News – Page 22 – 7th Level Music

Chicago’s newest live music venue, The Salt Shed, announces its first shows of 2023 – including The Flaming Lips, King Gizzard and the Lizard Wizard, Bikini Kill, and more.

The Salt Shed, the newest venue from 16” on Center, the team behind the Empty Bottle, Thalia Hall, Evanston SPACE, Beauty Bar, and The Promontory, today announces The Shed, the indoor performance space at the historic Morton Salt Building, and unveils its first wave of shows, the first of which is Friday,February 17. The Shed’s initial announcement features The Flaming Lips celebrating the 20th anniversary of Yoshimi Battles the Pink Robots, Bikini Kill’s first Chicago show since reuniting in 2019, a three night King Gizzard & The Lizard Wizard residency, Guatemalan-American house producer/DJ Gordo, and the “Godfather of Punk,” Iggy Pop. A full schedule, also including The Roots, The Hold Steady, The Mountain Goats, Tove Lo,Third Eye Blind, Fever Ray, Viagra Boys, Boy Pablo, and more, is below.

Tickets will go on sale on Friday, November 18 at 10am CST on The Salt Shed website. More shows are to be announced.

“One of the things that really excites me about this project is continuing to work with the artists we’ve grown up with,” says Bruce Finkelman, Managing Partner of 16” on Center.“These are musicians that started at the Empty Bottle, grew to Thalia Hall, and we now look forward to hosting at the Salt Shed. I remember the Flaming Lips at the Empty Bottle way back in 1994, stopping their show mid-set to walk across a sea of fans and play a solo set on a rinky dink piano that I think came with the bar. I have never experienced a crowd so captivated, and it’s a moment that reminds me why I have the best job in the world. It’s just one of the many stories of live music magic that make our places so special.”

Following this past summer’s launch of the outdoor Fairgrounds space, the newly renovated indoor Shed will feature multi-level grandstand seating, premium experiences with access to balcony opera boxes, custom bars, and expedited entry. Quality of sound at the Salt Shed, for both audience and artist, is prioritized. The venue will feature an L-Acoustics sound system designed specifically for the space to give fans throughout the venue the same great sound experience as the world’s leading tours and festivals. Alongside concerts, the Shed will eventually host a comprehensive food, beverage, and retail experience, with plans to incorporate indoor markets and other creative events that celebrate Chicago’s artistic community into the programming.

“I have spent most of my professional life doing two things,” says Craig Golden, President of Blue Star Properties and partner at 16” on Center. “One, renovating and repurposing some of Chicago’s obsolete and historic buildings; and two, collaborating and creating a number of music venues and restaurants throughout the city. Having the opportunity to combine both passions in the presentation of this iconic Salt Shed, turned music and events venue, is truly a dream.”

As both indoor-Shed and outdoor-Fairgrounds performances continue in 2023, the Salt Shed is excited to welcome key partners into the fold: Grassroots, the official cannabis partner of the Salt Shed, will help bring an educational and forward-thinking cannabis experience to both artists and guests in 2023. Wintrust, the Salt Shed’s exclusive Banking Partner, is bringing a spotlight to local charities and nonprofits by way of customized, uniquely illustrated murals. Living on the exterior wall of the Salt Shed, this fixture aims to positively impact and bring awareness to many in the Chicago community.

VISIT THE SALT SHED WEBSITE

THE SHED 2023 SCHEDULE

Fri. Feb. 17, 2023 – Tove Lo w/ Slayyyter

Sat. Feb. 18, 2023 – Big Gigantic

Fri. Feb 24, 2023 – Viagra Boys

Sat. Mar. 4, 2023 – Elle King w/ The Red Clay Strays

Fri. Mar. 10, 2023 – Iggy Pop

Sat. Mar. 18, 2023 – The Roots

Sat. Apr. 1, 2023 – Third Eye Blind

Fri. Apr. 21, 2023 – Placebo w/ Deap Vally

Sat. Apr. 22, 2023- Bikini Kill

Sun. Apr. 23, 2023 – Nils Frahm

Fri. Mar. 3, 2023 – Gordo

Fri. May 5, 2023 – The Flaming Lips

Sun. May 7, 2023 – Fever Ray

Thu. May 11, 2023 – The Wood Brothers w/ Shovels & Rope

Wed. May 24, 2023 – Hippo Campus w/ Gus Dapperton

Thu. Jun. 8, 2023 – Tyler Childers w/ Marcus King & Miles Miller

Sun. Jun. 11, 2023 – King Gizzard & The Lizard Wizard

Mon. Jun. 12, 2023 – King Gizzard & The Lizard Wizard

Tue. Jun. 13, 2023 – King Gizzard & The Lizard Wizard

Sat. Jul. 1, 2023 – The Hold Steady / The Mountain Goats
w/ Dillinger Four

Sat. Jul. 22, 2023 – First Aid Kit w/ The Weather Station

Fri. Oct. 6, 2023 – Boy Pablo

Keep your mind open.

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[Thanks to Yuri at Pitch Perfect PR.]

Motörhead set to unleash new version of their “Bad Magic” album – “Bad Magic: Seriously Bad Magic” – with bonus tracks and a full live album.

Motörhead, the iconic Godfathers of heavy metal, released their 23^rd (and final) studio album Bad Magic in 2015. Instantly hailed as one of the best the beloved trio had recorded in many years, Bad Magic: SERIOUSLY BAD MAGIC enjoys a bonus-packed refresh, adding two previously unreleased tracks from those furious sessions:

“Bullet in Your Brain” and “Greedy Bastards” as well as a snarling, fangs-out live performance from that subsequent tour at the giant Mt Fuji Festival in Japan in 2015. Fans will also get “War, Love, Death and Injustice”, an audio interview with Lemmy conducted by Motörhead expert Robert Kiewik during the tour, and should the desire to have a chat with Lem or anyone beyond this mortal coil arise, the box-set will exclusively contain a MURDER ONE ouija board (complete with the Ace of Spades planchette to spell out the conversation).

A new video for “Bullet In Your Brain”, featuring exclusive, never before seen footage of Motörhead in the studio for the Bad Magic sessions, is available right now. A foot-down, fist-pumping, Lemmy-bass-driven stomper with a deliciously dirty Campbell riff, and Dee-driven dynamics, both the song and footage are a tremendous treat for fans who have craved new Motörmaterial.

Watch/Listen to “Bullet In Your Brain” here

At the time of its release back in 2015, Bad Magic arrived as a massive kick in the teeth for anyone who believed Motörhead were going to amble along into a peaceful little pasture containing fluffy little lambs, folk music and perhaps the odd medieval lute here and there. Big-rig head crushers such as “Thunder & Lightning” and “Teach Them How To Bleed” brought such people to their knees begging for forgiveness, as the album unfurled into their toughest, leanest, meanest and most uncompromising album in aeons. Much of this came down to long-time producer Cameron Webb getting the band to record live at NRG North Hollywood, Maple Studios and Grandmaster in California together for the first time in the Kilmister/Campbell/Dee era, and from the crackling punk energy of “Electricity” to Brian May of Queen’s scintillating guest-appearance on “The Devil”, a vast wealth of aggression, attitude, and excellent songwriting was cultivated in that furious working environment. Phil Campbell didn’t just record possibly his finest guitars, he threw down most certainly his best solos for decades, while Mikkey Dee’s drumming found new tribal resonance with the Motörhead sound he had helped nurture. There was also one of Lemmy‘s rawest lyrical life reflections on “Till The End”, and a cover of The Rolling Stones’ “Sympathy For The Devil” which made the song feel like one of their own. One of the hidden gold-dust additions to Bad Magic: SERIOUSLY BAD MAGIC, is Motörhead’s famous, and internationally acclaimed, version of David Bowie’s classic “Heroes”. Originally slated for inclusion on the last release only to be withdrawn at the last minute, it was a cover version which Lemmy had a great affection for, and as such its inclusion here is both fitting and just.

As the title says, this is Motörhead delivering some SERIOUSLY BAD MAGIC.

Bad Magic: SERIOUSLY BAD MAGIC will be released on Double 12” Vinyl, CD Digipak with Bonus Disc, Limited Edition Boxset, Digital Download and Streaming. The Limited Edition Boxset will contain the CD Digipak with Bonus Disc, Double 12” Vinyl, exclusive Lemmy War, Love, Death and Injustice audio interview on 12” vinyl and exclusive edition Motörhead – MURDER ONE Ouija Board and Planchette. Pre-order all formats at this location

Bad Magic: SERIOUSLY BAD MAGIC Track List:

1. Victory Or Die

2. Thunder & Lightning

3. Fire Storm Hotel

4. Shoot Out All of Your Lights

5. The Devil

6. Electricity

7. Evil Eye

8. Teach Them How To Bleed

9. Till The End

10. Tell Me Who To Kill

11. Choking On Your Screams

12. When The Sky Comes Looking For You

13. Sympathy For The Devil

14. Heroes

15. Bullet In Your Brain

16. Greedy Bastards

Live at Mt Fuji Rock Festival 2015 – Sayonara Folks! Track List:

1. We Are Motörhead

2. Damage Case

3. Stay Clean

4. Metropolis

5. Over the Top

6. String Theory

7. The Chase is Better Than the Catch

8. Rock It

9. Lost Woman Blues

10. Doctor Rock

11. Just ‘Cos You Got the Power

12. Going to Brazil

13. Ace of Spades

14. Overkill

Keep your mind open.

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[Thanks to Maria at Adrenaline PR.]

Failure to stream their first concert film on December 15, 2022.

Failure, the Los Angeles trio of Ken Andrews, Greg Edwards and Kellii Scott, have announced their first ever streaming concert film: “We Are Hallucinations.”

The concert film features a set list that spans the band’s six albums and captures the magic of Failure’s live performance.

The one-time only event debuts on Dec. 15 at 12:00 pm pacific/3:00 pm eastern/8:00 pm UK/9:00 pm EU, and remains available through Dec.18. Viewers have three full days from the time of purchase to watch the film at any time, and as often, as they would like. Tickets as well as a limited-edition commemorative poster, newly released vinyl variants for each of the band’s six albums, as well as various merch items, are available now via linktr.ee/failureband.

“This film is comprised of performances from our Summer 2022 Wild Type Droid tour of North America,” explains Greg Edwards. “It’s crazy that we have never made a concert film before, but I think this will really stand as a definitive document of the dynamic between the three of us on stage and the connection we have with our fans.”

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[Thanks to Monica at Speakeasy PR.]

Midnight Oil to release rare, raw 1982 live recording for Support Act’s Roadies Fund.

Midnight Oil are the 29^th act to throw support behind Support Act’s Roadies Fund through the Australian Road Crew Association (ARCA)’s awesome Desk Tape Series.

The Series was created by ARCA to raise funds to provide financial, health, counselling and well-being services for roadies and crew in crisis.

The recordings are made off the sound desk by a crew member. MIDNIGHT OIL LIVE at the OLD LION, Adelaide 1982 was recorded by Mark Woods, and is another fantastic tribute to the great sounds engineers produced for the early Aussie pub rock scene. This live tape is released on ARCA’s Black Box Records through MGM Distribution and on all major streaming services.

THE BAND

Peter Garrett – lead vocals
Peter Gifford – bass, vocals
Rob Hirst – drums, vocals
Jim Moginie – guitars, keyboards
Martin Rotsey – guitars

CREW

Mark Woods (sound)
Michael Lippold (stage/ production manager)
Ron “Wormy” James (lights)

TRACK LISTING

1 Written In The Heart
2 Brave Faces
3 Armistice Day
4 I’m The Cure
5 Bus To Bondi
6 Quinella Holiday
7 No Time For Games
8 Burnie
9 Cold Cold Change
10 Powderworks
11 Koala Sprint
12 Back On The Borderline
13 Don’t Wanna Be The One
14 Wedding Cake Island
15 Stand In Line
16 No Reaction

The MIDNIGHT OIL LIVE at the OLD LION Adelaide 1982 live tape and all the ARCA Desk Tape Series recordings are available through Black Box Records – ARCA (australianroadcrew.com.au) and the following: Amazon, Anghami, Apple Music / iTunes, Boomplay, Black Box Records, Deezer, MGM, Pandora, Shazam, Spotify, TenCent, Tidal, TikTok, YouTube Music.

The Old Lion show on Friday March 26, 1982 was part of a two-week run through Victoria and South Australia. At that stage, the band were doing 180 shows a year, and firing on all eight cylinders.

Rob Hirst admits: “I’m exhausted listening back to the tape, it’s relentless! We were, excuse the pun, a well-oiled machine, angry young men against the world.”

Mark Woods, who filled in as sound engineer on the run, called it the “Speed and Dust Tour.” It was hot and the tour moved at a frantic pace. Woods had just finished a run with Men At Work, with two weeks off before MAW’s first US visit. When the Oils’ run ended in Whyalla in regional South Australia, he drove 14 hours overnight without sleep back to Melbourne, in time for the Los Angeles flight with Men At Work.

Woods didn’t mind: he was a massive fan. “I thought they were the best band in the world. On this run they were at their absolute peak. Much of the set was from Place Without A Postcard, which was just released four months before, so the songs sounded fresh. It wasn’t that they were loud, it was the power. They weren’t ‘screamy’ or harsh listening, they just had a very full solid big fat sound.”

“They were all red hot players”, Woods recalls, citing how Jim Moginie and Martin Rotsey’s guitars intertwined, and how the Peter Gifford/ Rob Hirst rhythm section locked in.

“I loved Giffo’s playing, he was the perfect bass player for them and at his best on this tour. There was something about his beat which worked well with Rob’s drums, they were right on the beat, really driving it forward.”

Gifford left a few years later to become a businessman in Byron Bay. Michael Lippold spent as much time on stage as the band, unravelling Pete’s mic leads from the guitarists’ legs as he danced manically about. Hirst’s drum kit had to be nailed down. Not only did he attack them with exuberance, breaking pedals and sticks, but he’d also jump into the air off his stool for greater power when he landed.

Listening to the Old Lion tape, Hirst chuckles, “It reminds me of the breakneck speeds we used to play those songs! The album versions chugged along but the live versions were 30% to 40% faster, if not faster. It’s almost as if we couldn’t wait to get to the (hire cars) and fishtail out of there!”

Also giving him a buzz on the tape were how the guitars sounded so distinctive and Garrett’s onstage patter recalling which politician or issue was irritating him in 1982. The tape shows how the Oils were starting to musically move around at that time. In 1981 when famed English producer Glyn Johns (Stones, Who) saw an Oils show at Selinas in Sydney, he invited them back to England to record in his new studio in Surrey.

“It was supposed to be our big break,” Hirst relates. “It wasn’t.” Hirst says Johns expected them to arrive with 12 fully formed songs, but he and Moginie, as the Oils’ main writers, had been unable to write songs due to the band’s hectic touring schedule. Even worse, Johns failed to capture the Oils’ live roar on the record.

Hirst: “The creativity and the song writing was getting stronger. But we were frustrated with the sound on the albums so far. They didn’t grab you by the throat and wrestle you to the ground. It was only working with Nick Launay (in 1982, on the 10, 9, 8, 7, 6, 5, 4, 3, 2, 1 album) and disassembling the Midnight Oil live sound in the studio and starting again that we started to understand studio craft.”

Johns had a deal with A&M Records in America to release his productions. A&M wanted the Oils to go back to the studio and cut a single for the American market. The Australians gave them a two-finger salute and returned to Sydney.

The Old Lion tape captures how some of Postcard songs should have sounded. “Armistice Day” was an example of their new found song writing depth.

“I’ve always been obsessed with my family’s military history,” the drummer explains. “Songs like ‘Forgotten Years’ were about my father and grandfather’s military service. We knew as soon as we recorded ‘Armistice Day’ that no matter what happened to the rest of the album, it was going to be the lead track.”

“I Don’t Wanna Be The One” was in the spotlight when the Oils were inducted into the ARIA Hall of Fame in 2006.

LIVE At The Old Lion Adelaide 1982 is the latest initiative by the Oils to support roadies and crews in crisis. Hirst readily admits that the members relied heavily on their crew, “we had the best sound and lighting guys in the business. It is the crew that helps with any band’s success.”

On their farewell tour in 2022, Hirst’s drum tech for nine years, Clem Ryan, wanted to sit it out. Rob rang him, “I’m not doing this tour until you’re doing this tour.” Long-time front of house Colin Ellis wanted to retire before the run. They talked him out of it. “Retire? You’re younger than us!”

LIVE At The Old Lion Adelaide 1982 also highlights how dedicated the fans were.

Woods recalls: “Big lads, well charged up, a happy blokey crowd which sang along, boisterous, rowdy but never unpleasant.”

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[Thanks to Midnight Oil’s press crew.]

Weeping Icon releases new single, “Two Ways,” ahead of a new EP due November 18th.

Last month, Weeping Icon returned after a nearly three year absence to announce their Ocelli EP (out this Friday on Fire Talk). The EP was announced with a single called “Pigs, Shit & Trash“, their first new music since the 2019 release of their thrilling self-titled debut, which generated considerable excitement, earning praise from outlets like FADER, Stereogum, FLOOD, BrooklynVegan and Revolver, who made comparison to Sonic Youth while describing the track as “so sick“.

Today, Weeping Icon are sharing a second track from the three track EP ahead of its Friday release, a single entitled “Two Ways.”

WATCH:
Weeping Icon’s “Two Ways” video
on YouTube

“‘Two Ways’ is about people who want to appear virtuous in their public facing personality, but live a contradictory shadow life in which they do whatever they please, no matter how harmful their actions are to others,” explains Sara Fantry. “It’s told through the voice of a man named Todd (yes, that’s his real name!) who I encountered a few years back. He used a harmful term towards a woman he was angry with, then accepted a long explanatory talk from me, appeared to reflect, enthusiastically told me he’d appreciated me taking the time to educate him and agreed to change his behavior, and then immediately found that same woman and started calling her harmful sexist names without a moment between. I was truly in shock at how comfortable he was with his personality being stratified into two layers – the outward-facing kind, modern man, looking to learn from the necessarily rapid changes in society – and the sinister, selfish sadist beneath who believes in his own entitlement to act with impunity.”

“The video we made (directed by Rafeal Joson & Mike Andretti, all editing and effects by MikeVideopunk) explores the stratified personality of the daytime talkshow host, who wants to appear kind, empathetic and sincere to his viewers, while goading his guests into salacious fights for his own profit, regardless of the personal and public damage done to those guests. With some humor in there, we hope to hold a conversation around the shadow of nefarious intent that lurks below so many supposedly ethical personalities in our world.”

To mark the release of the EP the band will be playing at Alphaville this Friday, November 18th. Tickets can be purchased here.

Keep your mind open.

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[Thanks to Tom at Hive Mind PR.]

Circles Around the Sun take us to the “Outer Boroughs” on their new single.

Psychedelic-jam-rock-experimental group Circles Around The Sun have officially revealed the details of their fourth full-length studio album, Language, set to release this coming spring via Megaforce Records. The group – comprised of Adam MacDougall (keyboards & synths), Dan Horne (bass), Mark Levy (drums) and John Lee Shannon (guitar) – has released a new single alongside the announcement of the album. Listen to “Outer Boroughs” HERE.

As guitarist John Lee Shannon explains: “‘Outer Boroughs’ was initially composed when the track emerged from an impromptu jam in the studio around a four-chord sequence Adam was playing around with. Dan’s bassline is one of my favorites, and is unusual in that he initially heard the ‘1’ in a different place than intended, giving extra emphasis to the downbeat of the second measure.” He continues, “It’s a breezy groove that paints several landscapes in vivid color before departing into deep space for an extended middle jam. Originally titled ‘Ouroboros’ for its cyclical nature, it was later changed to “Outer Boroughs” for a bit of mondegreen and a nod to the greatest city in the world.”

On Language, Circles Around The Sun will traverse even deeper into the annals of outer-spacial dance grooves that first surfaced on 2020’s self-titled release. The new material finds them oscillating through hybrid strains of disco-funk, soul jazz and psychedelic rock, harnessing their stylistic lanes into a singular, intoxicating brew.

The four reconvened in the studio to lay down a record that offers a window into what and where Circles Around The Sun are today. Language is the sound of a rock band confidently writing the next chapter of their story. CATS is a unit brought closer and made stronger having persevered through unthinkable tragedy, weathering the stormy seas to continue onward and upward with humble grace and subtle swagger.

“There’s a bit of a different arc to Language. The first couple songs are gonna put you in a certain headspace, and then the party happens later on.” notes bassist Dan Horne.

Shop Language vinyl & other exclusive merchandise HERE.
TRACKLIST
1. Third Sunrise Over Gliese 667 (6:24)
2. The Singularity (5:13)
3. Outer Boroughs (7:28)
4. Away Team (6:36)
5. Wobble (6:04)
6. Language (Album Mix with Mikaela Davis) (7:54)

The band continues their Language Tour, revealing dates to close out this year and more in 2023. Tickets go on sale this Friday, 11/11/22 at 10am Pacific / 1pm Eastern.

TOUR DATES
Dec 29, 2022 – Roanoke, VA – 5 Points Music Sanctuary
Dec 30, 2022 – Winston Salem, NC – The Ramkat
Dec 31, 2022 – Richmond, VA – The National *
Jan 20, 2023 – Albany, NY – Lark Hall
Jan 21, 2023 – Brooklyn, NY – Brooklyn Bowl
Jan 22, 2023 – Ardmore, PA – Ardmore Music Hall
Jan 25, 2023 – Pittsburgh, PA – Thunderbird Music Hall
Jan 26, 2023 – Harrisburg, PA – XL Live
Jan 27, 2023 – Asbury Park, NJ – Wonder Bar
Jan 28, 2023 – Fairfield, CT – StageOne
Jan 29, 2023 – Cambridge, MA – The Sinclair

* with The Infamous Stringdusters

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[Thanks to Kevin at Calabro Media.]

Gloria de Oliveira and Dean Hurley have their “Eyes Within” on their lovely new single.

Gloria de Oliveira and Dean Hurley share the video for “Eyes Within” from their new album, Oceans of Time (out now on Sacred Bones). The video – a “one woman operation” shot, directed, and edited by Oliveria – is a gorgeous accompaniment to her and Hurley’s evocative soundscape, featuring digital and Super 8 footage from an island in Brazil. It “reflects the introspective nature of the song, drawing inspiration from the diary-like approach to cinema of Agnés Varda, and her wandering female protagonists such as herself in her essayistic documentaries (‘The Beaches of Agnés’), or Sandrine Bonnaire in ‘Vagabond’ and Corinna Marchand in ‘Cléo from 5 to 7.’,” Oliveira says. “I also drew inspiration from the romanticism of Zeffirelli‘s 1960s version of Romeo & Juliet and the accompanying soundtrack by Nino Rota, the latter of which was also a reference point to Dean and me while we were working on the album.”

Watch “Eyes Within”
With its impressionistic synths, shimmering guitars, and ethereal sonics, Oceans of Time at moments recalls the foundational dream pop of 4AD acts and early 90’s New Age pop. Frequent David Lynch collaborator Dean Hurley sets the tonal and sonic backdrop of each track on the album, lending a layered ether that envelops, frames and spotlights de Oliveira’s vocals. The album feels especially attuned to the connections between the physical and transcendental realms, and like the best dream pop, has a way of making the veil between two worlds feel just a little bit thinner. Oceans of Time is a key that has the power to release its listener from the handcuffs of reality, however briefly.

Growing out of a musical pen-pal style correspondence that took place over the course of a year, separated by the Atlantic Ocean, de Oliveira and Hurley passed thoughts and music back and forth that would eventually form their collaborative album Oceans of Time, all without ever meeting or speaking. The result is a sonic tapestry of that exchange: woven from conceptual threads of the celestial within, mortality and the realm beyond the stars. The duo’s partnership is an effortless merge, with the steady presence of de Oliveira’s vocals endowing the record with its sense of potency.

Throughout Oceans of Time, there is an innate understanding of how a lyric across a chordal color can sharpen an emotional truth. Much like a sunbeam that pierces a spiderweb to reveal its intricacy, de Oliveira’s lyrics and melody are purposely aimed in order to illuminate the truths deep within one’s self…a process that ties us all to the universal. The Danish philosopher Søren Kierkegaard, a professed influence, wrote about concepts of truth and faith in a way that illuminate the hidden depths of the soul amidst an individual’s earthly trials of experience. Much of this feeds into the album and threads its quilt of themes.

Stream/Purchase Oceans of Time

Gloria De Oliveira Live:
Fri. Nov. 18 – Berlin, DE @ Synästhesie 7
Wed. Nov. 30 – Brussels, BE @ Atelier 210

Keep your mind open.

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[Thanks to Patrick at Pitch Perfect PR.]

King Gizzard and the Lizard Wizard are “Hate Dancin'” with their new single.

Today, Australian polymaths King Gizzard & The Lizard Wizard unveil their new single/video, “Hate Dancin’,” taken from their forthcoming album Changes, out October 28th on KGLW. Following last week’s Laminated Denim – an album written specifically with their recent sold-out Marathon Shows at Red Rocks in mind – and Ice, Death, Planets, Lungs, Mushrooms And Lava, Changes marks King Gizzard’s third and final album of October. Originally imagined as the group’s fifth album of 2017, Changes has ended up the sixth album King Gizzard will release in 2022 (rounded out by April’s double album, Omnium Gatherum, January’s Butterfly 3001 remix record, and March’s Made in Timeland, the latter of which was just surprised-released on DSPs for the first time). “Hate Dancin’” is a tight number, clocking in just above the 3-minute mark. “I started writing a song about how I hate dancing, but then I realized that I love dancing,”says Gizz frontman Stu Mackenzie. The accompanying video puts the band’s exquisite moves front and center.

WATCH “HATE DANCIN’” VIDEO

For half a decade, the sextet has been haunted by one elusive conceptual project that had bested their every attempt (of which there had been several). They first conceived the album back in 2017, a busy year for the group. Within a mere twelve months, they recorded and released five albums of new material, but the band had intended to see out the year with a different album. That album was called Changes, and it’s finally arriving now. “I think of Changes as a song-cycle,” says band-member Stu Mackenzie. “Every song is built around this one chord progression – every track is like a variation on a theme. But I don’t know if we had the musical vocabulary yet to complete the idea at that time. We recorded some of it then, including the version of ‘Exploding Suns’ that’s on the finished album. But when the sessions were over, it just never felt done. It was like this idea that was in our heads, but we just couldn’t reach. We just didn’t know yet how to do what we wanted to do.”

The group abandoned Changes and instead prepared the beguiling Gumboot Soup (the last of five albums the band released in 2017), and were then quickly ensnared by about eight other outlandish ideas that sent them in infinite new directions. But the concept of Changes did not go gently into that good night. “We really have been tinkering with it since then,” Mackenzie adds.

“It’s not necessarily our most complex record, but every little piece and each sound you hear has been thought about a lot,” Mackenzie adds. Indeed, the album has gestated over a fitfully inventive five years. But the album has taught him that projects operate to their own schedules and are ready when they’re ready.

Good things come to those who wait, and the magnificent Changes is worth every one of the 2,628,000 minutes King Gizzard & The Lizard Wizard invested in it. Soaked in the warm sonics of 70s R’n’B and guided by simple chord-changes that contain multitudes and rounding out another remarkable year for the group, Changes is a luminous, soft-pop marvel. Come lose yourself in its slow-cooked brilliance.

Currently in the middle of a largely sold-out U.S. tour, the band return to the U.K. and Europe for a run of shows in March 2023 which include two nights at the Brixton Academy in London. Full dates are listed below and tickets are on sale now.

Finally, read Stereogum’s recent Cover Story on the band, which dives headlong into their epic month and the history of the band as they continue their march towards world domination is the Greatest Rock Band on the Planet™.

TOUR DATES
Fri. Oct. 21 – Forest Hills, NY @ Forest Hills Stadium %
Sat. Oct. 22 – Philadelphia, PA @ Franklin Music Hall * SOLD OUT
Sun. Oct. 23 – Washington, DC @ The Anthem * SOLD OUT
Mon. Oct. 24 – Asheville, NC @ Rabbit Rabbit * SOLD OUT
Wed. Oct. 26 – Atlanta, GA @ The Eastern * SOLD OUT
Thu. Oct. 27 – New Orleans, LA @ Orpheum Theater * SOLD OUT
Fri. Oct. 28 – Austin, TX @ Levitation – Stubb’s * SOLD OUT
Sat. Oct. 29 – Austin, TX @ Levitation – Stubb’s $ SOLD OUT
Mon. Oct. 31 – Oklahoma City, OK @ The Criterion #
Wed. Nov. 2nd – Morrison, CO @ Red Rocks Amphitheatre # SOLD OUT
Sat. Dec. 10 – St. Kilda, AUS @ The Palace Foreshore @
Thu. Dec. 29 – Tauranga, NZ @ Wharepai Domain
Sat. Dec. 31 – Wanaka, NZ @ Rhythm & Alps
Wed. Jan. 4 – Auckland, NZ @ The Matakana Country Park
Fri. Jan. 6 – New Plymouth, NZ @ Bowl of Brooklands
Thu. Mar. 2 – Paris, FR @ Zenith
Fri. Mar. 3 – Amsterdam, NL @ Gashoulder
Sat. Mar. 4 – Tilburg, NE @ 013
Mon. Mar. 6 – Malmo, SE @ Plan B
Tue. Mar. 7 – Stockholm, SE @ Munchenbryggeriet
Wed. Mar. 8 – Oslo, NE @ Sentrum Scene
Thu. Mar. 9 – Copenhagen, DK @ Den Gra Hal
Sat. Mar. 11 – Warsaw, PL @ Progesja
Sun. Mar. 12 – Prague, CZ @ Lucerna Velky Sal
Mon. Mar. 13 – Vienna, AT @ Gasometer
Wed. Mar. 15 – Milan, IT @ Alcatraz
Thu. Mar. 16 – Zurich, CH @ X-Tra
Fri. Mar. 17 – Lausanne, CH @ Les Docks
Sat. Mar. 18 – Wiesbaden, DE @ Schlachthof
Mon. Mar. 20 – Brussels, DE @ Cirque Royale
Wed. Mar. 22 – London,UK @ Brixton Academy
Thu. Mar. 23 – London, UK @ Brixton Academy
Thu. Mar. 30 – Sydney, AUS @ Big Top Luna Park
Thu. Apr. 6 – Byron Bay, AUS @ Tivoli
Fri. Apr. 7 – Byron Bay, AUS @ Byron Bay Bluesfest

* w/ Leah Senior
% w/ black midi, Leah Senior
$ w/ Tropical Fuck Storm, The Murlocs
# w/ The Murlocs, Leah Senior
@ w/ Stella Donnelly, CIVIC

King Gizzard & The Wizard Lizard Online:
https://kinggizzardandthelizardwizard.com/
https://www.instagram.com/kinggizzard/
https://www.facebook.com/kinggizzardandthelizardwizard/
https://twitter.com/kinggizzard
https://kinggizzard.bandcamp.com/
https://gizzverse.com/

Keep your mind open.

[Dance over to the subscription box while you’re here.]

[Thanks to Jacob at Pitch Perfect PR.]

Rattlesnake Venom Trip takes us to a “Dead Empire” on their shredding new single.

Rattlesnake Venom Trip premieres “Dead Empire” video today at Metal Injection. The song and debut album were recorded by Micah Carli of Hawthorne Heights and mixed by Adam Dutkiewicz of Killswitch Engage.

Kevin Schindel, vocalist and guitarist for RVT shares “Dead Empire is about getting older and seeing that life has passed you by. Pouring all your time and effort into your work and realizing you don’t have anything to show for it at the end. The video is capturing you looking back at yourself with heavy judgment and wishing to change your outcome. If only you could warn yourself somehow.”

The song is catchy as much as it is windmilling worthy, and comes alongside a music video directed by Kyle Moore.” – Greg Kennelty, Metal Injection

Watch “Dead Empire”at Metal Injection here:

RATTLESNAKE VENOM TRIP Drives Forward With "Dead Empire"

Based out of Dayton, Ohio, the band formed in September of 2019. Rattlesnake Venom Trip is a heavy rock/metal band with a lot of variety, saluting to classic bands like early Metallica, Black Sabbath, Alice in Chains, to more modern bands like Queens of the Stone Age, Mastodon, and Uncle Acid and the Deadbeats. RVT‘s collective love of classic rock, heavy metal, and psychedelic music has helped craft a compilation of songs with a wide array of musical dynamics. With each track the band ventures into new territory, creating a unique landscape for listeners to explore.

Although Rattlesnake Venom Trip is a new band, its members are certainly not strangers to the road, the stage, or the recording studio. They each have a long history of playing in bands and releasing music over the years. Featuring members of the metalcore act Twelve Tribes, post metal outfit Mouth of the Architect, and stoner rock band Neon Warship, the band plans on continuing from where their previous projects left off and making their own mark in time. “We cannot wait to see where this new music takes us”, shares RVT.

Full length album Dead Empire is coming to streaming services on October 19, 2022!

Recorded at Popside Studio with Micah Carli of Hawthorne Heights

Mixed at Wicked Good Productions by Adam Dutkiewicz of Killswitch Engage

Mastered at Sterling Sound by Ted Jensen.

Keep your mind open.

[Don’t forget to subscribe while you’re here.]

[Thanks to Maria at Adrenaline PR.]

Dry Cleaning have “No Decent Shoes for Rain” with their new single.

Dry Cleaning share a new single/video, “No Decent Shoes for Rain,” off their upcoming album Stumpwork, out October 21st on 4AD. Following the recently released “Gary Ashby,” the group takes a more somber turn on “No Decent Shoes for Rain.” It begins with Florence Shaw’s vocals coiled tightly over woozy guitar and minimal percussion: “my poor heart is breaking.” Shaw says about the track; “’No Decent Shoes for Rain’ is inspired by grief, grief over past relationships, grief for loved ones who have died, and all the things that come with that; loneliness, numbness, yearning, ruminating about the past.” It shows Dry Cleaning in a more pared back state, not seen in their previous discography. The video is made of footage of the band in the studio at Rockfield and on tour.

WATCH DRY CLEANING’S VIDEO FOR “NO DECENT SHOES FOR RAIN”

Stumpwork was made in the aftermath of the death of two very important people to the band; bassist Lewis Maynard’s mother, and guitarist Tom Dowse’s grandfather. Both were instrumental in the band’s development, both in encouragement and, in the case of Maynard’s mother, literally providing the band with a place to rehearse. Shaw’s lyrics explore not only loss and detachment but all the twists and turns, simple joys and minor gripes of human experience too. Ultimately, what emerges from it all is a subtle but assertive optimism, and a lesson in the value of curiosity. Stumpwork is a heady mix that is entirely the band’s own, distinguishing it from anything produced by their contemporaries.

This fall, Dry Cleaning will tour across Europe. Following, they’ll play in Australia, and then embark on a lengthy run in the US. Then, they’ll return to Europe. Tickets for all shows are on sale now and a full list of dates can be found below.

LISTEN TO “GARY ASHBY”

LISTEN TO “ANNA CALLS FROM THE ARCTIC”

WATCH THE “DON’T PRESS ME” VIDEO

PRE-ORDER STUMPWORK

DRY CLEANING TOUR DATES (new dates in bold)
Thu. Oct. 20 – London, UK @ Peckham Audio
Tue. Oct. 25 – Kingston, UK @ Pryzm (Banquet Outstore)
Tue. Nov. 8 – Paris, FR @ Le Trabendo
Wed. Nov. 9 – Cologne, DE @ Club Volta
Fri. Nov. 11 – Utrecht, NL @ Le Guess Who? Festival
Sat. Nov. 12 – Kortrijk, BE @ Sonic City
Wed. Nov. 30 – Tokyo, JP @ Liquid Room
Thu. Dec. 1 – Osaka, JP @ Club Quattro
Tue. Dec. 6 – Auckland, NZ @ Tuning Fork
Wed. Dec. 7 – Wellington, NZ @ San Fran
Fri. Dec. 9 – Brisbane, AU @ The Brightside
Sat. Dec. 10 – Meredith, AU @ Meredith Festival
Mon. Dec. 12 – Melbourne, AU @ The Corner Hotel
Tue. Dec. 13 – Melbourne, AU @ The Corner Hotel
Wed. Dec. 14 – Sydney, AU @ Manning Bar
Fri. Dec. 16 – Perth, AU @ Rosemount Hotel
Tue. Jan. 10, 2023 – Montreal, QC @ La Tulipe
Wed. Jan. 11, 2023 – Toronto, ON @ Phoenix
Fri. Jan. 13, 2023 – Chicago, IL @ Thalia Hall
Sat. Jan 14, 2023 – Minneapolis, MN @ Fine Line
Tue. Jan. 17, 2023 – Vancouver, BC @ Rickshaw
Wed. Jan. 18, 2023 – Seattle, WA @ Neptune
Thu. Jan. 19, 2023 – Portland, OR @ Crystal Ballroom
Sat. Jan. 21, 2023 – San Francisco, CA @ August Hall
Sun. Jan. 22, 2023 – Los Angeles, CA @ The Belasco
Mon. Jan. 23, 2023 – Phoenix, AZ @ Crescent Ballroom
Tue. Jan. 24, 2023 – Tucson, AZ @ Congress Plaza
Thu. Jan. 26, 2023 – Dallas, TX @ Texas Theatre
Fri. Jan. 27, 2023 – Austin, TX @ Mohawk
Sat. Jan. 28, 2023 – New Orleans, LA @ Toulouse Theatre
Sun. Jan. 29, 2023 – Atlanta, GA @ Terminal West
Tue. Jan. 31, 2023 – Washington, DC @ The Howard Theatre
Wed. Feb. 1, 2023 – Philadelphia, PA @ Union Transfer
Thu. Feb. 2, 2023 – Brooklyn, NY @ Pioneers Works
Tue. Feb. 14, 2023 – Dublin, IE @ Vicar Street
Wed. Feb. 15, 2023 – Belfast, UK @ Mandela Hall
Fri. Feb. 17, 2023 – Glasgow, UK @ Barrowlands
Sat. Feb. 18, 2023 – Leeds, UK @ O2 Academy
Mon. Feb. 20, 2023 – Liverpool, UK @ Invisible Wind Factory
Tue. Feb. 21, 2023 – Nottingham, UK @ Rock City
Wed Feb. 22, 2023 – Sheffield, UK @ O2 Academy
Fri. Feb. 24, 2023 – Manchester, UK @ Albert Hall
Sat. Feb. 25, 2023 – Birmingham, UK @ O2 Institute
Sun. Feb. 26, 2023 – Bristol, UK @ O2 Academy
Tue. Feb. 28, 2023 – Cardiff, UK @ Tramshed
Wed. March 1, 2023 – Brighton, UK @ Chalk
Fri. March 3, 2023 – London, UK @ O2 Academy Brixton
Mon. Mar. 13, 2023 – Copenhagen, DK @ VEGA
Wed. Mar. 15, 2023 – Stockholm, SE @ Debaser Strand
Thu. Mar. 16, 2023 – Oslo, NO @ Parkteatret
Sat. Mar. 18, 2023 – Hamburg, DE @ Knust
Sun. Mar. 19, 2023 – Groningen, NL @ Vera
Mon. Mar. 20, 2023 – Amsterdam, NL @ Paradiso
Tue. March 22, 2023 – Offenbach, DE @ Hafen2
Thu. Mar. 23, 2023 – Munich, DE @ Strom
Fri. Mar. 24, 2023 – Vienna, AT @ Flex
Sat. Mar. 25, 2023 – Prague, CZ @ Futurum
Mon. Mar. 27, 2023 – Warsaw, PL @ Hybrydy
Tue. Mar. 28, 2023 – Leipzig, DE @ UT Connewitz
Wed. Mar. 29, 2023 – Berlin, DE @ Festsaal Kreuzberg
Fri. Mar. 31, 2023 – Rotterdam, NL @ Maassilo
Sat. Apr. 1, 2023 – Antwerp, BE @ Trix

Keep your mind open.

[Don’t forget to subscribe while you’re here.]

[Thanks to Jacob at Pitch Perfect PR.]