We no longer use this blog! Please visit sakistore.net for our blog, online store, and more!

Tuesday, September 20

CTD Press Update 9/20/11!

CTD Press Update 09/20/2011
Now Available Exclusively/Semi-Exclusively from CTD:


Jackpot Records: jpr019

YOUTUBE video for “Eat Your Hat Out”:
"Eat Your Hat Out" by Crock featuring Sam Coomes of Quasi and Spencer Seim of Hella.”
Youtube viewer: “I think I like it”

“The band's sound is built off the fuzzed-out / freaked-out urban electonica of bands like Suicide to which the band add elements of space rock, Zappa / Pavement style free-form deconstruction, dark stoner riffs and pounding industrial squiggles and rhythms.” http://brooklynrocks.blogspot.com/2011/09/crock-grok-cd-review-jackpot-records.html

“This collaboration really does appear to be equal parts Hella and Quasi...” http://endhits.portlandmercury.com/endhits/archives/2011/08/03/crock-no-more-dumb-fun

Cronin, Mikal
“Mikal Cronin”
Trouble in Mind: tim031

like many of California’s rock revivalists, Cronin’s debut is incredibly loose and feels fresh and innovative on repeated listens.” http://www.theowlmag.com/album-reviews/mikal-cronin-by-mikal-cronin

Mikal Cronin is more believable as a garage outcast. The surf-rocking punker opens his self-titled debut with lots of bashing and blurry greatness. Even the acoustic moments maintain a Beatlesque pop fury. There's some dull droning worthy of more typical indie acts, but Cronin finishes strong as a wimp-rocker who's a magnificent failure at making it into the in crowd.

Mikal Cronin knows all sorts of examples of what can be described as classic pop/rock is obvious from the first notes of ‘Is It Alright’ -- harmonies out of the Beach Boys, a building burst of melody that the Raspberries could have loved, and an echo-swathed verse that's both Phil Spector and the Jesus and Mary Chain. But by the time the keyboard drone pop of ‘Slow Down’ arrives, it's clear that Cronin's debut release, however tied together by his singing, seeks to not simply be yet another power pop showcase above all else, whether served up clean or with layers of scuzz.”

Segall moves fast, though, and the very latest recordings that he’s been involved with - both involving a new name to me, Mikal Cronin - are pretty fantastic…Cronin’s S/T is no less exciting, but draws from a much wider range: the very first seconds are filled with a capella harmonies indebted to The Beach Boys’ ‘Our Prayer’.”

A rare pearl of gritty yet melodious garage fun tucked away amidst the usual bevy of electronic offerings. This is spot on execution of great songwriting and the venerable melody hook with lots of grease on the collar to boot by one Mikal Cronin.”

as heavy and guitar-dominated as the mix is on tracks like "Get Along" and "Apathy," it's Cronin's vocal melodies and delivery that really shine and sink their hooks into the listener as they cut their way through walls of fuzz. Two listens deep and I promise you'll be singing along.”

Judging from ‘Get Along’ and ‘Apathy,’ the upcoming LP sounds pretty promising. The two tracks build on the lo-fi fuzz of Mikal’s many West Coast affiliations but noticeably follow a more pop route with cleaner vocals, plenty of harmonies and nods to ’60s psych. It all creates a heavily infectious blend of garage rock.”

CONSEQUENCE OF SOUND Top 10 MP3s of the week - “Apathy”:
This song is all kinds of amazing, from the machine-gun snare fills to the catchy-as-shit chorus where Cronin implores that he “don’t want apathy”, and you’ve no choice but to believe him. It’s a perfect mix of pop and fuzz to draw ears of all kind. Put it on, and put it on loud, why don’t ya?.”

‘Apathy’ sounds like a forgotten MTV Buzz Bin hit from about 1994, with its soft acoustic intro and relentlessly catchy chorus. The song then rises into a noisy climax complete with what sound like off-kilter saxophones. It's pretty rad.”

As soon as the first few lines of ‘Apathy’ flew out of my stereo, I was sold on Cronin– not just as a musician, but as a composer. The way this song fits together reminds me of the way I felt when I was listening to early Beck records; this isn’t a completely new venture, but it feels new and fresh. I love the way the instruments in the song jump in and out; I love the controlled chaos. If ‘Apathy’ is any indication, this guy is fantastic.”

Just like his work with Segall, Cronin's LP promises a collection of gritty and attitude-laden garage rock. I've professed my undying adoration for Segall's Goodbye Bread too many times to count on this here blog. I'm already considering this album a perfect counterpart for the second half.”

Opening itself up wider with each play, this is a good record in the truest sense of the word.”

Cleaner than we've heard him in a long time, the record packs a huge whollop in its three-minute garage-pop punches. Scraping its way through fuzz, jangle, slow burn motions and even a few psychedelic breakdowns, the record is nothing if not infectious; opening itself up wider with each play.”

If you toss in a little more melody on Segall’s formula for psych-rock, perhaps remove a bit of hazy tones, and this is pretty much what you’re going to get. I know, right! Sounds pretty awesome, so jump on the wagon now…”

Much like Segall's excellent Goodbye Bread, Cronin is maturing beyond the grimy scuzz with little hint of growing pains.”



The Limiñanas
“Trouble In Mind”
Trouble In Mind: tim032

“ Though most, if not all, their songs have a base structure of repetitive drums that have become the hallmark of their sound, they also contain no fewer than six or seven instrument arrangements. Therein their artistry

settle into The Limiñanas’ motorik groove, it all hypnotic effortless cool from there.”


Bonnie “Prince” Billy
“Wolfroy Goes To Town”
Drag City: dc502

Already this year, the singer-songwriter has dropped a series of singles and an audiobook, and on October 4th, he’ll return with a new full-length record. Titled Wolfroy Goes to Town, the 10-track effort features a supporting cast of Ben Boye, Van Campbell, Shahzad Ismaily, Emmett Kelly, Danny Kiely, and Angel Olsen.”

Bonnie Prince Billy announces new album:

Kieran Hebden/Steve Reid/Mats Gustafsson
“Live At The South Bank”
Smalltown Superjazzz: stsj211

What’s happening here is a special relationship, like Miles and Coltrane, or Dizzy and Bird,” said the jazz drummer and percussionist of his work with Hebden (aka Four Tet)….”

Lynch, Julian
“Music For How The Mata Hari Lost Her Head and Found Her Body”
Soft Abuse: sab049

Mata Hari's extraordinary escapades as a Dutch woman posing as a Javanese princess sets the scene for some pretty arresting hallucinations of the colonial "orient," and provides an interesting parallel with Lynch's knack for weaving a miscellany of pan-world cues into a psychedelic sound all his own.”

the Jesus Lizard
Chunklet: chklp008

Chunklet will release the soundtrack to The Jesus Lizard: Club, a DVD document of their first U.S. show in over 10 years, which took place in 2009 show at the Exit/In in Nashville.”

'It may have been the only reunion show I've ever seen where I forgot almost immediately that the band hadn't played together in more than a decade' - Sasha Frere-Jones, The New Yorker.”

The Olivia Tremor Control
“Music From The Unrealized Film Script: Dusk At Cubist Castle”
“Black Foliage: Animation Music Volume One”
Chunklet: chklp006, chklp007

On November 15, Chunklet Industries will release expanded vinyl reissues of two out-of-print double LPs from Elephant 6 psych-poppers the Olivia Tremor Control: 1996's Music From the Unrealized Film Script: Dusk at Cubist Castle and 1999's Black Foliage: Animation Music Volume One. Both reissues will include tons of bonus material on download cards containing hours of rare and unreleased music.”


A Winged Victory For The Sullen
Kranky: krank157

“What's interesting about the sound they've hit on isn't so much what the two musicians bring to each other's styles, as it is what each sacrifices from his own.” http://www.pitchfork.com/reviews/albums/15809-a-winged-victory-for-the-sullen/

“In the end, Wiltzie and O’Halloran’s collaboration stands as an impressive album on its own merits and one of the strongest efforts in the world of Stars of the Lid offshoots. No small achievement.”

“Don’t sleep on this record; it’s probably the best collection of ambient music you’ll hear all year.”

“The material breathes with a natural grace, and the occasional ambient trace of the recording context that sneaks in only makes the recording feel more alive. Listeners familiar with the work of the participants won't be surprised by the music's stately and oft-reverent character, with the album's seven exquisite settings filled with longing. Like the music of Stars of the Lid, A Winged Victory For The Sullen's is music of quiet grandeur that's all the more powerful for being delivered with such understatement.”

Sun Araw
“Ancient Romans”
Drag City/Sun Araw: sa012

ALTERED ZONES: Artist Profile:
Guns blazing, the Los Angeles artist returns with his most sonically acrobatic and, depending on your taste, accessible material yet. It's the type of work that has the potential to broadcast Sun Araw's Technicolor pastiche of cosmic riddim, sacramental chants, scorched dub, and aquatic ambience far outside the niche catacombs where these sorts of abstract meditations like to dwell.”

Musically, he rubs shoulders with the great free jazzers, outside funkers and psychedelic avatars of years past. Aesthetically, he has constructed his own po-mo philosophy that borrows as much from West Coast hippy and new age detritus as critical theory approved by the academy. Rarely do we find a musician so self aware and so willing to explore the conceptual framework of his own music.”

Ancient Romans takes over your mind, scorching and reeling like some ancient desert swept under a kaleidoscope, all noodly, lost-in-the-moment guitars, thick synths towering like old ruins, and all manner of brain-warping noise tricks strung out together.”

The hypnotic fifth LP by Sun Araw — the five-year-old solo project of Angelino Cameron Stallones — is a double-vinyl spiral through deep zones of neo-primitive psych-drone noise.”

While Ancient Romans preserves the grainy and galactic analog dub sound of Sun Araw's own brief history, the concept and expanded instrumentation demonstrates exciting new directions, maturity, and ambition.”

SPIN 8/10:
Sun Araw main man Cameron Stallones has become adept at getting neck-deep in swampy dub, even as he drizzles syrupy Afro-beats atop his psych-tinged noise.”

“Dort Ist Der Weg”
Flingco Sound System: fss014

“Locrian conjure the brooding underbelly lurking beneath the original's ethereal vocals.”

“Instead of producing some rehashed, dormant clone copy of this almost inimitable track, Locrian serve up a ritually hypnotic and powerful piece of music that will floor you.”

“Who else can effortlessly move about the black metal, noise, doom, post-rock, drone, and psychedelic spheres while still retaining that coherent ‘We are still the same band’ sort of sound?.”

“How many times did I listen to this record on repeat? I would say around 7. It’s all good, now I know what magick sounds like....”

“Locrian have a new 7″ single out for Flingco Sound System, and they have somehow pulled off the nearly impossible task of covering a Popol Vuh track. No small feat, and this is not simply an uninspired rehash – the Locrian boys infuse it with their own inimitable sound to create something wholly unique and completely hypnotic.”

“Eat Yr Heart”
Ghostly International: gi142

“Eat Yr Heart" is a cavernous first taste from Work (work, work), the forthcoming full-length from London electro-bruisers HTRK, due September 6”

“On Work (work, work), HTRK craft a stark soundscape: achingly slow 808 beats, eerie synth arpeggios, vaporous guitar noise, and Jonnine Standish’s androgynous, detached vocals, dripping with reverb. And yet it’s the careful way the pair combine those elements - organizing and juxtaposing them with a minimalist’s attention to detail - that makes their music so emotionally devastating.”

“The duo recorded the album in the aftermath of the suicide of third founding member and bassist Sean Stewart in March 2010. The result is understandably dark, though peppered with undeniably beautiful moments.”

Work, (Work, Work) will hopefully introduce music fans in these fine U States of A to this totally awesome band...”

“HTRK (pronounced "hate rock") have a haunting, contemplative sound that's earned them praise from blogs like 20jazzfunkgreats along with mainstream publications like NME.”

“From what we can glimpse from the lead off track "Eat Yr Heart," there is a cathartic murmur that permeates the entire track, accompanied by keys that squeak like door mice amid the solemn dark vocals provided by Jonnine Standish.”

“The preview track ‘Eat Yr Heart’ is a haunting, slow, droney number with 80s new wave lurking in the shadows of their signature distorted basslines. It’s sludgy, heavy, purposely sloppy, and vaguely scary. Perfect for a goth summer.”

“On Eat Yr Heart, the now London-based duo builds a glacial crescendo over a steady, syrupy hip-hop beat, submerged bass and horrifying, flute-tinged synth figures that buzz around singer Jonnine Standish's voice like flies on a carcass. Oddly, this doesn't turn out too abrasive. The slow tempo and smokey romance of the vocals keep things too chill to devolve into complete terror.”

“...an icy and sparse, yet deceptively emotional, intense effort, we're in for a ride full of contradictions and confounded expectations.”

The gritty electronic sound design and simple beauty of these 10 new songs belie the sheer psychic weight to be found on this record

“Program 91”
Smalltown Supersound: sts210

Program 91 has provided an unexpected summer pop blast - at least for the two weeks I've had it. My interest could fizzle soon - sudden infatuation is sort of how this kind of stuff lives and dies - but for now I'm hooked.”

Program 91's basic makeup is spiky, sharp, post-punk-inflected pop, executed with laser-precise accuracy....”

“Razika plays naively sweet and imperfectly rhythmic ska-pop. Program 91, the band’s first album on Smalltown Supersound, is light as air, with lyrics about young love and frustration, and guitar tones so transparent they sound almost African.”

“Razika - four teenaged girls from Bergen, Norway - could make even the most staunch of ska’s critics take note. Their take on the genre is a shimmering update, one that crosses with pop.”

“Razika, however, a group of four teenaged women, actually write their own songs, play their own instruments, and make danceable pop/ska that makes you want to pogo like a Norwegian troll. It's got energy enough to make you forget Norway is dark half the year, and spunk enough to bring you to the brink of giddiness.”

“We’ve only known about the Norwegian band Razika for a couple months now, but our love for their girly melodies and soft vocals is definitely growing by the day…it’s basically what we’d want the soundtrack of our life to sound like.”

NME 8/10!!:
“Scandinavian dream-pop at it's best…it’s pretty perfect.”

“This is music imbued with wonderment and freedom, far removed from the cynicism and concerns about marketing you can hear creeping between the bars of so many fledgling bands.”

“This promising debut is a thing of such utter and ruddy brilliance it feels at once irresponsible to get carried away with praise and uppity to proffer anything so improbable as a perceived shortcoming.”

“Razika is cheery. Razika is crisp. Razika is catchy. Razika is Norwegian girl power pop made with two scoops of 2 Tone, rainbow sprinkles of '60s garage, and a cherry of jingle-jangle guitars on top. Yum!”

“Norway’s Razika made a sweet, sweet album Program 91 (91 as in 1991 as in the year they were born!) that’s so sugary it almost gave us a toothache. That’s a compliment. They’re 20 years old, high school’s over, things are good. So many people are trying so many complicated things with music, it can be nice to hear something that’s just about the joy of being young and wanting to go on strolls in the park with boys you like. The Ramones understood that, and so does Razika.”

“...we need great pop rock like this. It’s infinitely listenable.”

“This is faithful stuff, pretty straight and unreconstructed, with nice choruses, sweet vocals and a bubblegum bounce.”

“...they’re totally brilliant; using the regular set up of bass, drums, guitars and all that polava, that they somehowe manage to create snappy, breezy and lime-fresh sound. Why don’t millions of bands sound this magical?”

Apache Dropout
“Shot Down” b/w “Sister Burnout”
Trouble In Mind: tim030

Booming bass, simple drum patterns, and enough green fog atmosphere to make it difficult for you to drive for a few hours afterwards.”

Not at all patchy, this is one of the most solid slabs of psyche/Spaghetti Western/trash rock/doom pop/art explosion/teen dance band on bad acid/lycanthropic/boogie/1960s-2060s fuzz-plosion music I've heard is the last thousand years. Best thing to come out of Indiana since the hot comb.”

‘Shot Down’ sets itself apart from the Sonics’ garage stomp of the same name, while its influence is still clearly rooted in some of the best 60’s garage rock stuff. Just listen, and you’ll probably know what I’m talkin’ about.”

...a blistering, sun crusted garage psych-out with an unrelenting lo-fi crunch that goes deeper than most. Listen to the blown-out racket for long enough and you just might find yourself with a splitting headache.”

Night Beats
Trouble In Mind: tim028

If I wasn’t quite so quick on the uptake to their sharp percussive, screeching, meandering rock and roll, a chance to see them live certainly set my head right… I have to say I think I really enjoy this band and set them a bit apart. There is something just a little more ramshackle in their play that even throws itself into the mix with bands who I consider a bit more of the garage band mold.”

In two short, too short, minutes, The Night Beats will make you think that you’ve done too much acid and ended up a few decades back… The band manages to capture not only a sound but a moment in time. So go ahead, dial 666 but it might be safer to listen to the song instead.”

Upon first listen, you are transported in time. What part of time? You find yourself not in just a certain era, but throughout the centuries. From the times of Egypt, to the old west, to the far out 60s. The music drives you fast. The tempo has you flying at the speed of light, but there it can quickly change…slowing down to give you a chance to catch your breath before you find yourself in another part of time again. The energy is high. The haunting guitar is sprinkled throughout. Sending shrills not just down your spine, but throughout your whole body. Makes you want to just jump up and reach to the skies. The rhythm section is there to drive nails hard into your bgeing. Pushes you, and pushes you, sending you into the darkness…into the night.”

P.G. Six
“Starry Mind”
Drag City: dc480

P.G. Six’s skill lies in reanimating age-old sentiments, polishing them a bit and underlining them with spiraling, transcendental arrangements. Even with the element of rock chaos added, it’s a craft he’s working, a well-defined exercise in making beauty out of traditional elements. Amping up doesn’t change that, but it does make it a bit more exciting.”

Despite the nearly omnipresent feeling of ennui, there's a haunting beauty to this stuff that manifests itself in Gubler's subtler touches, as well as in his peculiarly detached demeanor.”

Starry Mind is a complete immersion into a country-tinged, psychedelic album, and an ode to his song-writing talent. Bringing forth melodic, country-infused, twang-laced songs the album mixes an almost psychedelic rendition of life with the existentialism of country and folk music.”

Starry Mind, to my ears, takes its template from Richard & Linda Thompson’s classic run of LPs in the mid-70s — I Want To See The Bright Lights Tonight, Hokey Pokey, and Pour Down Like Silver. Those records are pegged as ‘UK folk rock,’ but they’re actually more wide-ranging than that, incorporating bits of country, pop, psychedelia, and other disparate genres. And so it goes with P.G. Six — the overall sound here is cohesive, but not monochromatic.”

'Crooked Way' is a master class in pitch-perfect American rock idioms, beginning with an extended instrumental of dueling guitar lines and chugging percussion that kicks into high gear with the appearance of a gorgeous vocal from Gubler and Schwartz, spinning a plaintive narrative of loss. The rest of Starry Mind follows suit, recalling the pleasant mid-tempo jams of classic Dead and the eclecticism of early work by The Incredible String Band.”

Bragg, Meredith
Kora: tkr023

PASTE - video premiere of “Birds of North America”:

Nest is ultimately a thinking-person’s record—but not at the risk of alienating anybody who might stumble across one of these songs while looking for something sensitive and folksy. It works precisely because of the tension between its overt listenability and Bragg’s sneakily unsettling storytelling.”

At his best ('Next Time', 'Birds of North America') Bragg’s introspection approaches the sublime. At his most adventurous ('Point', 'Line and Plane') he could pass for any number of introspective northern European electronica spielers.”

Kleyn, Carol
“Love Has Made Me Stronger”
Drag City: dc94

Love Has Made Me Stronger is fascinating as a pop artifact that's more extroverted than Vashti Bunyan's Just Another Diamond Day and more insular than Judee Sill's Heart Food, but its true impact derives from the sheer force of Kleyn's personality, which makes hippie cheer feel brave.”

Kleyn sounds just fine accompanying herself with adept piano and efflorescent harp flourishes, her music FX-free except for a little echo, and I can imagine a less skyclad presentation simply gumming things up with New Age goo.”

SPIN 7/10:
Her 1976 debut is brief and unpretentious, a soprano celebrating heaven on earth over harp and piano.”


Brute Heart
“Lonely Hunter”
Soft Abuse: sab048

“You can say they sound mystic, Middle Eastern, psychedelic, kaleidoscopic, bathed in incense, sage, and hookah smoke. But there is also something so complete in their rhythms, all warm glow and velvet, mesmerizing and dreamy in the repetition.The vocals—chants, howls, and celestial melodies—communicate lament. Myslajek, viola player Jackie Beckey, and drummer Crystal Brinkman create something epic when they sing together, as if wailing for their lovers lost at sea. Their three voices snake around each other, intertwine and untangle, their silences perfectly placed.”

Lonely Hunter is anchored by the band’s signature bestial nature – the howled vocals over jagged strings, primordial doom-laden beats, and climactic bursts of joy when the trio reaches an apex. Brute Heart’s is one of the most compelling sounds in our vibrant music scene today, and its a thrill to see that with Lonely Hunter the band seems to finally be getting its due.”

Drag City: dc412

Their second album Mindreading is like a gorgeous, hypnotic, amorphous seasicknes, located somewhere between the electro-acoustic slurry of Silver Apples and the blip-pop bubbles of contemporary blissmakers like Dosh.”

In some ways the Eno comparison is more apposite; the words rarely call attention to themselves, but work more as shapes that fit nicely in the singers’ mouths, and you rarely get the feeling that the songs plumb some deep meaning. But they’re dandy at setting up and sustaining a rococo vibe. If you’re up for some artifice, Singer’s got your fix.”

Mindreading is a puzzlebox of an album, its rhythms and riffs interlaced like Escher staircases. Yet its smoothness, its luxury, its abundance of sensual rhythms and engaging musical elements, often obscures the difficulty. It's all too easy to skate over the complexities, sliding effortlessly over glossy landscapes.”

Spaced-out but subtly seductive, there are just enough hooks to stop Mindreading drifting into ambient territory, with some of the stronger melodies imagining a 21st century update of the electronic avant-pop created by Bowie and Eno during their ’70s ‘Berlin’ period.”

Szczepanik, Nicholas
“Please Stop Loving Me”
Drag City/Streamline: stream1031

There is a lot to love here, much of it mesmerizing, even soothing. Just don't turn your brain off, because Szczepanik is more interested in challenging than hypnotizing...Szczepanik excels at finding subtlety and nuance in immersive volumes. Even at his softest here, he could fill an airplane hangar with his music.”

Thing with Jim O’Rourke
“Shinkjuku Growl”
Smalltown Superjazzz: stsj201

UNCUT 4/5:
“A great homage to ’60s pioneers and, over 40 years on, still very much the New Thing.”

Thing with Otomo Yoshihide
“Shinkjuku Crawl”
Smalltown Superjazzz: stsj169

“The Thing are an unpredictable formation at best, and these two records are as different to each other as they are to the rest of the trio’s cannon. At their most intimate and delicate, The Thing deliver a particularly fine album with Shinjuku Crawl, but they let their incendiary nature resurface with panache on Shinjuku Growl.”

Ty Segall
“Goodbye Bread”
Drag City: dc479

“Forget what you know about Segall. Let the stereotypes that follow him be laid to rest. With Goodbye Bread, Segall’s first full-length on Drag City, he has mastered the hard right turn.”

“Taking a more concerted effort to focus on songwriting this time around, the tracks on Goodbye Bread feel older and wiser (see, ‘I Am With You’, ‘Fine’), more deliberate and careful; with a concentration on chord progressions, timing and lyrics. This is a more focused Ty Segall. One who is growing his musical prowess, but maintaining the guttural psych-pop sensibility that made him a standout in the first place.”

“While fellow garage-rock up-and-comers like Smith Westerns clean up their sound and go glam, Segall keeps things messy, playing every instrument on Goodbye Bread and retaining a certain trash-can fidelity while still showing a stylistic dexterity that nobody really expected from him. It's proof that Segall is a restless talent with a whole lot more to offer.”

FUSE TV - Live performance of “You Make The Sun Fry”:

“...the Über-prolific Segall has never been one to stand still: On last month’s Goodbye Bread, he threw his sound completely out the window in favor of something slower and softer — and just as indelibly catchy as the rest of his lengthy back catalogue.”

“In Goodbye Bread, his first full-length for Drag City, Segall has embraced singer-songwriter craft wholeheartedly. While garage rock O.G.s like the Troggs and the Stooges continue to be an influence, Segall has turned in a relatively calm effort here, choosing to downshift into slower tempos and cleaner sounds, evoking instead the work of John Lennon, Neil Young, and Marc Bolan. Heavyweights. But what makes Goodbye Bread such a success is that we get an even keener sense of what a Ty Segall song sounds like and what that means.”

“The way Segall glides through the spaces from all-out raucous rock-mode to mellow and mild-mannered and everything in between and simply owns all of it. This ability mixed with a readily apparent improvement in songwriting means that though Goodbye Bread is no doubt impressive on repeat listens. Whatever comes next could be scary good.”

“Segall is still young, and appears to be moving at an accelerated rate. Each record is better than the one before it. This isn’t something you get to watch every day. This is someone entering his prime, on the cusp of finding a voice. If you aren’t already, the time to pay attention is now.”

“Segall has both diversified and focused his sound, making for his best album to date….”

Goodbye Bread is a fitting development on an impeccable path. The depth accomplished through five albums is obviously grand and it’s definitely as if Segall is purely improving with every passing year.”

Nadler, Marissa
Box of Cedar: boc001

PITCHFORK FORKCAST OF “Alabaster Queen” video:

If you measured artists' popularity by the devotion of their cults, Marissa Nadler wouldn't exactly be overlooked. After four finely wrought neo-folk albums, the Massachusetts-based songwriter got by with a little help from her fans in making this self-titled, self-released album. That successful Kickstarter funding campaign bears deeply rewarding fruit on Marissa Nadler, an uncommonly detailed album that's full of otherworldly romantic melancholy, whether in country-glinting "The Sun Always Reminds Me of You" or synth-touched "Baby, I Will Leave You in the Morning". Nadler's patient, often-elliptical songwriting shines through clearly enough to welcome a whole new crowd of rabid supporters.”

“Now, on her fifth proper LP in just seven years, Nadler has truly found a voice within the realm of dreamlike folk. Building on a style that she has crafted on past efforts, she continues to improve her fairytale folk pop, diving into deeper waters of heartbreak and reflection on this self-titled album.”

“Marissa Nadler has drawn a big response...Her dreamy, fragile folk songs are revered among an assortment of tastemakers, but they haven't yet broken through to a larger audience. Her new self-titled album should help change all that.'”

SPIN Music Editor Charles Aaron says: “There are several mixtape keepers on this album, where her willingness to be openly vulnerable, and to expose her voice to the point that it even sounds shaky or strained, pays off in wonderfully poignant drama, especially when the slide guitar sighs just so.”

PITCHFORK FORKCAST OF “The Sun Always Reminds Me Of You”:
“‘The Sun Always Reminds Me Of You’ is a pedal steel-wrapped heartbreaker….”

PITCHFORK VIDEO OF “Baby, I Will Leave You In The Morning”:

PITCHFORK FORKCAST OF “Baby, I Will Leave You In The Morning”:
“This is the sound of an artist coming into her own.”

“...Nadler says, 'It's the most honest, natural record I've ever written... I'm no longer hiding. The mystery still exists in the music as an aesthetic tool, but the songs cut harder because of the vocal mix, with more varied colors than my other records.'”

“There is a lot of talent, strength and intelligence in this woman….”

"The dream-folk songstress possesses long, flowing hair, classic beauty, a lush, emotive voice, and crafts songs with equal parts pain and sweetness."

Wurtlizer, Rudolph
“Slow Fade”
Drag City: dc449

Slow Fade is inspired by Wurlitzer’s relationship with Pat Garrett director Sam Peckinpah, a self-made outlaw whose destructive temperament blasted masterworks out of the bedrock of American myth. The novel interweaves the main story with a script in progress, itself a transparent fiction relating to the disappearance of the director’s daughter, until it’s no longer clear whether fiction is revealing the truth of reality or vice-versa.”

Smalltown Supersound: sts204

“Consciously or not, DiskJokke (aka Joachim Drydhal) has skillfully invoked the spirits of many of the old EM masters on this disk… In fact, Sagara is really quite beautiful – and that should be sufficient.”

“Dyrdahl never received enough credit for the excellent sound design of his work, and while Sagara seems nothing more than an interesting detour, his careful ear and sense of structure are here in spades.”

Sagara, out this week on Smalltown Supersound, is more like cocoon-‘til-Christmas, but it’s great just the sames.”

“(Diskjokke) seeks out a deeper, slower, more meditative current on Sagara...It’s a concise album, just 35 minutes, but it’s ethereality makes the time drift slowly: the percussive plink of a piano (or something like it), about 24 minutes in, registers as a decisive event.”


“...if the lead track "Panutup" is like the rest of the album, it will be one unique listening experience.”

“I don't know what the heck is going on in Norway but I do not care. The electronic music that comes out of that country is RIDICULOUS!.”

“There's no space for judgment while you're listening; its songs need to be absorbed en masse. Whether or not you're willing give it a second spin may hinge on how good your headphones are. The right cans pick up a lot of subtleties in this disc.”

Sagara’s not a total break from his past work, as Dyrdahl’s repertoire has always had a sedate, hypnotic, and richly melodic edge to it. But it does perhaps show a promising evolution in the path that this evolving artist is taking—at the very least, he’s picked up a few more tricks for his next cosmic-disco odyssey.”

“Wallahi Le Zein: Wezin, Jackwar & Guitar Boogie From The Islamic Republic of Mauritania”
Locust/Latitude: latitude07

“A new compilation of Mauritanian guitar music released by Latitude Records, an imprint of Chicago indie label Locust Music, captures some of these raw live performances, rarely heard outside the Maghreb.”

“Terse, bluesy runs, vicious stabs, and tightly coiled solos cut through even the worst fidelity with a biting, brittle attack. If only all field recordings were this exciting.”

Wallahi Le Zein is somewhat similar to a Sublime Frequencies radio or field recording release, except that this has a much deeper interest in the musicological, historical, and cultural underpinnings of what's going on here. Lavoie isn't just putting this stuff out there for you - the liner notes are an educational document reflecting years of research and real, focused passion for the subject matter, rather than a basic interest in otherness. This is in some ways this compilation's greatest gift - this is the first curated collection of unfiltered Mauritanian guitar music ever, and I'm glad it's been introduced with such thoroughness and care.”

Com Truise
“Galactic Melt”
Ghostly International: gi138

“…with its staccato, bonus level synth stabs, keening psychedelia and 1980s-drenched drum sounds, Melt is still very identifiably Truise.”

SPIN 7/10:
“Boards of Canada meets Vangelis...”

“(Com Truise) demonstrates a sight more depth than a lot of stuff that's been tagged as chillwave.”

URB 4/5:
Galactic Melt manages to be both dark and upbeat at the same time. It’s filled with well-composed and highly aesthetic tracks. Com Truise makes synthetic and emotional music, nostalgic and spaced out like a German or Russian Sci-fi score, and the songs melt into each other without sounding repetitive and recycled. 10 tracks of pure seamless joy.”

“this sci-fi analog synth workout is an absolute belter of a debut album from New Jersey producer Seth Haley (aka Com Truise).”

XLR8R Preview of “Polyhurt”:

PITCHFORK Forkcast of “Polyhurt”:
“...Seth Haley, aka Com Truise, is gearing up to release the "Fairlight" single via new label Ghostly International on May 3. "Polyhurt" is one laser-cut slice from it.”

“...now is a great time to be catching Seth Haley’s Com Truise project. His mix of downtempo breaks with some of the spaciest synths to be found produces auditory sci-fi.”

“It conjures a Macintosh nostalgia for futures dreamed up decades ago. Synthesizers bright as lasers and drums loose as dust....Ideal summer music.”

PITCHFORK Forkcast of “Cathode Girls”:

“Split (w/JBe)”
Sixgunlover: sgl018

SPIN - #4 BEST LIVE SET / Lollapalooza 2011:
“Disappears' set peaked when the group charged into a 10-minute-long song with guests White/Light. ‘Lights flared for the first time, carving swirling patterns into the hazy whorls from the smoke machine," wrote SPIN's Marc Hogan. ‘They stretched out whirring drum patterns and winding, distorted guitar leads, each of which carried echoes of German art-rockers like Can and English psych-rockers like Spacemen 3.’”

Kranky: krank151

“Disappears have quickly carved out a niche for themselves, filling a void
that nobody knew needed filling: conceptual drone rock with a punk attitude. With their recent release, Guider, the band have cemented their reputation for delivering repetitive but catchy tunes, not to mention their invigorating live shows. Drone-y without being boring, Disappears take the listener on a blissed out voyage to nowhere — which is exactly where they want to go.”

Though they've only been in existence for a few short years, Chicago-based band Disappears has become one of the fastest rising outfits to emerge from the Midwestern metropolis of late.”

SPIN - #4 BEST LIVE SET / Lollapalooza 2011:
“Disappears' set peaked when the group charged into a 10-minute-long song. ‘Lights flared for the first time, carving swirling patterns into the hazy whorls from the smoke machine," wrote SPIN's Marc Hogan. ‘They stretched out whirring drum patterns and winding, distorted guitar leads, each of which carried echoes of German art-rockers like Can and English psych-rockers like Spacemen 3.’”

This Chicago quartet is all presence: a shuddering combustion-engine surging forth with rocket-launch intensity, throbbing, lashing guitars and autistic, swarming drums celebrating Krautrock's in-and-out-of-focus drift and motorik pulse while concurrently saluting Spacemen 3's fried-cerebellum dirges.”

Hecker, Tim
“Ravedeath 1972”
Kranky: krank154

THE 405 #5 BEST OF 2011 SO FAR:
“...it's perhaps Hecker's most affecting record to date, and offers some profoundly beautiful moments of precision and subtlety.”

“Hecker's freshest exploration of the life of rave death comes thoroughly recommended.”

Newbury, Mickey
“The American Trilogy (4xCD Box Set)”
“Looks Like Rain”
“Frisco Mabel Joy”
“Heaven Help The Child”
“Better Days”
Drag City: dc485, dc474, dc475, dc476, dc477

“Ralph Emery once called Newbury 'the first hippie cowboy' and you could make a case for this without expending much effort. With his independence and rough and rowdy ways, he was also the first outlaw Nashville had seen for a while. This reputation was later sort of co-opted by folks like Waylon Jennings and Willie Nelson, but Newbury was the real thing.”

“If we were to teach a course on the art and craft of impeccable songwriting, you can rest assured that these four albums would take up the better part of the syllabus. After all, there are very, very few songwriters that are as influential and under-sung than Mickey Newbury.”

“His grainy vocal tenderness in San Francisco Mabel Joy evokes the combined haunting of Leonard Cohen and Nick Drake, while An American Trilogy is, in Newbury's grip, patriotic anguish for a country at war with itself.”

“Every word or line or stanza complements the others and shades their meanings, contributing crucially to the whole.”

“Three of his early albums, possibly his best, are collected here in a lovingly conceived box set.”

“The least his memory deserves is to hear the songs the way he heard them, and this set represents a chance that should be seized lustily...An overdue monument to an overlooked songwriter.”

“His songs feel like prayers for the brokenhearted many, as if he has consigned himself to perpetual heartache to imbue the songs with a crueler reality.”

“This exquisite collection offers a more fitting context for Newbury’s neglected recordings - once heard, forever smitten. It’s impossible to resist the emotional pull of his voice and artistry.”

“There is only one word that comes to mind for making this package so detailed, so intimate, and so passionate in the little things that made Newbury’s music so endearing to those who got it - and that word is Love.”

An American Trilogy is an excellent introduction to the mind and music of Mickey Newbury. The three albums contained here form the highlights of an often overlooked career that is well worth resurrecting.”


9/17 - Dubuque, IA @ Monks Kaffee Pub
9/23 - Austin, TX @ St. Andrews Church
9/30 - Denver, CO @ Walnut Room
10/28 Los Angeles, CA @ Hotel Cafe

Atlas Sound
10/28 - Asheville, NC @ Moog Fest

A Winged Victory For The Sullen
10/29 - Philadelphia, PA @ St. Mary’s Hamilton Village
10/30 - NYC @ West Park Presbyterian Church
10/31 - Montreal, Quebec @ Casa del Popolo
11/01 - Toronto, Ontario @ Drake Hotel
11/02 - Pittsburgh, PA @ Warhol Museum
11/03 - Cincinnati, OH @ Southgate House
11/05 - St. Louis, MO @ Off Broadway
11/06 - Chicago, IL @ Lincoln Hall
11/07 - Minneapolis, MN @ Cedar Cultural Center
11/10 - Seattle, WA @ The Triple Door
11/12 - Portland, OR @ Holocene
11/14 - San Francisco, CA @ The Independent
11/15 - Los Angeles, CA @ The Satellite

10/29 - Chicago, IL @ Hideout

Baby Dee
9/16 - Hasselt, Belgium @ Kunstencentrum Belgie
9/17 - Tilburg, Netherlands @ Incubate Festival
9/18 - Tilburg, Netherlands @ Ancienne Belgique
9/21 - Cologne, Germany @ Stadtgarten
9/22 - Berlin, Germany @ Berghain
9/23 - Leipzig, Germany @ UT Connewitz
9/24 - Vienna, Austria @ Haus der Musik
9/29 - Hamburg, Germany @ Kampnagel
9/30 - Aarhus, Denmark @ Atlas
10/01 - Aalborg, Denmark @ Huset
10/02 - Copenhagen, Denmark @ Literaturhaus
10/03 - Copenhagen, Denmark @ Kunstakedemi (morning show)
10/03 - Copenhagen, Denmark @ Literaturhaus (evening show)
10/25 - Cardiff, UK @ The Globe
11/03 - Coventry, UK @ Taylor Johns House
11/04 - London, UK @ Cafe OTO
11/05 - London, UK @ Cafe OTO

9/13 - Baltimore, MD @ Golden West Cafe
9/15 - Vancouver, BC @ The Rio Theatre
9/16 - Seattle, WA @ Neumos
9/17- Portland, OR @ Aladdin Theater
9/19 - San Francisco, CA @ Great American Music Hall
9/20 - Los Angeles, CA @ El Rey Theatre
9/22 - Champaign-Urbana, IL @ Pygmalion Music Festival
9/23 - Chicago, IL @ Empty Bottle
9/24 - Cincinnati, OH @ Midpoint Music Festival

Meg Baird
9/24 - Philadelphia, PA @ Johnny Brenda’s
9/25 - Brooklyn, NY @ Union Pool
10/08 - Millheim, PA @ Elk Creek Cafe

Andrew Bird
10/12 - Rochester, NY @ Harro East Ballroom
10/13 - Troy, NY @ Troy Savings Bank Music Hall
10/14 - Concord, NH @ Chubb Theatre at the Capitol Center For The Arts
10/15 - Skowhegan, ME @ Skowhegan Opera House
10/17 - Poughkeepsie, NY @ Bardavon 1869 Opera House
10/18 - Binghamton, NY @ Osterhout Concert Theatre at the Anderson Center For The Performing Arts
10/20 - Northampton, MA @ Calvin Theatre
10/21 - Tarrytown, NY @ Tarrytown Music Hall
10/22 - Wilmington, DE @ Grand Opera House

Sir Richard Bishop
9/13 - Orlando, FL @ The Social
9/14 - West Palm Beach, FL @ Respectable Street Cafe
9/15 - Tallahassee, FL @ The Engine Room
9/16 - Atlanta, GA @ Variety Playhouse
9/17 - Nashville, TN @ Mercy Lounge
9/20 - Minneapolis, MN @ First Avenue
9/21 - Milwaukee, WI @ Turner Hall
9/22 - Chicago, IL @ Bottom Lounge
9/23 - Cleveland, OH @ Beachland Ballroom
9/24 - Lexington, KY @ Busters Backroom
9/27 - Brooklyn, NY @ Music Hall of Williamsburg
9/28 - Brooklyn, NY @ Music Hall of Williamsburg
9/29 - Boston, MA @ Royale Nightclub

Bonnie “Prince” Billy & The Cairo Gang
9/27 - Nelsonville, OH @ Stuart’s Opera House
9/28 - York, PA @ Capitol Theater
9/29 - Wilmington, DE @ World Cafe Live at The Queen
9/30 - Asbury Park, NJ @ All Tomorrow’s Parties Festival
10/02 - Alexandria, VA @ The Birchmere
10/04 - Knoxville, TN @ Bijou Theatre
10/05 - Marshall, NC @ Marshall High Studios
10/06 - Wilmington, NC @ The Soapbox
10/09 - Louisville, KY @ The Clifton Center
10/18 - Lyon, France @ Epicerie Moderne
10/19 - Montpellier, France @ Rockstore
10/20 - Bilbao, Spain @ Cafe Antzokia
10/21 - Madrid, Spain @ Joy Eslava
10/23 - Guimaraes, Portugal @ CC Vila Flor
10/24 - Lisboa, Portugal @ Teatro Maria Matos
10/26 - Valencia, Spain @ Mirror
10/27 - Barcelona, Spain @ Casino Alianca
10/28 - Bordeaux, France @ I Boat
10/29 - Vendomes, France @ Chapelle Saint-Jacques
10/30 - Nantes, France @ Le Lieu Unique
11/01 - Rouen, France @ Le 106
11/02 - Lille, France @ Aeronef
11/03 - Paris, France @ Le Trianon

Bill Callahan
9/16 - Chicago, IL @ Brilliant Corners of Popular Amusements Festival
11/07 - Dusseldorf, Germany @ Zakk
11/08 - Heidelberg, Germany @ Enjoy Jazz Festival at Karlstorbahnhof
11/09 - Lausanne, Switzerland @ Le Romandie
11/10 - Schorndorf, Germany @ Manufaktur
11/12 - Chorzow, Poland @ Rozrywki Theatre
11/13 - Dresden, Germany @ Kleine Reithalle
11/14 - Bremen, Germany @ Schlachthof
11/16 - Copenhagen, Denmark @ Vega
11/17 - Gothenburg, Sweden @ Stora Tavern
11/18 - Oslo, Norway @ Kulturkirken Jakob
11/20 - Stockholm, Sweden @ Kagelbanan
11/21 - Malmo, Sweden @ Palladium
11/22 - Aarhaus, Denmark @ Vox Hall
11/24 - Brussels, Belgium @ Autumn Falls Festival at Cirque Royale
11/25 - Utrecht, Netherlands @ Le Guess Who Festival at Tivoli
11/26 - Paris, France @ La Gaite Lyrique

9/16 - Chicago, IL @ Brilliant Corners of Popular Amusements Fest
9/17 - Kalamazoo, MI @ The Strutt
9/18 - Detroit, MI @ Lager House
9/19 - Toronto, Ontario @ Parts and Labour
9/20 - Ottawa, Ontario @ Zaphod Beeblebrox
9/21 - Montreal, Quebec @ Pop Montreal Festival at Il Motore
9/22 - Monson, ME @ Lake Shore House
9/23 - Boston, MA @ Outdoor BBQ
9/24 - Brooklyn, NY @ Monster Island Basement
9/25 - NYC @ Cake Shop
9/27- Philadelphia, PA @ Kung Fu Necktie
9/28 - Baltimore, MD @ Floristree
9/29 - Charlottesville, VA @ Tea Bazaar
9/30 - Chapel HIll, NC @ Nightlight
10/01 - Asheville, NC @ Broadways
10/02 - Columbia, SC @ New Brookland Tavern
10/03 - Charleston, SC @ Tin Roof
10/04 - Jacksonville, FL @ Burro Bar
10/05 - West Palm Beach, FL @ The Snooze
10/06 - Gainesville, FL @ Boca Fiesta
10/07 - Lakeland, FL @ Evolution Records
10/08 - Tampa, FL @ New World Brewery
10/09 - Athens, GA @ Farm 255
10/10 - Atlanta, GA @ The 529
10/11 - Nashville, TN @ The End
10/12 - Oxford, MS @ Proud Larry’s
10/13 - Carbondale, IL @ Skihouse
10/14 - St. Louis, MO @ 2720 Cherokee
10/15 - Chicago, IL @ The Hideout
11/08 - Minneapolis, MN @ Medusa
11/09 - Northfield, MN @ The Cave (Carleton College)
11/11 - Columbia, MO @ Mojo’s
11/17 - Seattle, WA @ The Comet
11/19 - Portland, OR @ East End
11/28 - Los Angeles, CA @ Pehrspace
12/05 - Dallas, TX @ Bryan Street Tavern
12/08 - New Orleans, LA @ Siberia

Com Truise
9/13 - Montreal, QC @ Casa de Popolo
9/15 - Philadelphia, PA @ First Unitarian Church
9/16 - Washington, DC @ Rock N Roll Hotel
9/17 - Chapel Hill, NC @ Local 506
9/19 - Atlanta, GA @ The Masquerade
9/20 - Birmingham, AL @ Bottletree
9/21 - New Orleans, LA @ One Eyed Jacks
9/22 - Houston, TX @ Fitzgerald’s
9/23 - Austin, TX @ The Mohawk
9/24 - Dallas, TX @ Granada Theatre
9/26 - Tucson, AZ @ Club Congress
9/27 - Solana Beach, CA @ Belly Up Tavern
9/30 - Los Angeles, CA @ Troubadour
10/01 - San Francisco, CA @ Rickshaw Stop
10/03 - Portland, OR @ Doug Fir Lounge
10/04 - Vancouver, BC @ Venue
10/05 - Seattle, WA @ Crocodile Cafe
10/07 - Boise, ID @ Reef
10/08 - Salt Lake City, UT @ Urban Lounge
10/10 - Denver, CO @ Bluebird Theater
10/12 - Kansas City, MO @ The Record Bar
10/13 - Minneapolis, MN @ 1st Ave
10/14 - Chicago, IL @ Lincoln Hall
10/15 - Cleveland, OH @ Grog Shop
10/16 - Detroit, MI @ Magic Stick
10/18 - Toronto, ON @ Lee’s Palace
11/04 - Rome, Italy @ Lanficio 159
11/05 - Foligno, Italy @ Auditorium
11/08 - Brighton, UK @ Green Store Door
11/09 - Dublin, Ireland @ The Grand Central
11/10 - Manchester, UK @ Now Wave at The Ritz
11/11 - London, UK @ Shackwell Arms
11/12 - Stockholm, Sweden @ Debaser
11/16 - Paris, France @ Club Folamou
11/18 Berlin, Germany @ Magnet
11/19 Copenhagen, Denmark @ Dunkel
11/20 - Oslo, Norway @ John Dee
11/23 - Gent, Belgium @ Charlatan
11/24 - Utrecht, Netherlands @ Le Guess Who Festival
11/25 Madrid, Spain @ Primavera Club
11/26 Barcelona, Spain @ Primavera Club

Mikal Cronin
9/15 - Tucson, AZ @ Plush
9/16 - Lubbock, TX @ Bash Rip Rock’s
9/17 - Austin, TX @ Mohawk (Outside)
9/18 - Denton, TX @ Rubber Gloves
9/19 - New Orleans, LA @ One Eyed Jack’s
9/20 - Birmingham, AL @ Bottle Tree
9/21 - Nashville, TN @ Exit/In
9/22 - Memphis, TN @ Hi Tone as a part of Goner Fest
9/23 - Atlanta, GA @ The Earl
9/24 - Durham, NC @ Duke Coffeehouse
9/25 - Harrisonburg, VA @ Festival Ballroom at JMU
9/26 - Washington D.C. @ Comet Pizza
9/27 - Baltimore, MD @ Golden West Cafe
9/29 - NYC @ Bowery Ballroom
9/30 - Cleveland, OH @ Beachland Ballroom
10/01 - Chicago, IL @ Empty Bottle
10/03 - Northfield, MN @ The Cave at Carleton College
10/04 - Iowa City, IA @ Blue Moose
10/05 - Omaha, NE @ Slowdown
10/06 - Denver, CO @ Hi-Dive
10/07 - Salt Lake City, UT @ Kilby Court

Matthew Dear
10/08 - Los Angeles, CA @ Avalon Hollywood (DJ Set)
10/13 - New Orleans, LA @ The Hookah (DJ Set)
10/14 - Denver, CO @ Pluggden Private Warehouse (DJ Set)
10/15 - Washington D.C. @ U Street Music Hall (DJ Set)
10/21 - Chicago, IL @ The Loft (DJ Set)
10/22 - Miami, FL @ Electric Pickle (DJ Set)
10/28 - Asheville, NC @ Moog Fest

The Ex
10/21 - Athens, Greece @ Gagarin 205 Club
10/22 - Thessaloniki, Greece @ Block 33 Club
10/23 - Skopje, Former Yugoslav Republic of Macedonia @ Skopje Jazz Festival

Faun Fables
10/13 - Seattle, WA @ The Mix
11/04 - Oakland, CA @ The New Parish

The Fresh & Onlys
10/07 - San Francisco, CA @ Great American Music Hall

Gang Gang Dance
9/23 - Cincinnati, OH @ Midpoint Music Festival
9/24 - Champaign-Urbana, IL @ Pygmalion Music Festival 2011
9/26 - Nashville, TN @ Mercy Lounge
9/28 - Dallas, TX @ Club Dada
9/30 - Mexico City, ME @ Teatro Fru Fru
10/01 - Houston, TX @ Fitzgerald’s
10/03 - Austin, TX @ The Mohawk
10/05 - Phoenix, AZ @ The Crescent Ballroom
10/07 - San Diego, CA @ Casbah
10/08 - Pioneertown, CA @ Pappy and Harriets
10/09 - Los Angeles, CA @ Culture Collide Festival
10/10 - Big Sur, CA @ Henry Miller Memorial Library
10/11 - San Francisco, CA @ The Independent
10/13 - Portland, OR @ Holocene w/ Bruxa
10/14 - Seattle, WA @ Neumos
10/15 - Vancouver, BC @ Biltmore Cabaret
10/18 - Minneapolis, MN @ 7th Street Entry
10/19 - Madison, WI @ Majestic Theatre
10/20 - Chicago, IL @ Lincoln Hall
10/21 - Morgantown, WV @ 123 Pleasant Street

Ghost Of A Saber Tooth Tiger
9/30 - Brooklyn, NY @ Littlefield
10/06 - Paris, France @ Cafe de la Danse
10/07 - London, UK @ Bush Hall
10/15 - Stonybrook, NY @ Staller Center

Girl Talk
9/14 - London, Ontario @ London Music Hall
9/15 - Dartmouth, Nova Scotia @ Alderney Landing Outdoor Stage
9/23 - Live Oak, FL @ Blackwater Music Festival
10/06 - Council Bluffs, IA @ Harrah’s Council Bluffs
10/15 - Pensacola, FL @ DeLuna Festival
10/29 - New Orleans, LA @ Voodoo Experience Music Festival
12/31 - Dallas, TX @ Lights All Night

Gold Panda
9/14 - Boracay, Philippines @ Jungle Room
9/16 - Manilla, Philippines @ B-Side
9/17 - Beijing, China @ Black Rabbit Festival at Chaoyang Sports Park
9/18 - Shanghai, China @ Black Rabbit Festival at Shanghai Rugby Club
10/05 - Bristol, UK @ Thekla
10/06 - London, UK @ Koko
10/07 - Leeds, UK @ Brundenell Social Club
10/08 - Glasgow, UK @ King Tuts
10/11 - Trondheim, Norway @ UKA
10/12 - Trondheim, Norway @ UKA
10/13 - Trondheim, Norway @ UKA
10/14 - Oslo, Norway @ John Dee
10/15 - Bergen, Norway @ Perfect Sounds Festival
10/24 - Los Angeles, CA @ Echoplex
10/25 - San Francisco, CA @ The Independent
10/26 - Seattle, WA @ The Crocodile
10/27 - Ann Arbor, MI @ Blind Pig
10/28 Chicago, IL @ The Empty Bottle
10/29 - New York, NY @ Good Units
10/30 - Asheville, NC @ Moog Festival

David Grubbs
10/08 - Brooklyn, NY @ Bruar Falls
11/04 - Chicago, IL @ Corbett vs. Dempsey

Neil Hamburger
2/10 - Miami, FL @ Bruise Cruise Festival

Tim Hecker
9/30 - Barcelona, Spain @ Caixaforum
10/01 - Madrid, Spain @ Caixaforum
10/02 - Essen, Germany @ Denovali Swingfest
10/03 - Paris, France @ Batofar
10/14 - Shreveport, LA @ MSPSNM Festival
10/15 - NYC @ Neon Marshmellow Festival
10/21 - Toronto, Ontario @ Music Gallery
10/29-30 Asheville, NC @ Moog Festival

The High Llamas
9/27 - Tokyo, Japan @ Billboard Live (2 shows: 7pm/9pm)
9/29 - Osaka, Japan @ Billboard Live (2 shows: 7pm/9pm)

9/14 - NYC @ Home Sweet Home
9/17 - Brooklyn, NY @ Secret Project Robot
10/12 - Krakow, Poland @ Unsound Festival
10/24 - London, UK @ The Garage
10/27 - Aberdeen, UK @ The Tunnel
10/30 - Kortrijk, Belgium @ Sonic City Festival

Susan Howe & David Grubbs
9/16 - Buffalo, NY @ SUNY Buffalo
9/24 - Brooklyn, NY @ Issue Project Room
11/11 - Cambridge, MA @ Harvard University

Glenn Jones
10/09 - Cambridge, MA @ The Lilypad

Sophia Knapp (of Cliffie Swan)
10/02 - Brooklyn, NY @ Cameo Gallery
10/09 - Brooklyn, NY @ Cameo Gallery
10/16 - Brooklyn, NY @ Cameo Gallery
10/23 - Brooklyn, NY @ Cameo Gallery

Lean Left
(Paal Nilssen-Love, Ken Vandermark, Terrie & Andy of The Ex)
9/18 - Oslo, Nowray @ Cafe Mono
9/19 - Bergen, Norway @ Landmark
9/20 - Copenhagen, Denmark @ Jazzclub Loco
9/21 - Helsinki, Finland @ Kuudes Linja
9/22 - Wels, Austria @ Schl8hof
9/23 - Salzburg, Austria @ Jazzit

Lia Ices
12/02 - Seattle, WA @ Crocodile
12/03 - Portland, OR @ Doug Fir Lounge
12/04 - Arcata, CA @ Jambalaya
12/05 - San Francisco, CA @ Great American Music Hall
12/06 - Los Angeles, CA @ Troubador
12/07 - San Diego, CA @ Casbah

10/06 - Los Angeles, CA @ Culture Collide Festival
10/07 - Toronto, ON @ The Mod Club
10/08 - Chicago, IL @ Smart Bar

9/15 - Vancouver, BC @ The Rio Theatre
9/16 - Seattle, WA @ Neumos
9/17- Portland, OR @ Aladdin Theater
9/29 - San Francisco, CA @ Great American Music Hall
9/20 - Los Angeles, CA @ El Rey Theatre
9/23 - Provo, UT @ Velour Live Music Gallery
9/24 - Denver, CO @ Bluebird Theater
9/25 - Colorado Springs, CO @ Armstrong Hall
9/30 - Fargo, ND @ The Aquarium (Dempsey’s Upstairs)
10/12 - New York, New York @ Terminal 5
11/24 - Brussels, Belgium @ Cirque Royal
11/25 - Utrecht, Netherlands @ Tivoli
11/26 - Frankfurt, Germany @ Sinkkasten
11/28 - Milan, Italy @ Magazzini Generali
11/29 - St. Gallen, Switzerland @ Palace St. Gallen
12/01 - Lyon, France @ L’Epicerie Moderne
12/02 - Paris, France @ La Gaite Lyrique
12/03 - Minehead, UK @ All Tomorrow’s Parties Festival

9/23 - Berlin, Germany @ Watergate
9/24 - Geneva, Switzerland @ Milk Klub
9/30 - Lyon, France @ DV1 Club

Man...Or Astro-Man?
9/24 - Cincinnati, OH @ MidPoint Music Festival
10/08 - Chicago, IL @ The Metro
10/09 - Madison, WI @ The Majestic Theatre
10/10 - St. Louis, MO @ Duck Room
10/11 - Champaign, IL @ High Dive
10/12 - Louisville, KY @ Headliners
10/13 - Memphis, TN @ Hi Tone
10/14 - Birmingham, AL @ Bottle Tree
10/15 - Athens, GA @ 40 Watt Club

Mark E
9/30 - Bochum, Germany @ Funkloch
10/14 - Torino, Italy @ Kogin’s Club

10/08 - Brooklyn, NY @ Glasslands

Mux Mool
9/23 - Philadelphia, PA @ Electric Factory
9/24 - NYC @ Terminal 5
9/29 - Vancouver, British Columbia @ Fortune Sound Club
9/30 - Seattle, WA @ Crocodile Club
10/01 - Portland, OR @ Holocene
10/04 - Arcata, CA @ The Jambalaya
10/05 - Santa Cruz, CA @ 418 Project
10/06 - San Francisco, CA @ The Rickshaw Stop
10/07 - Los Angeles, CA @ Troubadour
10/08 - San Diego, CA @ The Casbah
10/09 - Phoenix, AZ @ Rhythm Room
10/10 - Tucson, AZ @ Plush
10/12 - Austin, TX @ Beauty Bar
10/13 - Dallas, TX @ House of Blues (Cambridge Room)
10/14 - Miami, FL @ Bardot
10/15 - New Orleans, LA @ One Eyed Jacks
10/16 - Tallahassee, FL @ The Engine Room
10/17 - Orlando, FL @ Will’s Pub

My Education
11/19 - Houston, TX @ Rudyard’s Pub

Marissa Nadler
9/13 - Toronto, Ontario @ El Mocambo
9/15 - Chicago, IL @ The Hideout
9/16 - Milwaukee, WI @ Turner Hall
9/17 - Minneapolis, MN @ Cedar Cultural Center
9/23 - Philadelphia, PA @ World Cafe Live
10/04 - London, UK @ Bush Hall
10/06 - Berlin, Germany @ Comet
10/07 - Turmzimmer, Germany @ Uebel & Gefahrlich
10/08 - Copenhagen, Denmark @ Pumpehuset
10/09 - Stockholm, Sweden @ Debaser
10/10 - Gothenburg, Sweden @ Hendriksberg
10/11 - Oslo, Norway @ Revolver
10/12 - Bergen, Nowray @ Perfect Sounds Forever
10/14 - Tampere, Finland @ Klubi
10/15 - Turku, Finland @ Dynamo
10/16 - Helsinki, Finland @ Kuudes Linja

Joanna Newsom
12/02 - Minehead, UK @ ATP Festival

10/17 - Los Angeles, CA @ Mayan Theatre
10/18 - Phoenix, AZ @ The Venue
10/20 - Houston, TX @ Fitzgerald’s
10/21 - Austin, TX @ Emo’s
10/22 - Dallas, TX @ Granada Theater
10/24 - Nashville, TN @ Exit/In
10/25 - Birmingham, AL @ Workplay Theatre
10/26 - Tampa, FL @ Crowbar
10/27 - Miami, FL @ Grand Central
10/28 - Atlanta, GA @ Masquerade (Heaven Stage)
10/30 - Washington D.C. @ 9:30 Club
10/31 - Philadelphia, PA @ Theater of The Living Arts
11/01 - NYC @ Webster Hall

The Olivia Tremor Control
9/13 - Chicago, IL @ Bottom Lounge
9/14 - Columbus, OH @ Wexner Center
9/15 - Pittsburgh, PA @ The Warhol at New Hazlett Theatre
9/16 - Toronto, Ontario @ Lee’s Palace
9/17 - Montreal, Quebec @ Il Motore
9/19 - Allston, MA @ Brighton Music Hall
9/21 - NYC @ Le Poisson Rouge
9/23 - Philadelphia, PA @ U-PENN Rotunda
9/24 - Durham, NC @ The Casbah
10/11 - Athens, GA @ Athens Pop Fest
12/02 - Minehead, UK @ ATP Festival

P.G. Six
9/25 - Brooklyn, NY @ Union Pool (Full band)

Primordial Undermind
10/01 - Vienna, Austria @ Venster 99
12/14 - Paris, France @ Les Voutes
12/19 - Vienna, Austria @ Rhiz

The Red Krayola
9/30 - Hamburg, Germany @ Kampnagel
10/01 - Berlin, Germany @ Hebbel Am Ufer

9/12 - Oakland, CA @ The New Parish
9/13 - Fullerton, CA @ Continental
9/14 - Los Angeles, CA @ Freak City
9/15 - Long Beach, CA @ Alex’s Bar
9/22 - Costa Mesa, CA @ Detroit Bar

Laetitia Sadier
9/21 - NYC @ Terminal 5
9/22 - NYC @ Terminal 5
9/26 - Chicago, IL @ Congress Theatre
9/28 - Denver, CO @ Fillmore Auditorium
10/04 - Los Angeles, CA @ Greek Theatre
10/07 - Santa Fe, NM @ Convention Center

School of Seven Bells
9/17 - Chicago, IL @ Brilliant Corners of Popular Amusements Festival

Ty Segall
9/15 - Tucson, AZ @ Plush
9/16 - Lubbock, TX @ Bash Riprock’s
9/17 - Austin, TX @ Mohawk
9/18 - Denton, TX @ Rubber Gloves
9/19 - New Orleans, LA @ One Eyed Jacks
9/20 - Birmingham, AL @ Spring Street Firehouse
9/21 - Nashville, TN @ Exit/In
9/22 - Memphis, TN @ GonerFest 8 at the Hi-Tone
9/23 - Atlanta, GA @ The Earl
9/24 - Lexington, KY @ Boomslang Festival (1pm)
9/24 - Durham, NC @ Duke Coffeehouse
9/25 - Harrisonburg, VA @ Festival Ballroom at JMU
9/26 - Washington, D.C. @ Comet Ping Pong
9/27 - Baltimore, MD @ Golden West Cafe
9/29 - NYC @ Bowery Ballroom
9/30 - Cleveland, OH @ Beachland Tavern
10/01 - Chicago, IL @ Empty Bottle
10/03 - Northfield, MN @ The Cave (Carlton College)
10/04 - Iowa City, IA @ Bull Moose
10/05 - Omaha, NE @ Slow Down (Back Room)
10/06 - Denver, CO @ High Dive
10/07 - Salt Lake City, UT @ Kilby Court
10/11 - Seattle, WA @ Neptune Theatre
10/12 - Vancouver, British Columbia @ Biltmore Cabaret
10/13 - Portland, OR @ Crystal Ballroom
10/19 - Los Angeles, CA @ The Music Box
10/20 - Solana Beach, CA @ Belly Up Tavern

9/17 - Ann Arbor, MI @ The Neutral Zone
9/18 - Brooklyn, NY @ Glasslands
9/23 - New Paltz, NY @ Bassmint
9/28 - Seattle, WA @ Decibel Festival
9/29 - Vancouver, British Columbia @ Fortune Sound Club
9/30 - Seattle, WA @ Crocodile Club
10/01 - Portland, OR @ Holocene
10/04 - Arcata, CA @ The Jambalaya
10/05 - Santa Cruz, CA @ Kuumbwa Jazz Center
10/06 - San Francisco, CA @ The Rickshaw Stop
10/07 - Los Angeles, CA @ Troubadour
10/08 - San Diego, CA @ The Casbah
10/09 - Phoenix, AZ @ Rhythm Room
10/10 - Tucson, AZ @ Plush
10/12 - Austin, TX @ Beauty Bar
10/13 - Dallas, TX @ House of Blues (Cambridge Room)
10/14 - Miami, FL @ Bardot
10/15 - New Orleans, LA @ One Eyed Jacks
10/16 - Tallahassee, FL @ The Engine Room
10/17 - Orlando, FL @ Will’s Pub
10/19 - Atlanta, GA @ Drunken Unicorn
10/20 - Athens, GA @ New Earth Music Hall
10/21 - Charleston, SC @ The Pour House
10/22 - Asheville, NC @ The Garage
10/23 - Raleigh, NC @ King’s Barcade
10/25 - Washington, DC @ U Street Music Hall
10/26 - Philadelphia, PA @ The Arch
10/28 - Brooklyn, NY @ Music Hall of Williamsburg
10/29 - Allston, MA @ Brighton Music Hall
10/30 - Ithica, NY @ Castaways
11/01 - Montreal, Quebec @ Il Motore
11/03 - Ann Arbor, MI @ Blind Pig
11/04 - Chicago, IL @ Lincoln Hall
11/05 - Madison, WI @ University of Wisconsin

Sic Alps
9/14 - Vitoria, Spain @ Jimmy Jazz
9/15 - Madrid, Spain @ El Perro Club
9/16 - Barcelona, Spain @ La 2 De Apolo
9/17 - Bordeaux, France @ Saint-Ex
9/18 - Poitiers, France @ Confort Moderne
9/20 - Cologne, Germany @ King Georg
9/21 - Rouen, France @ Emporium Galorium
9/22 - Gent, Belgium @ Vooruit
9/23 - Paris, France @ Glazart

Six Organs of Admittance
9/17 - Pisa, Italy @ Circolo Caracol
9/18 - Torino, Italy @ Blah Blah (performing the OST The Drifter)

9/14 - Barcelona, Spain @ Moog Club
9/16 - Madrid, Spain @ Specka Club
9/17 - Rome, Italy @ Atelier 35

11/18 - Fort Collins, CO @ Aggie Theatre
11/19 - Denver, CO @ Summit Music Hall

No comments:

Post a Comment

Be nice!