Rock – Page 38 – 7th Level Music

Rewind Review: The Smithereens – 2011 (2011)

Saluting the past and embracing the current moment, The Smithereens‘ 2011 album, 2011, is a nod to their classic 11 album and was their first album of all-original material since 1999’s God Save the Smithereens. It was a fine return to form with catchy hooks, heartfelt lyrics, and ample shredding.

Take the opener, “Sorry,” for example. Jim Babjak‘s powerful guitars come at you right away and Pat Dinizio‘s strong vocals about being both sad and angry about a breakup show he’d lost none of his chops. “One Look at You” is the opposite in terms of lyrical content, as Dinizio tells the story of swooning after once glance at a lady, but keeps up the snappy beats by Dennis Diken and solid bass work by Severo Jornacion. “A World of Our Own” is the kind of song that The Smithereens do so well – toe-tapping beats, lyrics about love, Beach Boys-like harmonies, and chugging garage rock guitars.

“Don’t listen to the things they say, you just take my hand and we’ll just keep on running,” Dinizio tells his lover on the solid, strong “Keep on Running.” The whole band is firing on all cylinders here, working in great union with each other as Babjak’s guitar seems to melt and solidify from one note to the next in his solo. “Rings on Her Fingers” could’ve been a Beau Brummels song in a previous life.

“As Long As You Are Near Me” has what I’d consider a “classic” Babjack guitar solo – somewhat bluesy, somewhat gritty, and all shredding (and Jornacion’s walking bass line sounds like it’s easy to play but is deceptively tricky once you examine it). “Bring Back the One I Love” has Dinizio lamenting a lover who left him. Jornacion’s bass takes front stage on “Nobody Lives Forever,” giving the song a pulse you can’t ignore.

The haunting “Goodnight Goodbye” has great vocals from the whole band and this almost doom metal pace to it that I love. It’s a standout on the record. “All the Same” displays the band’s love of the Mersey Beat sound. “Viennese Hangover” belongs in a romantic comedy that takes place in Austria. Diken’s drums are in fifth gear on “Turn It Around,” and the added tambourine and jingle bells only increase the punch. The closer, “What Went Wrong,” sends us off on a fast note like a hot rod not bothering to slow down after it crosses the finish line in a street race.

2011 showed that The Smithereens still had plenty of fire in them, and it still sounds good eleven years later.

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Horsegirl announce new album, single, and tour.

Today, Chicago trio Horsegirl announce their debut record, Versions of Modern Performance, out June 3rd on Matador, a summer tour, and present charged lead single/video, “Anti-glory.” Penelope Lowenstein (guitar, vocals), Nora Cheng (guitar, vocals), and Gigi Reece (drums) – the best friends comprising Horsegirl – do everything collectively, from songwriting to trading vocal duties and swapping instruments to sound and visual art design. The warmth and strength of their bond crackles through every second of their debut. With lyrics intentionally impressionistic and open-ended, and a sound that ranges with joy and enthusiasm across a range of styles, Versions of Modern Performance offers many pathways. Following last year’s one-off “Billy,” lead single “Anti-glory” is elastic and propulsive, entrancing listeners with a central call: “Dance / Dance / Dance / Dance / With me.” The accompanying video, directed by Erin Vassilopoulos, exudes confidence, putting Horsegirl front and center, their uncanny ability to layer sound on full display.

“We wrote Anti-glory almost by accident, while messing around with an old song during rehearsal. The song fell into place immediately, and looking back, we have no idea how we wrote it,” the band explains. “As always, this song and album are for Chicago, our friends, our friend’s bands, everyone who can play the guitar, and everyone who can’t play the guitar.”
Watch Horsegirl’s Video for “Anti-glory”

The friendship of these three goes far beyond Horsegirl. Reece and Cheng, college freshmen, and Lowenstein, a high school senior, learned to play—and met—through the significant network of Chicago youth arts programs, and they have their own mini-rock underground, complete with zine distros, that they describe as somewhat separate from the “adult shows” that take place at bars and DIY spaces they don’t have access to. They’re exultant about their friends’ talent, noting that any of the bands from that scene could have been (or might still be!) plucked up the way they were.

Versions of Modern Performance was recorded with John Agnello (Kurt Vile, The Breeders, Dinosaur Jr.) at Chicago’s Electrical Audio. “It’s our debut bare-bones album in a Chicago institution with a producer who we feel like really respected what we were trying to do,” the band says. Across the record, Horsegirl expertly play with texture, shape and shade, showcasing their fondness for improvisation and experimentation. One can hear elements of the ‘80s and ‘90s independent music the band love so deeply and sincerely—the scuzzy melodicism of what used to be called “college rock,” the cool, bubbly space-age sheen of the ‘90s vamps on lounge and noir; the warm, noisy roar of shoegaze; the economical hooks and rhythms of post-punk. There’s even a bit of no wave mixed in for good measure. But as Horsegirl fuse all of this together, it feels not like a pastiche or a hacky retread but something as playful and unique as its predecessors. They’re best understood as part of a continuum, but they’re building something for themselves.

Horsegirl will tour North America this summer, playing their first ever shows in most cities across the country. This all kicks off with a special record release show at Thalia Hall in Chicago on Sunday, June 5th. Next week, Horsegirl head to SXSW before their debut performances in Philadelphia, Washington, DC and New York City. Full dates are listed below, and tickets for newly announced shows go on sale this Friday, March 11th at 10am local time.
Watch Horsegirl’s Video for “Billy”

Pre-Order Versions of Modern Performance

Horsegirl Tour Dates:
(new shows in bold)
Wed. March 16 – Austin, TX @ SXSW – FLOODfest @ Mohawk @ 2:00pm
Wed. March 16 – Austin, TX @ SXSW – Roskilde Festival @ Cheer Up Charlie’s @ 10:00pm
Thu. March 17 – Austin, TX @ SXSW – SX San Jose @ Hotel San Jose
Thu. March 17 – Austin, TX @ SXSW – Gorilla vs. Bear x Luminelle @ Seven Grand @ 11:15pm
Sat. March 19 – Philadelphia, PA @ PhilaMOCA
Sun. March 20 – Washington, DC @ DC9
Tue. March 22 – Brooklyn, NY @ Market Hotel
Sun. May 29 – Allston, MA @ Boston Calling Festival
Sun. Jun. 5 – Chicago, IL @ Thalia Hall (RECORD RELEASE SHOW) ^
Fri. Jun. 10 – Giessen, DE @ Stadt ohne Meer
Sun. Jun. 12 – Mannheim, DE @ Maifield Derby
Thu. Jun. 16 – Antwerp, BE @ Trix Bar
Fri. Jun. 17 – Paris, FR @ Pop Up Du Label
Sun. Jun. 19 – London, UK @ Paper Dress Vintage (EARLY SHOW)
Sun. Jun. 19 – London, UK @ Paper Dress Vintage (LATE SHOW)
Tue. Jun. 21 – Manchester, UK @ YES (Basement)
Wed. Jun. 22 – London, UK @ Bermondsey Social Club
Sun. Jun. 26 – Bristol, UK @ Rough Trade Bristol
Tue. Jun. 28 – Cologne, DE @ Bumann & Sohn
Wed. Jun. 29 – Berlin, DE @ Monarch
Fri. Jul. 1 – Denmark, DE @ Roskilde Festival 2022
Sat. Jul. 2 – Hamburg, DE @ Molotow Upstairs
Fri. Jul. 15 – Vancouver, BC @ Wise Hall *
Sat. Jul. 16 – Seattle, WA @ Neumos *
Sun. Jul. 17 – Portland, OR @ Polaris Hall *
Tue. Jul. 19 – San Francisco, CA @ Rickshaw Stop
Thu. Jul. 21 – Los Angeles, CA @ Zebulon *
Fri. Jul. 22 – Los Angeles, CA @ The Echo *
Sat. Jul. 23 – Santa Ana, CA @ Constellation Room *
Tue. Jul. 26 – Minneapolis, MN @ Fine Line *
Wed. Jul. 27 – Madison, WI @ High Noon Saloon *
Fri. Jul. 30 – Sat. Jul. 31 – Detroit, MI @ Mo Pop Festival
Tue. Aug. 2 – Columbus, OH @ Rumba Cafe *
Wed. Aug. 3 – Cleveland, OH @ Grog Shop *
Fri. Aug. 5 – Toronto, ON @ Velvet Underground *
Sat. Aug. 6 – Montreal, QC @ Petit Campus *

^ w/ Lifeguard, Friko, Post Office Winter
* w/ Dummy

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[Thanks to Jaycee and Jessica at Pitch Perfect PR.]

Review: BODEGA – Broken Equipment

BODEGA, the Brooklyn post-punk outfit, has long been fascinated with technology and all its goods and ills. Their new album, Broken Equipment, references this many times, first in the album’s title. Broken gear is a source of worry, anguish, and / or rage in this day and age due to our over-dependence on technology. BODEGA knows this, and openly discuss how they, too, fall victim to these glitchy woes.

Opening track (and the first single released from the album), “Thrown,” has lead singer Ben Hozie singing about how he has a Bermuda Triangle within him that sucks him into situations where he’s not sure how he got there or how to get out (“I was thrown here by chance…I was targeted by big rock ads…”). “Doers” is a poke in the eye of tech-bros and people who think their moving and shaking is actually going to amount to something in the grand scheme (“Ten minutes planning my next ten minutes!”).

“Territorial Call of the Female” has Nikki Belfiglio taking on lead vocals, which always means you’re in for a treat. Belfiglio’s vocals are often a great mix of snarky and sweet, and this track about ladies sometimes unintentionally sabotaging each other is a great example. “NYC (Disambiguation)” takes a brutal, honest look at NYC’s history – warts and all. “Statuette on the Console” ups the punk in their post-punk, taking off like a hot rod from the green light in an illegal street race. Belfiglio embraces her love of Patti Smith, Wendy O. Williams, and Poly Styrene, and the guitar solo on it by Dan Ryan is top-notch.

“C.I.R.P.” takes a shot at media elitists (backed by a wicked bass line from Adam See). “Pillar on the Bridge of You” is a delightful love song Hozie wrote to Belfiglio in which he claims all he wants to do is support her. “I have so many things to offer,” Hozie sings on “How Can I Help YA?” – a song that seems to be about self-proclaimed influencers. Ryan unleashes another solid solo right in the middle of it. “No Blade of Grass,” influenced by the bleak (but excellent 1970 disaster film of the same name), has Hozie and Belfiglio singing about how we’re constantly pummeled by disasters both real and imagined, mainly to benefit those with more wealth than us (“We need strength and discipline…So, give more power to the rich, they say. Inequality, it is natural.”).

The band’s fondness for The Velvet Underground comes through on “All Past Lovers,” which has that cool, driving beat (provided by Tai Lee, who sizzles on the entire record, really) and almost-drone guitar that is hard to do without sounding like a damn mess. Hozie dreams of rest and escaping loneliness on “Seneca the Stoic.” The album ends with “After Jane,” an acoustic ode to Hozie’s mother – with whom he admits he had a rocky relationship at times, and that her battle with mental illness was one of the hardest challenges of their life together, but he acknowledges that he now can “channel your hurt when I sing my songs.”

Broken Equipment is another sharp record from a band that has taken critique and self-critique to Zen levels and can make you pogo while doing it.

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[Thanks to Patrick at Pitch Perfect PR.]

P.E. discuss capitalism on “Contradiction of Wants.”

On March 25th P.E. will release their latest LP The Leather Lemon on Wharf Cat Records (Water From Your Eyes, Palberta, Lily Konigsberg). The follow up to 2021’s The Reason For My Love EP, which earned praise from outlets like Stereogum, BrooklynVegan, Bandcamp, The Guardian (who had the EP’s title track on their 2021 Best Songs You Haven’t Heard list) and Pitchfork (who had the EP on their list of Great Records From 2021 You May Have Missed), the album has seen the release of two singles so far, lead single “Blue Nude (Reclined)“, and “Tears In The Rain“, a track that features Parquet Courts‘ A. Savage, and was described by Rolling Stone as “the perfect soundtrack for a neo-noir, with just a bit of tongue-in-cheek.” Today, P.E. are back with a final preview of their new LP, a track called “Contradiction of Wants”.

LISTEN:
to P.E. – “Contradiction of Wants” on
YouTube

“This song is about the heartache and burden that is capitalism,” singer Veronica Torres explains. “Simultaneously experiencing disgust over consumerism and exploitation while singing along to the theme song. The Levi’s jeans commercial telling us to buy their product to waste less. Pink dolphins crying into the earth’s rivers. Climate change is real. Vegan’s snorting cocaine.”

To celebrate the album’s release the band will be playing a Brooklyn release show that will take place at Union Pool on March 23rd and will also feature A. Savage as a DJ and support from Pop 1280. Tickets are available to purchase here.

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[Thanks to Tom at Hive Mind PR.]

Rewind Review: Frankie and the Witch Fingers – Levitation Sessions (2020)

Released in the middle of the pandemic and when everyone needed to just crank some psych-garage rock and let out a bunch of pent-up energy in their living room, Frankie and the Witch Fingers‘ Levitation Sessions is a great slice of the band’s always-solid live sets and bursts with energy for its entire length.

“Activate” is perfectly named and played to start off the set with beats that get your feet tapping right away and riffs to knock you back on your heels. “Reaper” is always a standout with its dreamy build-up to crushing power. “Sweet Freak” has this cool, looping groove to it that evolves into wild, frenetic, psychedelic guitar solos that are like a crow calling from a high tree when you walk by.

“Where’s Your Reality?” is another FATWF that absolutely cooks live or otherwise. Something is wrong with you if it doesn’t get you jumping and / or crowd surfing. The song melts into “Michaeldose,” a trippy and funky instrumental. The driving, hammering beats and bass of “Realization” are likely to induce you to bounce around your living room so hard you’ll be knocking over lamps and freaking out your pets.

The drums on “Dracula Drug” are especially sharp. All respect to Caster Black, who recorded and mixed the whole session. Another good example of the mixing is how well “Can You Hear Me Now?” eases into the rocking “Simulator” – another cut that always floors any audience. Likewise, “Cavehead” blends perfectly into the peppy, trippy “MEPEM…” – which is over eight minutes of thumping, bumping garage-psych.

Levitation Sessions is a great taste of a live FATWF show – a taste that leaves you wanting to dive face-first into their psychedelic buffet.

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Review: Sisters of Your Sunshine Vapor – Good Goddamn

Appropriate of its title, Sisters of Your Sunshine Vapor‘s new album, Good Goddamn, is sometimes loud, bold, and a bit unhinged.

It starts off with a bit of deception on “She Makes a Great Parade.” The song sounds like a record that was left on a windowsill in late June and used as a sleeping mat for a cat. I mean that in the best possible way, because I don’t know how else SOYSV get the trippy, warped sound on it. Both Eric Oppitz‘s bass and keyboards are floating in space, Sean Morrow‘s guitar goes from rocket thrusters to spaghetti westerns, and Rick Sawoscinski‘s drums are a mix of chaos and order like they’re played by Harvey Dent.

“It’s Good to Be Alive” is a natural follow-up, as its title is referenced in the lyrics of the opening track. The song, and especially Morrow’s guitar work, slips back and forth between shoegaze fuzz and dreamy psych-rock. I also love the electronic beats that sound like something from a 1990s hip hop B-side. Trust me. It works, as do the lyrics about being brave enough to “step in the light.” The title track is as crazy as you hope it will be, with Morrow calling out motherfuckers who haven’t paid their dues. Sawoscinski sounds like he’s having a blast on it, jumping back and forth from, again, beats that would work in hip hop or house to near-metal pounding. There’s a ripping sax solo on this cut, too, elevating it to something like a Stooges proto-punk rager.

“Never Comin’ Over” reminds me a bit of some Love and Rockets cuts with its swirling guitar riffs. Oppitz’s love of synthwave comes through on “Walk of Sobriety,” as his keyboard work is perfectly suitable for a nightclub patronized by androids. Morrow sings / shouts to people who need to wake up from their illusions, and even more so from the ones projected onto them by others. His vocals are often frantic throughout the whole record, channeling his (and his pals’) rage and frustration with the world in general for the last two years.

“Taser Blue” and “A Little Sweetness” slow things down for a bit so you can settle in for a nice drift down a sunny river or chilling in your apartment with a tasty slice of leftover pizza while the cat decides to sleep on your lap instead of that record on the windowsill. Both options are valid. The closer, “Specimen Jar,” has Morrow bringing back some of the vocal hooks and lyrics that are spread throughout the record, giving the album a bit of a looping effect as Sawoscinki builds the beats into a mind-altering cadence until the song, and the album, ends with the lyric “It’s good to be alive.”

It’s a nice, hopeful send-off for everyone. It’s a reminder to stay present, even in the chaos and in suffering. It’s a hell of a record.

Keep your mind open.

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Rewind Review: The Smithereens – Meet the Smithereens (2007)

A Smithereens cover album of a classic Beatles album?! Yes, please!

It’s no secret that The Beatles are one of the biggest influences on The Smithereens (along with The Who, The Kinks, and many others from the UK), so hearing this American rock band have fun with these tracks is a delight from beginning to end.

They’re a little subdued on their version of “I Want to Hold Your Hand,” and it’s an effective in touch – pushing the love in the song more than the riffs. They push the riffs harder on “I Saw Her Standing There,” rocking it for all it’s worth. “This Boy” soothes things down a bit before the rocking, underappreciated Beatles’ classic “It Won’t Be Long” – a song they load with Jim Babjak‘s killer guitar riffs.

“All I’ve Got to Do” has a blues touch to it that’s perfectly suited to Pat Dinizio‘s voice. Severo “The Thrilla” Jornacion‘s bass is all over “All My Loving.” They perfectly capture the 1960s garage rock sound on “Don’t Bother Me.”

“Little Child” flies right by you at fast beats laid down by Dennis Diken, and then “Till There Wsa You” comes in with almost a Tiki lounge comfort to it. They make playing “Beatles swing” sound easy on “Hold Me Tight.” They unleash “I Wanna Be Your Man” on you after you’re all cozy from the previous track, with Babjak taking on lead vocals and having a blast with it. The albums ends with a fade-out on “Not a Second Time,” leaving you with a smile and fond memories.

It’s a fun record, and one that led to other fun cover albums by then. You’ll dig it if you’re a fan of either band.

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Review: Mdou Moctar – Afrique Victime

Good heavens, this album is stunning.

Mdou Moctar returns to once again shred on guitar, spread the love and joy of Tuareg music, and spread the word of struggles in his Algerian homeland on Afrique Victime.

Opening track “Chismiten” bursts with so much energy that any sound system, no matter how hi-fi, can barely contain it. Moctar’s guitar swirls around you like a dust devil that eventually grows strong enough to lift you off the ground. He adds a cool echo effect to his guitar on “Taliat,” and the group vocals are immediately uplifting.

“Ya Habibti” backs the mantra-like vocals with hand claps and hand percussion while Moctar plays slightly amped acoustic / electric chords. “Tala Tannam” is downright dreamy. “Asditke Akal” is a stunner with its psychedelic riffs reaching to the heavens. Moctar and his band then switch it up on “Layla,” which (thankfully) isn’t a cover of the vastly overrated Clapton tune, but rather an acoustic, hypnotic song you might hear around a desert fire.

The title track is a powerful one about the plight of women in Algeria (as noted by the album’s cover depicting a crying woman), with some of Moctar’s most soaring guitar work that stretches its mighty wings for over seven minutes. The closing track, “Bismilahi Atagah” is beautiful in its simplicity as Moctar and his bandmates sing what sounds like a song of praise for blessings received and ones to come.

This might be Moctar’s best album yet, and that’s saying something when you consider the first two were excellent in their own right.

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Jon Spencer and the Hitmakers announce new album and tour.

Get ready for JON SPENCER & the HITmakers to BURN your playhouse down with their new long-player, SPENCER GETS IT LIT! The incredible, indelible Jon Spencer (Blues Explosion, Boss Hog, Pussy Galore, Heavy Trash, etc) is back with the incendiary HITmakers  - and with his HOTTEST record yet! 

Spencer Gets It Lit is classic Jon Spencer taken to the extremis – electro-boogie, constructivist art pop, a psychedelic swamp of industrial sleaze and futurist elegance. It is an epic master work of freak beat from the world’s weirdest garage. Across brain-boggling layers of fury, fuzz guitar, and a crash-bang battery of phaser blasts, photon torpedoes, and otherworldly zounds, he frantically spits, croons, rhapsodizes, and seduces.

Spencer Gets It Lit is his most complex and groovy record in years, a dark, danceable odyssey – both a studied take-down of the early 21st century, and a celebration of the place where electricity meets the mind. Thirteen wicked hot songs of love, loss, lust, life — from the Farfisa-fueled,warped psycho -punk rave-up of “Junk Man,” to the intimate lover’s plea of “My Hit Parade,” to the outer-space end-of-days country funk of “Worm Town,” Spencer Gets It Lit delivers all of the friction, excitement, and post-modern depravity one could ever ask for!

Says Spencer, “Send out the Hit Signal! This is the most uncompromising album I’ve ever made!” And the HITs just keep on coming! THIS JUST IN! Taking over drum duties for the HITmakers on their upcoming spring tour will be superstar of skins Janet Weiss of Sleater-Kinney, Quasi, Wild Flag, The Jicks, Slang, etc. etc!!! Wait… What’s that? There’s more? Every show will be opened by a full set from Janet and HITmaker Sam Coomes championship tag-team, Quasi! Guaranteed to be a tour for the ages!!! True heroes of the underground! Freak forces combined and multiplied in this indie-rock dream bill!

TOUR: 4/11 Buffalo, NY Rec Room

4/12 Toronto, ON Lee’s Palace

4/13 Detroit, MI El Club

4/14 Chicago, IL Schubas

4/15 Milwaukee, WI Back Room at Colectivo

4/16 Minneapolis, MN 7^th Street Entry

4/18 Omaha, NE Waiting Room

4/19 Denver, CO Globe Hall

4/20 Salt Lake City, UT Urban Lounge

4/21 Boise, ID Neurolux

4/22 Portland, OR Dantes

4/23 Vancouver, BC Fox Cabaret

4/24 Seattle, WA Madame Lou’s (The Crocodile Second Stage)

4/26 San Francisco, CA Bottom of the Hill

4/27 Los Angeles, CA The Echo

4/28 San Diego, CA Casbah

4/29 Tucson, AZ 191 Toole

4/30 Phoenix, AZ Valley Bar

5/01 Santa Fe, NM Tumbleroot Brewery & Distillery

5/02 Colorado Springs, CO The Black Sheep

5/03 Wichita, KS Wave

5/04 Kansas City, MO Record Bar

5/05 St. Louis, MO Blueberry Hill Duck Room

5/06 Indianapolis, IN Hi-Fi

5/07 Louisville, KY Zanzabar

5/08 Charlottesville, VA The Southern

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[Thanks to Jo Murray.]

El Ten Eleven’s “The Time Knife” is a wild instrumental new single.

El Ten Eleven, who recently announced the March 4 arrival of New Year’s Eve via Joyful Noise Recordings, have released a third single from the forthcoming collection: “The Time Knife” (https://lnk.to/TheTimeKnife).

Kristian Dunn explains how the TV show, “The Good Place,” influenced the track: “A character named Chidi has just returned from an interdimensional trip that only lasted a moment and, overwhelmed, says, ‘I just saw a trillion different realities folding onto each other like thin sheets of metal forming a single blade.’ Ted Danson’s character responds, saying, ‘Yeah, yeah, the time knife, we’ve all seen it.’ My wife and I were watching this together and for whatever reason this struck us as so funny we couldn’t stop laughing. This song is a combination of my experience with my wife (and experiences, journeys, really, generally with her) and Chidi’s journey.”

“The Time Knife” is the third preview of the forthcoming collection, with the Los Angeles-based duo previously sharing “Meta Metta” (https://youtu.be/GpqP72YYfJc), a performance clip was filmed at The Cube in Los Angeles, and the title track (https://youtu.be/8bQGY9cBpIo).

“New Year’s Eve is a reference to guarded optimism about what is to come. At the time, it seemed like our national divisiveness might be waning and the end of the pandemic was near. But of course that’s not how it turned out,” said Dunn upon news of the forthcoming album’s release. “That’s what New Year’s Eves are. You think it’s gonna be a fun night, but usually it’s disappointing at the end.”

Over the course of 20 years and 11 albums, El Ten Eleven continue to redefine the potential of bass guitar and drums. With an arsenal of pedals, labyrinthine arrangements, and a deft use of looping, Dunn (bass) and Tim Fogarty (drums) create two-man symphonies. With New Year’s Eve, the duo melds electrifying disco grooves with their tried-and-true experimental rock atmospherics.

El Ten Eleven Tour Dates:

Apr 6: Omaha, NE Slowdown^

Apr 7: St. Paul, MN Turf Club^

Apr 8: Chicago, IL Chop Shop^

Apr 9: Grand Rapids, MI Pyramid Scheme^

Apr 10: Indianapolis, IN HiFi^

Apr 13: Cleveland, OH Beachland Ballroom^

Apr 14: Pittsburgh, PA Thunderbird^

Apr 15: Washington, DC Union Stage^

Apr 16: Philadelphia, PA Milkboy^

Apr 20: Rochester, NY Bugjar^

Apr 21: Rochester, NY Bugjar^

Apr 22: Boston, MA Paradise^+

Apr 23: Brooklyn, NY Brooklyn Made^+

* Sego supports

& Mylets supports

^ Cedric Noel supports

+ A Beacon School supports

European tour dates:

May 12: Glasgow, UK @ Broadcast

May 13: Leeds, UK @ Boom

May 14-15: London, UK @ Portals Festival

May 15: Bristol, UK @ The Crofters Right

May 17: Paris, FR @ Supersonic

May 18: Den Bosch, NL @ Willem Twee Poppodium

May 19-20: Copenhagen, DK @ A Colossal Weekend

May 22: Berlin, DE @ Prachtwerk

May 23: Hamburg, DE @ Indra

May 24: Cologne, DE @ Helios37

May 27: Metz, FR @ Young Team Festival

Dunn (bass/guitar) and Fogarty (drums) have flourished outside the accepted norms of rock orthodoxy, releasing eight full-length albums, four EPs and performing over 750 live shows. Utilizing inventive arrangements and a masterful use of looping, El Ten Eleven have been noted for their ability to create a sound much bigger than their individual parts. SF Weekly said of the pair’s live performance: “watching El Ten Eleven play is something like watching two superheroes do their thing.” Consequence of Sound called their music “euphoric,” KEXP described their output as “transcendent” and Under The Radar declared the pair’s unique style a “buoyant brand of post-rock.”

# # #

Elteneleven.com

Facebook.com/elteneleven

Twitter.com/elteneleven

Instagram.com/elteneleven

YouTube.com/elteneleven

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[Thanks to Monica at Speakeasy PR.]