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Tuesday, January 18

CTD Press Update 01/18/2011 ~ Now Available Exclusively/Semi Exclusively from CTD


Kranky krank151

Pitchfork 7.0!
“...on Guider, they’re more interested in being hypnotic. They’ve embraced repetition, using it as an end of its own rather than a way to find hooks. Disappears offer lots to latch onto - memorable riffs abound, and revving tempos propel the tunes like a car stuck in 5th gear.”

Listen to Guider’s title track, in which the group finds a balance between the airy explorations of one-time labelmates Deerhunter, and the currently popluar school of fuzzed-out post-Jesus and Mary Chain garage punk...much of what lends the album distinction is the tension created between the band’s bold, confident projections and the more delicate core at their center.


The Ex
“Catch My Shoe”
Fishtank/Konkurrent ex123

“...when new vocalist Arnold DeBoer lets his guitar take over, the band becomes a polyrhythmic dervish - lurching and locking into angular post-punk grooves that pivot around bursts of noise and melodic traces of African pop.”

Alternative Press = 3.5/4:
“This quartet’s latest work still bellows in and out with the urgency of a boxer’s lungs and new singer Arnold DeBoer maintains a strident edge while adding a barely perceptible undercurrent of lightness.”

Huffington Post:
“...when The Ex revved up I really did not know what to expect. Theirs is not complex music; riffs are short and drum patterns are basic. There are no lightning-fast solos; the guitar work is sound-oriented. There’s a heavy element of trance, but there is also something to listen to, that develops nicely.”

Consquence of Sound:
“It’s got hooks and noise, songs to dance to sand songs for fighting. The lineup change isn’t the cause of this though; instead, it’s just further proof that The Ex were just as important and powerful with G.W. Sok in the band’s mixture. Sok will be missed, but this record is too good to whine about leaving.”

“If you’re suspicious, don’t be: If you heard the “Maybe I Was the Pilot” b/w “Our Leaky Homes” 7″ you know new high-in-the-mix vocalist Arnold de Boer (of Zea) does a great job. The group’s always been good at losing players, adding duct tape, finding rebirth in those cracks: This voice is different and cleaner than Sok’s, but it brings a new power, revitalized power to the room. In addition to de Boer, they continue drawing influence from African music and trumpeter Roy Paci shows up on a couple tracks....”


Dead Meat
“The King + Early Recordings”
Flingco Sound System fss012

“There’s a sullen steadiness to the vocal that almost brings to mind Nirvana during their relatively short stint as nobodies, but Dead Meat sound like they owe more to the pre-Alternative boom.”

“Not Music”
Drag City dc430

Pitchfork: 7.5!!:
“I suspect it won't be long before we realize that the leftovers of a band like Stereolab are still better than main dishes offered up by many of their peers. And maybe by then, they'll be back to recording.”


Soft Abuse sab045

"...they affix flute, saxophone and drum machine to the drifting Dalton vocals and note-y Charalambides guitars. Feel free to reference the Rain Parade/Opal, too, but on a weirder, post Majora-trip.”

Bjørn Torske
Smalltown Supersound sts196

Pitchfork: 8.0!!
“...Torske is naturally inclined to stretching out-- even his short pieces here have a sense of endless range-- which makes his restraint elsewhere all the more admirable. His shorter tracks have a diorama-like sense of compact but vivid detail, and the merest gestures make big impacts. Unflashy and muted, Torske gets less props than some of his peers. With any justice, Kokning will correct this slight.”

Resident Advisor:
“Kokning reflects these Nordic roots; the title, for instance, refers to the cooking process of putting potatoes on to boil, going out to fish, then preparing the fish with the potatoes upon returning.”

“Full Circle”
Ghostly International gi129

“...plinking synth bits à la Oval's latest sound palette, lumbering beat work, and dragging melodies - all darkly shaded in nod-worthy compositions”

XLR8R: 8.5
“The super-compressed, shuffling rhythm at the center of Shigeto's production is surrounded by twinkling chimes, airy synth melodies, and a bit of textural white noise for most of its runtime, never really veering far from the main compositional idea.”

Future Sequence
“...beat driven beautiful electronic music.”

Drag City dc443

“Dwarr is, first and foremost, an adept writer of riffs, especially those of the winding, meditative and fuzzed-out variety and Animals is a stellar compendium of bad-ass riffs.”

Line of Best Fit:
“Emerging from his stupor weeks later with the darkly paranoid and haunting masterpiece, Animals, doom metal was finally born!”

We Were So Turned On: A Tribute To David Bowie
Various Artists
Manimal Vinyl mani025

Elle Magazine:
“...this is the case of David Bowie: We Were So Turned On...A double album of covers devoted to Bowie, and the cast is amazing.”

Floored By Four
Floored By Four
Chimera chim04

“...a little self-indulgence is hard to avoid when you’re having this much fun.”

Wall Street Journal:
“Floored By Four calls to mind the work of Sonny Sharrock, James Blood Ulmer and early '70s Miles Davis, as well as Captain Beefheart and other musicians who took an off-the-beaten-path approach to rock.”

Boston Globe:
“It’s the place where Bitches Brew meets Sonic Youth.”

Blurt Magazine
“...add to the grueling groove and the simmering avant-soul the stop-and-start complexity of four improvisational-ists at the top of their games.”

From The Land of Ice and Snow: The Songs of Led Zeppelin
Various Artists
Jealous Butcher jb089

“...Chris Walla preferred tackling a deeper Led Zep cut like In the Evening over a classic like Stairway. ‘I am definitely a late Led Zep apologist,’ he says, referring to Zep fans' cold response to the band's later records like In Through the Out Door, on which Evening appears. For his cover, Walla offers an awesome reinterpretation of Zep's version: a dazzling ballad instead of a heavy, synth-laden groove."

Consequence of Sound
"…Chris Walla slowed down "In The Evening" into a somber little ditty that crawls along slowly and painfully. If anything, it captures the pain Led Zep was experiencing in their personal lives during the album’s recording."

Benoit Pioulard
Kranky krank145

Pitchfork: 7.9!!!:
“For those drawn to dark, hermetic, electro-acoustic folk, this is comfort food, and its familiarity is exactly what makes this music so compelling.”

Laetitia Sadier
“The Trip”
Drag City dc440

Pitchfork: 8.2!!
“A breathtaking, a rich collection of torch songs and subtle, meandering melodies that clear away the distracting frenzy and Byzantine flourishes of her past groups to expose the humane beauty of her voice.”

“8/10- Caressed by gentle guitars and synths, her elegantly serene voice and airy melodies impart a sense of stubborn, reassuring endurance in the face of soul-crushing melancholy.”

The A.V. Club:
“Sadier’s foggy croon and penchant for graceful harmony remain intact, as do the kind of big, plucked basslines that drive the tracks.”

Tiny Mix Tapes:
“3.5/5- There’s a lot about The Trip that’s unsettlingly intimate.”

“Lætitia Sadier of Stereolab wrote the lyrics and sings lead on Logos' "Quick Canal". The song opens with some gorgeously textured organ chords and soon a steady-state beat and drums rise up in the mix, setting the kind of relaxed-but-propulsive neo-krautrock scene that Stereolab perfected very early on.”
From 10/22/09 Review of Atlas Sound’s Logos

Express Night Out:
“The album has a uniformity of sound and vision that's all Sadier's. It's a difficult "Trip," but one worth taking.”


Joanna Newsom
“Have One On Me”
Drag City dc390

Pitchfork: #07 TOP 100 ALBUMS OF 2010
“This was the Joanna Newsom album that made converts of the naysayers, the one that was just as good as it was impressive, the one you could lose yourself in for days on end. If it didn't live on the turntable, it was a comfort knowing it was just there, in reach; returning to it throughout the year revealed new qualities of light, as Newsom's lyrics grew richer, her meanings more tangled with personal experience. Speaking on one part of Have One on Me almost seems to do disservice to the other parts; it is so large, it's tough to see all at once, and few records this year still feel like they have something to give even after dozens of listens. Have One on Me is just a big thing; an album of uncommon grace and refinement, a triumph of the LP form, and, yeah, a hefty old box full of records and pictures and words. And, now, a year's worth of memories.”

Pitchfork: #07 TOP 100 TRACKS OF 2010 for “Good Intentions Paving Company”
“...Her lacy, shimmering voice was once a vehicle of eccentric character; here, it's a traveling companion, giving her tricky diction some emotional spin. (Joni Mitchell is one obvious point of reference here, but so is Randy Newman.) At any moment, the focus of the song is the heart on Newsom's sleeve, so you need to pull back from it to catch the spectacular architecture of its melody-- the first bridge ("honey, just open your heart") is where the song flies off the interstate beat her piano's been pacing out, and into the open air.”

Gold Panda
“Lucky Shiner”
Ghostly International gi123

Pitchfork: #34 TOP 100 TRACKS OF 2010 for “You”
“...Making a type of music where nuance and detail are paramount, Panda stands out as the producer most willing to bludgeon you with a really kickass sample. And so it goes with the staccato repetitions of the song's title and its stabbing synth responses. It is the yippiest song of the year; you get the impression your little cousin would love to jump around the room to this (the PS22 children's choir would turn this into a supernova of chirp). It is immediate: the sample here is not teasing out the vagaries of memory or twisting into knots. These are not "ghost voices." Instead, it's a celebration, and you know of who.”

Pitchfork: 8.3!!:
"In some ways, the idea of nostalgia is averse to growth. That's not what Gold Panda is doing. He's recognizing that loss, articulating it with a multitude of finely-placed sounds, and then coming to grips with his place in the here and now. He's making nostalgia work for him without consuming him. It's easy to hear his joy through those rejiggered memories.”

Village Voice:
“Flying Lotus fans who've already worn out Cosmogramma, you will dig this dude.”

“Gold Panda isn’t right in your face and all over your radio, but, as they say, it’s the quiet ones you have to watch.”

Esquire: “What We’re Listening to: Gold Panda”
“Offering a suped-up take on the plastic sounds of Four Tet, Essex boy Panda – hunched over the decks like a man posessed – produced a plethora of beats, bangs, whistles and swoops, the likes of which Keiran Hebden would be proud.”

Lindstrom & Christabelle
Smalltown Supersound sts19812

Pitchfork: #52 TOP 100 TRACKS OF 2010 for “Lovesick”
“Here, Lindstrøm plays a frittering Moroder-type producer while Christabelle vamps Donna Summer, but the collaboration also recalls the friendship of No Wave pioneers Richard Hell and his literary muse Lizzy Mercier Descloux. Like Descloux, Christabelle barges like a tornado into Lindstrøm's beats, lilting her unaffected, almost quizzical speak-singing as Lindstrøm frantically works to construct a backdrop, barely managing to accompany her temperament with a palm-muted 95 bpm set piece.”

Matthew Dear
“You Put A Smell On Me”
Ghostly International gi130

Pitchfork: #92 TOP 100 TRACKS OF 2010 for “You Put A Smell On Me”
“If you read something weird and leering into the title of "You Put a Smell on Me", you'd be absolutely correct. But on an album in which Matthew Dear found a new center between his work as a banging techno DJ/producer and a brooding pop songmaker, "You Put a Smell" was a sultry paean to lewdness and lust that seemed to come from a haunting, effectively inhuman, distance. Synthesizer arpeggios corkscrew out of it in a manner similar to Dear's beloved club guise Audion, but the drums lay back and slink-- all the better to make room for his low, louche voice as he tries to lure his target home.”

Matthew Dear
“Black City”
Ghostly International gi120

Pitchfork: #46 TOP 100 ALBUMS OF 2010
“They call it Black City for a reason. It a place where Matthew Dear gets to leave his other guises behind. Gone is the minimalist guru and the good-natured synth-pop experimenter, replaced by a pervert, a bank robber, a manic kidnapper. Dear plays all those roles and more on his fourth and best long-player. It's a concept album where the concept is nothing more (or less) than our deepest depravities set to a skulking funk to which the Thin White Duke would nod approvingly. This is what Trent Reznor has spent much of the past 10 years trying to accomplish -- an album that balances sophistication, studio know-how, and a woozy evil into something your nightmares could dance to. So it's not too surprising when Dear takes Reznor's "Closer" pulse out for a moonless 4 a.m. test drive on "You Put a Smell on Me". With Black City, Dear offers a precisely thought-out guide to losing your mind.”

Pitchfork: 8.4 BEST NEW MUSIC
“The production is as inventive and immersive as ever.”

“An alluring, chopped'n'screwed take on industrial pop... That a curdled, unifying groove undulates throughout this perverse collection is testament to Dear's abundant skills.”

“Black CIty is 50 minute of sweaty, grinding, seductive techtronica... a seedy, dirty place - but a fascinating one, too. Four stars”

“Dear's vocals take center stage over the song's relatively laid-back techno skeleton, "Little People (Black City)" really works as a dance cut, albeit a bit of a spooky, leftfield one.”

Tiny Mix Tapes:
“With his multi-faceted sound yet singular vision, Dear has few peers in the techno subgenres he mines for inspiration... Rather than fixing his place in electronic music infamy, he continues to chart new territory, using his latest album to highlight sonic textures and what they seem to suggest about a metaphorical city. Working within those constraints, he’s captured the nuance of living in many real cities and, in so doing, has crafted one of the stronger releases you'll hear this year.”

“...maps out a sound-world intended to evoke the shadowy underbelly of urban experience in an imagined city. He's delivered one of the more cohesive and thematically sound albums of the year so far."

The Wire:
“Its Gotham-like atmospherics act as an external realization of Dear's perennial preoccupations with the exquisitely intimate, physical abjection and emotional pleasure/pain of romance... His most fully realised and triumphantly elaborate album to date.”

DJ Magazine:
“Once again Dear has managed to sully the pop music template with flamboyant experimentalism, and made a peach of an album in the process... 9/10”

New York Times:
“...the bass lines and beats sound great, and the passing textures — robotic percussion, synthesizer drones, sampled sounds — feel right, and carefully determined.”

London Times:
“Matthew Dear has been flirting with greatness for a while, but on his third album, the magnificent Black City, he slips into bed with greatenss and gives it a proper seeing to.”

Venus Magazine:
"4/5 stars...arguably Dear's most compelling, adventurous, and aesthetically consistent effort to date."

Drowned in Sound:
“Throughout Dear’s production skills are top-notch, while his sounds are often borrowed from bygone decades they are deployed with slick precision and he creates tracks that stand-up well to repeated listens.”

The Stranger:
“Dear makes sluggish tempos sound sexy in his dark electronic anti-torch songs, which are sung in his deep, louchely lugubrious voice. He continues to remind me of Bill Callahan/Smog, if the latter were immersed in Detroit and minimal techno. Black City is a party record—for you and that special someone whose clothes look great... strewn on your bedroom floor.”

“The Soft Wave”
Smalltown Supersound sts190

Pitchfork: 7.9
“You don't have to find a "way in" to this music; its construction practically leaves a door open for you, with more than enough room to wander around once you're there.”

“The Soft Wave is something I’ve suddenly found myself listening to on a regular basis. The mix of analog synthesizers, guitars, piano, flute, EBow (on 2-inch tape) works as elegant background noise as well as being unavoidably dense, enveloping, and emotionally resonant.”

The New York Times:
“Mr. Georgopoulos creates enormous sound structures that, as they slowly unfold, become essays on scale. Kraftwerk never dreamed so big.”

“Arp’s music gives the listener an experience that’s supremely chill, yet anally fastidious. Although the music is retro, Arp’s embrace of his own artifice does more than connect it to a manicured past; it renders it more credible by focusing in on the tiniest details.”

“its warm glow and blown-out formalism will undoubtedly appeal to a broad, sophisticated range of tastes."

Foxy Digitalis: 9/10
“Highly recommended to anybody who wants their ear buds haunted by some of the best ambient music to grace the airwaves in quite sometime”

20 Jazz Funk Greats:
“Slides us through the simple tones of early electronic experimentation to the warm bounce of synthetic melodies before complicating the utopianism in the grainy analogue streets of 70s Germany.”

Consequence of Sound:
“Something to check out! [part of weekly mp3 mixtape series]”

Boduf Songs
“This Alone Above All Else in Spite of Everything”
Kranky krank144lp

Pitchfork: 7.2
“And considering Sweet has carved an interesting, comfortable niche for himself... As long as he's okay sharing space with demons, so are we.”

Pale Sketcher
“Jesu: Pale Sketches Demixed”
Ghostly International gi118

“Broadrick knows his beats and synths. The mid-tempo drift of Pale Sketches Demixed evokes the fluffy electronic post-rock of Seefeel, and the "electronic listening music" of other early Warp acts, more than anything from the world of metal.”

“8.5! One of the few outfits that can justifiably lay claim to both metal and shoegaze simultaneously, which certainly speaks volumes about the versatility put forth.”

“Consider it the appendix of the appendix. The album's distribution via Ghostly should also provide the longtime veteran access to a new generation of listeners.”

Resident Advisor:
“Broadrick is most definitely building something here. Whether or not the resulting structure holds up under the weight of his storied career or buckles and collapses into another abandoned side project remains to be seen, but either way, it's going to be spectacular.”

“Broadrick operates as Pale Sketcher and renders all eight of the Pale Sketches tracks even more atmospheric and abstract. Four Stars”

“Broadrick is no stranger to electronica, but it's a new side of his solo career. Judging by this first impression, he should have a lot to offer.”

“All in all, Justin K. Broadrick's life and catalogue are a testament to an independent spirit that is rare to find in music these days”

Sebastian Blanck
“Alibi Coast”
Rare Book Room rbr006

“Blanck manages a careful balance of elements, and a pitch-perfect delivery of some very tough emotions”

Rcrd Lbl:
“Could someone get us a new thesaurus, because we’re balking at the prospect of describing yet another perfect folk song by Sebastian Blanck. Sweeping, stunning, expansive—these words don’t quite cut it. The man’s tunes are spun gold, richly layered, aching, earnest.”

Slant Magazine:
“…so comfortable in its embrace of the old and the broken-in that it’s hard not to be impressed… The album is expressive and generous.”

“The songs will end up sticking to you like the summer heat or a snowy winter’s day. Either way his words will spin around your head like a parabole.”


Baby Dee
2/12- Firenze, Italy @ Cango
2/19- Torino, Italy @ Musica 90
2/23- Milano, Italy @ Bitte
2/25- Napoli,Sicilia, Italy @ Galleria Toledo
2/26- Dessau, German @ Altes Theater
2/27- Dessau, German @ Altes Theater

1/28- Leigh, New Zealand @ Leigh Sawmill

Boduf Songs
3/3 - Tilburg, Netherlands @ Paradox
3/17- Wien, Vienna, Austria @ Rhiz

1/30- Milwaukee, WI @ The Cactus Club
2/10- Chicago, IL @ Schubas Tavern
3/3- Austin, TX @ Emo’s
3/5- New Orleans, LA @ Spellcaster Maritime Ball
3/17- Chicago,IL @ Empty Bottle

Matthew Dear
1/23- Philadelphia, PA @ Kung Fu Necktie
1/25- Washington, DC @ U Street Music Hall
1/26- Ann Arbor, MI @ The Blind Pig
1/28- Chicago, IL @ The Mid
1/29- St. Louis, MO @ koken Art Factory
3/2- Amsterdam, NL @ 5 Days off Festival
3/3- Hamburg, DE @ Docks
3/6- Oslo, NO @ Sentrum Scene
3/7- Stockholm, SE @ Cirkus
3/8- Copenhagen, DK @ KB Hal
3/10- Leipzeg, DE @ Auensee
3/11- Luxenbourg, LU @ Rockhal
3/12- Munich, DE @ Kesselhaus
3/14- Zurich, CH @ Komplex
3/15- Paris, FR @ Zenith
3/16- Antwerp, NL @ Lotto Arena
3/18- Bournemouth, UK @ 02 Academy
3/19- Bristol, UK @ Colston Hall
3/20- Cambridge, UK @ Corn Exchange
3/22- Leeds, UK @ 02 Academy
3/23- London, UK @ Scala (live band)

2/25- San Francisco, CA @ Slim’s
2/26- Los Angeles, CA @ Echoplex

1/19- Brooklyn, NY @ Union Pool
1/20- New York, NY @ Cake Shop
1/28- Milwaukee @ Cactus Club
2/3- Detroit @ Larger House
2/4- Chicago, IL @ Empty Bottle
2/8- Leipzig @ UT Connewitz
2/9- Brussels @ Magasin 4
2/10- Lille @ L’aeronef
2/11- Baden @ Nordportal
2/12- Vevey @ Rocking Chair
2/13- Grenoble @ Le Ciel
2/14- Lyon @ Sonic
2/15- Bordeaux @ ST. EX
2/16- Nantes @ Pole Etudiant
2/17- Paris, FR @ Point FMR
2/18- ST. Malo @ La Route du rock
2/19- Metz @ Les Trinitaires
2/20- Utrecht @ Ekko
2/21- Berlin @ Levee
2/22- Hamburg @ Fundbureau

The Ex
3/8- Chicago, IL @ Lincoln Hall
3/10- New York, NY @ Le Poisson Rouge
3/11- Allston, MA @ Brighton Music Hall
3/12- Washington, DC @ Black Cat
3/13- Philadelphia, PA @ First Unitarian Church
3/15- Portland, OR @ Doug Fir Lounge
3/16- Seattle, WA @ The Vera Project at Seattle Centre
3/17- San Francisco, CA @ Bottom of the Hill
3/18- Los Angeles, CA @ The Sattelite

Ryan Elliott
1/22- Zurich, CH @ Hive Club
2/12- Milan @ Tunnel
2/19- Berlin, DE @ Panorama Bar
2/26- Offenbach @ Tanzhaus West
3/5- Copenhagen, DK @ Culture Box
3/11- Manchester, UK @ Sound Control
3/26- Berlin, DE @ Berghain
4/2- Brussels, BE @ Fuse
4/3-- Berlin @ Panorama Bar
4/23- Karlsruhe, De @ Gotec Club

1/20- Berlin @ Astra Kulturhaus
1/22- Poznan @ Eskulap
1/25- Vienna @ Vienna Arena
1/26- Bologna @ Estragon
1/27- Helsinki @ Culture House
1/28- Merseilles @ Espace
1/29- Barcelona @ Sala Apolo
1/30- Madrid @Joy Eslava
2/1- Ramonville @ Le Bikini
2/16- Vancouver, BC @ Vogue Theatre
2/17- Seattle @ Showbox
2/18- Portland @ Crystal Ballroom
2/19- San Francisco, CA @ The Warfield
2/20- San Francisco, CA @ Great American Music Hall
2/21- San Francisco, CA @ Great American Music Hall
2/23- Hollywood, CA @ Music Box
3/14- New York, NY @ Terminal 5
3/15- Brooklyn, NY @ Masonic Temple
3/16- Brooklyn, NY @ Masonic Temple
3/17- New York, NY @ Church of Saint Paul the Apostle
3/18- New York, NY @ Church of Saint Paul the Apostle
3/19- Philadelphia @ Trocadero
3/20- Washington, DC @ Club
3/22- Athens @ 40 Watt Club
3/24- Nashville, TX @ Cannery Ballroom
3/26- Chicago @ Metro
3/27- Chicago @ Metro
3/28- Chicago @ Vic Theatre
3/29- Detroit @ Majestic Theatre
4/22- Toronto @ Lee’s Palace
4/23- Toronto @ Lee’s Palace
4/24- Toronto @ Lee’s Palace

Godspeed You Black Emperor!
1/20- Berlin @ Astra Kulturhaus
1/22- Poznan @ Eskulap
1/25- Vienna @ Vienna Arena
1/26- Bologna @ Estragon
1/27- Helsinki @ Culture House
1/28- Marseilles @ Espace Julien
1/29- Barcelona @ Sala Apolo
1/30- Madrid @ Joy Eslava
2/1- Ramonville @ Le Bikini
2/16- Vancouver, BC @ Vogue Theatre
2/17- Seattle @ Showbox
2/18- Portland @ Crystal Ballroom
2/19- San Francisco, CA @ The Warfield
2/20- San Francisco, CA @ Great American Music Hall
2/21- San Francisco, CA @ Great American Music Hall
2/23- Hollywood, CA @ The Music Box
3/14- New York, NY @ Terminal 5
3/15- Brooklyn, NY @ Brooklyn Masonic Temple
3/16- Brooklyn, NY @ Brooklyn Masonic Temple
3/17- New York, NY @ The Church Of Saint Paul the Apostle
3/18- New York, NY @ The Church Of Saint Paul the Apostle
3/19- Philadelphia @ Trocadero Theatre
3/20- Washington, DC @ 9:30 Club
3/22- Athens @ 40 Watt Club
3/24- Nashville, TX @ The Cannery Ballroom
3/26- Chicago, IL @ Metro
3/27- Chicago, IL @ Metro
3/28- Chicago, IL @ The Vic Theatre
3/29- Detroit, MI @ Majestic Theatre
4/22- Toronto @ Lees Palace
4/23- Toronto @ Lees Palace
4/24- Toronto @ Lees Palace

Gold Panda
2/4- Berlin, Germany @ Transmediale Festival
2/16- Kortrijk, Belgium @ De Kreun
2/17- Leuven, Belgium @ Stuk Arts Centre
2/24- Prague, Czech Republic @ Palac Akropolis
3/1- London, England @ XOYO
4/20- Laval, France @ Le 6 par 4
4/21- Lille, France @ Le Grand Mix
4/22- Nancy, France @ L’Autre Canal
4/23- Paris, France @ Point Ephemere

Neil Hamburger
2/18- Orlando, FL @ Bacbooth
2/19- Gainesville, FL @ Common Grounds
2/20- Charleston, SC @ Tin Roof
2/21- Charlotte, NC @ Snug Harbor
2/22- Asheville, NC @ The Admiral
2/23- Raleigh, NC @ King’s Barcade
2/24- Columbia, SC @ The Whig
2/25- Jacksonville, FL @ Jack Robbits
2/26- Tampa, FL @ New World Brewery

Handsome Family
1/19- Vancouver, BC @ The Biltmore
1/20- Seattle, WA @ Tractor Tavern
1/21- Portland, OR @ Doug Fir
1/22- Eugene, OR @ Sam Bond's Garage
1/25- Berkeley, CA @ Freight and Salvage
1/26- San Francisco, CA @ Cafe DuNord
1/28- Los Angeles, CA @ Bootleg Theater
1/29- Santa Monica, CA @ McGabe's Guitar Shop
1/30- Phoenix, AZ @ Rhythm Room

Steve Ignorant (of Crass)
3/10- New York, NY @ Santo’s Party House
3/11- Montreal, QC @ Le National
3/12- Toronto, ON @ The Opera House
3/13- Chicago, IL @ Logan Square Auditorium
3/16- Seattle, WA @ Neumo’s
3/17- San Francisco, CA @ Slim’s
3/18- Pomona, CA @ Fox Theater
3/22- Austin, TX @ Emo’s
3/24- Atlanta, GA @ Masquerade
3/25- Baltimore, MD @ Sonar

Magik Markers
3/4- New York, NY @ The Stone

1/27- Los Angeles, CA @ Echoplex
1/28- San Francisco, CA @ Rickshaw Stop
1/29- Austin, TX @ Mohawk
1/30- Denton, TX @ Rubber Gloves
1/31- New Orleans, LA @ One Eyed Jack’s
2/1- Birmingham, AL @ The Bottletree Cafe
2/2- Nashville, TN @ The End
2/3- Raleigh, NC @ King’s Baracade
2/4- Washington, DC @ Comet Ping Pong
2/5- Brooklyn, NY @ 285 Kent Ave.
2/6- Providence, RI @ Machines with Magnets
2/7- Philadelphia, PA @ The Ox
2/19- Tournai, Belgium @ D’Hiver Rock
2/21- Brussels, Belgium @ Magasin 4
2/22- Amsterdam, Netherlands @ Paradiso
2/23- Paris, France @ La Maraquinerie
2/24- Angouleme, France @ La Nef
2/25- Bilbao, Spain @ Blue Fever
2/26- Porto, Portugal @ Hard Club
2/27- Lisbon, Portugal @ Galeria Ze dos Bois
2/28- Madrid, Spain @ Moby Dick
3/1- Barcelona, Spain @ BeCool
3/2- Milan, Spain @ La Casa 139
3/3- Rome, Italy @ Circolo degli Artisti
3/4- Turin, Italy @ Spazio 211
3/5- Evreux, France @ Abordage
3/6- London, UK @ Cargo

Joanna Newsom
1/18- Rouen, France @ Club 106
1/19- Bordeaux, France @ Le Rocher de Palmer
1/20- Barcelona, Spain @ Palau de la Musica
1/22- Vigo, Spain @ Centro Cultural Caixanova
1/24- Porto, Portugal @ Casa da Musica
1/25- Aveiro, Portugal @ Teatro Aveirense
1/26- Lisboa, Portugal @ Centro Cultural de Belem
1/27- Madrid, Spain @ Teatro Lara
1/29- Budapest, Hungary @ Palace of Arts
3/4- Brisbane, Australia @ The Tivoli
3/15- Melbourne, Australia @ Elisabeth Murdock Hall, Melbourne Recital Centre
3/18- Singapore, Singapore @ Esplanade Concert Hall

1/30- Lisbon, Portugal @ ZDB Gallery
1/31- Porto, Portugal @ Passos Manuel
2/2- Thessaloniki, Greece @ Eightball Club
2/3- Athens, Greece @ Gargarin 205
2/5- Helsinki, Finlind @ Tavastia
2/19- San Francisco, CA @ Warfield Theater
2/22- Pomona, CA @ Fox Theater

Alasdair Roberts
1/19- Glasgow, UK @ Celtic Connections Festival, Tron Theatre
1/24- Porto, Portugal @ Casa de Musica
1/25- Aveiro, Portugal @ Teatro Aveirense
1/26- Lisboa, Portugal @ Centro Cultural de Belen
1/27- Birmingham, UK @ The Glee Club
1/28- Birmingham, UK @ Glee Club
2/11- London, UK @ King’s Place
3/10- Aberfeldy, UK @ Aberfeldy Library
3/11- Glenrothes, UK @ Rothes Hall
4/19- Cardiff, UK @ St. David’s Hall
4/20- Clitheroe UK @ The Grand
4/21- Glasgow, UK @ Glasgow Centre for Contemporary Arts
5/3- London, UK @ The Slaughtered Lamb
5/4- London, UK @ The Slaughtered Lamb
5/5- Brighton, UK @ The Hydrant
5/6- East Dulwich, London, UK @ The Goose Is Out! at DHFC
5/7- Reading, UK @ South Street Arts Centre
5/12- Bath, UK @ Chapel Arts Centre
5/14- Birmingham, UK @ Midlands Arts Centre
5/15- Milngavie, UK @ Milngavie Folk Club

2/26- Los Angeles, CA @ Echoplex
2/27- San Diego, CA @ Soda Bar

Laetitia Sadier
1/19- Brussels, Belgium @ Le Botanique
1/20- Liege, Belgium @ L’escallier
1/21- Leuven, Belgium @ Stuk
1/22- Namur, Region Wal, Belgium @ Belvedere

Ty Segall
1/18- Sacramento, CA @ The Hub
1/19- Riverside, CA @ The Barn at The University of Riverside
1/20- Palm Springs, CA @ J. Dees Landing
1/21- Long Beach, CA @ Alex’s Bar
1/22- Anaheim, CA @ Thee Mens Wearhouse
1/23- San Luis Obispo, CA @ The Outhouse
1/27- Los Angeles, CA @ Echoplex
1/28- San Francisco, CA @ Rickshaw Stop
2/19- Denton, TX @ Rubber Gloves
2/20- New Orleans, LA @ Siberia
2/21- Mobile, AL @ Alabama Music Box
2/22- Tallahassee, FL @ The Engine Room
2/23- Orlando, FL @ The Back Booth
2/24- Miami, FL @ Grand Central
2/25- Miami, FL @ Bruise Cruise Festival
3/2- ST. Augustine @ Ring of Fire
3/3- Huntsville, AL @ Vertical House Records
3/4- Atlanta, GA @ The Earl
3/5- Nashville, TN @ The End
3/6- Raleigh, NC @ Kings Barcade
3/7- Richmond, VA @ Strange Matter
3/8- New York, NY @ Mercury Lounge
3/11- Montreal, Quebec Canada @ Club Lambi
3/12- Hamilton, Ontario Canada @ Casbah
3/13- Kalamazoo, MI @ The Strutt
3/15- Lawrence, KS @ Jack Pot Saloon
3/16- Norman, OK @ Opolis
3/19- Austin, TX @ TBA

School Of Seven Bells
1/21- Milvale, PA @ MR. Smalls Theatre
1/22- Urbana, IL @ Canopy Club
1/23- Milwaukee, WI @ Turner Hall
1/24- Minneapolis, MN @ 7th Street Entry
1/27- Vancouver, BC @ Orpheum Theatre
1/28- Seattle, WA @ The Showbox
1/29- Portland, OR @ Roseland Theater
1/31- San Francisco, CA @ Warfield Theatre
2/2- La Jolla, CA @ Rimac Arena
2/3- Los Angeles, CA @ The Conga Room
2/4- Santa Barbara, CA @ UCSB Events
2/5- Tempe, AZ @ Marquee Theatre
2/7- Salt Lake City, UT @ In The Venue
2/8- Boulder, CO @ Boulder Theatre
2/9- Omaha, NE @ Slowdown
2/11- St. Louis, MO @ The Pageant
2/12- Chicago, IL @ Riviera Theatre
2/13- Columbus, OH @ Newport Music Hall
2/15- Toronto, ON @ Sound Academy
2/16- Montreal, PQ @ Metropolis
2/19- Boston, MA @ House of Blues

1/27- Brooklyn, NY @ Glasslands

Sic Alps
2/21- San Francisco, Ca @ Great American Music Hall
2/24- San Francisco, CA @ The Eagle
2/26- Los Angeles, CA @ Echoplex
2/27- San Diego, CA @ Soda Bar
2/28- Tucson, AZ @ Plush
3/2- Denton, TX @ Haileys
3/3- Austin, TX @ Emo’s
3/6- Atlanta, GA @ The Earl
3/7- Durham, NC @ The Layobout
3/9- Brooklyn, NY @ Monster Island Basement
3/10- New York, NY @ Old Firehouse
3/11- Annandale-On-Hudson @ Bard College
3/12- Pittsburgh, PA @ The Shop
3/13- Cleveland, OH @ Now That’s Class
3/17- Chicago, IL @ Empty Bottle
3/19- Omaha, NE @ Slowdown (Back Room)
3/20- Denver, CO @ Rhinoceropolis
3/21- Salt Lake City, UT @ Urban Lounge
3/23- Seattle, WA @ Funhouse
3/24- Olympia, WA @ Northern

Kate Simko
3/22- Miami, FL @ The Electric Pickle
4/14- Hamburg, DE @ BAALSAAL
4/15- Copenhagen, DK @ Culture Box

1/19- San Francisco, CA @ The Independent

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