7th Level Music

Review: No Joy – Bugland

Jasamine White-Gluz got out of the city to make Bugland, the newest No Joy album, experimenting and collaborating with Fire-Toolz (AKA Angel Marcloid) for an record that is difficult to categorize, but why should we even bother to try? Why not just sit back and enjoy it?

Starting with electronic bloops, bleeps, and beats, “Garbage Dream House” gets things off to a weird, wonderful start – mixing buzzing guitar chords with synths and processed drums while White-Gluz’s voice bounces off the back wall at some points and nuzzles your ear the next. The title track crunches and munches like an early Garbage track and White-Gluz’s reverb-soaked vocals practically lift you off the floor.

“Bits” has more 90s electro-rock vibes to it, practically begging you to blast it on your headphones as you hit the mid-mark of your treadmill workout. “Save the Lobsters” is based on a true story of White-Gluz smashing open lobster traps washed up on beaches so she could get the creatures back into the ocean. Her vocals are often drenched in distortion or echo effects, seemingly putting you under the water with the freed animals.

“My Crud Princess” not only has a great title, but also a sparkling energy bursting through the slightly sludgy (cruddy?) drum beats. “Bather in the Bloodcells” reminds me of My Bloody Valentine if they turned down the volume a bit and covered Elastica.

“I Hate That I Forget What You Look Like” is a stunner about grief that, for some us, is all too relatable. The snappy drums and synths grow like a mind almost spiraling into panic, but catching itself just before toppling into madness. The psychedelic closer, “Jelly Meadow Bright” is almost eight minutes of trippy bliss, nearly fading out halfway through it and then returning with a wild saxophone-led acid-jazz / industrial freak-out.

Again, I’m not sure how to describe Bugland…apart from it being one of the best releases of 2025 so far.

Keep your mind open.

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[Thanks to Tom at Terrorbird Media!]

Circle Jerks set to release a deluxe reissue of 1983’s “Golden Shower of Hits.”

Circle Jerks ~1983 | Photo By Glen E. Friedman

Golden Shower of Hits is a vicious, snotty and vibrant collection of tracks that highlight Circle Jerks’ insane punk chops, and their penchant for anti-authorianism, nihilism and a good ol ‘time. They’ve teamed up again with renowned archival label Trust Records for its re-release – marking the first time that its original tapes have been touched in 40 years.

The announcement of Golden Shower of Hits’ deluxe reissue comes just in time – today marks frontman / punk icon Keith Morris’ 70th birthday! Fans will have the chance to celebrate alongside the Circle Jerks with their return to the Hollywood Palladium tomorrow night, Friday, September 19, in Los Angeles. The show promises to be an unforgettable night honoring his legacy and the enduring power of punk. Joining them on this special night are Ceremony, Rocket From the Crypt, and Negative Approach — a lineup as ferocious as the occasion demands. Attending fans will also have access to two special exclusives available only at the Palladium show: A limited-edition 7-inch single of “When the Sh*t Hits the Fan”, (limited to 300 copies) and a limited-edition birthday poster, (500 copies) designed and signed collaboratively by Morris and Shepard Fairey (Obey Giant). Tickets and more info are here.

The audio for Golden Shower of Hit’s deluxe reissue was remastered from the original analog tapes by Pete Lyman at Infrasonic Sound in Nashville and restored and digitized by Dan Johnson at Audio Archiving Services. In addition to the vastly improved sound, this version also features a few different variants and updated artwork which has been given a modern touch by Bryan Ray Turcotte from Kill Your Idols Studio and features unseen photos by legendary photographer Glen E. Friedman.

By 1983, Circle Jerks had already established themselves as one of the most crucial hardcore punk bands– not only in their native Los Angeles, but worldwide. Their seminal debut Group Sex (1980) and the massive follow-up Wild in the Streets(1982) had been unleashed on the public along with extensive touring. The remaining original lineup of Keith Morris (Black Flag, later of OFF!), Greg Hetson (Redd Kross, later of Bad Religion), and Roger Rogerson would soon create another landmark hardcore punk release with their follow up, the masterful Golden Shower of Hits.

Golden Shower of Hits was initially released on July 21,1983 via LAX Records, a label owned by producer Jerry Goldstein best known as manager for Sly Stone and The Plugz, as well as the producer for WAR and The Strangeloves. Clocking in under 28 minutes, the album featured eleven new tracks and the infamous title track, a medley that, like the Paul Revere & the Raiders and Jackie Shannon covers found on the previous LP, completely reinvented the originals into a twisted take on AM radio pop favorites. A pair of tracks, “Coup d’État” and a version of “When the Sh*t Hits the Fan” made their way onto the soundtrack for the midnight movie Repo Man, and is forever cemented into that oddball slab of cinematic genius. “‘Golden Shower of Hits’ was recorded after Lucky Lehrer decided he was going to go to law school, so John Ingram filled in after being recruited by Roger Rogerson,” recalls Morris. “We pretty much recorded live on the sound stage. And the really fun part of that scenario was that our engineer had worked with the Grateful Dead– which at the time was odd.”

LISTEN / SHARE “WHEN THE SH*T HITS THE FAN” REMASTERED AUDIO

Upon release, Golden Shower of Hits became just as its moniker inferred– a modern classic that added to Circle Jerks’ already formidable legacy. And more than 42 years later, that legacy’s already long tail stretches further and wider with the release of this meticulously crafted reissue– cementing the LP’s importance in not only punk history, but the cultural zeitgeist as well. “I’d say that this is a cornerstone in the Circle Jerks discography,” says Morris. “When it comes to our setlist, we’re playing at least seven of these songs live. I think that’s a statement in itself. The title track is probably one of the most ridiculous things that we ever recorded.”

PRE-ORDER / PRE-SAVE GOLDEN SHOWER OF HITS

Circle Jerks Live Dates:
Oct 02: Portland, OR – Roseland Theater
Oct 03: Tacoma, WA – Temple Theatre
Oct 05: Bend, OR – Volcanic Theatre Pub
Oct 06: Boise, ID – Knitting Factory
Oct 08: Salt Lake City, UT – The Depot
Oct 10: Grand Junction, CO – Mesa Theater
Oct 11: Boulder, CO – Boulder Theatre
Oct 13: Kansas City, MO – Madrid Theater
Oct 14: Oklahoma City, OK – Tower Theater
Oct 15: Little Rock, AR – The Hall
Oct 17: Dallas, TX – House of Blues
Oct 18: San Antonio, TX – Paper Tiger

Keep your mind open.

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[Thanks to Bailey at Another Side.]

Paz Lenchantin releases “Novela” from her upcoming solo debut.

Paz Lenchantin debuts her new single and album opener “Novela” today. “The track is a melodramatic story that resolves with excepting that you are the way you are ‘Sos como sos,'” says Paz. “Novela” draws on the emotional architecture of Spanish balladry, using it as the bedrock for her raw, restless compositions. The video was created by longtime friend and filmmaker Maximilla Lukacs – watch below.

After almost three decades as bassist, vocalist, and co-writer for legendary bands like Pixies (2014–2024), A Perfect Circle, Zwan, The Entrance Band, Paz now steps forward with her debut solo album Triste, out October 17 on her own label, Hideous Human Records.

Triste is a 12-track album that blends both Latin folk textures with American rock structures that features Paz on piano, adding her signature string arrangements around the rock band roots she came from. Paz performed all of the instruments before enlisting some of her favorite musicians, including former A Perfect Circle bandmates Josh Freese (drums), Troy Van Leeuwen (guitar) and more, all of whom helped Paz create a dynamic musical world that feels both unearthed and carefully constructed. Each song is shaped with an editor’s precision and guided by a mystic’s intuition, producing music that sounds both timely and timeless.

Listen / Share / Playlist “Novela” | Official Music Video Here

Triste began forming in Petatlán, Mexico, where Paz spent most of 2024 on her own writing songs about faith, doubt, and self-discovery, mirroring her own experiences post Pixies. Mixed by Chris Coady (Beach House, Yeah Yeah Yeahs), Tristedelivers a fiercely personal and expansive statement that stamps the first chapter in her solo career.

“I had to make this record on my own—not to prove anything, but just to have faith that music can nurture me back. And it did.” – Paz Lenchantin

Pre-Order / Pre-Save Triste

Keep your mind open.

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[Thanks to Bailey at Another Side!]

Live: Viagra Boys and Die Spitz – The Salt Shed – Chicago, IL – September 18, 2025

I’ll admit that I almost didn’t make it to see Viagra Boys and Die Spitz in Chicago. I’d bought the tickets when they went on sale several months ago, figuring the show would sell out after their tremendous show at The Salt Shed the last time they were there. Sure enough, it did sell out, but I was tired and had already dealt with a long week (and it was only Wednesday) by the time September 17th arrived. I debated selling my tickets, but no one offered a decent price for them.

Luckily, I convinced my girlfriend’s daughter to go with me, figuring she’d get a kick out of their show and seeing the all-female Die Spitz rip up a stage. It was the right call, because we had a fun time and she came back with a Die Spitz shirt and a couple new favorite bands.

Austin, Texas’ Die Spitz put on a good, loud, sludgy set of garage punk. It reminded me a lot of Bleach-era Nirvana. They were raw, rough, and having a great time. You couldn’t ignore them, nor should you.

Viagra Boys played a lot of tracks from their new self-titled album, opening the show with “Man Made of Meat” – which most of the crowd was singing / yelling with them. “Slow Learner” was a pleasant surprise, and “Punk Rock Loser” had everyone cheering.

I didn’t eat the pizza, but more on that later.

“Ain’t No Thief” was a big hit, with the crowd tossing so many lighters to lead singer Sebastian Murphy that he forgot the lyrics to the second verse. “Pyramid of Health” has some fun audience participation, as did “You N33d Me.”

“Store Policy” was another fun surprise, and “Medicine for Horses” was a mellow turn before they launched into “Sports” and an extended version of “Research Chemicals” that had a wild, almost psychedelic outro.

After a short break, the encore included “The Bog Body” from the new album, “ADD” (another nice one to hear), and “Worms” — a fitting end as it’s a song about embracing mortality and impermanence.

The crowd was fired up with anger toward the current political climate and the desire to have fun and forget about it for a while (i.e., at least two people in full shrimp costumes — one of whom, according to people we overheard as we left, was having a green-out).

As we left, we drove by this place that is not even a ten-minute drive from the Salt Shed.

It would’ve been appropriate to eat here after the show, and support Shrimptech Industries, but, alas, they were closed. We went for late night tacos instead and, as I left with our to-go order, I was passed by a woman and her…

If that’s not a perfect ending to a Viagra Boys show, I don’t know what is.

Keep your mind open.

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Paris Music Corp. uses technology to push back against itself on “No Soy A.I.”

Texas-based electronic and ambient composer Paris Music Corp. a.k.a. John Andrew Paris presents ‘No Soy A.I.’, the first taste of his latest electronic odyssey ‘Ecotone’. Slated for release on October 24, this album promises to be a futuristic trip, and “No Soy A.I.” is the perfect, human-first introduction.

In a world increasingly dominated by the cold, calculated logic of artificial intelligence, Paris Music Corp. throws down a human gauntlet with this dark slab of swirling electro, which features the searing Spanish vocals of fellow Texan musician, writer and actor Ray Perez. A potent opening statement, this is a sonic challenge to the algorithmic chill of our times and the only track on this album with vocals.

Originally from Austin and now calling Brownsville, TX his seaside home, John Andrew Paris spent decades creating music and collaborating with artists, including Arthur Brown (The Crazy World of Arthur Brown, perhaps best known for his hit single ‘Fire’), as well as DJ Rev Kathy Russell, DJ Lucas Ray, Catastrophe Ballet, Le Reve, Life’s Eyes, Beast of Eden, OBOYO and Don Wigwam.

In 2022, Paris Music Corp. released his self-titled album, after taking hiatus for half a decade following the release of his debut album ‘Rewind’ in 2017. Fast forward to autumn 2025 – now Paris is ready to release the next collection of his electronic adventures, having written, recorded, mixed and mastered this full album at Tarantula Studios throughout 2024 and 2025.

“With ‘No Soy A.I.’, I wanted to address the coldness of some of AI’s tendencies, such as people already having AI girlfriends and boyfriends. Ironically, this track ultimately turned out to be a love song of sorts, which is okay by me,” says John Andrew Paris.

“Sonically, this piece has a very futuristic sound to it. The words delivered in Spanish alongside make it even more relevant as something new and a little out there”.

Influenced by the likes of Mick Karn, Pink Floyd, Gary Numan, Tim Hecker, Casino Versus Japan and Miles Davis, John Andrew Paris has also scored 2 independent films – the documentary ‘Andy Paris: Bubble Gum King’, also released as an album, and the short horror film ‘Spectral Wind’. He has also created a clever electronic rework of ‘Lord of the Dance’ for the Austin Christmas Collection Album.

“After relocating Paris Music Corp. to Brownsville, TX, it became apparent that wildlife and nature in general were at the forefront with living on the border of Mexico next to the sea. The ‘Ecotone’ album made sense to me because you have a transitional zone, where two different ecological communities or ecosystems meet and intermingle, often resulting in high biodiversity,” says John Andrew Paris.

Cinematic and ethereal, Paris Music Corp. music is ambient and spacey electronica. Often with elements of 80’s darkwave and ambient soundscapes, his trademark sound includes heavily processed guitar and bass instruments locked into layered loops and further manipulated using software. Also employing live hand percussion, these dense soundscapes take the listener on a sonic journey to otherworldly places.

As of September 19, ‘No Soy A.I.! is available from digital platforms, including Apple Music ,Spotify and Bandcamp. The ‘Ecotone’ album will be released on October 24.

Keep your mind open.

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[Thanks to Shauna at Shameless Promotion PR.]

Rewind Review: Goat – Seu Sangue EP (2023)

Goat‘s Seu Sangue EP is a collection of four remixes from their Oh Death album and one new track. It came about after the surprise release of Oh Death, which reminded everyone of how good Goat is and had producers and DJ clamoring to remix several (if not all) tracks from it.

Seu Sangue is the result, starting with the funky and snappy 12″ Extended Dance Mix of “Under No Nation” by John Mark Lapham. The “Shit & Shine Rework” of “Do the Dance” is jagged and weird, and Sonic Boom‘s Party Mix of “Soon You Die” somehow makes the song even fuzzier and grimier. I wish it were double the length – just under three minutes isn’t enough for this much madness.

Marlene Ribeiro remixes “Remind Yourself” with extra hand percussion for a funky instrumental. The new track is the title track, mixing acoustic guitar and what sounds like a Mellotron with seagull cries and reverb-loaded vocals for a meditative experience that is perfect for a sunset or when you’re about to make a potentially life-changing decision (and, really, aren’t all of them life-changing?).

Keep your mind open.

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Rewind Review: DJ Zinc – Crackhouse Vol. 3 (2023)

Are you looking for another full album of house and techno bangers? Well, DJ Zinc has you covered with Crackhouse Vol. 3.

The opening moments of “Conditioning” (with Chris Lorenzo) are designed to get you jumping. “That Sound” is a stand-out, building to a thumping floor-filler. “Close My Eyes” is classic house music, mixing fun beats with lovely vocals. “Amergency” dives back into straight-up jungle madness.

“Everywhere” blends the two into jungle-house with looped gospel-like vocals and popping boba bass to keep you caffeinated and on a sugar rush. Kamakaze joins Zinc for “What I’m On” – a head-swirling jungle track that makes the room feel like it’s spinning. “When I” brings us back to soulful house music. “Dollars” practically turns on the strobe lights for you with its bright synth riffs.

“Goldin” adds vocals from President T to the party, bringing in a rough edge to Zinc’s booming beats. Ever helps Zinc close out the mix with the sweaty breakbeat cut, “For My People” that leaves you out of breath by the end. It feels over too soon, as most good raves do.

Keep your mind open.

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The Mendozaz release fun new single – “Late Stage 12 Gauge.”

Toronto’s pop punk rock powerhouse The Mendozaz are back with “Late Stage 12 Gauge,” the first advance single from their upcoming eight-song concept EP The Completely Fictional History of This Great Nation of Canada, out November 3 on Cartridge Heart. Like the rest of the record, the track takes aim at an entirely fabricated chapter of Canadian lore, in this case a web of imagined affairs, a dozen restraining orders, and one very ill-advised bromance cover-up.

A high-voltage burst of 90s-style pop-punk filtered through the band’s signature mix of humour and bite, “Late Stage 12 Gauge” blends galloping rhythms, snotty harmonies, and a chorus that lands like an inside joke you are instantly in on. Beneath the grin-inducing hooks, the lyrics spin a tale of paranoia, jealousy, and shotgun standoffs that feels just plausible enough to make you wonder if it really happened. “As any single guy will tell you, having platonic female friends is a bit of a minefield,” the band says. “Even the most well-meaning of us are going to have to deal with jealous significant others from time to time. The last thing you want is to set off the heat-packing husbands (and weapon-wielding wives) of the world. There’s a whole population of people who think ‘Netflix and Chill’ actually means ‘Netflix and Chill’ and they have no idea the toes they’re stepping on.”

Formed in 2017, The Mendozaz consist of Jonny (vocals/guitar), Michael (vocals/bass) and Dic (drums). They have carved out a reputation for relentless live shows and obnoxiously catchy songwriting. Their three previous albums (Two Days to Retirement, Up and At Them and Loafers) earned critical praise and steady campus radio play, while sharing stages with Dayglo Abortions, Chuck Coles and The Anti-Queens and making festival stops at Pouzza, NXNE and KW Long Weekend Band Crawl.

Described as “the sound of a Fat Wreck comp smashing violently into a copy of Big Shiny Tunes,” The Mendozaz channel the spirit of early Green Day and late 90s Fat Wreck alumni while avoiding the syrupy pitfalls that plagued pop-punk’s commercial boom. It is an approach that has drawn comparisons to The Weakerthans, PUP and The Dead Milkmen, bands that can make you laugh, think, and shout along in the same three minutes.

With The Completely Fictional History of This Great Nation of Canada, The Mendozaz lean into their love of Canadian storytelling by making the stories up entirely, from murderous werewolves in London, Ontario to the sea captain who may have seduced Death herself. “Late Stage 12 Gauge” is just the first taste, a wink, a wallop, and a reminder that in punk rock, history is always written by the loudest.

Keep your mind open.

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[Thanks to Chad at No Rules PR.]

Review: Man…Or Astro-Man? – ROYGBIV (deluxe edition reissue)

As the story goes, Man…Or Astro-Man?‘s Brian “Birdstuff” Teasley send a demo of the band’s music to legendary BBC DJ John Peel along with a note telling him to never play it on air because they didn’t want to be discovered and then forgotten like so many other bands who had been played on his show.

The trick worked, because Peel came to love MOAM? so much that he invited them to play on his show over a dozen times between 1993 and 2000. Many of those recordings were released as a limited box set, ROYGBIV – which quickly sold out in 2024. Thankfully, a deluxe second edition of it was released this year.

It’s jam-packed with MOAM?’s signature sci-fi surf, launching with “Rocketship XL-3.” “Invasion of the Dragonmen” samples an old Spider-Man adventure record. “Nitrous Burnout” is a tribute to the dangerous world of outlaw racing. “Transmissions from Venus” is one of their heavier tracks and loaded with fuzz. “A Mouthful of Exhaust” is another fun one about the smash-up racing lifestyle.

“Sadie Hawkins Atom Bomb” pushes the bass to the front and takes on a slight rough edge. The theme from The Munsters has been a long-time favorite of surf bands everywhere, and MOAM?’s version is a wild stomper that’s over before you can catch your breath, and “Gargantua’s Last Stand” is as raucous as its titular monster. “Name of Numbers” and “Special Agent Conrad Uno” feature some of the wildest guitar on the entire collection.

“Time Bomb” and “Put Your Finger in the Socket” are punk-surf, with the latter having a dangerous growl throughout it. “________ (Classified)” brings in a Theremin for good measure. “Sferic Waves” gets a little bit into horror-rock territory (which is fine by me).

MOAM? play tribute to Mr. Peel on a couple tracks in the collection, the first being “Inside the Head of Mr. John Peel” – which makes you think Mr. Peel had constant drumming and surf guitar on his mind. “Inside the Atom” is as fast and wild as you’ll hope it will be. “24 Hours” slows things down, but not by much. What’s the “Maximum Radiation Level”? I don’t know, but it sounds like MOAM? reach it on the track. “U-Uranus” is one of the few tracks with vocals and it’s about the seventh planet from the Sun…for the most part.

The guitars on “Man Made from CO2” warp like something teetering on the rim of a black hole. “9-Volt” is another rare track with vocals and “Television Fission” is a blast of rocket fuel that burns out almost before you notice it’s happening. “Welcome to the Wicky Wacky World of John Peel (The Wayward Meteor)” is a great one, mixing funky guitars with weird sounds, solid surf bass, and surf-punk drums. “Lo Batt” reminds me of early Devo tracks with its mix of odd synths, punk riffs, robotic vocals, and snappy drums.

“The Miracle of Genuine Pyrex” has one of the goofiest names and some of the most metal riffs. “Jonathan Winters Frankenstein” is a fun poke at the Edgar Winter Group. It’s not a cover of their classic “Frankenstein,” but you can still hear the influence. “With Automatic Shut Off” and “Rovers” are a bit mellow, and “Bombora” is their version of a classic surf-rock ripper. “Max Q” has cryptic vocals hidden behind the fierce riffs and rolling drums. “Don’t Think What Jack” wraps up the music, but there are still four more tracks of Birdstuff reading excerpts from Phillip K. Dick‘s Through a Scanner Darkly. Why? Heck, why not by this point?

It’s a wild, fun collection that flies by you like, well, a rocket. Blast off with it.

Keep your mind open.

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[Thanks to Dan from Discipline PR!]

Mei ehara releases “Fuukeiga (Cut Out)” from upcoming album.

mei ehara—the Tokyo-based artist, musician, writer, and designer— presents “Fuukeiga (Cut Out),” the second single from her new album, All About McGuffin, out September 12th on KAKUBARHYTHM. Following the “slinky and hypnotic” (Our Culture) lead single, “Kanashii Untenshu (Sad Driver),” today’s single “Fuukeiga (Cut Out)” is fuzzed out and spare, showcasing the raw and intentionally unembellished instrumentation found throughout the album.

ehara elaborates: “We are always seen through the eyes of others—defined, judged, expected, sometimes dismissed. That gaze can weigh heavily, making us falter, hesitate, and turn questions inward. Yet the influence of others is not only a burden. It can open paths we wouldn’t discover on our own, shaping the choices that carry us forward. Each step we take, in the rhythm of these connections, carries both unease and anticipation. The future stays opaque, but moving toward it brings its own kind of charge — a tension, an exhilaration, like placing a quiet bet on what comes next.

“Listen to “Fuukeiga (Cut Out)”

For ehara, the years since the release of her beloved 2020 album Ampersands have been anything but static as her music began to travel further than ever. A chance encounter led Faye Webster to discover ehara’s music. The two ended up collaborating on Webster’s song “Overslept” from I Know I’m Funny haha and ehara opening for Webster across the U.S. Performing around the country became both a test and a revelation for ehara, proof that her quietly powerful songs resonated far beyond Japan.

All About McGuffin is a testament to an artist learning to trust her own instincts, to create without fear, and to let the story find her. The album takes its title from the film term “McGuffin,” an object that seems essential to a story but ultimately proves secondary or unimportant. For her, the concept became a metaphor for letting go of preoccupations about success, expectations, and artistic perfection.

Musically, All About McGuffin is the most stripped-down and unguarded of her work so far. Longtime bandmates Masamichi Torii (guitar), Naruki Numazawa (keyboards & piano), Sota “Coff” Kimoto (bass), and Koki Hama (drums & percussion) remain at her side, yet the arrangements are more transparent than ever. ehara describes this as an act of trust and a deliberate departure from her own perfectionist instincts: “Even if I felt uneasy about whether it was enough, or whether people might say it wasn’t enough, I was aware that I didn’t have to add anything. It was like I was naked.”

All About McGuffin feels deeply rooted in the present moment, reflecting ehara’s newfound vulnerability. It is a luminous and quietly defiant collection of songs about the joy that comes from realizing you don’t have to meet anyone’s expectations but your own.

Next month, ehara will embark on her first US headline tour featuring dates in San Francisco, Los Angeles, New York, and Chicago. Prior to her headline tour with a full band, she will support Se So Neon on a run of North American dates. Tickets are now available to purchase here.

Listen to “Kanashii Untenshu (Sad Driver)”

Pre-order All About McGuffin

mei ehara Tour Dates
(New Dates in Bold)
Sat. Sept. 6 – Philadelphia, PA @ Theater of Living Arts #
Tue. Sept. 9 – Brooklyn, NY @ Brooklyn Steel #
Wed. Sept. 10 – Somerville, MA @ The Center for Arts at the Armory #
Fri. Sept. 12 – Montreal, QC @ Théâtre Beanfield #
Sat. Sept. 13 – Toronto, ON @ Phoenix Concert Theatre #
Tue. Sept. 23 – San Francisco, CA @ Swedish American Hall
Thu. Sept. 25 – Los Angeles, CA @ The Echo
Sun. Sept. 28 – New York, NY @ Mercury Lounge
Tue. Sept. 30 – Chicago, IL @ The Empty Bottle
Sun. Oct. 19 – Tokyo, JP @ WWWX [SOLD OUT]

# = solo performance supporting Se So Neon

Keep your mind open.

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[Thanks to Ahmad at Pitch Perfect PR.]