerism and exploitation while singing along to the theme songThe Levi’s jeans commercial telling us to buy their product to waste less. Pink dolphins crying into the earth’s riversClimate change is real. Vegan’s snorting cocaine.”

To celebrate the album’s release the band will be playing a Brooklyn release show that will take place at Union Pool on March 23rd and will also feature A. Savage as a DJ and support from Pop 1280. Tickets are available to purchase here.

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Carmen Villain releases two versions of “Subtle Bodies” from her new album out now.

Photo by Sign Luksengard

US-born, Norwegian-Mexican artist and producer Carmen Villain (aka Carmen Hillestad) shares a new single, “Subtle Bodies,” from her forthcoming album, Only Love From Now On (out now on Smalltown Supersound), and in addition, presents a second version of the song by Huerco SOnly Love From Now On showcases Villain’s aesthetic blossoming into something unexpected, benevolent in its composure and altogether luxuriant in its sensuality. In turn, “Subtle Bodies” begins with minimalistic instrumentation, blooming with finely rich layers. Just like how lead single, “Gestures,” refers to Hannah Wilke’s video piece of the same name, “Subtle Bodies” pays tribute to the performance/sculpture of Ana Mendieta, who Hillestad responded deeply to in that artist’s rage, protest, and love for nature in connection to the female body.

“I found Ana Mendieta’s work deeply moving in many ways, in an emotional sense but also in the way she fully immersed herself into her art, connecting her humanity, strength, rage and vulnerability with nature,” says Villain. “It’s a deeply layered immersion. I had her, and especially her ‘Silueta’ series, in mind when I made ‘Subtle Bodies.’ Making music is for me about a complete immersion into sound, a continuous conversation between an idea and what comes back to me from what develops sonically. While I certainly consider Mendieta’s work and what she was communicating was far more important than what I do, she continues to be a big inspiration in many ways.”

Of the Huerco S version, Villain elaborates: “I have been a big fan of Brian’s work for a good while. He’s got an impeccable approach to sound and texture and communicates a lot with his music I think. So I was very happy he was into doing a version for me when I asked him. I asked him to choose whichever track he wanted from the album, and he went for Subtle Bodies. The result is deep and fizzy, I love it.”

Listen to Carmen Villain’s “Subtle Bodies” and “Subtle Bodies” (Huerco S. version)

Only Love From Now On is fueled by the sense of scale in feeling small in the face of things so large, the contemplation of how the biggest impact we can have is in the people close to us, the attempt to make sure that impact is a positive one, and the choice to try to focus on love instead of fear.

Listening to Only Love From Now On is simultaneously comforting and alluringly strange, with Hillestad engaging themes both philosophical and occasionally abstract. Hillestad describes it as “wishing to maintain a sense of careful optimism for the future, while on the cusp of something unknown.” Employing a panoply of instrumentation – such as woodwinds – field recordings, the studio, jam, and careful composition, Hillestad invokes a conversation with sound that occurs in her deliberate attempts to experiment with new methods, like granular synthesis, for her music-making. The emotional tenor of her music is clear and purposeful. It makes sense that her key musical touchstones are dub, ambient, and cosmic jazz – flexible vehicles for tranquil wonder. 

Listen to “Gestures” (with Arve Henriksen)

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Chelsea Jade’s sexy new single exudes “Good Taste.”

Photo by Picture

Chelsea Jade unveils the new single/video, “Good Taste,” from her new album, Soft Spot, out April 29th on Carpark Records. Premiering via FLOOD, “Good Taste” follows lead single “Optimist,” a calibration of Jade’s skills in passing pop through an R’n’B tinged lens, and is presented alongside a video illustrated by Frances Haszard. “It’s like a miracle // Feeling your charisma getting physical,” Jade begins atop svelte production courtesy of herself and Bradley Hale (Now, Now). “And yeah, I’m miserable // But oh it’s such a mood getting sad,  getting sexual.” “Good Taste” features additional vocal engineering and production by Luna Shadows, and sees MUNA’s Naomi McPherson and Josette Maskin lending their guitar prowess.

Of the track, Jade says: “I met someone at a party while I was living in a hotel for a briefly opulent moment in time. The next night they met me in the lobby and eventually we made our way up to my room. It’s an implicitly sexy situation but we parted without touch. As soon as they left I asked if they wanted to come back and when the elevator opened on the ground floor, they got in and ignited the most cinematic make out plus I’ve ever had. This song is about that encounter. I imagine the first half to be an internal fantasy until the real first touch when the production explodes into maximalism.”

On the video, Haszard remarks, “The world already existed- black and white, linear and basey with augmented senses and ripples of distortion. These things translated easily into my frame by frame animation with my awkward impressions of 3D and motion. I’m self taught and a bad teacher so my style suits working with artists who enjoy imperfections and have a sense of humour about what unfolds.”

Watch Chelsea Jade’s “Good Taste” Video

Jade brings her “good taste” to Colorado’s Red Rocks Amphitheater where she’ll perform with Jai Wolf on June 8th. Tickets are available here. A New York City headline show to celebrate the release of Soft Spot will also be announced soon!

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Vicky Farewell’s new single, “Kakashi (All of the Time),” is good all of the time.

Photo by Lauren Kim

Orange County-bred Vicky Farewell releases a new single/lyric video, “Kakashi (All of the Time)” from her debut album, Sweet Company, out April 8th on Mac’s Record Label. The anime-inspired standout “Kakashi” came about during a COVID lockdown binge of the Naruto series. “It’s probably the most fun I ever had writing a song,” says Farewell. “It’s also the most embarrassing and I thought I’d never share this with anyone, but here we are.” Elongated synth acts as the song’s backbone, as Farewell’s saccharine voices sparkles across.

Watch Vicky Farewell’s Video for “Kakashi (All of the Time)”

Farewell’s emergence as a solo act is the latest chapter in an already impressive career. A classically-trained pianist, songwriter, and producer, Farewell began to flourish at the epicenter of the funk-addled and deeply experimental Angeleno musical ecosystem alongside The Free Nationals in the studios of Shafiq Husayn (of Sa-Ra Creative Partners) before graduating to the legendary hip-hop producer Dr. Dre’s. She also boasts writing credits on Anderson.Paak‘s acclaimed GRAMMY-nominated album Malibu (Best Urban Contemporary Album) and the GRAMMY-winning album Ventura (Best R&B Album). With this rare combination of elite musicianship and singular vocal performance,  Farewell produced, arranged, and engineered Sweet Company herself. Her particular knack for pocket-driven ear worms match the album’s melancholy tone with whimsical notions and unbridled joy.

Sweet Company cements Farewell as a true record producer, complete with the confidence to let the music do the talking. For Farewell, it’s “all about the music and the music is fucking good.”Sweet Company is a bold statement of artistic capacity delivered in feather-light refrains, bursting phasers, and robust arpeggios that conjure pastels and the tender nostalgia of a childhood crush. Farewell finds herself fully realized in the span of eight tracks painstakingly designed to shatter industry norms. 

Pre-order Sweet Company

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Joe Rainey announces debut album, due May 20th, with powerful first single – “no chants.”

Photo by David Guttenfelder

Pow Wow singer Joe Rainey announces his debut album, Niineta, out May 20th on 37d03d (the label founded by Justin Vernon of Bon Iver, and Bryce and Aaron Dessner of the National), and shares the first single/video, “no chants.” On Niineta, Rainey demonstrates his command of the Pow Wow style, descending from Indigenous singing that’s been heard across the waters of what is now called Minnesota for centuries, and accompanied by cinematic, bass-heavy production from Minneapolis producer Andrew Broder. Depending on the song or the pattern, his voice can celebrate or console, welcome or intimidate, wake you up with a start or lull your babies to sleep. Each note conveys a clear message, no matter the inflection: We’re still here. We were here before you were, and we never left.

Rainey grew up a Red Lake Ojibwe in Minneapolis, a city with one of the largest and proudest Native American populations in the country. The Red Lake Reservation sits five hours to the North, a sovereign state unto itself, but Rainey grew up down in what Northerners call “The Cities,” in his mom’s house on historic Milwaukee Avenue on Minneapolis’ South Side. He was raised less than a mile away from Franklin Avenue, the post-Reorganization Act urban nexus of local Native American life, a community centered in the Little Earth housing projects and the Minneapolis American Indian Center. The neighborhood still serves as a home for both the housed and the un-housed, and the don’t-even-wanna-be-housed Native. It is the birthplace of the American Indian Movement (AIM), the pioneering grassroots civil rights organization founded to combat the colonizing forces of police brutality. Rainey came of age in the heart of this community, but always felt like he was living in a liminal space—not that he was uncomfortable with that. “Growing up, knowing that you weren’t from the Rez, but you were repping them, was kind of weird,” he says. “But I liked that.”

Rainey became interested in Pow Wow singing as a child—at the age of five, he started recording Pow Wow singing groups with his GE tape recorder, and his mom enrolled him in a dancing and singing practice with the Little Earth Juniors soon thereafter. As a pre-teen he began hanging out around The Boyz (a legendary Minneapolis drum group) at a house some of them stayed at in the Little Earth projects. By the time he was a teenager he had found enough courage to help start The Boyz Juniors, his first drum group, before going on to sing with Big Cedar, Wolf Spirit, Raining Thunder, Iron Boy, and eventually, Midnite Express, a new drum group featuring some of The Boyz themselves. Rainey was always just as much of a fan as he was a participant—when he wasn’t at his own drum, he was recording other drums, then studying the tapes when he got home, admiring and cataloging the different singing styles, whether it was Northern Cree, Cozad or Eyabay.

On Niineta, Rainey finds himself in between cultures again. This time collaborating with Andrew Broder, who brought his multi-instrumentalist, turntablist sensibility to the project. The two of them first met backstage at Justin Vernon’s hometown Eaux Claires music festival before encountering each other more frequently through Vernon and Aaron and Bryce Dessner’s 37d03d collective—both contributing to the last Bon Iver album before broaching the possibility of working together sometime in the future. “At first I didn’t know what I could add to Joe’s incredible recordings,” Broder says. “But eventually I came to understand everything is rooted in the drum—even the songs on our record that have no drum, they’re still rooted in the drum.” So each song started with Broder’s beats, the two of them experimenting with various sounds and tempos, before bringing in other 37d03d collaborators to orchestrate and recontextualize the ancient Pow Wow sound in strange, new in-between places. The album pulls from Rainey’s vast sample folder of Pow Wow recordings, layering and remixing slices of his life of singing in venues across the upper Midwest and Canada.

Rainey got his title, Niineta, from his drum brother Michael Migizi Sullivan, who suggested a short version of the Ojibwe term meaning, “just me.” But he’s using the term only in the sense that he’s taking sole responsibility for its content. Rainey is protective of Pow Wow culture—which was outlawed by the United States government for a generation, defiantly maintained in secret by Native elders he deeply respects—while trying to figure out exactly where he fits into it and how he can fuck with it on his own terms. He uses the analogy of working the hotel room door at a Pow Wow. “You can think of this like, hey man, if all these people are going to be fucking knocking and I’m the one answering the door, you’re going to realize that I’m not the only one in this motherfucker. There’s tons of people in here. So if I’m answering that door, I want to be like, hey, yeah, come on in. There’s fucking tons of us in here. It ain’t just me.”
Watch/Stream “no chants”

Pre-order Niineta

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Jon Spencer and the Hitmakers announce new album and tour.

Photo by Michael Lavine

Get ready for JON SPENCER & the HITmakers to BURN your playhouse down with their new long-player, SPENCER GETS IT LIT!  The incredible, indelible Jon Spencer (Blues Explosion, Boss Hog, Pussy Galore, Heavy Trash, etc) is back with the incendiary HITmakers  - and with his HOTTEST record yet!  

Spencer Gets It Lit is classic Jon Spencer taken to the extremis – electro-boogie, constructivist art pop, a psychedelic swamp of industrial sleaze and futurist elegance. It is an epic master work of freak beat from the world’s weirdest garage. Across brain-boggling layers of fury, fuzz guitar, and a crash-bang battery of phaser blasts, photon torpedoes, and otherworldly zounds, he frantically spits, croons, rhapsodizes, and seduces. 

Spencer Gets It Lit is his most complex and groovy record in years, a dark, danceable odyssey – both a studied take-down of the early 21st century, and a celebration of the place where electricity meets the mind.  Thirteen wicked hot songs of love, loss, lust, life — from the Farfisa-fueled,warped psycho -punk  rave-up of “Junk Man,” to the intimate lover’s plea of “My Hit Parade,” to the outer-space end-of-days country funk of “Worm Town,” Spencer Gets It Lit delivers all of the friction, excitement, and post-modern depravity one could ever ask for! 

Says Spencer, “Send out the Hit Signal! This is the most uncompromising album I’ve ever made!”  And the HITs just keep on coming!  THIS JUST IN! Taking over drum duties for the HITmakers on their upcoming spring tour will be superstar of skins Janet Weiss of Sleater-Kinney, Quasi, Wild Flag, The Jicks, Slang, etc. etc!!!  Wait… What’s that? There’s more?  Every show will be opened by a full set from Janet and HITmaker Sam Coomes championship tag-team, Quasi!  Guaranteed to be a tour for the ages!!!  True heroes of the underground!  Freak forces combined and multiplied in this indie-rock dream bill! 

TOUR: 4/11 Buffalo, NY Rec Room

4/12 Toronto, ON Lee’s Palace

4/13 Detroit, MI El Club

4/14 Chicago, IL Schubas

4/15 Milwaukee, WI Back Room at Colectivo

4/16 Minneapolis, MN 7th Street Entry

4/18 Omaha, NE Waiting Room

4/19 Denver, CO Globe Hall

4/20 Salt Lake City, UT Urban Lounge

4/21 Boise, ID Neurolux

4/22 Portland, OR Dantes

4/23 Vancouver, BC Fox Cabaret

4/24 Seattle, WA Madame Lou’s (The Crocodile Second Stage)

4/26 San Francisco, CA Bottom of the Hill

4/27 Los Angeles, CA The Echo

4/28 San Diego, CA Casbah

4/29 Tucson, AZ 191 Toole

4/30 Phoenix, AZ Valley Bar

5/01 Santa Fe, NM Tumbleroot Brewery & Distillery

5/02 Colorado Springs, CO The Black Sheep

5/03 Wichita, KS Wave

5/04 Kansas City, MO Record Bar

5/05 St. Louis, MO Blueberry Hill Duck Room

5/06 Indianapolis, IN Hi-Fi

5/07 Louisville, KY Zanzabar

5/08 Charlottesville, VA The Southern

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Psymon Spine announces remix album and reveals first remix by Joe Goddard of Hot Chip.

Joe Goddard photo by Marc Sethi, Psymon Spine photo by Ruvan Wijesooriya

Psymon Spine—the Brooklyn, NY based music collective fusing psychedelic indie pop and the deep grooves of dance music—today announced Charismatic Mutations, a remix album of their 2021 album Charismatic Megafauna, will release April 1st, 2022 via Northern Spy Records and shared “Milk (feat. Barrie) – Joe Goddard Remix.” 

Joe Goddard (Hot Chip) shared the following note on the track rework: “This remix was very natural and very joyful for me.  I did it in lockdown so I felt a sense of freedom and playfulness that was really nice and actually, in retrospect, very unique.  I love the vocals on this song, so I placed them at the forefront, and I tried to sonically make the mix one that was balearic and satisfying.  Macrodosing.”

The members of Psymon Spine grew up in the ‘00s and ‘10s with a deep appreciation for the art of “the remix,” and after the release of their latest album Charismatic Megafauna, the band found themselves craving longer and more dance-floor friendly versions. 

Additional contributors to Charismatic Mutations include Love Injection, Dar Disku, Each Other (Justin Strauss and Max Pask), Safer (of the Rapture and Poolside), Bucky Boudreau and Psymon Spine’s own Brother Michael

Released early in 2021, Psymon Spine’s Charismatic Megafauna explored complicated feelings and catharsis through a singular approach to left-of-center indie, electronic and dance sounds. The release earned praise from publications such as PasteFLOOD, Brooklyn Vegan, Under The Radar, and NME; playlist support from NPR Music (New Music Friday), Spotify (All New Indie, undercurrents, Fresh Finds), Apple Music (Midnight City, Today’s Indie Rock), and TIDAL (Rising: Indie/Rock); and notable airplay from KEXP, KCRW and the BBC.

Read more and preorder Charismatic Mutations here.

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El Ten Eleven’s “The Time Knife” is a wild instrumental new single.

Photo by Mark Owens

El Ten Eleven, who recently announced the March 4 arrival of New Year’s Eve via Joyful Noise Recordings, have released a third single from the forthcoming collection: “The Time Knife” (https://lnk.to/TheTimeKnife).

Kristian Dunn explains how the TV show, “The Good Place,” influenced the track: “A character named Chidi has just returned from an interdimensional trip that only lasted a moment and, overwhelmed, says, ‘I just saw a trillion different realities folding onto each other like thin sheets of metal forming a single blade.’ Ted Danson’s character responds, saying, ‘Yeah, yeah, the time knife, we’ve all seen it.’ My wife and I were watching this together and for whatever reason this struck us as so funny we couldn’t stop laughing. This song is a combination of my experience with my wife (and experiences, journeys, really, generally with her) and Chidi’s journey.”

“The Time Knife” is the third preview of the forthcoming collection, with the Los Angeles-based duo previously sharing “Meta Metta” (https://youtu.be/GpqP72YYfJc), a performance clip was filmed at The Cube in Los Angeles, and the title track (https://youtu.be/8bQGY9cBpIo).

New Year’s Eve is a reference to guarded optimism about what is to come. At the time, it seemed like our national divisiveness might be waning and the end of the pandemic was near. But of course that’s not how it turned out,” said Dunn upon news of the forthcoming album’s release. “That’s what New Year’s Eves are. You think it’s gonna be a fun night, but usually it’s disappointing at the end.”

Over the course of 20 years and 11 albums, El Ten Eleven continue to redefine the potential of bass guitar and drums. With an arsenal of pedals, labyrinthine arrangements, and a deft use of looping, Dunn (bass) and Tim Fogarty (drums) create two-man symphonies. With New Year’s Eve, the duo melds electrifying disco grooves with their tried-and-true experimental rock atmospherics.

El Ten Eleven Tour Dates:

Apr 6: Omaha, NE Slowdown^

Apr 7: St. Paul, MN Turf Club^

Apr 8: Chicago, IL Chop Shop^

Apr 9: Grand Rapids, MI Pyramid Scheme^

Apr 10: Indianapolis, IN HiFi^

Apr 13: Cleveland, OH Beachland Ballroom^

Apr 14: Pittsburgh, PA Thunderbird^

Apr 15: Washington, DC Union Stage^

Apr 16: Philadelphia, PA Milkboy^

Apr 20: Rochester, NY Bugjar^

Apr 21: Rochester, NY Bugjar^

Apr 22: Boston, MA Paradise^+

Apr 23: Brooklyn, NY Brooklyn Made^+

* Sego supports

& Mylets supports

^ Cedric Noel supports

+ A Beacon School supports

European tour dates:

May 12: Glasgow, UK @ Broadcast

May 13: Leeds, UK @ Boom

May 14-15: London, UK @ Portals Festival

May 15: Bristol, UK @ The Crofters Right

May 17: Paris, FR @ Supersonic

May 18: Den Bosch, NL @ Willem Twee Poppodium

May 19-20: Copenhagen, DK @ A Colossal Weekend

May 22: Berlin, DE @ Prachtwerk

May 23: Hamburg, DE @ Indra

May 24: Cologne, DE @ Helios37

May 27: Metz, FR @ Young Team Festival

Dunn (bass/guitar) and Fogarty (drums) have flourished outside the accepted norms of rock orthodoxy, releasing eight full-length albums, four EPs and performing over 750 live shows. Utilizing inventive arrangements and a masterful use of looping, El Ten Eleven have been noted for their ability to create a sound much bigger than their individual parts. SF Weekly said of the pair’s live performance: “watching El Ten Eleven play is something like watching two superheroes do their thing.” Consequence of Sound called their music “euphoric,” KEXP described their output as “transcendent” and Under The Radar declared the pair’s unique style a “buoyant brand of post-rock.”

# # #

Elteneleven.com

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YouTube.com/elteneleven

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The Beths’ new single, “A Real Thing,” is indeed a really good thing.

Photo by Frances Carter

The Beths return with “A Real Thing,” their first new song since the release of 2020’s Jump Rope Gazers. “A Real Thing” comes as The Beths begin their long-awaited North American headline tour, which has been rescheduled twice due to the ongoing COVID-19 crisis. Last year, the band released Auckland, New Zealand, 2020, a live concert recording that showcased the infectious energy The Beths bring to every performance, and what audiences have been so dearly missing.

 “‘A Real Thing’ is a kind of anxiety dream. It’s a bit muddled, a bit frantic, a bit sinister,” says lead singer Liz Stokes“It’s what came out of my guitar in late 2020, post NZ election (and U.S. election). I was limply reaching for optimism about the future, but was really just marinating in dread.” Ultimately playing more apocalyptic scenarios of climate change in her head, Stokes’ lyrics include specific references to how New Zealand has dealt with sea level rise in the past: “In NZ people sometimes use tyres and cement to build retaining walls by the water, to try to stop the land being eroded away as the sea encroaches. It doesn’t really work.” It’s a poignant image for a band that has had to navigate the constant changes in our present moment.

The deep bond between Stokes, lead guitarist Jonathan Pearce, bassist Benjamin Sinclair, and drummer Tristan Deck, has allowed them to overcome challenging circumstances and that’s present in the upbeat urgency of “A Real Thing.” It’s palpable from the very start and paired with the band’s signature bright, raucous guitar hooks and cooing harmonies; the song races and soars, much like an increasing heart rate. The Beths’ infectious and insightful songwriting on “A Real Thing” is an exciting marker of more excellent work to come, and the perfect way to mark the beginning of tour. 

Stream/Watch “A Real Thing”The Beths Tour Dates

Tickets available from thebeths.com

Tue. Feb. 15 – Austin, TX @ Empire Garage
Wed. Feb. 16 – Dallas, TX @ Club Dada (SOLD OUT)
Fri. Feb. 18 – Atlanta, GA @ Masquerade (Hell) (SOLD OUT)Sat. Feb. 19 – Nashville, TN @ Mercy Lounge
Wed. Feb. 23 – New York, NY @ Webster Hall (SOLD OUT)
Thu. Feb. 24 – Philadelphia, PA @ Underground Arts (SOLD OUT)
Fri. Feb. 25 – Washington, DC @ Black Cat (SOLD OUT)
Sat. Feb. 26 – Boston, MA @ Royale
Mon. Feb. 28 – Hamden, CT @ Space Ballroom
Wed. Mar. 2 – Chicago, IL @ Metro
Fri. Mar. 4 – Minneapolis, MN @ Fine Line
Thu. Mar. 10 – Sydney, AU @ The Factory Theatre (SOLD OUT)
Fri. Mar. 11 – Brisbane, AU @ The Zoo (SOLD OUT)
Sat. Mar. 12 – Melbourne, AU @ The Night Cat (SOLD OUT)
Sun. Mar. 27 – Southampton, UK @ The LoftMon. Mar. 28 – Leeds, UK @ Brudenell Social Club (SOLD OUT)
Tue. Mar. 29 – Glasgow, UK @ St Luke’s
Thu. Mar. 31 – Manchester, UK @ Club Academy
Sat. Apr. 2 – Birmingham, UK @ The Castle and Falcon
Sun. Apr. 3 – Bristol, UK @ Exchange
Mon. Apr. 4 – London, UK @ O2 Forum Kentish Town
Tue. Apr. 5 – Brighton, UK @ Concorde II
Thu. Apr. 7 – Paris, FR @ Point Ephémère
Fri. Apr. 8 – Lyon, FR @ Le Marché Gare
Sat. Apr. 9 – Dudingen, CH @ Bad Bonn
Sun. Apr. 10 – Lausanne, CH @ Le Romandie
Tue. Apr. 12 – Milan, IT @ BikoWed. Apr. 13 – Munich, DE @ Feierwerk
Fri. Apr. 15 – Vienna, AT @ B72
Sat. Apr. 16 – Prague, CZ @ Underdogs’
Mon. Apr. 18 – Berlin, DE @ LidoTue. Apr. 19 – Copenhagen, DK @ VEGA Ideal Bar
Wed. Apr. 20 – Hamburg, DE @ Molotow
Thu. Apr. 21 – Cologne, DE @ Bumann & Sohn
Fri. Apr. 22 – Brussels, BE @ Ancienne Belgique
Sat. Apr. 23 – Amsterdam, NL @ Paradiso
Sun. Apr. 24 – Esch-sur-Alzette, LU @ Kulturfabrik
Sat. Jul. 24 – Seattle, WA @ Capitol Hill Block Party
Sun. Aug. 14 – Toronto, ON @ Lee’s Palace

Keep your mind open.

[It would be a real good thing if you subscribed.]

[Thanks to Patrick at Pitch Perfect PR.]