January 2026 – Page 4 – 7th Level Music

Daniel Avery announces new remix album and tour.

Revered producer and composer Daniel Avery announces his new album, Tremor (Midnight Versions) — a reimagining of his acclaimed sixth studio album Tremor — out March 6th via Domino with lead single “Haze w/ Ellie (Midnight Version).” Remixing the entirety of the record himself, Avery presents a nocturnal counterpart to last year’s Tremor with a collection of darker, club-focused reworkings, drawing the record firmly into the late-night hours. Today’s announcement lands alongside news of a spring North American DJ tour.

Tremor (Midnight Versions) continues the world Avery created on Tremor, reframing its material through a techno lens and speaking directly to the dancefloor. Stripped back, intensified and retooled for the strobe light, these tracks channel Avery’s long-standing relationship with club culture while maintaining the emotional weight and textural depth that defines his work.

Two Midnight Versions have already surfaced, “Rapture In Blue w/ Cecile Believe” and “Greasy Off The Racing Line w/ Alison Mosshart,” offering a first glimpse of this shadowed universe. The full project expands on that energy, positioning itself as a vital bridge between Tremor’s expansive, collaborative spirit and Avery’s enduring techno lineage. Avery comments: “For every tremor, there’s a reaction. These are the Midnight Versions. Songs reimagined and sent directly into the night.”

On Tremor, Avery welcomed an inspiring cast of collaborators, including the likes of Alison Mosshart (The Kills), Walter Schreifels (Quicksand / Rival Schools), bdrmm, Julie Dawson(NewDad), yeule, Ellie, Art School Girlfriend, yunè pinku, and Cecile Believe. Each artist left their indelible mark, yet the record’s true power lies in the communal spirit at its core. Marking his debut on Domino, the album was mixed by Alan Moulder (Smashing Pumpkins, Nine Inch Nails) and David Wrench (FKA twigs, Frank Ocean), and mastered by Heba Kadry—each vital to the creative fabric of the record.

Stream “Haze w/ Ellie (Midnight Version)”

Pre-order Tremor (Midnight Versions)

Stream / Purchase Tremor

Daniel Avery Tour Dates
Sat. Jan. 31 – Brighton, UK @ Patterns ^
Sat. Feb. 21 – Brussels, BE @ Fuse ^
Fri. Feb. 27 – Birmingham, UK @ Hare & Hounds ^
Sat. Feb. 28 – Geneva, CH @ Audio ^
Fri. March 6 – London, UK @ Phonox Residency ^
Sat. March 7 – Bognor Regis, UK @ Bugged Out Weekender ^
Fri. March 13 – London, UK @ Phonox Residency ^
Fri. March 20 – London, UK @ Phonox Residency ^
Sat. March 21 – Manchester, UK @ Victoria Baths ^
Fri. March 27 – London, UK @ Phonox Residency ^
Thu. April 2 – Glasgow, UK @ Queen Margaret Union *
Fri. April 3 – Dublin, IE @ Opium *
Sat. April 4 – Belfast, UK @ Ulster Sports Club (b2b Richard Fearless) ^
Fri. April 24 – Toronto, CA @ Standard Time ^
Sat. April 25 – New York, NY @ Public Records ^
Thu. April 30 – Washington, DC @ Tigres de la Noche ^
Fri. May 1 – Chicago, IL @ Smoke & Mirrors ^
Sat. May 2 – Miami, FL @ The Ground ^
Thu. May 7 – Portland, OR @ Process ^
Fri. May 8 – Los Angeles, CA @ Into the Woods ^
Sat. May 9 – San Francisco, CA @ SquishFest ^
Sat. May 30 – Edinburgh, UK @ Dark Days (b2b Helena Hauff) ^

^ = DJ Set
* = Live Set

Keep your mind open.

[I’ll have tremors until you subscribe.]

[Thanks to Ahmad at Pitch Perfect PR.]

Review: Just Mustard – We Were Just Here

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.]

[Thanks to Jaycee at Pitch Perfect PR.]

Mosswood Meltdown returns July 18 – 19, 2026, but you can start your weekend a day earlier with Pavement.

Mosswood Meltdown returns to Oakland’s Mosswood Park on July 18th and 19th. And while the beloved festival “is known to traffic in legends, popular punk and punk-adjacent groups, and highly anticipated reunions,” (KQED), this year they’ll be kicking off with an indie-rock driven pre-party at the park on July 17th. The evening will feature the endlessly inspirational rock legendsPavement, Wednesday, “one of the best indie rock bands around” (Pitchfork), and reverb-loving and cool as hell punks Vivian Girls. And, it wouldn’t be a proper Mosswood Meltdown without its fearless and subversive host, John Waters.

Mosswood Meltdown is an eccentric, one of a kind weekend. As SF Gate kindly sums it up, “at Mosswood Meltdown, the concept of a beautiful world looks quite different from other festivals, and it’s better for it.” Tickets for the pre-party are separate from the regular festival tickets and go on sale today (Tuesday, January 6th) at 10am PST. The full festival lineup will be unveiled in the coming weeks and won’t disappoint.

PURCHASE TICKETS HERE

FRIDAY, JULY 17TH PRE-PARTY LINEUP
Pavement
Wednesday
Vivian Girls

PRE-PARTY TICKET PRICES
GA – $99
VIP – $165
(VIP tickets come with ins and outs privileges,
and access to VIP viewing areas)

Keep your mind open.

[Don’t forget to subscribe before you go!]

[Thanks to Jaycee at Pitch Perfect PR.]

King Gizzard and The Lizard Wizard return in 2026 for Fields of Vision II and their only U.S. tour dates of the year.

King Gizzard & The Lizard Wizard announce the return of their festival, Field of Vision II which will take place once again at Meadow Creek in Buena Vista, Colorado on August 14-16. The band will also perform at a three night residency at Forest Hills Stadium in New York on August 20-22. These are the only dates the band are announcing in the US for 2026.

Earlier this year was Field of Vision’s inaugural event (aka Field of Vision I).

“Field of Vision I was so special. Anyone who was there would tell you there was some magic in the air. Or maybe the creek water… So grateful to party with you all again. Love, The Gizzards”

Field of Vision II welcomes Blood Incantation, Die Spitz, DJ Crenshaw, Earth Tongue, Etran de L’Aïr, Folk Bitch Trio, Lisa Bella Donna, Pattie Gonia, and Upchuck. King Gizzard will perform each day. More announcements to come in 2026. Tickets are available here.

Immediately following Field of Vision II, the band will return to their New York stomping ground, aka Forest Hills Stadium, for a three-night residency featuring two full ROCK sets comprised of songs from their impressive 27 album catalogue and a RAVE set on the third night. Tickets for those shows are available here.

KING GIZZARD & THE LIZARD WIZARD 2026 TOUR DATES

Friday, August 14 – Sunday, August 16, 2026 – Buena Vista, CO @ Field of Vision II, Meadow Creek (w/ Blood Incantation, Die Spitz, DJ Crenshaw, Earth Tongue, Etran de L’Aïr, Folk Bitch Trio, King Gizzard (every day), Lisa Bella Donna, Pattie Gonia, Upchuck)

Thursday, August 20, 2026 Forest Hills, NY @ Forest Hills Stadium
Friday, August 21, 2026 Forest Hills, NY @ Forest Hills Stadium
Saturday, August 22, 2026 Forest Hills, NY @ Forest Hills Stadium (RAVE)

Keep your mind open.

[Don’t forget to subscribe before you go.]

[Thanks to Jacob at Pitch Perfect PR.]

Review: Lord Huron – The Cosmic Selector Vol. 1

“What if you could choose your fate like choosing a song on a jukebox? What if your finger slipped and you got the B-side instead? What if you misunderstood the meaning of the dang song to begin with?”

According to frontman and songwriter Ben Schneider, that’s the premise of Lord Huron‘s new album – The Cosmic Selector Vol. 1. The album hosts a stunning array of musicians backing Schneider exploring the idea of choosing one’s fate or just letting it play out and seeing what happens.

On the opener, “Looking Back,” Schneider just wants “nothin’ but a lonesome, quiet place where I can think” or “a noisy, crowded place where I can drink” – depending on the circumstances. It’s a sorrowful tale about loss, either from a breakup or a death. Speaking as a widower, this one hit hard (“Something changed the day you left and I’ll never know just what. I’ll spend my whole life looking up and wondering who I am.”).

“Bag of Bones” is a sharp standout as Schneider sings about how his former lover is better off without him (“I believed you’d never get far without me. How wrong I was in the end.”). The rhythm of the track is undeniable and gets deep into you. “I got everything I want and I’ve got nothing that I need,” he sings on “Nothing I Need.” It’s a tale of an ego trap, of chasing the Alan Watts “golden goodie” that never can be caught and never brings true happiness. The country twang builds into a foot-stomping beat that barely hides the blues lyrics.

“Is There Anybody Out There?” isn’t a cover of the Pink Floyd song of the same name, but rather a song about Schneider and his bandmates Mark Barry, Miguel Briseño, and Tom Renaud seeking fellow humans who might need help along their journey (“We haven’t met, but I wrote this song for you.”). “Who Laughs Last” features actress Kristen Stewart telling a tale of traveling through the American southwest through a series of places that might not be real. “The Comedian” is a tale of a faded star who only wants “to see my name in the lights again,” but knows deep down that time and fame are ephemeral.

“Watch Me Go” is a story of someone walking away from a relationship, friendship, or some other bond that the protagonist no longer wants and won’t miss. It, like all the songs on the album, are mini-stories or characters who might be Schneider or his bandmates or might be fictional. After all, the band has built an entire universe of characters and stories based around their music.

“Fire Eternal” teams up the band with Kazu Makino from Blonde Redhead sharing the vocals on a sultry and quirky tale of fiery passion. “It All Comes Back,” with its simple yet powerful Radiohead-like piano chords, is a story of karma and might be the one that most encapsulates the “What if you could choose your fate?” theme of the album with lyrics like “I can’t be sure, but I’ve seen this before. When you walk through the door, which way will you go?”

“Used to Know” has Schneider begging a former lover to remember what they had together and to run away with it if they ever finds someone like that again. “Digging Up the Past” is a mournful story of someone who can’t (or won’t) move away from something long gone (another dominant theme on the album). The harmonica and slide guitar on it are outstanding. The closing track, “Life Is Strange,” seems perfect for the record. The album is full of weird stories, odd characters, and is about a jukebox in a mythical forest that you can use to determine your fate…but be careful what you wish for as it might not be what you expect.

The whole album isn’t what you expect, but then again it kind of is.

Keep your mind open.

[I need you to subscribe.]

[Thanks to Patrick at Pitch Perfect PR.]

Review: Go Kurosawa – Soft Shakes

If you’re Go Kurosawa, former drummer and singer for psych-kraut-who knows? rockers Kikagaku Moyo, what do you do after your band’s final tour and album? You create an album on which you play and write everything and it becomes Soft Shakes.

It’s a lovely record of Kurosawa exploring his stunning talent to play anything by ear and to create whatever was in his head at the time without having to shape it with other people. “Moon, please” is a fun yet slightly haunting track layered with hand percussion, clarinet, and other stuff hard to define. “Sada no umi” mixes, I think, found sounds with trippy synths and Kurosawa’s vocal sounds.

Both “Soredesho?” and “Green Thing” show us how well Kurosawa can play acoustic guitar and mix them with various hand percussion instruments to create a relaxing effect perfect for zoning out like Kurosawa seems to be on the album’s cover. “Autowalk” is a good example of krautrock / kraut-electro’s influence on Kurosawa. The looping synths, robotic beats, and mantra-like vocals are already cool enough, but when the trumpet hits? Forget it. It’s almost not fair.

“Jungle Cooking” is downright groovy and would fit onto any trip-hop or 1990s rap album you’d like. Cypress Hill could easily drop several bars on this. “Rice Harvesting Day” almost feels Middle Eastern, and Kurosawa’s electric guitar work takes the main stage this time. Is there anything this guy can’t play well? “Cloud Rock” ends the album with a floating groove.

It’s a great solo debut from Kurosawa. I look forward to more.

Keep your mind open.

[Autowalk over to the subscription box before you leave.]

[Thanks to Kate at Stereo Sanctity.]

Top 25 concerts of 2025: #’s 5 – 1

I saw over 50 bands last year, so these five had to bring it to make the top of the list.

#5: Osees – Old National Center – October 22, 2025 – Indianapolis, IN

I’m not sure it would be proper for me to not see Osees at least once a year by this point (or The Black Angels, for that matter). This show was in a small ballroom in the basement of the Old National Center that didn’t have much airflow but did have rock-sold pillars at the four corners of the dance floor / mosh pit. It was a sweaty, loud affair, which is just what you want for an Osees show. They hadn’t played in Indianapolis in a few years, so the crowd was eager to see them — and many hadn’t seen them until that night. They were either shocked or delighted by the end.

#4: King Gizzard and The Lizard Wizard and the Chicago Symphony Orchestra – August 09, 2025 – Ravinia – Highland Park, IL

I almost didn’t include this show by King Gizzard (another band I seem to catch every year) because our seats were too far back to see the actual stage. However, this show teaming KGATLW up with the Chicago Symphony Orchestra was too neat of a show to pass up and, what put it into the top five, they sounded great. No joke, this is probably the best sound engineering I’ve experienced at a KGATLW show, and I’ve seen many (and all of them are recorded and released by their highly skilled sound crew). I’d never heard them so clear in a live setting.

#3: TV on the Radio – September 27, 2025 – Levitation Austin – Austin, TX

I wasn’t sure I’d ever get to see TVOTR live, so I was bouncing when my suspicions were confirmed and they were booked for Levitation Austin. The show was everything I’d hoped for — high energy, great sound, and powerful messages. It felt like a blessing to see them after so many years without a tour.

#2: Nine Inch Nails – August 20, 2025 – United Center – Chicago, IL

Here’s a show I almost didn’t attend because the first night at Chicago’s United Center sold out so fast that I couldn’t get tickets. Luckily, Trent Reznor and his pals decided to book another show the following night and I scored tickets for that. The set included three different stages, great new versions of classic tracks, new tunes, and NIN looking and sounding like they’d never taken a break to make Oscar-winning film music.

#1: Underworld – May 17, 2025 – Radius – Chicago, IL

Here’s the other band I wasn’t sure I’d ever get to see live. They don’t make many trips to the U.S., and the closest they’d come in recent years was Detroit (four hours from where I live). Seeing them in a relatively small venue half the distance away was an immediate priority, and then I learned they were playing two sets with no opening act. It was a stunning performance that had everyone jumping for hours with only a short intermission and left everyone floating by the end.

Who do you want to see this year? I’m already looking forward to catching The Hives, Dry Cleaning, LCD Soundsystem, Gary Numan, Failure, Shame, Alison Krauss, and (of course) Osees, not to mention a return to Levitation Austin. Levitation France is taking a hiatus this year, so perhaps Austin Psych Fest will take its place?

Keep your mind open.

[Don’t forget to subscribe!]

Top 25 albums of 2025: #’s 5 – 1

This is always a tough decision, although my number one album of each year tends to arrive early and not leave. This trend continued in 2025.

#5: Sextile – yes, please.

Thrilling electro, sexy bass, erotic lyrics, club bangers, provocative cover, you name it, this album has all of it. It shot up into my top ten of the year as soon as I heard it and was one of the hottest records of 2025.

#4: Lonnie Holley – Tonky

Beautiful, soulful, and powerful, Tonky has soul legend Lonnie Holley encouraging us to all come together in turbulent times, “protest with love,” and embrace our neighbors. This is an album that rings true in any year, but we needed it in 2025.

#3: No Joy – Bugland

I hadn’t heard anything from No Joy in a while, so it was great to hear from them again and with such a good record. It mixes shoegaze with psych and pays tribute to the healing properties of nature and presence. I didn’t realize how much I missed No Joy until hearing this.

#2: DITZ – Never Exhale

These fiery post-punk Brits seemed to come out of nowhere (to this Yank, at least) and unleashed one of the loudest, wildest records of the year. The album is about anxiety and panic, but it never goes completely off the rails. It keeps you on the edge of your seat or helps you burn off aggression, depending on which track you blast.

#1: Pigs Pigs Pigs Pigs Pigs Pigs Pigs – Death Hilarious

As soon as I saw that album cover, I knew Death Hilarious was going to be a monster of a record. My gut was right. This is another heavy stunner from Pigs Pigs Pigs Pigs Pigs Pigs Pigs in a line of material that has yet to miss. The topics of loss (friends, creative energy, relationships) and satire are biting and empowering. You’ll growl, stomp, and roar along with this record. You’ll laugh at the absurdity of our times with it, and then dive into the mosh pit with glee.

There’s already a lot of good stuff lined up for 2026. Let me know what you’re looking forward to the most!

Keep your mind open.

[Don’t forget to subscribe!]

Review: Tombstones in Their Eyes – Under Dark Skies

“The songs on this album were driven by the desire to come back from a complete mental breakdown.”

That’s a quote from Tombstones in Their Eyes‘ guitarist and vocalist John Treanor in the notes sent to me along with their newest album, Under Dark Skies. The opening riff of the title track blasts you with power and then Treanor’s lyrics like “Give me hope because I can’t find it. Give me truth so that I can deny it.” hit even harder.

“You Never Have to Love Me” is a plea for intimacy during a time when true connection is cast aside for digital, ephemeral feelings. “The Beginning” is a big, bold instrumental track with subtly groovy drumming by Stephen Striegel. “Sick So Sick” is a great title to sum up how tired everyone is of everything right now.

“Alive and Well,” on of the singles from Under Dark Skies, almost didn’t make the cut because one of the band’s guitarists, Paul Boutin, who played on it and other tracks, died from cancer in October 2025. TITE initially were not going to release it as a single, but remembered it was one of Boutin’s favorites and the lyrics about resiliency and moving forward instead of getting stuck carried even more meaning after his death. It’s a solid track, with Boutin’s guitar work shining throughout it.

The heavy psychedelic guitars on “I’m So Happy Today” and the slight eye-roll to the vocals add a bit of sarcastic dark humor to the record. You’re never quite sure if Treanor and co-vocalists Courtney Davies and Clea Cullen ever really mean it. “I See You Looking Out My Door” instantly reminded me of some of The Smithereens‘ heavier tracks. The guitar riffs are a nice blend of psych-rock and garage-rock.

“I’ve been avoiding myself for too long,” Treanor sings at the beginning of “You Can Run.” You can run from what’s bringing you grief, stress, misery, or even just exhaustion, but you won’t get far for long. You have to be present with it. It’s the only way to “find a way out,” as Treanor says.

“Better Somehow” is a twisting, winding track that feels like incense smoke coming from a sound booth at the back of a small rock venue while TITE blast you from the stage with waves of sound. The album ends with a heavy one – “Take Another Piece of Me.” Nic Nifoussi‘s bass growls and prowls around like a dangerous wolf as Paul Roessler‘s keyboards add almost a gothic-gospel sound to it.

It’s another good record from TITE, and I’m intrigued by the second album in a row with a nautical-themed cover (Asylum Harbour being the first). The band went through rough seas in the last couple years to be certain and Under Dark Skies helps them, and us, navigate them.

Keep your mind open.

[I’ll be under dark skies until you subscribe.]

[Thanks to Shauna at Shameless Promotion PR.]

Top 25 concerts of 2025: #’s 10 – 6

So…many…concerts. They’re my favorite way to spend my paychecks, really. Which were among the top ten I saw last year? Read on, my friend.

#10: Frankie and The Witch Fingers – September 28, 2025 – Levitation Austin – Austin, TX

FATW never disappoint live. This set at Levitation Austin felt like they were playing in a hurry in the best possible way. They wasted no time on the stage and had the whole place going bonkers the entire time.

#9: Kadavar – June 27, 2025 – Levitation France – Angers, France

I hadn’t seen Kadavar since they played at the first Austin Psych Fest I attended back in 2013. They even mentioned how they hadn’t played a Levitation festival since then. They sounded great and played a great showcase of their evolving sounds from doom metal to psych-rock.

#8: The Limiñanas – June 28, 2025 – Levitation France – Angers, France

Speaking of great shows in France, seeing The Limiñanas on their home turf was the top priority for me at Levitation France last year. It was a great set that even included a cover of The Cramps’ “TV Set.” I still don’t know why they didn’t close the night and the festival. That honor went to Boy Harsher, who did a fine job, but The Limiñanas were a tough act to follow.

#7: Castle Rat – September 26, 2025 – Levitation Austin – Austin, TX

If you’re looking for a band to open your festival, you can’t do much better than Castle Rat because they set such a high bar on Day One of Levitation Austin that all the other bands that day were scrambling to catch up to them. The set included a swordfight with the Grim Reaper, a resurrection performed by a Plague Doctor (the bassist), and an eternal quest to keep a book of souls from an evil wizard. The line at their merch booth was at least twenty minutes long for several hours afterwards.

#6: Viagra Boys – September 17, 2025 – The Salt Shed – Chicago, IL

The last time I saw Viagra Boys at the Salt Shed, it was at a sold-out show inside the main building. This time it was a sold-out show on the exterior stage and it was just as bonkers. People in shrimp costumes, custom Shrimptech jackets, and wiener dog shirts were everywhere. They sounded wild and weird, which is exactly what you want from them.

Who’s in the top five? Two longtime favorites, a reunion tour I almost didn’t get to see, and two bands I wasn’t sure I’d ever get to see live. Come back tomorrow!

Keep your mind open.

[Don’t forget to subscribe!]