Not long ago, Blackwater Holylight left their Pacific Northwest stomping grounds, and the gray, rainy days there, for sunny Los Angeles. The band (Eliese Dorsay – drums, Sunny Faris – bass, guitar, vocals, Mikayla Mayhew – guitar, Sarah McKenna – synths) decided they needed not only a change of space, but of perspective, and the resulting album, Not Here Not Gone, reflects the feeling of being between physical and mental spaces.
The title of the opening track, “How Will You Feel,” reflects this as Faris asks us to examine our emotions and physical reactions as we adapt to change (willingly or not). The sound of this song also reflects the blending and shifting of shapes for the band. They meld their Pacific Northwest “gloomgaze” sound with bright southern California synths.
Their love of shoegaze comes through strong on “Involuntary Haze” – which could be a drug reference, but I doubt it. I think it’s about the odd feeling of being confused after you’re thrust into a new situation or place and are overwhelmed by sensory input. They crank up the amps and gravity on “Bodies.”
“Heavy, Why?” was the album’s first single and it’s a good example of BWHL’s blend of shoegaze, metal, psychedelia, and, I’ll say it, dreampop. Faris’ voice could easily carry an entire dreampop album if she wanted, and McKenna’s synths almost add an ELO touch to the song. Mayhew riffs on this practically shove you into a wall.
The instrumental “Giraffe” is a short mix of smoky synths and electro beats to shift your brain and ears into further exploration of the path BWHL have laid out on the album…because along comes “Spades” – a track that will impress all of your metalhead friends and have dudes in battle-vests running for their merch table. It’s one of the best metal tracks of the year…and it’s only January. Dorsay’s drumming on “Void to Be” reminds me of tribal beats designed to change your perception of what’s around you.
“Fade” is another standout. It’s downright gorgeous and is one of the best shoegaze tracks of the year…and it’s only January. “Mourning After” is the kind of song that BWHL do so well: Somewhat gothic, somewhat heavy, somewhat fuzzy, somewhat crushing, somewhat sad, all beautiful. The closer, “Poppyfields,” is pulsating stunner about a friend of the band losing their home in a California wildfire.
BWHL have long been considered a doom band with their heavy riffs and heavy lyrics. The last time I saw them live, at the 2021 Psycho Music Festival in Las Vegas, Faris opened the show by saying, “Hi. We’re Blackwater Holylight, and we’re going to play a bunch of sad songs for you.” There is far more to them than doom and gloom, however. There’s always a powerful strength and at least a glimmer of hope on all of their albums. Not Here Not Gone is no exception.
This is in the running for one of the top albums of the year…and it’s only January.
“We just started writing without any kind of preconceived notion of what we were trying to make. A lot of the songs just came from jamming…We wanted to make an emotive record and relay how we were feeling about all these massive changes that have been happening, not just in our lives, but in general. Like, where the fuck is the world heading? How is that affecting us? And how can we express it in a way that people can relate it to what’s happening in their lives? If we can make an honest record and put as much of ourselves as we can into this thing, you can’t replace that with a machine.”
Those are quotes from Constantin Tzenos, one half of Odonis Odonis (the other half being Denholm Whale), about their new self-titled album. The duo decided to create something that would push back against not only the stresses of the world at-large, but also their demanding other jobs (concert promotion for Whale – a field that’s always feast or famine – and film and TV composition for Tzenos – a field being taken over by AI programs).
“The Same” has them wondering why so much of everything feels familiar, and not in a good way, while they spin a bold sound that blends shoegaze with dark wave. “Hijack” continues this, with a thick Cure-like bass line and lyrics about reclaiming one’s narrative (“Don’t let them talk to power.”). That bass cranks up the power on “Come Alive” and yet the track is one of the trippiest on the album. “Work It Out” is a call for the band and their peers to get out of their doldrums and fix the stuff their parents and grandparents let go fallow (“My generation’s so dumb,” Tzenos complains.).
“When you’re breaking me down, well, I hope you had fun,” they sing on “Consumed” – a dark one that layers the synths and echoes the drums to nice effect. Then comes “Hunter,” which roars during the chorus and growls during the verses – much like some kind of predator…which might be a corporation, a billionaire, a politician, or in some cases all three in one.
The drum work on the nearly instrumental (the few lyrics are so layered with reverb that they become incomprehensible) “Distraction” is sharp, blending rat-a-tat snare work with crispy cymbal snaps. You can hear the duo’s “Let’s just jam and see what happens.” idea for the album in full here, and it makes me want a whole album of stuff like this from them.
“We Are Gods” is a punch at toxic, rich elitists who think they’re above everything and can’t admit how secretly miserable they are. Finally, on “Bliss,” Tzenos realizes that he, Whale, and the rest of us can find the very thing in the title (and “the sunshine,” as he keeps repeating) if we wish, are willing to do the work (or, in some cases, give up the work that’s been stifling us), and accept it.
It’s a good message to end an album and start a new year. We don’t have to keep doing the same things, voting for the same people, or putting the same job before our bliss. It’s there for the taking – as is this record.
trauma ray’s Carnival EP captures the Fort Worth’s five strongest, most intense, and exploratory work within the boundaries of a whirlwind year. Carnival delves into moodier, more cerebral material, like holding their past excursions against a funhouse mirror. There’s a distinct sense of unease in these songs, built as a band in a fleeting window of time, proving they work best under pressure and when pulling from the darkest corners of their subconscious.
Carnival follows in the breakout success of Chameleon, their 2024 debut on Dais Records which further established trauma ray amidst the current wave of shoegaze revivalists, yet increasingly agile, able to weave between scenes, touring extensively since with the likes of Deafheaven, Loathe, Touché Amoré and more. A confluence of blitzing riffs and stark beauty, trauma ray’s sound continues to evolve, nodding to loud-quiet-loud greats across metal, grunge, and shoegaze from Slowdive to Smashing Pumpkins.
trauma ray’s new single and video “Hannibal” contorts with a tinge of unprecedented evil, slithery, “Stone Temple-y, Alice in Chains-y,” vocalist Uriel Avila quips. Lyrically, he taps into teenage angst, the feeling of being dissected and rejected. “It’s a song about the feeling of doing your best as an individual yet still falling short in the eyes of those you hope to make proud.” adds Avila. “A lot of it stems from internal battles I faced growing up with my father, role models, and religion. Some of it comes from more recent experiences of being put under the microscope by my peers. It’s a gut wrenching sensation that I was able to tie lyrically to the visceral mood of the instrumentation that kicks off the track and begins the journey through Carnival’s overall theme.”
trauma ray used a break in their relentless touring schedule in Summer of last year to regroup in Texas for a few days to record a flurry of tracks; then sent off to Corey Coffman (They Are Gutting A Body of Water, Milly) for mixing and mastering. “It’s the most collaborative we’ve been, where everyone was both hands-on and hands-off,” says Avila. “You can really hear each person’s influences in almost every song in a very unique, non-biting way.” Avila and guitarist Jonathan Perez, the band’s core songwriting duo to date, welcomed more contributions from others, notably an eerier strain of rhythmic and textural ideas from guitarist Coleman Pruitt and bassist Darren Baun. The direction coincided with a growing sense of collective dread and anxiety, and a striking photo set of a deserted amusement park near Brighton, England, taken on tour by drummer Nicholas Bobotas and now featured as the artwork. “It really looks like we specifically chose this theme and like had this whole preconceived idea, but it truly appeared out of thin air,” says Perez.
The wordless “Carousel” ushers in the EP’s unsettling atmosphere with blasts of static and downcast strums giving way to “Hannibal”, the anthemic lead single packed with power riffs and raw emotion. “Méliès”, named after the French illusionist and filmmaker Georges Méliès, cuts between heavy, sludgy chords and a skyward chorus, “from something scary to like a dream state,” says Avila, who channels the namesake’s surreal abstraction. His lines detail, “being stuck in your head and just making up realities that probably aren’t the real thing going on, when you don’t want to face the truth.” “Funhouse” dips into doom metal, with sparse guitar work and possibly the band’s slowest ever BPM, as self-proclaimed Sleep-heads. Lyrics play with shifting perspectives, culminating in the call-and-response outro (“take my hand / this is not your wonderland”) that conjures two forces, or frames of mind, at odds with one another.
In contrast, the final track “Clown” jolts, flashes, and pummels, like the listener has come out the other end of a house of horrors, now fully immersed in the jarring, disorienting lights of the carnival. Personified by a knotty, synthy lead guitar squall — “the lead tone is something I’m super proud of, we’ve never had something like that in a trauma ray song,” per Perez — “Clown” reminds them of Robin Williams, an archetype of tragic happiness, how the people trying the hardest to make others laugh may privately be the saddest. Sonically, the band is quick to credit the influence of “Undone” and “Stuck on You” by ’90s cult favorite Failure, alongside the omnipresent Loveless, which gets to the greatness of trauma ray: five musicians absorbing, synthesizing, and expanding on what they love. Carnival offers a brief and highly loopable detour into darkness from a band growing more formidable by the mile.
Just Mustard‘s third album, We Were Just Here, opens with squalling guitar that sounds like an alarm that has a battery that’s slowly going dead. The band was looking for hope on the album, and I can’t help but think that its title refers to the deja vu (and dread) we’re all feeling right now in the political atmosphere.
“Pollyanna” is, in fact, named after a character who was eternally optimistic, and Katie Ball‘s vocals have a lovely bounce to them while her bandmates practically summon a UFO from outside our orbit. “Endless Deathless” roars off like a spacecraft designed in an Irish farmhouse going to meet that UFO and ask anyone inside how we can fix this place. It’s a stunner that will immediately go onto your cardio playlist. Guitarist David Noonan joins Ball on vocals for “Silver” – a song that bounces back and forth not only between their microphones, but also between Noonan’s guitar Mete Kalyoncuoglu‘s.
Ball’s vocals on “Dreamer” echo all around you, keeping on the theme of euphoria (and the healthy search for it – “I don’t wanna go where I can’t feel a thing.”) prominent across the record. The title track is another stunner with guitars roaring everywhere. “Somewhere” has Robert Hodgers-Clarke on bass and Shane Maguire on drums creating a neat, smoky, and slightly menacing atmosphere as the guitars swell and fall like waves.
“Dandelion” seems to be about perseverance, as dandelions can and do grow practically anywhere and Ball compares herself to one as she hopes she won’t be overlooked by a potential lover. “That I Might Not See” is a song about being so euphoric you’re not sure if what you’re experiencing is real or not. “The Steps” has Ball following her lover across unexplored territory, and the closer, “Out of Heaven,” has the band coming back down to Earth…but now the Earth has changed.
That’s what they hope for all of us: That the planet will change after we all take the time to have an out-of-body experience or two. Small actions create large changes. We don’t need to return to a place we’ve already been. That moment, that place, is gone and has been for a long while. Here is now. Just Mustard is now.
Keep your mind open.
[You were just here? The subscription box is just over there.]
Here we are at the top ten albums I reviewed last year. The choices get tougher as the numbers get lower. Let’s get to it.
#10: The Limiñanas – Faded
A salute to forgotten models, actresses, singers, and to lost friends, Faded is another solid album from the French psych-rock duo. It has all the elements you want from The Limiñanas – wild guitars, heartbeat drums, smoky vocals, and a sense that they’re re-creating something you’ve forgotten.
#9: Blackwater Holylight – If You Only Knew
It was great to get a new recording from Blackwater Holylight last year (and a new full-length album is already on the way), and If You Only Knew marked a turn toward shoegaze for them. I’m all for it. The heavy guitars and deep, often sad lyrics are still there. Perhaps doom-gaze is a better description of it. Then again, why bother describing it? Just let overwhelm you.
#8: Frankie and The Witch Fingers – Live at KEXP
I’ve been waiting for a live Frankie and The Witch Fingers album for a little while, and this recording of a raw, raucous show for KEXP didn’t disappoint. It’s difficult to capture their live show energy, but they did it. The fact that they open the show with “Brain Telephone” (an oldie) makes it even better.
#7: Roi Turbo – Bazooka EP
This, simply put, is the best house music record I heard all last year. It makes you crave a longer record. These guys are having a lot of fun and thankfully they invited us to the party.
#6: Joe Alterman & Mocean Worker – Keep the Line Open
This jazz-funk-trip-hop record is a delight from start to finish as pianist Joe Alterman and producer / DJ Mocean Worker pay tribute to funky legend Les McCann. Every song is highly danceable and will brighten any time of day.
Up next, the top five, which includes two welcome returns, another legend, electro upstarts, and brash post-punks!
Coming back with their first new music since 1999, Lowsunday bring you a lot of heavy shoegaze riffs, post-punk bass, and psychedelic reverb on their Low Sunday Ghost Machine – White EP.
“Nevver” (Or is it “Newer?”) has lead vocalist Shane Sahene musing over how apathy has overcome him (“I used to care too much. Now I can’t care less.”) while Bobby Spell‘s near-disco bass line rumbles around him. “Call Silence” is a slick track of gothic shoegaze about missing a loved one after a breakup or a death when you realize they’re no longer going to answer your call.
On “Soft Capture,” Sahene realizes he’s the problem with lyrics like “I wish I believed you and I weren’t sick of me.” The Joy Division influence on the track is evident with its thick bass, spacey guitars, and distant vocals. “You Lost Yourself” reminds me a bit of early stuff from A Place to Bury Strangers, and has sharp lyrics about games played in relationships like “Some pretend to love while others love to pretend.” The bass and drums work especially well together on this track, too.
The EP closes with the sharp yet heavy “Love Language.” It could be a new darkwave smash. The wall of sound it creates is impressive and a bit intimidating, and Sahene’s hope that learning to love someone will at least slow down the pain inside him resonates with anyone who’s been lonely (AKA all of us).
It’s a good return for these chaps, and an EP that will help you drift into a different headspace for a little while.
Keep your mind open.
[You’ll be speaking my love language if you subscribe.]
DEDSTRANGE’S NEWEST ADDITION TO THE DEDSTRANGE FAMILY, MEXICO’S NOISE ROCK TRIO, SUNSET IMAGES
RELEASES THEIR SECOND SINGLE, “EL TIEMPO OSCILA Y MUEREAL INCIO (TOMMY)”,OFF OF THEIR UPCOMING ALBUM ‘OSCILADOR’AND IT’S OUT NOW EVERYWHERE!!!
Sunset Images‘ “El Tiempo Oscila y Muere Al Inicio (Tommy)” is a sprawling, motorik dirge that explores humanity’s self-destruction. A bruised and distorted bassline throbs like a wounded soul, as hypnotic guitars swirl & feedback in the distance, conjuring visions of a world ravaged by toxic masculinity and patriarchy. This is a song about the abyss that awaits, how we cannot escape the passage of time & how it will ultimately consume us.
‘Oscilador’ is a sound reflection of the perpetual cycle that rules our world’s history: birth, decay, chaos and resolution. Fueled by the collision of fractured synths, pulsating vocals, primitive drum beats and feedback-drenched guitars, creating an aural landscape that’s both disorienting and irresistible. Get ready to be consumed by Mexico City’s Sunset Images’ latest pursuit of sonic resistance. An album that’s brutal, raw and honest, yet accessible, chaotic and beautiful, like the world itself.
“Oscilador” will be out January 23rd 2026 on Dedstrange, record label owned by the visionary mind of the band “A Place to Bury Strangers” and FX pedal company “Death By Audio”
Pre-Order the Limited Edition Pink Vinyl now at your favorite local record store.
Blackwater Holylight have forged a heavy presence in the Los Angeles underground, following a move from Portland, Oregon. On January 30, 2026, the dreamy hard rock trio will share the full-length Not Here Not Gonevia Suicide Squeeze Records. On the second single, “Involuntary Haze,” menacing riffs provide the bedrock to beguiling melodies; dense walls of shoegaze guitars pair with lighter-than-air synths; and heavy subject matter is delivered by siren song vocals.
On the track, lead-guitarist Mikayla Mayhew shares:“This song holds up a mirror to empty promises. Pretending there’s room for someone when your heart’s already full. It’s the moment you realize you’ve been fooled, not by anyone else, but by your own excuses.”
When the women of Blackwater Holylight left their hometown of Portland, OR three years ago, their mission was to escape the gloom of the Pacific Northwest and the placating comfort of familiarity. Aiming for the sunnier climes of LA, the band found themselves not only in a warmer environment, but in a blank slate landscape—one without jobs, longtime friend groups, and the easy retreat of old habits. And it was here, unencumbered by the contentment of security, that Blackwater Holylight began diligently working on their fourth full-length album,Not Here Not Gone.
As with their previous work, Not Here Not Gone explores the duality of light and dark—menacing riffs provide the bedrock to beguiling melodies; dense walls of shoegaze guitars pair with lighter-than-air synths; and heavy subject matter is delivered by siren song vocals. Across their work, the listener gets a sense of empowerment at one turn, vulnerability the next. As drummer Eliese Dorsay describes it, “some songs we’re the predator, and some songs we’re the prey.” The juxtaposition of confidence and uncertainty is never in as such stark relief as when one makes a life changing decision, which may explain how the band’s relocation intensified their study in contrasts to intoxicating new heights on Not Here Not Gone.
The title is the perfect description of the band’s adjustment. “It’s one foot in, one foot out,” vocalist and guitarist/bassist Sunny Faris explains. “It’s about how you can lose people in your life but still have their presence and energy around you.” And indeed, listening to Not Here Not Gone, you get the distinct sense that Blackwater Holylight dragged some of the Northwest gloom down into Southern California. The opening chords of “How Will You Feel” are drenched in the muddy weight of perpetually overcast skies. But a Jacob’s Ladder of light shines through the scuzzy guitars in the form of Faris’ lilting vocals and Sarah McKenna’s blissed-out ambient synth work, guiding the listener out of the mire and into the garden.
Even in their heaviest moments, like the sludgy psychedelia of “Bodies” and “Spades,” Blackwater Holylight masterfully sculpt the thunder and grime into something that feels transcendental. Lead single “Heavy, Why?” is perhaps the apex of the band’s masterful duality and an appropriately titled examination of the ensemble’s methods. Mikayla Mayhew’s low, dirge-like riff and Dorsay’s propulsive drums could easily find a home in the catalog of an amp-worshipping Roadburn act, but Faris’ fragile vocals transform the composition into a question, a pointed and probing examination that uses beauty and grace to offset the threatening instrumentation.
In one of the biggest stylistic shifts of the album, the instrumental track “Giraffe” churns out a hallucinatory blend of woozy keyboards and pulsating bass over a beat provided by David Andrew Sitek (TV on the Radio, Run the Jewels, Solange). The song serves as a dividing line of sorts, as Not Here Not Gone shifts gears into even more nuanced territories. The band asserts that the primary change to their music has been the addition of time. On previous albums, youthful urgency yielded material that felt immediate and direct. But on Not Here Not Gone, Blackwater Holylight deliberately slowed their creative pace. “If there were to be a theme to the album, it would be patience,” says Faris. “Some of these songs we’ve been working on for three years, just giving the songs time to breath and develop while we were exploring a new place and new lives.” It’s especially evident on the latter half of the album, where tracks like “Void to Be,” “Fade,” and “Mourning After” deliberately eschew the big riff in favor of fever dream melodies and layered instrumentation. But forever savoring the paradox, the album’s final track was composed just days before the band entered the studio. “Poppyfields” is a harrowing account of a friend losing their home in an LA wildfire, set against a backdrop of blast beats, double kick drum, symphonic synths, and black metal-inspired guitars. In what feels like a counterweight to the album’s general tilt towards less tormented territories, “Poppyfields” serves as a stark reminder that no paradise is permanent, and everything will be reborn through ashes.
Not Here Not Gone was recorded at Sonic Ranch outside of El Paso TX by Sonny Diperri (Narrow Head, DIIV, Emma Ruth Rundle), allowing the band to once again step outside of their comfort zone and isolate themselves in a place where they could focus exclusively on their art. The result is the crown jewel of Blackwater Holylight’s catalog—a rich and immersive study in tonal chiaroscuro, where light finds its way out of the shadows. Suicide Squeeze Records is proud to release Blackwater Holylight’s Not Here Not Gone to the world on Limited Edition Deluxe LP, standard LP, and CD on January 30, 2026.
UPCOMING 2026 LIVE DATES
2/13 – San Diego, CA @ Casbah 2/14 – Phoenix, AZ @ Last Exit 2/15 – Albuquerque, NM @ Sister 2/17- Austin, TX @ Radio/East 2/18 – Houston, TX @ White Oak 2/19- New Orleans, LA @ No Dice 2/20 – Pensacola, FL @ Handlebar 2/21 – Atlanta, GA @ Siberia 2/22 – Asheville, NC @ Eulogy 2/24- Charlottesville, VA @ Southern Cafe 2/25 – Baltimore, MD @ Metro 2/26 – Philadelphia, PA @ Johnny Brenda’s 2/27 – Brooklyn, NY @ Meadows 2/28 – Braintree, MA @ Widowmaker Brewing 3/02 – Youngstown, OH @ Westside Bowl 3/03 – Indianapolis, IN @ Black Circle 3/04 – Chicago, IL @ Sleeping Village 3/06- Denver, CO @ Hi-Dive 3/07 – Denver, CO @ Hi-Dive 3/08 – Salt Lake City, UT @ Aces High 3/10 – Seattle, WA @ Neumos 3/11 – Portland, OR @ Aladdin Theater 3/12 – Sacremento, CA @ Starlet 3/13 – San Francisco, CA @ The Chapel 3/14 – Santa Cruz, CA @ Moe’s Alley 3/21 – Los Angeles, CA @ Pacific Electric 4/18 – Tilburg, NL @ Roadburn Fest 5/06 – Brussels, BE @ Ancienne Belgique 5/07 – Hamburdg, DE @ MS Stubnitz 5/08 – Copenhagen, DK @ A Colossal Weekend Fest 5/09 – Oslo, NO @ Desertfest 5/10 – Gothenburg, SE @ Monument 5/12 – Poznań, PL @ Pod Minoga 5/13 – Leipzig, DE @ UT Connewitz 5/14 – Berlin, DE @ Desertfest 5/15 – Nuenkirchen, DE @ Stummsche Reithalle 5/16 – Brussel, BE @ Obsidian Dust Fest 5/17 – London, UK @ Desertfest 5/18 – Newcastle, UK @ The Cluny 5/19 – Glasgow, UK @ Stereo 5/20 – Manchester, UK @ The Deaf Institute 5/22 – Helsinki, FIN @ Sonic Rites Fest
More great live shows for you from last year! Who’s in the top half of the list?
#15: Johnny Jewel – September 25, 2025 – Levitation Austin, Austin, TX
Mr. Jewel opened for his own band, Desire, and, for my money, put on the best show of the night at the first day of Levitation Austin last year. It was a showcase of his film scores and covers of other film music ranging from his score to Drive to a David Lynch tribute and giallo-horror tracks.
#14: The Black Angels – September 28, 2025 – Levitation Austin – Austin, TX
The Black Angels always play Levitation. It’s their festival, after all. They help curate it. It was another fine set from them that included many tracks they don’t play often – one of the advantages of not having to promote a new album.
These Dutch funk-rockers played their first gig in the U.S. ever at Levitation Austin last year and had the entire place jumping by the end of it. This was easily the grooviest show of the entire weekend, and everyone was buzzing the rest of the day afterwards.
#12: DITZ – June 27, 2025 – Levitation France – Angers, FR
This was blistering post-punk in a heat wave that had gripped almost the entire county. You can see the dust being kicked up from the mosh pit in that photo due to the arid conditions of the park in Angers where Levitation France took place last year. The lead singer had run off-stage, into the nearby lake, and returned covered in seaweed by the end.
#11: A Place to Bury Strangers – September 28, 2025 – Levitation Austin – Austin, TX
The Palmer Event Center in downtown Austin, where Levitation Austin took place last year, is a big venue…and it still wasn’t big enough to keep the volume of APTBS from flattening you as soon as you entered the place. Lead singer and guitarist Oliver Ackermann used the high ceiling to his delight by tossing his now-famous “half-guitar” sky high multiple times. Two friends who’d never seen them until now were left stunned by the end. “That’s like an assault,” my friend Wes said, wide-eyed and not knowing how else to describe it.
Just Mustard is Katie Ball, David Noonan, Mete Kalyoncuoğlu, Rob Clarke, and Shane Maguire. WE WERE JUST HERE signals a pivotal moment for the band. While Just Mustard’s signature elements are still intact —warped guitars, twisted sound design drawing from the luminary world of Aphex Twin, and cavernous low ends—this time, it’s all been channeled into a warmer and more anthemic path. The strange and distinct universe the band creates on WE WERE JUST HERE is reinforced with haunting interludes of speech and noise, snippets of voice memos, and elements from various demos. Whereas Heart Under explored themes of grief and longing, the songs here draw from a wide spectrum of emotion and feeling, with characters searching for ecstasy, holding onto love, and grasping for the rush of feeling alive.
Wed. Apr. 8 – Stockholm, SE @ Debaser Thu. Apr. 9 – Oslo, NO @ John Dee Sat. Apr. 11 – Copenhagen, DK @ Loppen Sun. Apr. 12 – Hamburg, DE @ Nochtspeicher Mon. Apr. 13 – Cologne, DE @ Helios 37 Wed. Apr. 15 – Amsterdam, NL @ Paradiso Thu. Apr. 16 – Brussels, BE @ Botanique Fri. Apr. 17 – Paris, FR @ Le Trabendo Sun. Apr. 19 – Norwich, GB @ The Waterfront Mon. Apr. 20 – Birmingham, GB @ The Castle & Falcon Tue. Apr. 21 – Newcastle, GB @ The Grove Thu. Apr. 23 – Glasgow, GB @ Glasgow School of Art Fri. Apr. 24 – Leeds, GB @ Brudenell Social Club Sat. Apr. 25 – Manchester, GB @ Gorilla Mon. Apr. 27 – Bristol, GB @ Thekla Tue. Apr. 28 – Brighton, GB @ CHALK Wed. Apr. 29 – London, GB @ Electric Brixton Fri. May 1 – Dublin, IE @ Olympia Theatre Fri. May 8 – Seattle, WA @ Tractor Tavern Sat. May 9 – Vancouver, BC @ Fox Cabaret Sun. May 10 – Portland, OR @ Polaris Hall Tue. May 12 – San Francisco, CA @ Cafe Du Nord Thu. May 14 – Santa Ana, CA @ Constellation Room Sat. May 16 – West Hollywood , CA @ Troubadour Sun. May 17 – Phoenix, AZ @ Valley Bar – Music Hall Tue. May 19 – Denver, CO @ Larimer Lounge Thu. May 21 – Chicago, IL @ Empty Bottle Sat. May 23 – Toronto, ON @ The Garrison Sun. May 24 – Montréal, QC @ Bar Le Ritz PDB Tue. May 26 – New York, NY @ Bowery Ballroom Fri. May 29 – Philadelphia, PA @ Johnny Brenda’s Sat. May 30 – Washington, DC @ Songbyrd Music House Fri. June 26 – Dublin, IE @ Marlay Park * Sun. June 28 – Belfast, IE @ Belsonic ^ Sun. Aug. 23 – Edinburgh, SF @ Royal Highland Showgrounds, Edinburgh Summer Sessions #
* with The Cure & Stella and the Dreaming ^ with The Cure & The Twilight Sad # with The Cure, Slowdive, & Mogwai
