The Sword have announced their first European tour dates since 2015, with the recently reunited band slating a trio of intimate club performances alongside festival appearances, including Copenhell, Freak Valley, and Tons of Rock.
The Sword European Tour:
June 19 Copenhagen, DK Copenhell Festival
June 21 Netphen, DE Freak Valley Festival
June 22 Nijmegen, NL Doornroosje
June 25 Gothenburg, SE Monument
June 26 Stockholm, SE Slaktyrkan
June 28 Oslo, NO Tons of Rock Festival
Tickets for the three exclusive club dates are on-sale now, with ticket links available via TheSwordOfficial.com.
The legendary Austin-based band announced their reunion earlier this year, bringing their signature blend of crushing heaviness and cosmic groove back to audiences who have long awaited their comeback. JD Cronise, in conversation with Revolver, discussed The Sword’s Levitation Festival performance as a turning point for the foursome, describing the experience as “like putting on a comfortable pair of sneakers.” Kyle Shutt added: “I can’t tell you what it means to see everyone’s positive reception. It feels so good to see people out there almost more enthusiastic about the band than ever – it’s something we’ll never take for granted.”
Coming off the 1993 Lollapalooza tour (back when it a tour and still had good lineups), The Jesus and Mary Chain went into the studio in 1994 to record what was originally supposed to be an acoustic record for their fifth album, but making Stoned & Dethroned took longer than they’d expected and was also the first time since Psychocandy that they used a full band in the sessions instead of brothers Jim and William Reid doing everything.
“Dirty Water” (a sort of lament mixed with a sort of challenge) has those acoustic guitars, but the electric guitars and bass, and Ben Lurie‘s harmonica and Steve Monti‘s shuffling drums almost push it into psychedelic country territory. “Bullet Lovers” continues this love affair with the dusty west (I mean, look at that main cover image…).
Mazzy Star‘s Hope Sandoval joins Jim Reid on vocals for “Sometimes Always,” which has Reid begging for Sandoval to let him back into her life after he’s left her yet again. “Come On” is a lovable track with a cool groove and simple, yet completely relatable lyrics about trying to convince a lover that things will eventually turn around and be all right. The electro-acoustic guitar on “Between Us” is a nice touch, once again bridging the gap between western psych and shoegaze.
“Hole” is a dark one, with Jim Reid wishing he had some motivation (“All I want is a dream. Give me something to dream.). Monti’s simple drum beat is perfect for the track, while the guitars grumble like Oscar the Grouch deep inside his trash can. “Never Saw It Coming” might be a song about the end of the world, with William Reid telling us there will be no need of money, clothing, or even running when it comes. The bass groove on this by Lurie is top notch.
“She” is an interesting track (with nice guitar work throughout it) as Jim Reid tries to figure out a woman who “spends her time out of space and out of line, planning some unholy crime that comes to nothing.” Meanwhile, his brother wishes he and a woman could make it work on “Wish I Could.” “Save Me” and “Till It Shines” go heavy on the acoustic guitar chords, with “Till It Shines” again delivering a (mostly) hopeful message (“Junk the junk, love the love.”).
Shane McGowan from The Pogues takes over lead vocals on the sad (Notice the initials of the album’s title?) “God Help Me,” which is a straight-up prayer of someone at the end of their rope. Jim Reid tries to talk a lady friend out of going back to her old addict habits on “Girlfriend” (“We done our time and we had some fun. I want to get things done.”). He expands this to wonder what’s going on not only with her, but people in general on “Everybody” (“Everybody I know is falling apart.”) – a song which I’m willing to bet Radiohead has on a couple playlists. On “You’ve Been a Friend,” Jim Reid is missing someone who’s left him – possibly because of his actions.
William Reid, at least, feels a bit better on “These Days,” in which he claims, “I feel immune to the sadness and gloom.” On the closing track, “Feeling Lucky,” he’s finally found “someone who knows me, and she still wants to hold me.” The Brian Jonestown Massacre probably play this on repeat while on tour.
This album doesn’t have a lot of the loud, fuzzy riffs you might expect from TJAMC, but it does have the introspective lyrics, the good guitar work, and the interesting mix of American southwest vibrations.
Roi Turbo — the project of South African-born, London-based electronic duo of brothers Benjamin & Conor McCarthy — announce their new EP, Bazooka, out April 25th via Maison Arts, and present the new single “Bobo Spirit.” Additionally, the band announces they will be supporting Empire of the Sun on tour throughout North America in April and May.
On their second EP, Bazooka, Roi Turbo roar down many creative roads at once, celebrating the permanence of rhythmic pasts, the contrasts of analog and digital futures, and a familial bond which marries their shared idea of sonic ecstasy to a populist streak of giving listeners what they want.
In some ways, Conor and Benjamin have been moving toward this moment their whole lives. Growing up in Cape Town with music-loving parents, they abandoned drum lessons for self-taught strategies (Conor played along to Bloc Party records, Ben learned via YouTube). The brothers debated the pros and cons of band-driven sounds (Conor) versus electronic production (Ben), unknowingly laying the foundation for their future. Their musical curiosity led them to the psychedelic modulations of William Onyeabor, the ‘80s South African bubblegum and Nigerian disco scenes, and the danceable rock of Paul Epworth. By their early 20s, Conor and Ben began to understand how their separate skills mixed with shared values and perspectives, could blossom into a secret weapon.
In 2023, the brothers relocated to London. They recorded with only a fraction of their home gear in apartments whose neighbors reacted angrily to the loud sounds. This took the sound of Bazooka away from clamor and experimentation towards what could be done more quickly and inside machines. They found technical ways to recreate the big gated drums of ‘80s records they once laughed at, scaling back the cheesiness. They leaned into the vibe of pieces rather than getting stuck on perfecting mixes and takes, embracing a more streamlined process.
Today’s single “Bobo Spirit” brings acid house piano chords into a Balearic context of open air and sunsets— a world of heavyweight groove propulsion. Of the track, Roi Turbo say: “‘Bobo Spirit’ is a mid tempo groove that is driven by catchy guitar licks, bouncing piano chords, rolling digi bass, and sci-fi synth leads. We had the idea of making a song that infused psychedelic melodies with a spacey sci-fi like feel, in a way it’s a melting pot of all the sounds we were listening to at the time.”
At its core, Bazooka reflects the lifelong bond between Benjamin and Conor McCarthy—their shared influences, differing perspectives, and unified vision. Picking up where other great beat-driven siblings like Soulwax’s David and Stephen Dewaele left off, the McCarthys rock the block, and blend the distinctions. In the process, they create a classic disco-funk-house sound that skips between soundsystem eras of multiple continents, winding up with a contemporary edge all its own. With the tank full and the roads open, Roi Turbo is just getting started.
Roi Turbo Tour Dates Wed. April 23 – Detroit, MI @ The Fillmore % Thu. April 24 – Chicago, IL @ Radius % Sat. April 26 – St. Louis, MO @ Saint Louis Park % Mon. April 28 – Morrison, CO @ Red Rocks Amphitheatre % Wed. April 30 – Seattle, WA @ WaMu Theater % Thu. May 1 – Eugene, OR @ Cuthbert Amphitheater % Sat. May 3 – Berkeley, CA @ Greek Theatre % Sun. May 4 -Sacramento, CA @ Channel 54 % Thu. May 8 – Los Angeles, CA @ Cercle Festival % Sat. May 10 – Los Angeles, CA @ Just Like Heaven % Sun. May 11 – Las Vegas, NV @ The Pearl % Wed. May 14 – Austin, TX @ Moody Amphitheatre % Thu. May 15 – Dallas, TX @ South Side Ballroom % Fri. May 16 – Houston, TX @ 713 Music Hall % Sun. May 18 – Atlanta, GA @ Coca Cola Roxy % Tue. May 20 – Philadelphia, PA @ The Fillmore % Wed. May 21 – Brooklyn, NY @ Brooklyn Mirage % Fri. May 23 – Washington, DC @ The Anthem % Sat. May 24 – Boston, MA @ MGM Music Hall at Fenway % Thu. June 19 -Sun. June 22 – Rothbury, MI @ Electric Forest
Durand Jones & The Indications — the trio of DurandJones, AaronFrazer, and BlakeRhein — return today with the announcement of their new album, Flowers (out June 27th on Dead Oceans), and the release of its lead single/video, “BeenSoLong.” For their fourth album and first since 2021’s “disco and funk infused” (Billboard) Private Space, The Indications leaned into a particular desire to return to their roots in a Bloomington basement, a space where they first found camaraderie in gritty funk and Southern soul that would inspire their self-titled debut. Just as they did on that 2016 release, The Indications prioritized close-knit collaboration while creatin Flowers. Much of the self-produced album was written together at Rhein’s Chicago home studio, and many tracks are based on one-take demos — proof that vibes were particularly high, each member pulling from their refined tool kits with ease.
Reflecting a strong sense of the band’s maturation and conviction, the 11 songs that make up Flowers are grown and sexy, fit for cruising, and delight in the softer side of soul and disco. “All of these songs touch on such mature topics, things that we never got to sing about before,” says Jones. “We are all in our 30s, have all been through ups and downs in our personal lives and professional lives, and flowers are a sign of maturity, growth, spring, productivity.” Frazer adds: “We took the spirit of play that started the project, and added in the wisdom and lessons we’ve acquired through the years.”
For Jones personally, Flowers is the result of significant personal transformation. “I had spent the last year and a half laying everything out that I felt insecure abou — I felt insecure about my sexuality, growing up poor; about a myriad of things. I laid all of that out on the table and it made me such a stronger person, to the point that I got back to the Indications and I was way more sure of myself.”
On lead single “Been So Long”, this renewed sense of camaraderie is front and center, as the Indications sing in unison: “It’s been so long/since we’ve been gone/it’s good to be back together.” It’s a song that contemplates the universal experience of returning to your hometown, alongside their experience of creating Flowers– a personal homecoming. Of the track, The Indications say: “‘Been So Long’ felt like a natural choice for the first single from the new album. Although it hasn’t been that long since we’ve been apart, it is the longest stretch the band hasn’t toured or released music in nearly a decade. The feeling of returning to your hometown is not unlike getting back together with your band mates after a spell. Some things have changed nearly beyond recognition, while others are exactly as you always remembered. In the video we are joined by Chicago musicians Wyatt Waddell and Michael Damani, two very gifted singers who lent their voices on the recording of ‘Been So Long’.”
Since forming in 2012, the road has taken The Indications from those origins at Indiana University, Bloomington to the global stage, selling out shows across Europe, Japan, Australia, and New Zealand to the West Coast— where DJI has a strong following among the lowrider and vintage soul enthusiasts. Next week, they will support LennyKravitz in arenas around Europe on his Blue Electric Light tour.
It has also seen the release of their three thoughtful, harmonic albums: Durand Jones & The Indications (2016), American Love Call (2019) and Private Space (2021). Pulling sonically and spiritually from each of the group’s previous releases and solo work, Flowers is the next stage of The Indications’ inspired soulful discography. They’re not only accepting their flowers, but indulging in their sweet and sexy fragrance.
“When I think of Flowers, I think of this sense of naturalness. There’s a lot of courage in showing the human side of making music,” adds Rhein. “We spent the most energy playing to each other’s strengths and learning how to support each other. Being able to make art from an intuitive level takes a lot of confidence, not second guessing yourself, not asking if it’s going to be well received.”
“We’re so blessed to have such a wide range of influence and musical minds that have such a good grip on the things that they love, and the ability to synthesize those influences and bring them to a group setting,” states Frazer. “So we’ll continue to do what we’re doing for many years to come.”
Psychedelic-laced indie rockers MESSINESSpresent the single ‘Previous Life’ – an upbeat sonic reflection on alienation, sensory excess, and the paradox of nostalgia. At its heart, the song articulates an existential crisis in which the self seeks refuge in an imagined past that is not so much remembered as it is constructed. The band’s debut album will be released later this year via Tarla Records and StoneFree Records. ‘Previous Life’ imbues psychedelic 60s-flavoured indie rock with a raw, rebellious exploration of life.
Based in the gritty underbelly of Italy’s fashion capital, Milan, Messiness revolves around Sicilian singer-songwriter and multi-instrumentalist MAX RAFFA. Messiness is the welcome result of his remarkable journey, carved through Europe’s cultural landscapes, from sun-bleached Balearic shores to British harbor towns, as Raffa performed in various rock ’n’ roll bands while conducting the ethnographic research that ultimately shaped his musical vision.
Raffa has assembled a proper motley crew: Rosario Lo Monaco wielding guitars, Filippo La Marca manning the keys, Giovanni Calella thumping the bass, and Luca Anello keeping the beat.
“This “Previous Life” is not a site of historical retrieval but a metaphysical counterpoint to the suffocating present—a liminal space where agency dissolves, aspirations are rendered obsolete, and structure itself is negated. The song thus stages a dialectic between presence and absence, reality and myth, in which the very act of longing for another life exposes the impossibility of its attainment,” explains Max Raffa.
“‘Previous Life’ is not merely a reflection on nostalgia; it is an interrogation of nostalgia’s internal contradictions. The song exposes the futility of retreating into an imagined past, revealing that such a past is, by definition, uninhabitable. The impulse to escape is simultaneously an acknowledgment of entrapment—the longing for a life beyond structure, obligation, and meaning ultimately leads not to liberation but to negation.”
Messiness creates accessible, vibrant feel-good indie rock with Britpop leanings. Incorporating elements of art pop, psychedelic and space rock elements, their harmonic styles bring Canterbury scene experimentation together with Southern European flavours, drawing from both traditional and urban soundscapes.
In ‘Previous Life’, the repetition of “I’m making plans for my previous life” serves as both a mantra and a lament. The author clings to the idea of a different, freer existence, but the sheer act of making plans—a forward-looking action—ironically contradicts the notion of a previous life. Raffanotes, “This contradiction reinforces the song’s central theme: the longing for a life beyond structure, obligation, and meaning ultimately leads not to liberation but to negation; the search for meaning often leads to its undoing, and the past we construct as a refuge is, in the end, an illusion.”
“people person” is a new song from mclusky that they are sharing today, along with a video directed by remy lamont, which you can watch now if you like (https://mclusky.lnk.to/people).
This follows their recent announcement of their first album in 20 years: the world is still here and so are we (may 9, ipecac recordings).
Andrew Falkous says: “’people person’ is the song that gave me tinnitus, so asking me about it is really cruel. It’s probably about being overwhelmed by the world because that’s what all of our songs are about.”
As the song itself says: “a lot of people like to be wise after the event.”
It’s important to state that the world is still here and so are we is the fourth mclusky album (no qualification being needed). they had an asterisk next to the name for a bit – out of respect for past band members and the precious memorial glue of teenage musical crushes – but fuck that, in for a penny, in for a pound. lyrically it touches on subjects as rich and as varied as work-it-out-yourself and impenetrable-inside-joke-for-the-band, but one thing is clear, all of the songs have different words. all hilarious joking aside, the best songs are about things without being precisely about them. mclusky endorse this sentiment. they positively insist on it.
Album pre-orders are available now (https://mclusky.lnk.to/world) with the world is still here and so are we available on multiple limited-edition vinyl variants (marble vinyl and 180 gram black vinyl), an indie store exclusive clear vinyl, as well as a standard blue vinyl. the release is also available on CD and digital formats.
mclusky tour dates:
May 8 – wrexham, uk the rockin’ chair
may 16 – tourcoing, fr le grand mix
May 18 – brussels, be les nuits botaniques (w/ The Jesus Lizard)
May 23 – manchester, uk gorilla
May 24 – leeds, uk brudenell
May 29 – london, uk electric ballroom
May 31 – bristol, uk swx
January 6 – melbourne, au corner
January 9 – adelaide, au lion arts factory
January 10 – sydney, au factory theatre
January 11 – brisbane, au crowbar
Tickets for all shows are on-sale now with links available via ipecac.com/tours.
Dummy announces a new remix album, Bubbelibrium DLC, out June 11th both digitally and on a limited run of compact discs handmade by the band, and shares the “Unshaped Road (GMO’s Gummy Remix)” via Bandcamp today and available on all streaming platforms this Friday, March 14th. Bubbelibrium DLC reimagines Dummy’s sophomore album, Free Energy, released last fall on Trouble In Mind to acclaim from Pitchfork,Rolling Stone, Stereogum, Paste, Bandcamp Daily, Alternative Press, Treble, and more. Inspired by the notion of collaborating with their community of peers and heroes, Dummy invited GMO, Wishy, Three Quarter Skies (Simon Scott of Slowdive), seminal 90s 4AD band Insides, and more to participate. Bubbelibrium DLC pushes Dummy’s songs further into the electronic, dance and experimental space that showcase each artist’s individual talents.
“Unshaped Road (GMO’s Gummy Remix)” finds members of ex-Captured Tracks’ band B Boys remixing Free Energy standout “Unshaped Road” with a focus on the song’s bassline. GMO says, “We heard you like the bassline in ‘Unshaped Road’ — so do we. Our remix highlights the driving bassline and textured sounds of the original, with a little GMO flavor.” Stream “Unshaped Road (GMO’s Gummy Remix)”
Dummy — the Los Angeles band of Alex Ewell, Emma Maatman, Nathan O’Dell, andJoe Trainor — is a creatively restless band. Feeling like they had done the best version of motorik pop that they could do, they wanted to get harder, dancier, a little more psychedelic. While creating Free Energy, Ewell and Trainor began experimenting with home recording, using DAW as kind of an instrument for composition rather than simply a tool. O’Dell dug deeper into instrumental/sample composition, in addition to contributing more guitar leads, while Maatman stepped into the spotlight with noticeably foregrounded and confident vocals. The result is a record that celebrates music’s ability to move the body, whether that be through a teeth-rattling wall of MBV-esque noise, a sticky pop chorus, or a joyous drum machine—or, if you’re Dummy, maybe all of them in the same song.
Dummy Tour Dates: Sat. Apr. 19 – Pioneertown, CA @ Pappy & Harriets Sun. Apr. 20 – Tucson, AZ @ Club Congress Tue. Apr. 22 – Phoenix, AZ @ Linger Longer Fri. Apr. 25 – McAllen, TX @ The Gremlin Sat. Apr 26 – Austin, TX @ Austin Psych Fest Sun. Apr. 27 – Denton, TX @ Rubber Gloves Mon. Apr. 28 – Oklahoma City, OK @ Resonant Head Tue. Apr. 29 – Lawrence, KS @ White Schoolhouse Wed. Apr. 30 – Denver, CO @ Hi Dive Thu. May 1 – Albuquerque, NM @ Sister Sat. May 3 – Mexico City, MX @ Pitchfork Music Festival CDMX Sun. May 4 – Guadalajara, MX @ Cuerda Cultura Thu. Jul. 31 – Sun. Aug. 3 – Happy Valley, OR @ Pickathon Fri. May 16 – Brussels, BE @ Les Nuits @ Botanique Sat. May 17 – Amsterdam, NL @ London Calling @ Paradiso Mon. May 19 – Hamburg, DE @ Aalhaus Tue. May 20 – Berlin, DE @ Badenhaus Wed. May 21 – Szczecin, PL @ Storrady Thu. May 22 – Warsaw, PL @ Chmury Fri. May 23 – Krakow, PL @ Green Zoo Festival @ Klub RE Sat. May 24 – Brno, CZ @ Art Bar Sun. May 25 – Katowice, PL @ Piąty Dom Tue. May 27 – Bratislava, SK @ Nova Cvernovka Wed. May 28 – Kreuzlingen, CH @ Horst Klub Thu. May 29 – Bern, CH @ ISC Club Sun. June 1 – Toulouse, FR @ Le Labo Des Arts Mon. June 2 – Barcelona, ES @ Primavera Sound Tu. June 3 – Madrid, ES @ Wurlitzer Ballroom Thu. June 5, – Porto, PT @ Maus Habitos Fri. June 6 – Lisbon, PT @ ZDB Sat. June 7, – Andoain, SP @ Andoaingo Rock Jaialdia Wed. June 11 – Ravenna, IT @ Beaches Brew Festival Thu. June 12 – Fano, IT @ Bagna Elsa Fri. June 13 – Vaglio Serra, IT @ Fans Out Festival Sun. June 15 – Hilvarenbeek, NL @ Best Kept Secret Festival
Keep your mind open.
[Float over to the subscription box while you’re here.]
Lucie Sue, the female-fronted French rock band who are set to make their festival debut this June at Hellfest, have released a second single in advance of their anticipated late Summer debut full-length album, unveiling “Hush” and an accompanying video (https://www.youtube.com/watch?v=zCjSIdIs9Bk).
The Antoine Doyen-directed video, which was shot in an abandoned and untouched ‘70s era hotel, features two mischievous children wreaking havoc and making their mother’s life hell.
“Hush,” which features driving riffs overlaid with powerful, infectious vocals, relays the chaotic struggle of a single mother on the verge of a nervous breakdown, facing the rebellion of her children. Lucie Sue explains: “’Hush’ is meant to be taken with a pinch of salt. I reject the idea of ‘parental sacrifice’ or ‘compromise,’ which creates unnecessary guilt. Kids should know how to cook, get around and organize themselves, forging a strong character.”
Lucie Sue previously released the song, and hockey-infused video, for “Battlestation.” New Noise said the track is “unapologetically fierce” and speaks to “femme empowerment,” while Riff Magazine said the track is “for those of us who always wished grunge was more metal,” and in Lucie Sue’s native France, Rolling Stone said the music is “direct and powerful, it mixes modern and vintage influences without forgetting the musician’s signature style…”
A child of the MTV generation, Lucie escaped to the sounds of L7, Metallica and PJ Harvey after her cello lessons at the Lyon National Conservatory. An accomplished visual artist, she pivoted to music during the COVID lockdowns; her stylish, DIY releases quickly gaining a devout following via social media.
A 13-track album is due for release later in 2025, with European tour dates to be announced soon.
Oklahoma-based band Broncho present a new single, “I Swear,” off of Natural Pleasure, their first new album in six years, out April 25th. In conjunction, they announce a massive North American tour. Each track on Natural Pleasure is meticulously crafted, and today’s “I Swear” marries the sing-along energy of their 2014 breakout “Class Historian” with a downtempo, more mesmeric pulse. Its instantly addictive “da da da da da” refrain will feel like a homecoming for longtime fans. “I’ Swear’ had been running around in my head for years until I finally did something about it,” says Ryan Lindsey. “I always knew it would be on this record somehow.” The accompanying video was directed by the band and filmed in their hometown of Tulsa.
Broncho – Ryan Lindsey (vocals, guitar), Ben King (guitar), Penny Pitchlynn (bass), and Nathan Price (drums) – has always been synonymous with reinvention, and Natural Pleasure marks their boldest transformation yet. Since 2014, they’ve been at the forefront of indie innovation, finding fans in legends like Josh Homme, Jack White, and Hayley Williams. Their music has been featured in iconic shows like HBO’s Girls and FX’s Reservation Dogs. Despite national recognition, Tulsa remains their spiritual home, a city whose musical lineage—from Leon Russell and JJ Cale to The Flaming Lips—infuses every note they play.
Natural Pleasure, the long-awaited follow-up to 2018’s Bad Behavior, is a kaleidoscopic dreamscape where lo-fi textures collide with psychedelic wonder. One of Broncho’s most defining features is Lindsey’s unmistakable vocal delivery—a phenomenon in its own right. His lyrics are often enigmatic, delivered in a way that feels like an instrument of pure emotion rather than straightforward storytelling. At first listen, it may be impossible to catch a single word, yet the emotional intensity he summons is undeniable. It’s a rare and uncanny ability—one that connects listeners to the music on a visceral level before the lyrics fully reveal themselves. It’s a testament to his singular artistry: instantly recognizable and deeply affecting.
Broncho’s live show is one not to miss. For over a decade, they’ve been selling out shows all across the world, from sweaty clubs to massive rooms while opening for bands like Queens of the Stone Age. They’ll play songs from Natural Pleasure, plus favorites from across their beloved discography. Tickets are on sale this Friday at 10am local time.
Broncho tour dates Sat. June 14 – Tulsa, OK @ Guthrie Green Tue. June 17 – Denver, CO @ Bluebird Theater Wed. June 18 – Salt Lake City, UT @ Urban Lounge Thu. June 19 – Boise, ID @ Shrine Social Club Fri. June 20 – Portland, OR @ Mississippi Studios Sat. June 21 – Vancouver, BC @ The Pearl Sun. June 22 – Seattle, WA @ Neumos Thu. June 26 – San Francisco, CA @ Great American Music Hall Fri. June 27 – Los Angeles, CA @ The Belasco Sat. June 28 – Phoenix, AZ @ Crescent Ballroom Thu. July 17 – Fort Worth, TX @ Tannahill’s Music Hall Fri. July 18 – Austin, TX @ The Mohawk Sat. July 19 – Houston, TX @ White Oak Music Hall Sun. July 20 – New Orleans, LA @ Tipitina’s Tue. July 22 – Atlanta, GA @ Terminal West Wed. July 23 – Carrboro, NC @ Cat’s Cradle Thu. July 24 – Washington, DC @ Union Stage Fri. July 25 – Philadelphia, PA @ Johnny Brendas Sat. July 26 – Brooklyn, NY @ Warsaw Wed. Aug. 6 – Kansas City, MO @ Record Bar Thu. Aug. 7 – Minneapolis, MN @ 7th Street Entry Fri. Aug. 8 – Milwaukee, WI @ Cactus Club Sat. Aug. 9 – Chicago, IL @ Thalia Hall Sun. Aug. 10 – Detroit, MI @ The Shelter Tue. Aug. 12 – Cleveland, OH @ Beachland Ballroom Wed. Aug. 13 – Indianapolis, IN @ The Vogue Thu. Aug. 14 – Nashville, TN @ TBA Fri. Aug. 15 – Lexington, KY @ The Burl Sat. Aug. 16 – St. Louis, MO @ Off Broadway
Night Beats announces a new 7″single, “Behind The Green Door,” out April 11 on Suicide Squeeze. The video features the directorial debut by Danny Lee Blackwell,which was heavily inspired by Giallo films.
On side A, we’re treated to a down-tempo, minor key track drenched in the haze of vice, as if some aspiring Motor City outfit had traveled down to Austin and snuck into the studio to cut a song while The 13th Floor Elevators were on a smoke break. Or perhaps it’s more akin to a meeting between Ray Charles, Skip Pence, and Link Wray. Or maybe it’s Joe Tex grappling with Gram Parsons. Or Duane Eddy pairing up with Cedric Bixler-Zavala. Or maybe it’s just years of Blackwell distilling and translating the sounds around him into his own concoction.
Danny Lee Blackwell explains the story behind “Behind The Green Door”:
“This song started as a lone star instrumental, something I pieced together in my studio in 2024. I imagined dusty roads and dimly lit dance halls. I wanted the guitars to shimmer like heat waves on an open road. The rhythm to pull like footsteps across a wooden floor, soaked in smoke and neon. The lyrics followed, drawn from past and present—unwavering love, transcendence. The ‘green door’ is that threshold between devotion and disillusionment. The story lives not just in the words, but in the tones and textures, if uncovered.”
Under the moniker of Night Beats, Texas native Danny Lee Blackwell has spent the last fifteen years exploring a nexus of vintage rhythm & blues, after-midnight soul, and sun-scorched psychedelia. On Night Beats’ latest offering, Blackwell presents two markedly different renditions of his song “Behind the Green Door.” On side A, “Behind The Green Door” is an invitation to enter the kingdom and dwell in the garden while the shadow of doubt looms nearby, a subconscious journey into the delights and pitfalls of unknown territories made manifest in the music of Night Beats.
Side B features the Rah John version of “Behind The Green Door.” According to the Night Beats camp, Rah John was discovered by Blackwell on his recent expedition to the island Koh Khram Yai, located off the coast of Pattaya in the Gulf of Thailand. Not much is known about the young artist besides his love for 70’s Thai disco and dancehall tapes received from local sailors. Hearing a streak of revelry buried in the Night Beats tune, Rah John summoned a sunnier, breezier, and more exotic side to the Rhythm and Blues sway of the original.
Suicide Squeeze is proud to offer up Night Beats “Behind The Green Door” b/w “Behind The Green Door (Rah John Version)” out April 11 on seven-inch transparent violet vinyl, limited to 500 copies.
