Clutch announce the release of the new studio recording of the track “Willie Nelson.” The single is the sixth in a series of new studio recordings that comprise the Weathermaker Vault Series.
“Willie Nelson is a song we wrote close to 20 years ago,” says Neil Fallon. “It started making appearances in our sets recently, so we figured now was a good time to re-record it. This time around Shawna Potter (War On Women) added back up vocals and is in the video as well. And for what it’s worth, ‘Red Headed Stranger’ gets regular play on our tour bus.” The single was recently re-recorded and remixed by J. Robbins (Jawbox, Jawbreaker, The Sword, Against Me!), and the track comes in at 3:21. “Willie Nelson” was originally released in 2003 on Clutch’s album Slow Hole To China: Rare and Unreleased “Willie Nelson.”
UK producer / DJ Matt Karmil‘s new album, STS371, has an enigmatic title and equally intriguing song titles and cover (Are those worms? Fish? Amoebas?). The music is just as fascinating because it’s some of the best electro-house released so far this year.
The opener, “Smoke,” starts with chopped vocal samples and scratchy record sounds before dance floor beats and bass subtly drop into the track. “Hard” beings with dreamy synths that pulse like a heartbeat and then that sweet bass drops in to get you and, I would venture to guess, your lover moving.
You might think that a song called “Snail Shower” would be a slow, mellow cut, but it’s the opposite. It’s a bright, refreshing track with looped synths. “PB” was the first single released from the album. It’s a bold track with synths that hint at anger but drums and bass that hint at being a cool cat…until that wicked high hat comes in and gets you in the mood to move.
As someone who is studying the French language, I love the title of “Still Not French” – a peppy house tune that I can envision hearing while on the train in Paris. “Congo” is as steamy and mysterious as its namesake, with beats that are so layered they almost seem to trip over each other. “SR WB” could be the theme to a lost sci-fi show from the 1980’s.
“Breezy” continues the dance beats (and, wow, that electro-high-hat!) and adds poppy synths to the mix. “210” ends the album with more bright beats, sizzling synths, and body-moving grooves.
Even after listening to STS371, I’m still not clear on the meanings of the album’s and songs’ titles, but that’s okay. We don’t have to know everything. We can just play an album like this and groove to it while we undergo self-isolation.
The cover of Chicago post-punks Deeper‘s new album, Auto-Pain, features an image of Northwestern Prentice Women’s Hospital in Chicago – a hospital known for its modern architectural style…that was demolished in 2015. Healing, death, illness, impermanence, and presence are themes weaved throughout the album.
It opens with “Esoteric,” as guitarists Mike Clawson and Nic Gohl (who also sings lead) lead us by the hand with catchy hooks while Gohl asks “Is it any wonder I feel so old?” He’s bogged down by the pressure of living under constant demands from all angles. The song breaks into bright synths and power riffs that bring Wire records to mind. “Run” has some guitars just as bright and shiny as before, and other with a lingering sense of anger behind them.
“This Heat” could be a tribute to the band of the same name (and the sharp guitars certainly are reminiscent of This Heat), but I suspect the song is about the heat of emotions and trying to tame them. “I’m so sick” Gohl repeats again and again, as well as “You’re crossing the line.” He’s ready to burst with rage as his temperature rises. “It’s all right” is repeated often on “Willing,” and you’re not sure if Gohl is trying to convince us, his bandmates, himself, or all three groups. I love the way the guitars sound like warped records, and Shiraz Bhatti‘s beats (influenced by sounds heard as a kid at pow wows he attended with his family) on it are wicked.
“What’s the point of living this life?” Gohl sings on “Lake Song.” A repeated line in the chorus is “I just want you to feel sick.” The lyrics take on heavier weight when you learn that Clawson killed himself after leaving the band during Auto-Pain‘s recording. He had battled depression for a long time. The band was stunned, as you can imagine, and “Lake Song,” with its dark synths and krautrock beats, feels like Gohl, Bhatti, and bassist Drew McBride working out their grief in the track.
The synths burst forth with new light and the guitars throw fits with new fire in “Spray Paint.” On “4U” the synths and guitars almost become manic, probably reflecting the stress building on the band at the time. McBride’s admiration of Peter Hook is on full display on “V.M.C.” and “Helena’s Flowers” – two tracks that deal with obsession and attachment.
“The Knife” brings to mind early stuff from The Cure as Gohl sings about feeling best when one realizes most of life is nonsense. It can be a depressing thought, and Gohl has admitted that depression is the main theme of the album and the recording of it was a healing process for he, McBride, and Bhatti. The closer, “Warm,” has Gohl’s guitar sounding like it’s stumbling across a desert landscape in search of a cool place to rest. “Is this the cure you believe in, or just another cast line?” Gohl sings. The last line of the song and thus the album is “Inside I close the door.” Does he mean inside the safety of his home or inside the domain of his mind? I’m not sure if it matters either way. He has found a way to shut out the noise, and wouldn’t we all be better off if we could do that?
The title, Auto-Pain, is a reference to Brave New World and a substance that lets you feel everything at once. Could we deal with such a wave of emotion? Would we end up enlightened if we did, or crushed? Sometimes the reward is worth the risk.
Keep your mind open.
[Don’t forget to subscribe for auto updates to your e-mail inbox.]
Acclaimed UK producer and engineer MattKarmil will release his new album, STS371, on March27th via SmalltownSupersound, and today presents a new single, “210.” Following lead single “PB,” “210” opens with shuffling synthesizer, later quickening with a muted, staccato beat.
“210 is named after a hotel room in Amsterdam,” says Karmil, “although not one I’ve ever stayed in. I like the way the chord hangs in the air and it’s, to me at least, somehow both intimate and urgent.”
STS371 is Karmil’s most concise album to date, with his signature mix of minimalism and reverb-drenched house still being the backbone of his warm, rich, atmospheric and melancholic sound. It was made largely while Karmil was traveling in a nonlinear process of recording. Anticipating the completion of his music studio in The Cotswolds in England, Karmil favored “on the fly” production methods to finish his album.
While his works fit within the tradition of techno’s timeless anonymity, Karmil’s highly personal music is anything but a xerox on dance music’s previous life. As Karmil puts it – minimally, simply and functionally: “I made a conscious effort to up the energy, and found a collection of tunes that felt coherent to me.”
STS371 follows 2018’s Will. Since the release of Will he has co-produced and mixed KornélKovács’ acclaimed StockholmMarathon. He has also worked with, among many others, MatiasAguayo for CrammedDiscs and Talaboman for R&S, as an engineer, mixing and mastering.
It’s a bit difficult to describe the music of Radar Men from the Moon (who are actually from the Netherlands). Is it psychedelia? Prog-rock? Synthwave? Shoegaze? All of that? None of it? I’m not sure. They were all playing synthesizers, sequencers, and drum machines when I saw them at Levitation Francea couple years ago, and Subversive I is heavy on electronica and synths, whereas other albums are more guitar-based. I do know, however, that everything I’ve heard from them is good.
Subversive Iis the part of a triptych of albums released in consecutive years starting in 2015. Subversive I is only four instrumental tracks, but the shortest one is six-and-a-half minutes long.
That one is the first track, “Deconstruction,” which starts off with fuzzy synth bass and sharp drum beats before robot pulse guitars come in to get you moving. It’s an industrial dance track in many ways, again making RMFTM difficult to categorize.
“Habitual” takes on a darkwave tone with guitars that sound like they were recorded in a dark tomb and bass and synths that sounds like some…thing pounding and clawing it’s way out of that tomb.
“Neon” is the longest track on the album at eleven minutes and sixteen seconds. It starts quiet and brooding, like a slow, building rain hitting a tin roof. It turns into a theme for a cool futuristic mystery-thriller movie you think you’ve seen but never have.
The closer, “Hacienda,” is the most “in your face” song on the record with its buzz-saw guitars and “Peter Gunn”-like bass that gets under your skin.
Subversive I, like a lot of RMFTM’s work, is one of those albums that changes the feel of the room when you play it. It’s one of those albums that makes people ask, “What is this?” Sometimes they ask it out of intrigue, other times out of confusion, and other times out of apprehension. If that doesn’t make you want to hear it, I don’t know what will.
The fourth album by Public Image Ltd., This Is What You Want…This Is What You Get, came out in the Year of Orwell – 1984. The world was in the middle of the Cold War and people were wondering which side was going to first heat it up. It was the “me decade” here in the U.S. for Wall Street tycoons who were grabbing all the wealth they could while the rest of us were waiting on Trickle Down Economics to make our lives easier. Spoiler alert: We’re still waiting.
John Lydon and guitarist Keith Levene were working on the album and had an early mix, entitled Commercial Zone, completed. Levene took it to Virgin Records, but Lydon abandoned the project and re-recorded all of it to create This Is What You Want…This Is What You Get.
It starts with the buzzy “Bad Life,” which was the first single off the record. It mixes funky bass with cool horn blasts as Lydon sings, “This machine is on the move. Looking out for number one.” It’s a nice shove at 1980’s yuppies stepping on others to get what they want. The title of the album is repeated over electric drum beats toward the end of the track (and throughout the album).
“This Is Not a Love Song” was Lydon’s poke at people who kept asking him, “Why don’t you write a love song?” He write a brassy jam that mostly repeats the title and ended up being one of his biggest hits. “Happy to have and not to have not. Big business is very wise. I’m crossing over into the enterprise,” he sings, telling all of us that he could take the money and run if he wanted.
Louis Bernardi‘s bass on “Solitaire” is downright nasty. You could easily slap it onto a funk record and it wouldn’t sound out of place. “Tie Me to the Length of That” is a reference to Lydon’s birth, even referencing the doctor who slapped him when he was born. It crawls around the room like a creepy goblin. The horn section echoes from the background like some sort of distant warning.
“The Pardon” has Lydon calling people out for being resistant to change. The beat is a weird tribal jam that is hard to describe but one that sinks into your head. “Where Are You?” is barely controlled chaos as Lydon searches for…someone. I’m still not sure whom.
“1981” is a post-punk classic with Lydon ranting about everything he could see was going to go wrong in the decade and how he figured it might be best to leave England for a while. The drums are sharp, the baritone sax angry, the cymbals sizzling, and the lyrics biting: “I could be desperate. I could be brave…I want everything in 1981.”
The album’s title is repeated again at the beginning of the last track – “The Order of Death” – killer drum beats back dark piano chords. The guitar chords are like something out of a Ridley Scott film score. It’s a cool ending to a cool record, and somewhat of a forgotten post-punk classic.
Today Protomartyr announce their fifth album, Ultimate SuccessToday, out May 29th on Domino. Following the release of Relatives In Descent, the band’s critically acclaimed headlong dive into the morass of American life in 2017 (featured on myriad “best of” lists, including The New York Times, Esquire, Newsweek, and more), Ultimate Success Today continues to further expand the possibilities of what a Protomartyr album can sound like. Along with today’s album announcement, the band shares the video for their first single “Processed By The Boys,” and announces a summer North American tour. WATCH THE VIDEO FOR “PROCESSED BY THE BOYS” http://smarturl.it/PBTBYT
PRE-ORDER ULTIMATE SUCCESS TODAY Domino Mart | Digital “There is darkness in the poetry of Ultimate Success Today,” says punk legend, founding member of the Raincoats, and friend of the band Ana da Silva. “The theme of things ending, above all human existence, is present and reminiscent of Cormac McCarthy’s The Road. Our world has reached a point that makes us afraid: fires, floods, earthquakes, hunger, war, intolerance…There are cries of despair. Is there hope? Greed is the sickness that puts life in danger.”
“The re-release of our first album had me thinking about the passage of time and its ultimate conclusion,” says singer Joe Casey of Ultimate Success Today. “Listening to No Passion All Technique again, I could hear myself hoping for an introduction and a long future, but also being cognizant that it could be ‘one and done’ for us. So, when it came time to write Ultimate Success Today, I was reminded of that first urgency and how it was an inverse of my current grapple with how terribly ill I’ve been feeling lately. Was that sick feeling coloring how I felt about the state of the world or was it the other way around?”
“This panic was freeing in a way. It allowed me to see our fifth album as a possible valediction of some confusingly loud five-act play. In the same light I see it as an interesting mile marker of our first decade of being a band – a crest of the hill along a long highway. Although just to cover my bases, I made sure to get my last words in while I still had the breath to say them.”
“There are exquisite, subtle gifts from other instruments that always heighten the guitar, instead of fighting with it,” explains da Silva. “They help to create a harmonious wall of sound all of its own. This was intentional. Greg Ahee wanted to use different textures other than pedals, and the drone quality of some of those instruments colours the guitar and the whole sound with a warm, rich in reverb, yet all-consuming landscape for Joe Casey’s voice.”
The video for “Processed By The Boys,” directed by David Allen & Nathan Faustyn and produced by HLPTV & LooseMeat.Biz, is a play on a bizarre Brazilian TV clip the band became infatuated with. A man sings to a studio audience, while a member of the audience becomes enraged by a puppet, leading the whole situation to devolve into total chaos. “As soon as we heard the concept, we knew how to take the band’s ideas and coalesce them into this sort of timeless public access chaos,” says Faustyn. “Because of the nature of HLPTV & LooseMeat.Biz and who we are – professional and hobbyist technicians – we knew we could pull off a really strange, funny and sardonically dark compendium to this song that is equally such.”
Protomartyr is Joe Casey (vocals), Greg Ahee (guitars), Alex Leonard (drums), and Scott Davidson (bass guitar). Ultimate Success Today was recorded at Dreamland Recording Studios, a late 19th century church, in upstate New York and co-produced by the band and David Tolomei (Dirty Projectors, Beach House) with mixing by Tolomei. Featured guest musicians on the album include Nandi Rose (vocals) a.k.a. Half Waif, jazz legend Jemeel Moondoc (alto sax), Izaak Mills (bass clarinet, sax, flute), and Fred Lonberg-Holm (cello).
Ultimate Success Today is available to pre-order now on LP, CD and digital formats. A limited blue-in-red colored edition of the LP is available exclusively on the Domino Mart.
ULTIMATE SUCCESS TODAY TRACKLISTING
1. Day Without End 2. Processed By The Boys 3. I Am You Now 4. The Aphorist 5. June 21 6. Michigan Hammers 7. Tranquilizer 8. Modern Business Hymns 9. Bridge & Crown 10. Worm In Heaven
PROTOMARTYR TOUR DATES (new dates in bold)
Mon. April 27 – London, UK @ Peckham Audio – SOLD OUT Tue. April 28 – London, UK @ The Lexington – SOLD OUT Wed. April 29 – Paris, FR @ La Boule Noire – SOLD OUT Thu. April 30 -Utrecht, NL @ Ekko – SOLD OUT Sat. May 2 -Berlin, DE @ Ubran Spree Sun. May 3 – Berlin, DE @ Urban Spree Mon. May 4 – Groningen, NL @ Vera Tue. May 5 – Brussels, BE @ Nuits Botanique Mon. June 1 – Toronto, ON @ Lee’s Tue. June 2 – Montreal, QC @ Le Ritz Wed. June 3 – Boston, MA @ Sinclair Thu. June 4 – Brooklyn, NY @ Elsewhere Sat. June 6 – Philadelphia, PA @ Underground Arts Sun. June 7 – Washington, DC @ Black Cat Tue. June 9 – Raleigh, NC @ Kings Wed. June 10 – Atlanta, GA @ Earl Thu. June 11 – New Orleans, LA @ Gasa Gasa Fri. June 12 – Dallas, TX @ Club Dada Mon. June 15 – Tucson, AZ @ Hotel Congress Tue. June 16 – Phoenix, AZ @ Rebel Lounge Wed. June 17 – San Diego, CA @ Casbah Thu. June 18 – Los Angeles, CA @ Lodge Room Fri. June 19 – Los Angeles, CA @ Lodge Room Sat. June 20 – Oakland, CA @ Starline Social Club Mon. June 22 – Portland, OR @ Wonder Ballroom Tue. June 23 – Seattle, WA @ Crocodile Fri. June 26 – Minneapolis, MN @ 7th Street Entry Sat. June 27 – Milwaukee, WI @ Cactus Club Sun. June 28 – Chicago, IL @ Thalia Hall Protomartyr Online: https://www.facebook.com/protomartyr https://soundcloud.com/protomartyr http://pitchperfectpr.com/protomartyr https://protomartyr.bandcamp.com http://www.dominorecordco.us/artists/protomartyr
Australian punk band The Chats will release their debut album, High Risk Behaviour, on March 27th via Bargain Bin Records/Cooking Vinyl Australia. Ahead of their North American tour, which kicks off next month, they present a new single, “Dine N Dash,” and its accompanying video. Following lead single “The Clap,” “Dine N Dash” is fierce, funny, and sweaty. The video, directed by Matt Weston, finds The Chats in an unfamiliar environment, eating a succulent steakhouse meal while embracing the piss poor status of their wallets and outright brazenness to get a decent feed.
“We filmed at Walters steakhouse in Brisbane,” says Josh Price. “It was the best steak I’ve had. Definitely gave the bowlsie a run for its money. No mushy gravy though.” Eamon Sandwith adds: “Ya know you’re in a fancy restaurant when the chips and salad aren’t included.”
The Chats – made of Eamon Sandwith, Matt Boggis, and Josh Price – formed in 2016 while still in high school. Since then, they’ve released a self-titled EP in 2016 and 2017’s Get This In YaEP, and have accrued a fanbase that includes Dave Grohl, Queen of the Stone Age’s Josh Homme, and Iggy Pop – the latter two who asked the band to open on their respective Australian tours. And despite being the subject of a record label bidding war, they’re releasing High Risk Behaviour on their own label (Bargain Bin Records). It’s indicative of a band that has embraced DIY culture since day one. Their determination to do things “our way” extends to their music, which is why High Risk Behaviour delivers everything you’ve come to love from The Chats – only more of it – and confirms their status as Queensland’s greatest ever export.
To create High Risk Behaviour, the band worked with engineer Bill Gardner in his studio on the Australian coast. It took nearly 18 months to finish and several, quick-paced sessions. “If we’d just done a week and slogged it out we could have had an album before now but we just kept going in there and making newer and better songs so it’s hard to put a stop on it,” says Sandwith. WATCH VIDEO FOR “THE CLAP” https://youtu.be/POM_98oi0oo
THE CHATS TOUR DATES: Fri. April 10 – Indio, CA @ Coachella Sat. April 11 – Berkeley, CA @ The UC Theatre Sun. April 12 – Sacramento, CA @ Ace of Spades Mon. April 13 – Portland, OR @ Crystal Ballroom Tue. April 14 – Seattle, WA @ El Corazon Fri. April 17 – Indio, CA @ Coachella Sat. April 18 – San Diego, CA @ Observatory North Park Sun. April 19 – Phoenix, AZ @ Crescent Ballroom Mon. April 20 – Santa Fe, NM @ Meow Wolf Wed. April 22 – Dallas, TX @ House of Blues Thu. April 23 – Austin, TX @ Emo’s Fri. April 24 – Houston, TX @ Bronze Peacock at House of Blues Sun. April 26 – Denver, CO @ Marquis Theatre Tue. April 28 – St. Paul, MN @ Amsterdam Bar & Hall Wed. April 29 – Chicago, IL @ House of Blues Thu. April 30 – Nashville, TN @ Exit/In Fri. May 1 – Atlanta, GA @ Buckhead Theatre Sat. May 2 – Charlotte, NC @ Epicenter Festival Sun. May 3 – Washington, DC @ The Fillmore Silver Spring Tue. May 5 – Philadelphia, PA @ Theatre of Living Arts Wed. May 6 – Boston, MA @ Paradise Rock Club Thu. May 7 – Brooklyn, NY @ Warsaw Wed. Oct. 7 – Amsterdam, BL @ Melkweg Max Sat. Oct. 10 – Paris, FR @ Maroquinerie Sun. Oct. 11 – Cologne, DE @ Gloria Mon. Oct. 12 – Hamburg, DE @ Gruenspan Tue. Oct. 13 – Berlin, DE @ Festsaal Kreuzberg Fri. Oct. 16 – Southampton, UK @ 1865 Sat. Oct. 17 – Nottingham, UK @ Rock City Mon. Oct. 19 – Dublin, IE @ Olympia Tue. Oct. 20 – Belfast, UK @ Limelight Thu. Oct. 22 – Glasgow, UK @ Galvanizers Fri. Oct. 23 – Manchester, UK @ O2 Academy Sat. Oct. 24 – Newcastle, UK @ Boiler Shop Sun. Oct. 25 – Leeds, UK @ Stylus Mon. Oct. 26 – Brighton, UK @ Dome Tue. Oct. 27 – Bristol, UK @ O2 Academy Wed. Oct. 28 – London, UK @ Electric Brixton Thu. Oct 29 – London, UK @ Electric Brixton THE CHATS ONLINE: https://www.thechatslovebeer.com/ https://www.facebook.com/thechatsband/ https://thechatslovebeer.bandcamp.com/ https://www.instagram.com/thechatslovebeer/?hl=en
Keep your mind open.
[Dash over to the subscription box while you’re here.]
Wilco photo by Annabel Mehran, Sleater-Kinney photo by Nikko LaMere
Wilco and Sleater-Kinney are pleased to announce their “It’s Time” Summer 2020 co-headlining tour. After their respective North American and European runs in support of last year’s Ode To Joy(out now on dBpm Records), Wilco will return stateside, closing out each night of their co-headlining tour with Sleater-Kinney, who just closed out their The Center Won’t Hold tour. The entirety of the tour is made up of outdoor amphitheatres and venues, including a show in Wilco’s hometown of Chicago at Millennium Park’s Pritzker Pavilion, Nashville’s AscendAmphitheater, Morrison, CO’s Red Rocks Amphitheatre, and more. Tickets for these newly-announced shows are on sale now.
Wilco Tour Dates (new dates in bold): Sat. March 21 – Vancouver, BC @ Orpheum Theatre & Mon. March 23 – Portland, OR @ Arlene Schnitzer Concert Hall & Tue. March 24 – Portland, OR @ Arlene Schnitzer Concert Hall ^ Thu. March 26 – Santa Rosa, CA @ Luther Burbank Centers For The Arts ^ – SOLD OUT Fri. March 27 – Oakland, CA @ Fox Theater ^ – SOLD OUT Sat. March 28 – Oakland, CA @ Fox Theater ^ – SOLD OUT Sun. March 29 – San Jose, CA @ San Jose Civic ^ Tue. March 31 – San Francisco, CA @ The Fillmore – SOLD OUT Wed. April 1 – Los Angeles, CA @ Orpheum Theatre ^ Thu. April 2 – Los Angeles, CA @ Orpheum Theatre % – SOLD OUT Sat. April 4 – Las Vegas, NV @ Brooklyn Bowl % Sun. April 5 – Los Angeles, CA @ Hollywood Palladium % Wed. April 15 – Jackson, MS @ Thalia Mara Hall $ Thu. April 16 – Mobile, AL @ Saenger Theatre $ Sat. April 18 – St. Augustine, FL @ St. Augustine Amphitheatre $ Sun. April 19 – North Charleston, SC @ High Water Festival Fri. May 15 – Chicago, IL @ Vic Theatre (JEFF TWEEDY SOLO SHOW) Sat. May 16 – Chicago, IL @ Vic Theatre (JEFF TWEEDY SOLO SHOW) Fri. June 19 – Kent, UK @ Black Deer Festival Mon. June 22 – Merignac, FR @ Krakatoa Tue. June 23 – Nimes, FR @ La Paloma Thu. June 25 – Murcia, ES @ Plaza de Toros Fri. June 26 – Madrid, ES @ Noches Del Botánico Sat. June 27 – Valencia, ES @ 4ever Festival Sun. June 28 – Barcelona, ES @ Suite Festival Tue. June 30 – San Sebastian, ES @ Auditorio del Centro Kursaal Thu. July 2 – Werchter, BE @ FestivalPark Rock Werchter Wed. July 3 – Beuningen, NL @ Down the Rabbit Hole Festival Thu. Aug. 6 – Spokane, WA @ First Interstate Center for the Arts @ Sat. Aug. 8 – Big Sky, MT @ Peak to Sky @ Tue. Aug. 11 – Morrison, CO @ Red Rocks Amphitheatre @* Thu. Aug. 13 – Kansas City, MO @ Arvest Bank Theatre at The Midland @* Fri. Aug. 14 – Maryland Heights, MO @ Saint Louis Music Park @* Sat. Aug. 15 – Atlanta, GA @ Cadence Bank Amphitheatre @* Sun. Aug. 16 – Nashville, TN @ Ascend Amphitheater @* Tue. Aug. 18 – Asheville, NC @ Salvage Station @* Wed. Aug. 19 – Richmond, VA @ Altria Theatre @* Fri. Aug. 21 – Columbia, MD @ Merriweather Post Pavilion @* Sat. Aug. 22 – Forest Hills, NY @ Forest Hills Stadium @* Sun. Aug. 23 – Philadelphia, PA @ Mann Center for Performing Arts @* Tue. Aug. 25 – Boston, MA @ Rockland Trust Bank Pavilion @* Wed. Aug. 26 – Portland, ME @ Thompson’s Point @* Thu. Aug. 27 – Lewiston, NY @ Artpark Amphitheater @* Sat. Aug. 29 – Chicago, IL @ Millennium Park Pritzker Pavilion @* Thu. Sept. 17 – Des Moines, IA @ Water Works Park # Fri. Sept. 18 – Ashwaubenon, WI @ Capital Credit Union Park # Sat. Sept. 19 – Welch, MN @ Treasure Island Amphitheater #
!=w/ Young Fresh Fellows &=w/ Kacy and Clayton ^= w/ James Elkington %= w/ White Fence $= w/ Ratboys #= w/ Trampled by Turtles @=w/ Sleater-Kinney *= w/ NNAMDÏ
“[Ode to Joy is] sometimes dank…sometimes warm and Westerberg-ian” – The New York Times
“The group’s 11th LP, their best in years, is a beautiful exercise in downhearted uplift.” – Rolling Stone
“[Ode to Joy] is Wilco’s best album in over a decade, and solid proof there’s room for bands to grow even when they’re already ten albums in.” – Vulture
“[Ode To Joy] is direct and spacious, centering on the beauty of quiet revelation.” – Pitchfork
“Ode to Joy, is mostly a slower-paced album that shows appreciation for the small, beautiful moments in life.” – NPR
Keep your mind open.
[Head on over to the subscription box and subscribe while you’re here.]
Blanck Mass, the solo project of Benjamin John Power, is re-issuing the long out-of-print 2011 debut album Blanck Mass via Sacred Bones Records. The deluxe double LP comes out on Record Store Day (April 18) in the UK on exclusive green-and-blue starburst vinyl, and on April 24 in the rest of the world.
The original press release for the album called it “a collection of tracks loosely themed around cerebral hypoxia and the beautiful complexity of the natural world…An interstellar journey that defies classification, revealing itself further and further with each listen; offering more with each visit.”
Power went on to reflect on the album at the time: “I do like the fact that this album represents a pretty clear image of myself,that which I am aware of and that which might be controlled by some other type of subconscious guidance.”
