“If You Don’t Know” the Wine Lips’ new single, you’re missing out.

Toronto’s Wine Lips return with “If You Don’t Know,” the second single from their upcoming album TV Dinner, out August 28 on Stomp Records. Pulling from the blown-out punch of ’90s alt rock and garage while keeping their signature psych chaos intact, the track lands somewhere between the hook-heavy crunch of The Hives, the fried-out swirl of Osees, and the ragged urgency of Frankie and the Witch Fingers, with flashes of Nevermind-era vocal weight cutting through the noise. Following the sharp, confrontational punch of lead single “Projector,” this one shifts inward, heavier, more reflective, but no less immediate. Built around blown-out vocals, chorus-drenched guitar lines, and a locked-in mid-tempo drive, “If You Don’t Know” leans into the band’s rawer instincts. It moves like a late summer rip down the 401 at sunset, bugs cracking against the windshield, half cut, windows down, volume too loud, head nodding at just the right tempo to make you feel like you’ve tapped into something. The guitars smear at the edges while Aurora Evans’ drums hit like a truck, her snare snapping dead center, physical, sharp, and impossible to ignore.

Lyrically, the track circles burnout, detachment, and the slow realization that time doesn’t move the way it used to. “Been a long long while since 16” lands less like nostalgia and more like a quiet gut check, the kind that creeps in somewhere between last call and the first train home. It’s not dramatic. It just settles in. Over the last decade, Wine Lips have quietly built one of the most formidable independent rock careers to come out of Canada, racking up more than 50 million streams, earning praise from Iggy Pop on BBC Radio, and touring relentlessly across North America, Europe, the UK, and Asia. Somewhere along the way, they became something harder to pin down, a fuzzed-out, road-worn force that thrives just outside the mainstream while pulling in a global audience.

As the album rollout continues, Wine Lips show no signs of slowing down. Following the release of TV Dinner, the band will head back onto international highways with a fall tour supporting Death From Above 1979 and another European run already on the horizon. With TV Dinner, that balance tightens. If earlier records felt like full-tilt psychedelic escape, this one keeps its feet planted on cracked pavement. The chaos is still there, but it’s more focused now, shaped by glowing phone screens, long nights that blur together, and the low hum of everything being just a bit too much. “If You Don’t Know” sits right in that pocket, heavy, restless, and locked in.

Keep your mind open.

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[Thanks to Chad at No Rules PR.]

Wine Lips wallop you with their new single – “Projector.”

Toronto’s Wine Lips return with “Projector,” the first single from their newly announced fifth album TV Dinner, arriving August 28 on Stomp Records. Drawing from the blown-out spirit of ’90s garage punk while retaining the psychedelic chaos that has become the band’s calling card, “Projector” channels the urgency of Teengenerate, The Hives, New Bomb Turks, Frankie and the Witch Fingers, and Osees into a sharp blast of scorched guitars, pounding drums, and razor-wire attitude. The single also marks the first lead vocal appearance from drummer Aurora Evans, offering an electrifying introduction to the next chapter of one of modern rock’s most relentless bands. Over the last decade, Wine Lips have quietly become one of the most successful independent rock bands to emerge from Canada in a generation. Their records have accumulated more than 45 million streams, earned international acclaim, landed songs in film, television, and video games, and carried the band across North America, Europe, the UK, Hong Kong, and China. In the long and strange lineage of Canadian rock, somewhere between Rush, April Wine, and Tricky Woo, lurks Wine Lips: a fuzz-covered northern beast that keeps appearing in unexpected places, leaving blown speakers, sweaty clubs, and new converts in its wake.

“Projector” wastes no time making its intentions clear. Driven by Evans’ commanding vocal performance, the track takes aim at the kind of person who projects their insecurities, frustrations, and baggage onto everyone around them. Every sneering lyric lands with purpose while the band barrels forward behind her in a glorious racket of overdriven guitars and barely contained momentum. It’s direct, cathartic, and impossible to ignore. The song offers the first glimpse into TV Dinner, a thirteen-track collection shaped by the absurdities of contemporary life. Across the album, Wine Lips tackle burnout, addiction, doomscrolling, dead-end jobs, housing frustrations, and the low-grade anxiety humming beneath modern existence like fluorescent lights in a suburban strip mall. Rather than wallow in any of it, the band responds the only way they know how: louder, faster, and with zero interest in cleaning up the mess.

Recorded with longtime collaborator Simon Larochette at The Sugar Shack in London, Ontario, TV Dinner captures Wine Lips at their most immediate and instinctive. Embracing imperfections and leaving room for mistakes, strange moments, and happy accidents, the band deliberately resisted polishing away the record’s rough edges. The result is a collection of songs that feels alive, unpredictable, and wired directly to the energy that has made Wine Lips such a formidable live act, an energy they’ll carry back onto international highways this fall with a tour supporting Death From Above 1979 and another European run already on the horizon.

If previous Wine Lips records often felt like psychedelic escapes from reality, TV Dinner keeps its feet planted firmly on the cracked pavement outside. It’s a record built for an era of glowing phone screens, rising rents, information overload, and endless noise. “Projector” is the opening shot. Loud, urgent, and impossible to ignore. Warm up the microwave. TV Dinner is almost ready.

Keep your mind open.

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[Thanks to Chad at No Rules PR.]

Top 25 live shows of 2024: #’s 20 – 16

The concerts keep getting wilder as the lists continue. Here’s the start of the top 20 live shows I saw in 2024.

#20: Iguana Death Cult – Thalia Hall, Chicago, IL, October 19, 2024

I’d never heard or seen these guys until they opened for Osees one night. That’s not an easy task for anyone, and they crushed it with their wild style of garage punk and trombone madness.

#19: The Sword – Stubb’s BBQ, Levitation Austin, November 03, 2024

The Austin hometown heroes returned for a rare reunion show to close out the Levitation Music Festival main stage, and the crowd went wild for them, often chanting songs with them like a medieval army off to knock down a fortified keep.

#18: Slift – Far Out Lounge, Levitation Austin, November, 01, 2024

This was my second time seeing Slift this year, and the crowd at this outdoor venue was jam packed into a small area that still had room for a crazy mosh pit. As usual, they blew everyone’s minds with their cosmic rock.

#17: Meatbodies – Reggie’s Music Joint, Chicago, IL, October 18, 2024

Damn, these guys are good. They played powerful psych rock that comes at you from all directions. Seeing them in a small venue like this was icing on the cake.

#16: Wine Lips – Parish, Levitation Austin, November 02, 2024

This was a bonkers way to end the third night of the Levitation Music Festival. Wine Lips put on a crazy show in a packed, humid venue that barely left room for walking, let alone moshing or crowd-surfing. They had many new fans after this, me included.

Who made it into the top 15? There’s one band I wasn’t sure I’d ever get to see live. Come back tomorrow to learn more!

Keep your mind open.

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Levitation Austin 2024 – Day Three

Like any other marathon, the three-quarter mark is when it really starts to hit you. The same can be said of Levitation Austin, as Day Three is when the festival starts culling the weak and you begin to hear people saying things like, “I tapped out at one a.m.,” “He wanted me to go to another show last night, but I just couldn’t,” and “Austin is kickin’ my ass today.”

It’s also when you start having weird synchronous moments with people you’ve seen at the festival. My girlfriend and I have seen the same woman at all but two of the shows we’ve attended so far. She’s come all this way from England to express her love for a festival cameraman. He’s married, by the way, and this woman’s friend isn’t happy that he’s been dismissive of her. There’s also “blond guy,” who looks and dresses like a character from an early 1990s video game and I think has been on some kind of illegal drug for three days, “Asian guy with a splint on his right index finger,” and “Guy with the big King Gizzard and the Lizard Wizard patch on his jacket.”

We started Day Three with some friends and great BBQ (as one does in Austin at least once where you’re here) at a place called KG BBQ that mixes Texas BBQ with Egyptian flavors. It’s great. We then headed to Hotel Vegas for the “Levitation Lounge,” where no one bothered to check out RSVP tickets, and we had free drinks while listening to a DJ set by Death Valley Girls.

Death Valley Girls dropping science.

I was wearing my “Death Valley Girls Official Fan Club” shirt and was spotted by Bonnie Bloomgarden, the leader of DVG. She remembered me as the guy who keeps his phone set on black and white and, in a moment of joy for me, from this blog. They’d opened for Osees the previous night there and I told her I was excited to hear their new “Earth, Wind & Fire-sized line-up” later that night at Parish.

My DVG shirt proved to be popular. I had more comments on it than any other shirt I’ve worn all weekend. At least four people pointed at me and said, “Great shirt,” and then told me how they’d seen their Hotel Vegas set the previous evening and were amazed by it.

The surprisingly tall Dry Cleaning walked in not long after my lovely conversation with Ms. Bloomgarden. I thanked them for their set at the Far Out Lounge the previous night, and they told me how much they love playing in Austin. They were all delightful people and played a fun DJ set of their own that dropped in some classic Sade and Wham! tracks.

Dry Cleaning towering over the decks.

We wanted to stay for the Black Angels DJ set, but it was Day Three and we needed a disco nap. It turned out to be the right call because Austin got slammed with rain for about an hour and we would’ve been soaked on the walk back to our pad.

We came back to Hotel Vegas to first see local shredders Grocery Bag take the stage, and they played a wild set of fierce garage rock. Be sure to look them up.

Paper, plastic, or power?

After that was night number three of Osees’ four-night residency at Hotel Vegas. They ripped into it straight out of the gate (as always) and immediately floored by girlfriend, who was seeing them for the first time. She was amazed by their manic energy and how “they just go for it.” They threw in some punk ragers with a couple psych-rock cuts, showing how they can change shape faster than a D&D doppelgänger.

We then walked six blocks along 6th Street, maneuvering around stumbling drunks and people still in Halloween costumes lining up to cram into a small club spinning overplayed dance tracks from the early 2000s, to get to Parish and see DVG perform their heart-lifting yet spooky set of psychedelia. It was strange at first to see them with no guitars (apart from Sammy Westervelt on bass), replacing them with saxophone. “They sound like a spooky version of Morphine,” I thought. My girlfriend loved them and empowerment and spiritual healing messages they convey in their lyrics.

We headed to the Parish’s small lounge after the set and another guy pointed out my DVG shirt. It turned out he and his friend were at KG BBQ and noticed my shirt there. They’d seen DVG’s Hotel Vegas set and fell in love with them. One of them, Shafiq, got my “spooky Morphine” reference, and they were both from Chicago and frequented a lot of the same bar. The other, Imran, had been at the same Slift and Meatbodies show I attended at Reggie’s Music Joint weeks earlier. We all bonded over Gen X bands and chai.

Wine Lips, whom Shafiq had seen before (“First tickets I bought.”) and described as “The Toronto Osees,” came out and just went nuts. That might be the best way I can describe their set of crazy garage-psych. It was damn impressive. They barely let you take a breath.

Wine Lips drunk with shredding.

We stopped at a shawarma food truck on the way back, where I was again complimented on my DVG shirt, and then got back in time to settle down with my overflowing chicken and falafel wrap and watch the opening scenes of Godzilla vs. Mechagodzilla. You can’t wrap up a festival day much better than that.

Up next, doom!

Keep your mind open.

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