Toronto psych-rock experimentalists LAMMPING return with “Never Never,” a full-tilt collaboration with Montreal rockabilly legend Bloodshot Bill, out May 6 via We Are Busy Bodies. The track supports their upcoming album Never Never, set for release on June 27, which marks the first installment of an ambitious four-album journey that will span genres, collaborations, and sonic time-travel over the next year.
After remixing Badge Époque Ensemble’s Clouds Of Joy album, Lammping’s Mikhail Galkin found himself re-immersed in the kind of sample-heavy hip-hop production he’d explored years earlier under the name DJ Alibi. Drawing on a style rooted in early ’90s East Coast rap but layered with live instrumentation and offbeat textures—somewhere between Pete Rock and The Avalanches—Galkin began blending those techniques into Lammping’s heavy psych-rock foundation.
The spark for Never Never came when the band reached out to Montreal rockabilly legend Bloodshot Bill, whose voice—gritty, elastic, and totally distinctive—felt like the perfect wildcard. The two had crossed paths over a decade earlier, and when Bill came to Toronto for a show, they booked a quick session. One track turned into three, and the album took shape around Jay Anderson’s breakbeat-style drumming, live jams, and flipped samples.
“‘Never Never’ was the first song that came out of this series of sessions, and it felt like a reset,” says Lammping producer Mikhail Galkin. “I was getting back into sampling, digging through records, pulling loops, then flipping them into songs. There are certain voices that always stood out to me. I always liked Bloodshot Bill’s voice and how he manipulates it and felt it would be a really cool instrument, so to speak, to feature on our stuff. It’s pretty harsh at times, but then he can drop it super low when needed. It generally has this animated feel.”
Originally built around a saxophone loop unearthed by bandmate Jay, the song became a springboard for collaboration. “I think the loop was kinda mischievous and rhythmically interesting, and it was recorded quite hot so it had a little bit of distortion. BB gravitated to it and used it as a springboard to write the song. He also shares a love of ’80s rap—when we were driving in his car, he had LL Cool J, Run DMC and Ultramagnetic MCs playing and all that, so it made sense that this project happened.”
Layer by layer, guitars, drums, and other samples were stirred into the mix, resulting in a gritty, genre-bending track that feels both chaotic and strangely cohesive. “I feel like BB is almost rapping on it,” Galkin adds, “but it still doesn’t become a hip-hop track. How weird the result became is what I love about the songs—I never get tired of it.”
Paired with a hallucinatory video directed and edited by Galkin himself, “Never Never” acts as a portal into the first chapter of Lammping’s upcoming 4 part series—a celebration of psychedelic music, hip-hop, the DIY punk aesthetic, and unfiltered creativity. It’s a record that doesn’t just reference influences, it inhabits them with total sincerity.
Today Swedish italo disco / synthpop duo Sally Shapiro share new single “Did You Call Tonight” from their upcoming album ‘Ready To Live A Lie’, which is due May 30th via Italians Do It Better.
On the track, the band said “Microcheating is the theme of this new single. Musically it’s inspired by 80s electro breakbeat, a bit slower and funkier than our usual style.”
Made up of producer Johan Agebjörn and an anonymous female vocalist who uses the pseudonym Sally Shapiro; the duo are known for their dreamy, melancholic sound and nostalgic homage to 1980s Italo disco and gained international recognition with their debut album Disco Romance (2007), which was then followed by My Guilty Pleasure (2009), Somewhere Else (2013) and their debut for Italians Do It Better Sad Cities (2022).
The name “Sally Shapiro” has always referred to both the duo, as well as the enigmatic anonymous singer whose real name is something else. But “Sally” is also a third entity: the fictional character singing about her love stories. It’s now been 18 years since Sally Shapiro’s debut album Disco Romance, that took influences from italo disco and indie pop with a naive and youthful flavor, as if everything “Sally” did was to “walk in the moonshine thinking about my love affairs”, as she once put it.
Ready To Live A Lie may, however, be the duo’s darkest album yet. The lyrics have shifted from the euphoria of first love to exploring “Sally’s” struggles in long-term relationships—love triangles, boredom, resentment, and the lingering sense of loneliness.
Ready To Live A Lie is out on Italians Do It Better on May 30th and includes the duo’s acclaimed Pet Shop Boys cover Rent.
Taking inspiration from synthwave, italo disco, nudisco, indie pop and bossanova, the album becomes their fifth studio album & their second for Italians Do It Better – again mixed together with label founder Johnny Jewel (Chromatics, Glass Candy, Desire).
Sally Shapiro’s forthcoming album ‘Ready To Live A Lie’ is now available for preorder on vinyl 2LP (pink vinyl or transparent electric blue vinyl), CD and digital from their Bandcamp page.
The Beths — the New Zealand-based quartet of vocalist Elizabeth Stokes, guitarist Jonathan Pearce, bassist Benjamin Sinclair, and drummer Tristan Deck — announce signing to ANTI- and release the new single/video, “Metal.” “Metal” is the first taste of new music from the band since the release of 2023’s Expert In A Dying Field (Deluxe), the expanded version of their beloved 2022 album.
Following Liz Stokes’s recent, sold–out solo show at Largo in Los Angeles with special guests Courtney Barnett and Bret McKenzie (Flight of the Conchords), The Beths announce a world tour across North America, the UK and Europe this fall. The band returns to the U.S. for the first time since playing Coachella, Bonnaroo and Newport Folk Festival, and supporting The National, Death Cab for Cutie and The Postal Service in 2023-2024. They’ll headline some of their biggest venues to date including The Wiltern in Los Angeles, The Fillmore in San Francisco, The Salt Shed in Chicago, Brooklyn Paramount in New York City, Union Transfer in Philadelphia, 9:30 Club in Washington, DC and more. Tickets go on sale Fri. May 2 at 10am local and are available here.
Today’s single “Metal” was born out of a time of rigorous touring, mental health struggles, and several diagnoses for Stokes. “In some ways ‘Metal’ is a song about being alive and existing in a human body,” she explains. “That is something I have been acutely aware of in the last few years, where I have been on what one might call a ‘health journey’. For parts of the last few years, I kind of felt like my body was a vehicle that had carried me pretty well thus far but was breaking down, something I had little to no control over. All of the steps in the Rube Goldberg machine of life are so unlikely, and yet here we are in it. I have a hunger and a curiosity for learning about the world around me, and for learning about myself. And despite all the ways that my body feels like a broken machine, I still marvel at the complexity of such a machine.”
“I can hold that knowledge in one hand, and yet with the other hand I can point to my reflection and just be like ‘you are shit’. Or ‘ugly’. Or ‘worthless’. I can reliably respond to any suggestion that I might be able to achieve any small thing with ‘no’. And these are variations of the ‘short word’ referenced in the song.”
Sonically, the track sees The Beths fully embracing jangle rock. Stokes says, “There was a propulsion to the acoustic strumming pattern on the original demo. Tristan’s drums meet that feeling so perfectly, the feeling of a train pushing up the tracks. Jonathan got to play his Burns 12 string guitar as sparkly as he wanted, and Ben as usual can’t be contained to the lower register. I think we ended up with an arrangement that embodies the frenetic intricacy of an engine in action. There’s a lot going on, until there isn’t.”
2023’s Expert In A Dying Field (Deluxe) expanded upon the brilliance of The Beths’ acclaimed 2022 album, “another collection of tunes that cements their status as one of the great guitar-pop bands of this present moment” (Stereogum). The third studio album from The Beths, Expert In A Dying Field was released to a wealth of critical praise, and was named one of 2022’s best releases by the likes of Pitchfork, The Ringer, Stereogum and more. Surrounding its release, The Beths were profiled by Rolling Stone, made their U.S. television debut on CBS Saturday Morning, and performed a NPR Music Tiny Desk Concert, The Beths are undeniably one of the most exciting indie rock bands to emerge in recent memory.
The Beths Tour Dates: Thu. Sept. 18 – Dublin, IE @ Button Factory Sat. Sept. 20 – Manchester, UK @ Albert Hall Sun. Sept. 21 – Glasgow, UK @ SWG3 TV Studio Mon. Sept. 22 – Leeds, UK @ Project House Wed. Sept. 24 – Bristol, UK @ O2 Academy Thu. Sept. 25 – Birmingham, UK @ XOYO Fri. Sept. 26 – London, UK @ Roundhouse Sat. Sept. 27 – Brighton, UK @ CHALK Mon. Sept. 29 – Tourcoing, FR @ Le Grand Mix Tue. Sept. 30 – Paris, FR @ Le Trabendo Wed. Oct. 1 – Brussels, BE @ Botanique Fri. Oct. 3 – Cologne, DE @ Kantine Sat. Oct. 4 – Amsterdam, NL @ Paradiso Sun. Oct. 5 – Hamburg, DE @ Krust Tue. Oct. 7 – Stockholm, SE @ Slaktkyrkan Wed. Oct. 8 Oslo, NO @ Parkteatret Scene Thu. Oct. 9 – Copenhagen, DK @ Pumpehuset Sat. Oct. 11 – Berlin, DE @ Lido Sun. Oct. 12 – Munich, DE @ Strom Mon. Oct. 13 – Zurich, CH @ Plaza Wed. Oct. 15 – Barcelona, ES @ Razzmatazz 2 Thu. Oct. 16 – Madrid, ES @ Nazca Fri. Oct. 17 – Lisbon, PT @ LAV Thu. Oct. 30 – Asheville, NC @ The Orange Peel* Fri. Oct. 31 – Atlanta, GA @ Variety Playhouse * Sat. Nov 1 – Nashville, TN @ Brooklyn Bowl * Mon. Nov. 3 – Dallas, TX @ The Studio At The Bomb Factory * Tue. Nov. 4 – Austin, TX @ Emo’s * Thu. Nov. 6 – Phoenix, AZ @ The Van Buren * Fri. Nov. 7 – Los Angeles, CA @ The Wiltern * ^ Sat. Nov. 8 – San Francisco, CA @ The Fillmore * Wed. Nov. 12 – Sacramento, CA @ Ace of Spades * Fri. Nov. 14 – Portland, OR @ Crystal Ballroom * Sat. Nov. 15 – Seattle, WA @ The Moore Theatre * Sun. Nov. 16 – Vancouver, BC @ Commodore Ballroom * Tue. Nov. 18 – Salt Lake City, UT @ Metro Music Hall * Wed. Nov. 19 – Denver, CO @ Ogden Theatre * Fri. Nov. 21 – Kansas City, MO @ The Truman * Sat. Nov. 22 – St. Paul, MN @ Palace Theatre * Sun. Nov. 23 – Chicago, IL @ The Salt Shed (Indoor) * + Tue. Nov 25 – Cleveland, OH @ Globe Iron * Wed. Nov. 26 – Pittsburgh, PA @ Roxian Theatre * Fri. Nov. 28 – Toronto, ON @ Danforth Music Hall * Sat. Nov. 29 – Montreal, QC @ Beanfield Theatre * Tue. Dec. 2 – Boston, MA @ Royale * Wed. Dec. 3 – Providence, RI @ Fete Music Hall * Fri. Dec. 5 – Brooklyn, NY @ Brooklyn Paramount * # Sat. Dec. 6 – Philadelphia, PA @ Union Transfer * Tue. Dec. 9 – Washington, D.C. @ 9:30 Club *
Montreal based multidisciplinary artist Annie-Claude Deschênes returns with new single “Main de Fer“, out now via Italians Do It Better & Bonsound.
On “Main de Fer”, Annie-Claude Deschênes fuses minimal techno with avant-garde to trigger a disorienting exploration through emotional isolation. An invisible grip engulfs the mind and erases the contours of the self, leading to a silence where breath is extinguished as the soul dissolves in the shadow of control. Its disturbing soundscapes and fragmented textures challenge the blindness of the self and others, offering us the opportunity to free ourselves from our inhibitions in a controlled chaos.
As a key figure on the Montreal independent music scene for the last two decades, she has left her mark as a performer & visual artist with Duchess Says & PyPy; two bands that are renowned as much for their electrifying live shows as they are for their artistic sensibilities. Always forward, her exploratory approach takes her into uncharted territory with her debut as a solo artist. The urgency that characterises her work remains, but frustration & aggression give way to introspection & vulnerability.
Over the course of her career, Annie-Claude Deschênes shared the stage with a number of renowned bands, including The Yeah Yeah Yeahs, Teenage Jesus & the Jerks, The Black Lips, The Hives, The Hot Snakes & Buzzcocks, among others. Her debut solo album titled ‘LES MANIÈRES DE TABLE’ was released last year via Italians Do It Better & Bonsound.
If that cover alone doesn’t make you want to buy this album, I’m not sure what will.
Bombay 2: Electric Vindaloo is the sequel to the wild, weird, and wonderful Bombay the Hard Way: Guns, Cars and Sitars collection. Both feature Bollywood film music by the composer duo of Kalyanji Virji Shah and Anandji Virji Shah and remixed by multiple DJs and producers. The first collection featured 1970s James Bond-riffing film music and Bombay 2: Electric Vindaloo focuses on Bollywood in the 1980s, with all the glitz, glamour, and garishness of that decade. Imagine Miami Vice filmed in New Delhi and you’ll get the idea.
Urusula 1000‘s “Ram Balram” would fit into any techno set even today. DJ Me DJ You‘s “Bionic Kahaan” is layered with weird, warped sounds of calling geese, horror movie film synths, strange vocal samples, and gloopy, oozy bass. “Theme from Twin Sheiks” is a delightful minute and eight seconds of Bollywood bliss.
Kid Koala and Dynomite D‘s “Third World Lover” is a grand mix of sweeping strings, traditional Indian instruments, and hip hop beats. “Rah-Keet” has this cool mix of synthwave and stuff that sounds like opening credits music you’d hear on an obscure VHS tape you found at a Goodwill store. Mixmaster Mike‘s “Hydrolik Carpet Ride” features his trademark turntablism that will leave you dumbfounded. “Bollywood B-Boy Battle” is as intense and fun as you hope it will be.
DJ Me DJ You return for “Mr. Natwarlal,” which has great dub bass and synth effects in it to further confound your brain. Dynomite D then returns for “Basmati Beatdown” – a track that almost sounds like it’s playing backwards and somehow keeps a wicked groove throughout it. “T.J. Hookah” is ready for action (or video games, your choice). DJ Me DJ You takes us on a third trip with the horn and turntable-led “Disco Raj.”
“Sexy Mother Fakir” drifts into Spic-Beatz and Pak-Man‘s “Inspector Jay’s Big Score,” which is practically space age bachelor pad music and practically gives you an entire spy film’s plot in under six minutes. Steinkski‘s scratch-a-licious “Electric Vindaloo” is a stunning display of his skill on the decks.
“Dil Street Blues” is a fun riff on the famous Hill Street Blues theme, and I love how the album ends with an almost traditional-sounding track, “Chakra Khan,” complete with male-female duo vocals but fat disco bass and swanky horns added to the mix.
I don’t know if a third collection of this stuff will ever appear, but I hope so. Everyone needs more stuff like this. Something might be wrong with you if you don’t find at least a bit of enjoyment out of it.
I can’t understate how much Black Sabbath‘s self-titled debut from 1970 changed the game. Many words have been written on this fact, so I’m not adding anything new by declaring that no one had heard anything like this before 1970. Sure, there had been heavy psychedelic rock, and some of it downright spooky (Looking at you, 13th Floor Elevators.), but this was spooky and heavy.
The opening title track alone has Ozzy Osbourne singing about some sort of dark…thing, Satan himself, arises out of smoke to point a black finger at him and possibly doom him for all time. Osbourne pleads to God, and us, for help while Tommy Iommi‘s guitar sounds like weird chants, Bill Ward‘s drums are like rolling thunder that rumbles at distance and then overwhelms you moments later, and Geezer Butler‘s bass is like cloven footsteps approaching you from the dark.
Just when you think there’s no light in this pit, along comes “The Wizard,” a song about Gandalf and loaded with enough blues harmonica from Osbourne to power a Howlin’ Wolf track. It’s one of their best early cuts, and just a lot of damn fun. Finishing up Side A is the four-song medley of “Wasp / Behind the Wall of Sleep / Bassically,” and “N.I.B.” Clocking in at nearly eleven minutes, the four tracks have a great swagger to them that keeps you hooked the entire time, even as Osbourne sings about your body turning into a corpse. Don’t worry, though, because the morning sun will break the spell and awaken you from this horrible dreams. Geezer’s solo on “Bassically” leads into the thudding “N.I.B.” (named after Geezer’s “pen nib” goatee) and Osbourne singing a warning about how deceptive the devil can be.
“Wicked World” starts Side B with wicked, almost jazz-chop drums from Ward, who was clearly having a blast in the recording studio that day. Osbourne sings about social injustice with lyrics that, unfortunately, are still relevant (“People got to work just to earn their bread while people just across the sea are counting the dead.”). The second side ends with another medley, this one of “A Bit of Finger” / “Sleeping Village” / and “Warning” that almost four minutes than the medley on Side A. Most of it is a creeping, menacing instrumental (“Sleeping Village”), while the end is a song about staying away from a potentially dangerous (and mystical?) woman.
It’s a classic album, and an important one not just in the history of metal, but of music in general. It flattened people back in 1970 and still hits as hard as a battle axe.
Emerging from London’s underground music scene, The Sick Man Of Europe is distinctly monochrome in its outlook. Each note counts in this climate – economical but played with absolute precision and conviction. Propelled forward by machines and seeking solace in repetition. There are echoes of the post-punk and European art rock pioneers at the cusp of the 80s, but re-tooled for the present. The same fears. Looking for answers or something to believe in, but finding more questions in an age of absolutes.
Today we announce the debut set-titled album from The Sick Man of Europe, which is set for release June 20th via The Leaf Label and the lead single/video “Obsolete” is out now.
The Sick Man Of Europe demo tape arrived in a brown manila envelope accompanied by a short typewritten letter. Information was limited but what was clear, from the name, the imagery and typography, right through to the music – the project arrived almost fully formed. Minimal, but with a strong eye for the right detail.
On the eponymous debut album, that eye is focussed firmly on the battle between the internal and the external; the tensions between human identity, technological advancement and the pursuit of meaning in the modern world. “Where does the machine end and humanity begin?” TSMOE asks. “Can we transform ourselves in an increasingly impersonal world? Every day we feel the pressure to adapt and fit in, but that’s often at odds with our need for solitude and self-reflection. That’s where this record comes from.”
The Sick Man Of Europe name connects the current post-Brexit landscape to the austerity of Thatcherite Britain and the social conditions that shaped the likes of Bauhaus and Joy Division. These are touchstones for TSMOE, but the influence and discipline of Neu!, Suicide and Swans are just as intrinsic to the sound. Produced as a reaction to previous musical projects, TSMOE was looking for clarity and complete control in its creative endeavours. It’s consciously anti-rock in its recorded approach – no low-end bass guitar, minimal effects and no live drums. Dedication to the craft of focussed song writing rather than attempting to follow current production trends.
Lead single “Obsolete“ was the first track produced under these self-imposed restrictions. “There’s nothing more human than the fear of the inevitable and we’re reminded of it everywhere we look,” TSMOE explains. “As the relentless pace of progress takes over, everything we’ve ever made is retired so quickly in the name of endless growth. At what point do we become obsolete?”
The term ‘the sick man Of Europe’ has been associated with many nations over the years, having first been coined by Tsar Nicholas I to describe the Ottoman Empire in 1833, and has been used more recently as a label for the UK, Greece and Germany. It means something different depending on when and where you grew up, and the music of TSMOE holds that same ambiguous power. The debut album is a timely release as cold war maps are re-drawn and geopolitical tensions ramp up. TSMOE is a global citizen of an increasingly fractured world.
The Sick Man Of Europe will be released on black vinyl and as a limited edition of 300 on ‘Sanguine Red’ vinyl for sale through indie shops and on Bandcamp. The album follows the release of the Moderate Air Quality EP on cassette in February, and the EP tracks are included on the CD version of the album.
The Sick Man Of Europe accompanied Snapped Ankles on their recent UK tour, and will be performing widely over the course of this year with more dates to be announced soon.
Tour dates: Fri 16 May – Alternative Escape, Brighton UK Sat 17 May – In Colour Festival, Leeds, UK Sat 2 Aug – Multitude Fest, Milton Keynes, UK Sat 26 Jul – Deershed Festival, North Yorkshire, UK Sat 2 Aug – Multitude Fest, Milton Keynes, UK Sat 30 Aug – Manchester Psych Fest, Manchester, UK 23-25 Oct – Left Of The Dial Festival, Rotterdam, NL
King Gizzard & The Lizard Wizard announce their 27th album Phantom Island, out June 13th, and share its lead single “Deadstick.” If you’re worried that, 15 years and 26 albums into their epic quest, polymorphous psychedelic voyagers King Gizzard & The Lizard Wizard might be running out of new frontiers to traverse, then let their latest opus set your mind to rest. The band’s second release on their own (p)doom records label, Phantom Island sees our intrepid heroes add a new dimension to their ever-evolving songcraft, embracing the symphonic and embroidering their tangles of lysergic riff and melody with strings and horns and woodwind.
The roots of the album can be traced back to the group’s legendary show at the Hollywood Bowl in June 2023. Gizz met some members of the Los Angeles Philharmonic backstage who urged them to take part in an annual series where the orchestra plays alongside rock and pop acts. Fast-forward to 2024, and the Gizz are hunkered down in their clubhouse, plugged into tiny practice amps and choogling to their hearts’ content. The results of these sessions yield that year’s Aria-nominated Flight b741. But these sessions yielded ten further songs that didn’t quite fit the Flight b741 vibe, and which, Mackenzie says, “were harder to finish. Musically, they needed a little more time and space and thought.”
Quickly, the group’s collective mind leapt to the LA Philharmonic. “The songs felt like they needed this other energy and colour, that we needed to splash some different paint on the canvas,” Mackenzie says. He reached out to friend, British historical keyboardist, conductor and arranger Chad Kelly. “He brings this wealth of musical awareness to his chameleon-like arrangements,” Mackenzie says. “We come from such different worlds – he plays Mozart and Bach and uses the same harpsichords they did, and tunes them the exact same way. But he’s obsessed with microtonal music, too, and all this nerdy stuff like me. Lead single “Deadstick” puts Kelly’s elaborate orchestrations on display, raising the graceful and complex song to the sublime, transforming it into a giddy jazz-rock riot.
On the song’s accompanying video, directorGuy Tyzack says: “I started off wanting to create a frame that looked like a landscape painting with many different people and set pieces dotted about. Deadstick refers to when a plane propeller stops midflight so I decided to have a massive plane made out of cardboard crash land into a beautiful location. The song is big and chaotic so then I went about casting swing dancers and eccentric extras to fill the landscape.”
If Flight b741 was an album of rambunctious adventure stories, Phantom Island picks up that thread, spinning its tales of quests and piracy out into the stars. But it’s a more interior album than its predecessor, more melancholy – more “introverted”, Mackenzie says. Sure, these are tales of high adventure in galaxies far, far away, but the focus is less on the action, and more on the interior lives of those adventurers, reflecting the kind of insight Gizz have gleaned from 15 years of travelling the world and leaving their homes behind to take their music to the people. There’s a wiser, more mature, more sensitive Gizz at play here, questioning their place within the universe, their responsibilities, the ties that bind. “When I was younger, I was just interested in freaking people out,” admits Mackenzie, “but as I get older, I’m much more interested in connecting with people.”
King Gizzard will embark on their 2025 Phantom Island orchestral tour this July. Featuring a different accompanying 29-piece orchestra in each city – and ably led by conductor & music director Sarah Hicks – the tour will see the group perform with some of the country’s most renowned ensembles, before concluding with Field of Vision, the band’s own 3-day residency camping event at Meadow Creek in Buena Vista, CO. This represents the band’s only U.S. tour of 2025, so don’t miss out on your fix for a full calendar year. A full list of dates are below with tickets available here.
KING GIZZARD & THE LIZARD WIZARD TOUR DATES (New dates in bold) Sun. May 18 – Tue. May 20 – Lisbon, PT @ Coliseu dos Recreios * Fri. May 23 – Sun. May 25 – Barcelona, ES @ Poble Espanyol * Thu. May 29 – Sat. May 31 – Vilnius, LT @ Lukiškės Prison 2.0 ^ Wed. June 4 – Fri. June 6 – Athens, GR @ Lycabettus Theatre City of Athens # Sun. June 8 – Tue. June 10 – Plovdiv, BG @ Ancient Theatre ^
Fri. June 13 – Sun. June 15 – Manchester, TN @ Bonnaroo Music & Arts Festival
Mon. July 28 – Philadelphia, PA @ TD Pavilion At The Mann (w/ Chamber Orchestra of Philadelphia) $ Wed. July 30 – New Haven, CT @ Westville Music Bowl (w/ Orchestra of St. Luke’s) $ Fri. August 1 – Forest Hills, NY @ Forest Hills Stadium (w/ Orchestra of St. Luke’s) $ Sat. August 2 – Forest Hills, NY @ Forest Hills Stadium (Rock ‘n Roll Show) $ Mon. August 4 – Columbia, MD @ Merriweather Post Pavilion (w/ National Symphony Orchestra) $ Wed. August 6 – Highland Park, IL @ Ravinia Festival (w/ Chicago Philharmonic) $ Fri. August 8 – Colorado Springs, CO @ Ford Amphitheater (w/ Colorado Symphony) $ Sun. August 10 – Los Angeles, CA @ Hollywood Bowl (w/ Hollywood Bowl Orchestra) $ Mon. August 11 – San Diego, CA @ The Rady Shell at Jacobs Park (w/ San Diego Symphony Orchestra) $
Fri. August 15 – Sun. August 17 – Buena Vista, CO @ FIELD OF VISION at Meadow Creek %
Fri. October 31 – Manchester, UK @ Aviva Studios (Rave Set) Sat. November 1 – London, UK @ Electric Brixton (Rave Set) Sun. November 2 – London, UK @ Electric Brixton (Rave Set) Tue. November 4 – London, UK @ Royal Albert Hall (w/ Covent Garden Sinfonia) Wed. November 5 – Paris, FR @ La Seine Musicale (w/ L’Orchestre Lamoureux) Thu. November 6 – Tilburg, NL @ 013 (Rave Set) Fri. November 7 – Den Bosch, NL @ MAINSTAGE ( w/ Sinfonia Rotterdam) Sun. November 9 – Gdansk, PL @ Inside Seaside Festival (w/ The Baltic Philharmonic Symphony Orchestra) Mon. November 10 – Berlin, DE @ Columbiahalle (Rave Set) Tue. November 11 – Prague, CZ @ SaSaZu (Rave Set) Wed. November 12 – Vienna, AT @ Gasometer (Rave Set) Fri. November 14 – Copenhagen, DK @ Poolen (Rave Set) Sat. November 15 – Gothenburg, SE @ Gothenburg Film Studios (Rave Set)
* w/ Etran De L’Aïr ^ w/ King Stingray # w/ King Stingray, DJ Crenshaw $ w/ DJ Crenshaw % w/ Babe Rainbow, Gaye Su Akyol, King Stingray, Mannequin Pussy, Memo PST, Pearl Charles, The Mystery Lights, The Songs For Kids Band!, White Fence, DJ Crenshaw
Paddang is a psychedelic rock trio formed in Toulouse (France) in 2020. With Osees and King Crimson all over the radio and a band name inspired by a surf spot in Indonesia, Paddang are speeding through a cosmic epic that sounds like a Herbert prophecy. Far from hiding behind a wall of fuzz or a mountain of reverb, the three voices dictate the tone and invoke an urgent need to do something in a world on the brink of chaos. Their debut album ‘Chasing Ghosts’ was released in March 2023, backed up by a fifty-date tour in France (including festivals such as Ecaussystème, Musicalarue, Montauban en scènes, Guitare en Scène, V&B Fest and support slots with bands such as MADAM, Pogo Car Crash Control, Psychedelic Porn Crumpets, and It It Anita).
Their second album will be released on June 6th 2025 on LE CÈPE RECORDS & STOLEN BODY RECORDS. After a first single, ‘‘PRESSURE’‘ released in April, the band will reveal on Friday a second track from the album, “PREDATOR” : youtube.com/watch?v=vudrz5XHbK8
Fierce and visceral, “Predator” explores the fragile boundary between human nature and primal instinct. It’s a raw track about survival, fear, and the predator that lies dormant within each of us. With powerful vocals and a relentless rhythm, it delivers an urgent message—where rock becomes a weapon against apathy. “Predator” is more than just a song; it’s a cry against the loss of our humanity. Shot like the final episode of a thrilling B-movie, the “Predator” music video picks up where Pressure left off. Deep within the belly of a cave, the Lizard Corp industrialists have gone too far, recklessly exploiting Draconite, a stone of mystical energy. Mutated into reptilian creatures, they launch a savage hunt for Moros through the scorched landscapes of a dying planet. Rescued at the last moment by a mysterious guardian inspired by Quetzalcoatl, Moros sets off for Agartha—a legendary city where she hopes to find a glimpse of peace.
Brothers Ben and Conor McCarthy, otherwise known as Roi Turbo, have been crafting their South African disco-funk since they were teenagers and sharing a bedroom they turned into a DIY studio. Now, with their second EP, Bazooka, they’ve added more funk, more grooves, and even vocal tracks to their mix.
The title track gleams and shines with instant catch-your-attention synth riffs and a beat that will have you strutting down the street. “Dystopia” adds some slight synthwave touches that are great, but it never stops being danceable, despite the track’s title leading you to believe it’s going to be morose or gothic.
“Super Hands” is a standout, somehow blending stuff that sounds like it’s from old Nintendo games with alien-disco, Italo disco, and acid-funk. “Bobo Spirit” is the bounciest track on the EP. It just bumps the entire time.
“Hot Like Fire” is their first vocal track. There aren’t a lot of vocals, mind you, but the McCarthy brothers use them to good effect to help the grooves stick in your head, shoulders, and hips.
It’s a fun record that’s ready for your summer playlists. Go grab it.
