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Tuesday, February 14

CTD Press Update 2/14/12!

CTD Press Update 02/14/2012
Now Available Exclusively/Semi-Exclusively from CTD:

Windy & Carl
"We Will Always Be"
Kranky: krank163

“If you take an interest in ambient music, drone rock or related quasi-genres, it behoves you to own some of Windy and Carl’s catalogue; this is as useful and high quality a starting point as just about anything they’ve recorded.”

NORTHERN TRANSMISSIONS interview with Windy & Carl:
“Some of the songs on the are pieces carl was working on in 2009 and 2010, and a couple of them are from a recording Carl made for me for Valentine’s day 2011. The first song on our new album is certainly from that batch, and when i thought of how and why he wrote the songs for me, I wanted to put lyrics with it that would mirror his feelings.”

“When Windy & Carl lock together, it's like being privy to a great secret, imparted in a moment of intensely personal creativity.”

“Despite the familiarity of the sonic landscape explored here, however, Windy and Carl are evidently still excavating valuable finds.”

“Though there are eight indexed tracks, the sixty-eight-minute set has been designed to flow uninterruptedly in a way that enhances its hypnotic effect. Strengthening that impression is the fact that much of the album is comprised of shimmering moodscapes perfectly capable of inducing reverie.”

“Windy & Carl's music has always existed somewhere high in the stratosphere, where the sun shines with extra brilliance and the moisture in the air begins to crystallize, bending the light into gorgeous arrays of perfect color, and We Will Always Be continues their glorious tradition.”

“The mood on We Will Always Be - the first release from the duo since 2008 - is altogether brighter and, there’s no getting away from the word, more blissful. Begun as a solo record by Carl, the sound throughout is if anything more open, as if the clouds had parted….”

“We Will Always Be is the first release from the duo since 2008, and sees Weber’s vocals take a backseat in favour of a more open, wide-field sound. Their lo-fi guitar-based dronescapes may well have spawned a thousand imitators, but from the hands of these masters the approach continues to enchant and delight, with a mood that is altogether brighter and more blissful than previous works.”

“Listening to a Windy & Carl song is like being inside a seriously uplifting dream. 'Remember,' an ambient fanfare with a lovely, strong drone, goes at its own pace. It doesn't so much have a final destination – more an exploration of a mood that appears gaseous and uneasy to grab.”

PITCHFORK premier of “Remember”:
“Ambient pop duo Windy & Carl's last release was 2008's Songs for the Broken Hearted; on February 13, they return with a new full-length, We Will Always Be, via Kranky.”

Whistle Peak
"Half Asleep Upon Echo Falls"
Karate Body: kbr017

“The content is poignant and the music somewhat brooding, but none the less, there is comfort to be found in that ethereal sound that is prevalent on Half Asleep Upon Echo Falls.”

“Several varied elements are coalesced together to create a sound that moves and sways and ultimately sticks. It's got some pop, some folk, electronic sounds, and all that would be great as is. However, Whistle Peak has pushed a little further and mixed the elements up into a beautifully produced grab bag that makes sense.”

“...it sounds like Half Asleep‘s slightly off-kilter universe is weighed down by an ever so slightly inflated gravitational pull, as if its inhabitants enjoy all the joys and excitement that us Earth humans do, just on a slightly muted basis.”

“There is certainly much to recommend about Whistle Peak. They’re from Louisville Kentucky and are a sort of folktronica outfit mixing distant harmonies and echoy melodies with close-up, crisp breakbeats. That’s a bad description but don’t be put off, their album is a real grower.”

“Music to be stoned to. Not high, stoned. Whistle Peak’s lo-fi Americana fits in well with bands like Yeasayer and Colossal Gospel–bands who take traditional elements and play them a little…strangely.”

“Another solid band coming from Louisville, KY is Whistle Peak. With this band, you'll find a mix of experimental pop and electronic-folk, which works out to be quite a great listen.”

“It’s rare a submission lands with such a satisfying fuzz.”

“Whistle Peak are a 5-piece indie-pop outfit who hail from Louisville, Kentucky. Recently they sent us an email with a new song and boy are we glad they did. ‘Wings Won’t Behave’ will be included on their upcoming album Half Asleep Upon Echo Falls which is due for release on February 14th. With that said, have a listen to the song in the Bandcamp player below – something tells us this one is going to be on repeat for a while.”

“Melodic & hypnotic lines and a bluesy mood make the difference on Half Asleep Upon Echo Falls.”

“Whistle Peak produce laid back atmospheric laments with a silver lining, walking a slim line between downcast ditties and indie pop. The colourful instrumentation keeps Whistle Peak afloat along with a seemingly effortless approach to their songwriting. Keep an ear out on Valentine’s Day folks.”

“The album’s first single 'Wings Won’t Behave' has a bounce in its step that makes me nostalgic for Motown, with vocals that maintain the uncanny ability to feel at once melancholy and deceptively cheerful. The lyrics of lead singer Billy Petot have a tendancy to wash over the listener like a brief summer rain on a lake – before you can adjust the drops have passed and the sun has returned.”

“'Wings Won’t Behave' blends synthesizers with acoustic guitars and lo-fi percussion on the instrument side, while vocals front the music with a peaceful, soft and dreamy coo.”

“The elements of many a tinker’s shop crash land into a pawn shop and the ensuing sounds generated and ululating through. Organic ideas meet inorganic instruments and executions. Thick, gloomy atmospheres that still linger after ‘stop’ has been pressed.”

“Jangly acoustic guitar and the drums plus tinkling percussion give it a nice groove, punctuated by electric guitar with a bit of a surf tone. When the vocalist comes in, I thought of Grizzly Bear. But instead of polished intricacy and studio wizardry, this sounds like a more relaxed toy chest jam..”

“Louisville's Whistle Peak have a crafted a song in 'Wings Won't Behave' that I like to image would be the music Tears For Fears could be making today if they were still around. The song opens with a cheery melody filled with strummed strings and wandering percussion that floats around throughout the track.”


120 Days
Splendour: sple011

ANTHEM interview with 120 Days:
“There’s less guitars on the second album. It’s been five years so it’d be even stranger if it was exactly the same, but, yeah, the biggest difference, I’d say, is that we embraced technology with this one. The first one was recorded in an old school rock fashion and to tape - there was no MIDI synchronization and very little computer editing. This time, though, we really embraced [technology] and used a lot of sequencing and samples and stuff like that. And, because of that, it’s became more electronic and club-oriented.”

“The band uses 'the hard minimalist industrial sound of Detroit Techno' and mixes it up with ‘the transcendental drone jazz of (early) Alice Coltrane, and the over-the-top orchestral maximalism of Wagnerian opera,’ they claim rather magnificently. All in all, 120 Days carries some dense textures, letting there be some wiggle-room for fans with various tastes.”

STEREOGUM Video premier of “Dahle Disco”:
“The pulsating 'Dahle Disco,' proved that the group is poised to regain the momentum they had when they released 2006′s self-titled debut, and today that track gets a vibe-matching video, a clip where sounds and lights coalesce to represent the deep grove of the track.”

“Norway's 120 Days mixes an intense kind of danceability with a krautrock-informed edge for an electronic-based sound that defies musical borders and boundaries. You might remember learning about their upcoming album in our recent sneak peek at 2012's most anticipated releases. When the foursome's first album was released on the Vice label, it earned the band an international reputation, but their follow-up, 120 Days II, is set to garner the group even more attention than before.”

“If something intriguing and electronic-oriented is coming out of Norway, it shouldn't be surprising to find that Lindstrøm has his hand in it. His label released the debut album by electro-rock outfit 120 Days, and though the follow-up is out on Oslo label Splendour, he co-produced the cut 'Dahle Disco,' bringing his imprimatur of cool to the quartet's cutting-edge sound..”

Wild Belle
"Keep You"
Wild Belle/Sandhill Sound: shs001

“Wild Belle is one of Chicago's newest bands. They've only played a handful of shows, and so far only released a single song, but it's a good one. Listen to Keep You below and pick up the 12" when it comes out on 2/21.”

Dirty Three
"Toward The Low Sun"
Drag City: dc511

NPR SONG OF THE DAY premier of "The Pier":
“Australian rock trio Dirty Three has it all: There's swooning passion, but also conflict, loss, need and hope. Its music soars elegantly when violinist Warren Ellis lets his solos rip, but his grandiosity is undercut beautifully by Jim White's arrhythmic drum patterns and Mick Turner's guitars, which smear Dirty Three's songs like watercolors.”

PITCHFORK premier of “Rising Below”:
“Australian post-rock gods Dirty Three return with a new album, Toward the Low Sun, on February 28. In the time since their last album, members Jim White, Warren Ellis, and Mick Turner have played with the likes of Nick Cave, PJ Harvey, Cat Power, Bonnie "Prince" Billy, Bill Callahan and others. Listen to the track ‘Rising Below’ above, via Drag City.”

"Pre Language"
Kranky: krank164

“Disappears has produced a momentous release in Pre Language that already vies for album of the year. It infiltrates and manipulates the senses to thrill and inspire whilst pushing the post punk envelope using incisive and stimulating ingenuity.”

PITCHFORK premier of “Replicate”:
“Pre Language is the new album from Chicago noisemakers Disappears; it's out March 1 via Kranky. Sonic Youth drummer Steve Shelley is behind the kit for this one; the album was recorded with John Congleton (Cymbals Eat Guitars, St. Vincent) at SY's Echo Canyon West studio in Hoboken, New Jersey. 'Replicate' is the psych-heavy leading cut off the album.”

Sophia Knapp
"Into The Waves"
Drag City: dc484

SUN ON THE SAND premier of "Close To Me":
“Mix equal parts ’60s psych pop with tropicalia and synth pop, and add just a pinch of Debbie Harry and you would come close to Sophia Knapp. She’s quirky, and the near-disco of ‘Close To Me’ proves it, but it’s subtle and inventive, not overbearing and cloying.”

Mux Mool
"Planet High School"
Ghostly International: gi149

STEREOGUM premier of "Raw Gore":
“As the release date for Mux Mool approaches, the electronic musician also known as Brian Lindgren has uncorked another new track that explorse a woozy, but florid headspace while riding out stuttering but assertive beats.”

RCRD LBL premier of “Palace Chalice”:
“On 'Palace Chalice,' Brooklyn producer Mux Mool (real name Brian Lindgren) has crafted a sneering piece of beat science with a rumbling trump, sparkling synthesizer arpeggios and nods to funk that'll keep your windows down no matter how cold it gets.”

PITCHFORK premier of "Raw Gore":
“In the new year, genre-busting producer Mux Mool's set to follow up last year's Skulltaste with a whole new full-length, Planet High School. The thing's out February 7 via Ghostly; we shared 'Palace Chalice' with you back in October, and here's the aptly titled LP cut 'Raw Gore'.”

HEADNOZ premier of "Palace Chalice":
“Mux Mool maintains the sonic sensibilities that make his music so relatable and all-encompassing, making for a track that many can access.”

PITCHFORK Forkcast of "Palace Chalice":
“In February of 2012, Ghostly will release Planet High School, the new album from playful beatmaker Mux Mool. The record is Mool's proper follow-up to 2010's solid Skulltaste.”

“Planet High School certainly sounds different than SKULLTASTE, Mux Mool’s Ghostly debut from 2010. It’s funkier, more confident, and more comfortable. It sounds less like someone trying to prove a point by arguing and more like someone trying to prove a point by just being who they are. It’s leading by example, sonically speaking.”

DAILY DREAD premier of "Palace Chalice":
“The tune is crisp; a laid back, chunky, nearly 90bpm foray into outer space.”

PITCHFORK Forkcast of "Palace Chalice":
“In February of 2012, Ghostly will release Planet High School, the new album from playful beatmaker Mux Mool. The record is Mool's proper follow-up to 2010's solid Skulltaste.”

PITCHFORK Forkcast of "Palace Chalice":
“In February of 2012, Ghostly will release Planet High School, the new album from playful beatmaker Mux Mool. The record is Mool's proper follow-up to 2010's solid Skulltaste.”

PITCHFORK Forkcast of "Palace Chalice":
“In February of 2012, Ghostly will release Planet High School, the new album from playful beatmaker Mux Mool. The record is Mool's proper follow-up to 2010's solid Skulltaste.”

PITCHFORK Forkcast of "Palace Chalice":
“In February of 2012, Ghostly will release Planet High School, the new album from playful beatmaker Mux Mool. The record is Mool's proper follow-up to 2010's solid Skulltaste.”

XLR8R premier of "Palace Chalice":
“Brooklyn producer Mux Mool (a.k.a. Brian Lindgren) is offering a free download, the first real sampling of his upcoming album, Planet High School, which is slated for release on February 7, 2012 via Midwestern stalwart Ghostly. ‘Palace Chalice’ is a glimmering cut of electro-tinged instrumental hip-hop that pairs a relaxed, old-school vibe with lurching bass tones and summery synth melodies.”

RESIDENT ADVISOR premier of "Palace Chalice":
“The Minneapolis-based artist has been putting out records for the past few years, pushing a sound that's equal parts hip-hop and IDM. Based on the first single, ‘Palace Chalace’ (which you can stream over at Pitchfork), his new album seems to follow suit, though this time it's partly inspired by Mux Mool's response to the economic situation, a theme that's loosely reflected in the title.”

“He explains the concept behind his new album, Planet High School, this way: 'Today, young Americans have very little to look forward to except endless war, endless debt, no Social Security, and [the fact that] none of us can live without the constant fear of poverty. We don’t need to have big houses and cars and a nest egg to get along. There’s nothing that says you can’t rent an apartment your whole life and not be happy.’”

NOISE VERSE NOISE premier of "Palace Chalice":
“I know that I am a couple weeks on this track, but holy cow its good. Mux Mool's 'Palace Chalice' is the sort of bass-beat tune that I love. Its got hip-hop, its got dustty groove, and its got a great break down in the middle. This is the sort of thing that I wish Flying Lotus would make more of again.”

PHUTURE LABS premier of "Palace Chalice":
“The US broken beat hip hop and electronica producer has always been generous with his tracks thanks to his relationship with Ghostly. The chat is that the track 'Palace Chalice' is a precursor to his new album due out in February 2012. Get that in the diary.”

“Mux Mool’s debut album Skulltaste came out just about a year ago, and I don’t think it quite got the exposure or acclaim that it deserved. The Brooklyn beat conductor pulled together a wide range of influences and somehow packaged it into a cohesive head-nodding album. With a few songs here and there over the past few months, plus joining Star Slinger at the start of his first US tour, it’s time to prepare for the release of his new album Planet High School. The first single 'Palace Chalice' is that hip-hop/electronic vibes that we’re used to from Mux Mool, and it’s got my interest piqued for the album’s release in early 2012.”

SOME KIND OF AWESOME! premier of "Palace Chalice":
“Mux Mool’s debut album Skulltaste came out just about a year ago, and I don’t think it quite got the exposure or acclaim that it deserved. The Brooklyn beat conductor pulled together a wide range of influences and somehow packaged it into a cohesive head-nodding album. With a few songs here and there over the past few months, plus joining Star Slinger at the start of his first US tour, it’s time to prepare for the release of his new album Planet High School. The first single 'Palace Chalice' is that hip-hop/electronic vibes that we’re used to from Mux Mool, and it’s got my interest piqued for the album’s release in early 2012.”

AUDIOPLEASURES premier of "Palace Chalice":
“First taste from Mux Mool upcoming album Planet High School on Ghostly International, Minneapolis Brian Lindgren warm bass lines and abstract beats are always welcome since last year's debut Skulltaste that landed of my favorite electronic albums in 2010 and for sure will please any Fly Lo fans.”

“The new record is called Planet High School, and while the name suggests a Ramones-in-space vibe, a press release explains that the album is still a collection of instrumental hip-hop. Still, "it certainly sounds different than Skulltaste...it's funkier, more confident, and more comfortable. It sounds less like someone trying to prove a point by arguing and more like someone trying to prove a point by just being who they are. It's leading by example, sonically speaking.”

DEATH & TAXES premier of "Palace Chalice":
“The track locks into a groove with deep, rumbling bass. It almost has a West Coast, stoned sound combined with electro flourishes.”

"Foreign Body"
Kranky: krank162

“A new collaborative album from drone artist Liz Harris (Grouper) and abstract-acoustic musician Jesy Fortino (Tiny Vipers), partnering under the name Mirrorring, will soon see the light. The album, Foreign Body, will be out March 19 via Kranky.”

Lotus Plaza
"Spooky Action At A Distance"
Kranky: krank166

“Following his 2009 record The Floodlight Collective, Deerhunter guitarist Lockett Pundt has announced a new full-length album for his solo guitar-pop project Lotus Plaza. The record, Spooky Action at a Distance, is out April 2 via Kranky.”

"Perfect Teeth"
Teenbeat: tb119

“Pioneering indie-pop label Teen-Beat has announced a reissue of Unrest's long out-of-print 1993 album, Perfect Teeth. Like the original release, the reissue will come as a 7" vinyl box set, on six colored records, with six additional non-album tracks. It will also include a 7-inch-sized, 24-page booklet, including photographs from the Perfect Teeth sessions, taken by Teen-Beat/Unrest founder Mark Robinson. The new edition will be printed with metallic gold ink, and shipped in spring 2012.”

"Red Parole"
Karate Body: kbr018

“Immediately the listener is riveted to a genuinely crafted track which resonates with a shining piece of guitar work – simple yet elegant, which is something of a context changer with the ‘festival’ referencing – think more an Oberammergau experience, set to floating psychedelic rock and the decade between performance seems apposite, rather than the mud at Woodstock.”

THOUGHTS ON TRACKS premier of "The Other Side of The Gun":
“Red Parole is due out on April 10th via Karate Body Records. ‘The Other Side of the Gun’ was released last week as the album’s first single. At nearly seven minutes, it’s a bold introduction. The guitar line, though simple, resonates immediately. Seluah creates a dense, driving atmosphere before drummer and vocalist Edward Grimes takes his crew into a jammier, synth heavy bridge. This is not light, easy listening, but it is certainly satisfying.”

Megan Reilly
"The Well"
Carrot Top Records: saki051

“We've always been fond of Reilly's intimate, nocturnal balladry and her delicately quivering voice that sounds like it could be wafting from some 1950's Tennessee truckstop jukebox. But her fine new song ‘Sew The Strings Inside Your Heart’ indicates that Reilly is equally at home with a rougher, decidedly more electric edge to her twang.”

“Claiming both Thin Lizzy's Phil Lynott and Roy Orbison as influences—along with more obvious touchstones like Neko Case and Patti Griffin - Megan Reilly has the kind of pipes and grit that belie her singer-songwriter trappings. It's been six years since Reilly released her previous album, Let Your Ghost Go, but the forthcoming The Well (due out April 24) promises to be a strong follow-up based on the great 'Sew The Threads Into Your Heart,' which The A.V. Club is streaming exclusively below. A thoroughly beguiling folk-pop song, 'Heart' builds to a climactic guitar solo that Lynott himself would be proud of.”

Marissa Nadler
"The Sister"
Box Of Cedar: boc002

PITCHFORK premier of “The Wrecking Ball Company”:
“Marissa Nadler's new album The Sister is out May 29 via her own Box of Cedar label. Nadler has now offered the album cut ‘The Wrecking Ball Company’, a finger-picked track that unfurls slowly. The Sister is a companion to Nadler's 2011 self-titled LP.”

“In contrast to Nadler's last album, The Sister grapples with themes beyond heartbreak. ‘I realized I had muses all around me,’ she says in press release, ‘childhood, betrayal, friendships, new love, nature, or hope. The narrator's stronger in my songs now.’ She focused on stark lyrical content to parallel the tone of the songs, noting that some of her biggest influences were "confessional songwriters.”


"Six Cups Of Rebel"
Smalltown Supersound: sts221

ROLLING STONE premier of “Quiet Place To Live (Todd Rundgren Remix)":
“When suggesting Todd Rundgren, I told Smalltown: 'Yeah that would have been awesome!,' but I THOUGHT that it was never gonna happen. However, when mentioning it to Smalltown, he told me that he was gonna give it a shot, since he already knew his management,' Lindstrøm says. 'Less than a week after, he agreed upon doing a remix of 'Quiet Place To Live'' from my new album. I'm not aware of any other remixes he's done before, in which case this feels really special as Todd Rundgren's music has been inspiring me a lot over the years.”

“Welcome, Hans-Peter Lindstrom to the 1980s! Please, step into this brave new world and you will encounter all manner of exciting advances in technology, such as the Fairlight synthesizer, the Akai sampler, and the musical ensemble Art of Noise, each of which will have a profound influence on your bombastic new album, Six Cups of Rebel.”

NPR ALL SONGS CONSIDERED premier of "De Javu (Mark McGuire Remix)":
“McGuire's slow-burning licks replicate the feeling of driving down an empty highway toward a sun disappearing behind the horizon. Combined with Lindstrom's original all-night groove, it makes for a disorienting dance party.”

“A legend in his hometown, Peter Lindstrom had a unique rise to what many refer to as the founder of “space disco.” In an interview with ChinaShop, Lindstrom discusses how he went from a young lad who grew up listening to Johnny Cash and Hank Williams in the oil fields of Norway to a notorious dance music producer and record label owner.”

THE QUIETUS Interview with Lindstrøm:
“...while this glorious long player isn’t entirely without precedent, before he was only paying lip service, this time he’s fully immersed himself into a self-created mutant hybrid world of cosmic disco, acid house and prog rock.”

“Six Cups of Rebel (Smalltown Supersound, 2012) shoots off in another direction. 'No Release' is a kaleidoscopic organ like in one Steve Reich’s rhythmic suites. Most of the album is in the vein of psychedelic funk EDM like his earlier project that he took the name of for the album. 'De Javu' and 'Magik' are super funky with strong acidic touches that float over the rhythms, with the latter being even more maniacal in its execution.”

“Norwegian producer Hans-Peter Lindstrøm, who ELLE Norway says is Norway’s ninth Sexiest Man (who are we to argue?), is revered for his productions which run the gamut from acid house to prog rock. Lindstrøm’s decision to sing on Six Cups of Rebel indeed adds a bit of intrigue to the album and should set off debate in Internet forums around the world.”

“With Six Cups of Rebel, his fourth solo album, Hans-Peter Lindstrom continues to explore the far reaches of the cosmic disco galaxy, this time using his voice for mantra-like lyric effect.”

“I decided that I only wanted to make an album with my own voice and wasn’t sure at first how I would use it. I then came to the conclusion that everything was about tweaking and pitch shifting with my voice. I’m not trying to do this live. It’s only a studio thing, I’m not a vocalist and I don’t really want to try and perform it live. Over the years I haven’t really been exploring my own voice. It’s been too personal. I was seeing what I’d done on re-releases and grabbing the vocal parts I liked and then treating them as someone else’s vocals. It was important to me to just try it. I’ve always thought that it would be great to use the voice in different ways. When we played live in Europe after the release of my last album I was doing a lot of background vocals and enjoyed that. So this time I wanted to see what would happen.”

“The mono-monikered Norwegian electronica producer may be most widely known for his remixes (for LCD Soundsystem, Glasser, Franz Ferdinand and others) and his collaborations. His last major opus was 2010’s sexy space-disco collaboration with singer Christabelle, Real Life is No Cool, and before that he had success with two albums that he made with Prins Thomas. But Hans-Peter Lindström is going it alone on his next album. Due February 6 via Smalltown Supersound, Six Cups of Rebel isn’t just Lindström’s return to solo music-making — his last lone effort was 2008’s Where You Go, I Go — it also represents his vocal debut.”

“Record an album of tough, twisted funk grooves featuring his own digitally warped vocals. Colour me excited.”

“Does it contain another half-hour space disco opus? We hope so!.”

SPINNER "De Javu" #43 BEST TRACK OF 2011:
“The Norwegian beatsmith's largely indecipherable (but occasionally gospel-fired) vocals don't even drop until a couple minutes into the sprawling track. By then they're simply adding another element to the barrage of burbling bass, clattering drums, ominous horns and nu-disco groove that's gleefully welcoming us back to the retro-future.”

“He may worship at the temple of godlike European DJs from the 80s like Daniele Baldelli and Beppe Loda, but the relentless, occasionally monumental scale of Six Cups Of Rebel has the power to move mountains all by itself.”

PITCHFORK Best New Track “De Javu”:
“The whole thing has a pop audaciousness that recalls ZTT Records in their 1980s prime, and as ‘De Javu’ is brought to an abrupt halt after so much building up and coming down, you’re left wanting to hear what follows all this ecstasy on the album proper. That’s the great thing about this guy: whatever he’s doing, you never want it to end.”

STEREOGUM premier of “De Javu”:
“The album marks the first time Lindstrøm has added his own vocals to his mix. Below, download an album track called 'De Javu,' a skittery seven-minute funk workout with some breathless and incomprehensible singing from the man.”

XLR8R premier of "De Javu":
“‘De Javu’ is the first offering to shake loose from the record, and it's an especially funky selection, one that combines a thick disco groove with a decidedly '80s funk-pop fen.”

BETTER PROPAGANDA premier of "De Javu":
“Norwegian dance producer Lindstrøm, is set to unveil a new solo album. Six Cups Of Rebel is the first full length to come out under his own name in three years.”

FILTER premier of "De Javu":
“‘De Javu’ showcases what the Norwegian artist does best, creating dance jams that cause a ruckus.”

“...it seems to show him trading the spaced out cosmic disco vibe for something a bit more dirty and raucous. It's also his first record to feature his own vocals.”

STEREOGUM premier of “De Javu”:
“The album marks the first time Lindstrøm has added his own vocals to his mix. Below, download an album track called 'De Javu,' a skittery seven-minute funk workout with some breathless and incomprehensible singing from the man.”

Flingco Sound System: fss017

“Pareidolia is not awash in walls of harsh noise nor does it drone endlessly, in fact it is the quite the opposite. The four pieces are highly listenable and enjoyable, minimal when necessary and thickly layered at all the right times. The music flows effortlessly and shifts the listeners focus from one sound to the next in a gradual and effective way. For lovers of all things analog this record will be a real pleasure to escape into.”

“They carve a path in the vein of This Heat, the Necks, and modern day Oneida; longform patterns for the listener to follow, puzzles to solve, energy to displace.”

"We Are The Works In Progress"
Asa Wa Kuru: awk001

PITCHFORK premier of Deerhunter's “Curve”:
“A new instrumental track by Deerhunter called ‘Curve’ appears on We Are the Works in Progress, the compilation organized by Blonde Redhead to benefit Japan in the wake of 2011's tsunami. As reported, the 14-song compilation, to be released on Blonde Redhead's new Asa Wa Kuru label, features tracks from Fever Ray, Interpol, Broadcast, Liars, John Maus, Pantha du Prince, Terry Riley, David Sylvian/Ryuichi Sakamoto, and more.”

PITCHFORK premier of Four Tet's "Moma":
“The comp includes tracks from folks like Deerhunter, Karin Andersson of the Knife/Fever Ray, John Maus, Pantha du Prince, Interpol, Broadcast, Terry Riley, Liars, David Sylvian/Ryuichi Sakamoto, and Four Tet, who contributes the song you can listen to below, ‘Moma’.”

“Blonde Redhead have put together the compilation We are the Works in Progress to benefit Japan in the country's ongoing recovery from the March tsunami and its aftermath. The release is curated by frontwoman Kazu Makino, who was born in Kyoto, Japan, and is out January 10. It's the premiere release on the band's new imprint Asa Wa Kuru, which is Japanese for 'Morning Will Come.' The comp includes exclusive tracks from Deerhunter, Karin Andersson of the Knife/Fever Ray, Four Tet, John Maus, Pantha du Prince, and more. It also includes contributions from Interpol, Broadcast, Terry Riley, Liars, David Sylvian/Ryuichi Sakamoto, and more.”

Todd Terje
“It’s The Arps”
Smalltown Supersound: sts21912

NPR Song of the Day "Inspector Norse":
“The lead ‘piano’ line begins meanderingly but soon settles into a fetching tune, and when it drops out about two and a half minutes in, a computery-sounding line that had been playing support steps into the limelight and steals the show. It crests and ebbs differently for the rest of its time, too, but that groove remains rock-solid, impossible to resist, and critical to what's already one of 2012's defining dance tracks.”

“This might've been lost in the space disco explosion a half-decade ago, but with his contemporaries wandering off into prog, kraut, and sundry other forms of out-music, the clean lines and easy momentum of It's the Arps are really refreshing. And Jesus, it's fun. The trouble with moments, of course, is extending them. Terje has the imagination.”

PITCHFORK premeir of “Swing Star Pt. 1”:
“Norwegian DJ/producer Todd Terje will release the EP It's the Arps on January 16 internationally and January 17 in North America via Terje's new Olsen imprint on Smalltown Supersound. The tracks on the EP were made using the analog synthesizer the ARP2600 (hence the EP's title). Below, listen to 'Swing Star Pt. 1'.”

Bjorn Torske
Smalltown Supersound: sts21812

PITCHFORK premier of "Langt Fra Afrika (Todd Terje's Enda Lengre Miks) (Fra Afrika Altså)":
“Smalltown Supersound just recently released Bjørn Torske's Oppkok 12"; the release contains remixes of tracks from the Scandinavian producer's last album, 2010's solid Kokning. Remixers include DJ Harvey and fellow space-disco wiz Todd Terje, whose contribution is available to grab below.”

Laura Gibson
“La Grande (Single)” & “La Grande (Album)
Jealous Butcher: jb093 / jb096

“Rather than another exercise in genre-dabbling and dilettantism, La Grande succeeds as a cohesive work thanks to the persistence of Gibson's vision. As a songwriter she's preoccupied with those timeless questions of the human condition, but seldom if ever stumbles into pretension or self-satisfaction. Themes of love, loss, regret, and mortality crop up often, and, significantly, they're well-served by the surrounding songcraft.”

“La Grande is a different beast with a different energy to it...and even a hint of otherworldly menace. It's the sound of a confident artist stretching her own limits, without losing sight of the warmth, richness, subtlety and haunted beauty that made her worth celebrating in the first place.”

"Now Dance"
Splendour: sple012

PITCHFORK premier of "Now Dance":
“Oslo space-disco merrymaker diskJokke just released a new single on Splendour, ‘Now Dance’. The blippy cut features a remix from producer Bright Light Bright Light; hopefully this is a signal of a proper follow-up to 2010's squishy En Tin Fid on the horizon.”

STEREOGUM premier of "Now Dance":
“Norwegian producer Diskjokke’s new track 'Now Dance' is a bouncy electro-funk jam that doesn’t really fit in with the sort of thing he’s been making lately. So this week, he’s releasing it as a stand-alone 7″, with a remix from Bright Light Bright Light on the flip.”

Hauschildt, Steve
“Tragedy & Geometry”
Kranky: krank160

“That is the way Hauschildt operates: improvisations based on steady explorations of the synthesizer, where eloquence arises from applying subtle changes to complex, arpeggiated progressions.”

“The album's key strength (and its replayability) is in its almost mathematical adherence to melody. If Tragedy and Geometry were depicted as an image of the night sky, littered with stars, then each melodic pattern would be a constellation, simultaneously self-contained and part of the greater whole.”

“Throughout, Hauschildt deftly treads the fine line between guiding his instrument and letting its cyclical mechanisms do the work. You get the sense that he's basically happy to get out of his own way-- a common goal with anything this mantra-like-- and is as awed by the hypnotic aspects of overlapping synths as the emotional ones. Maybe that's the key to Tragedy & Geometry's sneaky power-- by letting his synths tell tales instead of forcing them to, Hauschildt finds stories bigger than his own.”

“Tragedy & Geometry proves that Steve Hauschildt is unafraid to paint in clear and vivid hues. Some might lament the lack of tension in this album, but when the music’s this beautiful, who needs it?”

“As many of Hauschildt’s synth driven contemporaries bury their compositions in post production trickery and useless sonic adornment, Tragedy & Geometry almost seems bare. It is that spareness that ultimately allows the songwriting, lush analog warmth and arpeggiated chord progressions to shine through.”

SSG MUSIC: 8.5/10:
“At the heart of Tragedy & Geometry is the truth that Emeralds fans (and fans of the members’ solo works) have long been on a collision course with discovering: these guys know pop. Tragedy & Geometry doesn’t betray the outer-spaced sounds of Hauschildt’s more adventurous work, it just re-imagines it for an audience of potential new ears as it is aimed to excited longtime listeners.”

“...Hauschildt's cosmic ambience comes with a very European touch, sounding much more elegant and urbane when compared to the work of his peers in the American electronic underground.”

“...the artist transforms what might otherwise be formless clouds of plinking melodies and deep synth chords into illuminating explorations of the subconscious, a feat that is achieved merely with the use of swirling, polyrhythmic arpeggiators and subtle drum machine sounds. The propulsive backbone that those elements provide immensely helps in setting Tragedy & Geometry apart from its peers and creating a much more satisfying listen, as it feels like you're actually in the midst of a long sonic journey with every rise and fall of the eclectic tracklist.”

ALTERED ZONES premier of "Batteries May Drain":
“In ‘Batteries May Drain,’ there's a sense of liberation from the endless chatter of myriad devices as they silence themselves; there's a brief and sweet respite in its modern take on classic kosmische sounds.”

FADER premier of "Already Replaced":
“Some of you might recognize Steve Hauschildt as the dude from Emeralds, while others might just be looking to end their Monday with gorgeous, spaced out twinkles of synth. Whatever the case, this song will calm you down. Like, if you are midway through a heart attack you can put this on, and you will magically be healed.”

SPIN 7/10:
“It's a visceral display of synth prowess that makes exhilarating use of contrasting textures and subtle dynamics.”

“‘Batteries May Drain’ boasts much of the same drifting analog synth melodies and indelible warmth that we loved on Emeralds' Does It Look Like I'm Here? record, but without the guitar noodling and with some driving, krauty rhythms carrying it all into spacey oblivion.”

XLR8R premier of “Batteries May Drain”:
“... for those listeners already converted, Hauschildt has presented you with an hour’s worth of unscented analog bliss. And for those others hoping for a primer, look no further.”

“The purposeful usage of analog technology means the record has a strong personality. The music is ambient in its delivery and the album as a whole is a fine offshoot from the Emerald family.”

“The two beacons of the album's namesake hover over every note of Tragedy and Geometry and becomes a precision delivery of the former as refracted through the technological prism of the latter. Here, Hauschildt has taken his step out from the fold of Emeralds and truly created something that stands alone; a pulsing, bittersweet sweep through the kosmiche wires of the heart.”

“Using his own chosen forms of technology, Hauschildt has done something massive and emotionally gripping in inexplicable ways. I can't often explain why or how his music affects me, but I can most certainly feel it.”

“Steve Hauschildt has crafted one of the finest albums of its genre this year.”
http://www.nightlife.ca/musique/cleveland-musician-steve-hauschildt-crafts-one-finest-electronic-albums-year l

Ghostly International: gi147

“Think of Glimmer as a little symphony, just with singles, and made by a musician who can't decide between the roles of producer or composer. Really, he shouldn't anytime soon.”

“The music of Jacaszek drifts along the fringes of classical, electro-ambient music and experimental jazz — and ultimately transcends them all. There's nothing quite like it.”

“As astounding as Treny was, Glimmer is equally as brilliant. Jacaszek has truly created another masterpiece.”

“...if the track "Dare-gale" is any indication, Glimmer could make a good companion to Hecker's Ravedeath, 1972 that came out earlier this year.”

“... a largely successful effort...Jacaszek’s wedding of disparate styles pays off in Glimmer‘s evocation of certain moods and expert shifts from mode to mode.”

“Certainly, one of the most blatant and appealing characteristics of Treny was how outwardly emotional it was and how inspired it felt. Therefore, it can only be a positive that Jacaszek appears to have taken a similar approach with Glimmer.”

“Part ambient, part avant-garde, part baroque, this is some intriguing stuff.”

RCRD LBL premier of “Dare-Gale”:
“Jacaszek is back and coldly serious as ever on ‘Dare Gale.’ The Polish composer treats airy, abandoned noise with classical hands to make dark ambient music that could easily soundtrack the next time you get trapped in a cave.”

“Like much of his past work, including last year's RA Podcast, the LP blends classical music with modern ambient production.”

“'Dare-gale,' armed with loads of classical timbres, drones ominously in waves of sound that progressively get louder. The concept seems like a simple and uninteresting no-brainer, but the layers and detail here make this track absolutely gorgeous!”

“Jacaszek’s latest album, Glimmer, is marked by a noticeable battle between melancholy and beauty, like it’s hovering in some gaseous grey area between both.”

“...his most satisfying transmission yet...one of the most satisfying, accomplished examples of its genre...Astonishingly beautiful.”

“The tone of it, wordless from beginning to end, is at once uplifting and downcast—music suited for those looking either to dive in or drift off.”

“Clearly, the album marks music’s evolution in the first decade of the 21st century.The Polish musician joins the ranks of artists such as Francesco Tristano, Brandt Bauer Frick Ensemble and Arandel who have crossed from conservatories filled with wood wind, strings and percussion to computer programmes and machines presents new album.”

“The album's inconspicuous complexity and professional performances make it a gem among ambient releases.”

“...without a doubt some of his best work and one of the most beautiful albums of the year....”

“Glimmer is an immediately immersive work.”

“…masterpiece…Jacaszek and those composers who are refurbishing modern classical for the new century have stumbled upon the sprung rhythms around us, and an entirely undiscovered art form is coming into view.”

“…Jacaszek too creates music for the spaces we can not describe through the delicate teasing of classical instrumentation and the mystic aura from the sound of running air.”

“...a work of stellar flow and haunting resonance...Glimmer is the ore that the prospector overlooked, the book that the librarian misshelved, the dying sentence spoken after the family had left the room: a modern artifact, encased in clay and left to deteriorate in a way that only adds to its glamour.”

Stone Breath / Mike Reed with Language of Light
"The Aetheric Lamp"
Hand Eye: h/e049, h/e050

“Stone Breath cauterized my wounded soul with the mythic sounds of their merrymaking. Playful and serious, reminiscent of wood elves and fey kicking around on some hand drums, banjos and dulcimer at a moonlit barn dance; the freshly painted hex sign above the wide double doors is charged by their sonorous vibrations, and the lunar light...Mike Seed shows what he is capable of when he joins forces with the Language of Light. This guy has a seriously eerie voice and delivery style, but hey, I like eerie. As the first song, 'Commit to Water,' begins I hear the slosh and the slush of the stuff. An enervating, sourced-from-who-knows-what sound then appears, like a piece of driftwood to latch onto for survival, as Mike starts to extemporize on angels, Satan, and the soul.”

“This is a great album by a fantastic yet mysterious band that's been around off and on since 1995 in various lineups, but trying to describe it is causing me to pull out my hair. They get lumped in with the neofolk movement, which might actually be relevant in the case of some of their earlier recordings, but this one is a straight-up folk album employing only acoustic instruments and voice. Not sixties protest folk music, mind you, but the folk music of the Appalachian mountains and wild country, music that's both ancient and timeless, far removed from what passes for modern music and yet eternally accessible.”

“Expanding their side of a split vinyl release with Mike Seed but retaining the same overall title, Stone Breath's 2011 CD The Aetheric Lamp has the kind of assured flow that comes from not simply exploring a preferred sound but both refining and varying it.”

“The Aetheric Lamp contains some of the most enthralling sounds currently to be found in the much fragmented field of contemporary folk music.”

“The future for this humble group of spiritual psych folk artists looks as brilliant from my perspective as the lamp that leads them on their individual paths.”

“Over two sides, this release oozes quality, creating a damn near perfect slab of vinyl, highly recommended..”

“The music very much is like a devotional chant for a world, which is in an apocalypse-like state of degrading, while concentrating on spiritual levels during the lamenting of its decay. Of course we have again the instruments with beautiful droning strings (comparable to a sitar), mixed with the already mentioned guitar pickings or banjo hypnotic repetitions occasionally with Timothy’s low voice accompanied by a second female voice. There are also present those sad flute improvisations to the music, some harmonium droning, and slow conga percussion. A very enjoyable release suited for repeated listening.”

“The long ‘The Sky's Red Tongue’ builds on the previous piece, is highly dramatic, and as a listener you feel in one of John Martin's paintings offset: break it on big days of anger, longing to which the ‘wings lots after wings and the winged after wind...’”.

“A trio here of Brooke Elizabeth on vocals, Don Belch on 6 and 12 string guitars and drones and one timeMotheye on banjo, moon guitar, whistles, wood flute, dumbek, stick dulcimer. A deep voice, tinkling of guitars, a bit folk like, but also a bit ethnic - maybe I am also reminded of some of the work by Dead Can Dance, come to think of it, but never too clean and with a certain wicked edge. One very short and two quite long pieces - epic I guess, in a sort of Mediaeval sense…Mike Seed's voice sounds tormented and the pieces almost like murder ballads. Much more radical, less musical, free form etc this side leaves a mighty impression on me.”

Howling Hex
“Wilson Semiconductors”
Drag City: dc501

“This is a headphone album, one that needs to develop over time and will definitely keep revealing hidden gems of advice for ages.”

“Starting Over”
Drag City: dc496

THE AGIT READER interview with Duane Warr:
“Though they were inspired by black-lit ’70s dinosaurs like Black Sabbath and Deep Purple, the homespun fidelity and maniacal attention to infusing prog and theatrical excess give the sense that Dwarr was searching far and wide for something that hadn’t been done yet. Dwarr pre-dates the sludgy ooze of the Melvins, the rebirth of operatic doom, and has even been dubbed hypnagogic metal as its lumbering cretin-psych brings about an extremely warped dirt-weed high of nostalgia.”


"Belt 7” Series: The Green Belt"
Karate Body: kbr008

“Cincinnati band Wussy, who recently landed two records in the top ten of Rolling Stone Magazine music critic Robert Cristgau’s top records of 2011, visited the South Park Tavern to give Daytonians a listen to their sound.”

"Is It Real?", “Youth Of America”, “Over The Edge”
Jackpot Records: jpr82801, jpr82802, jpr82803

“Just listen to the first few seconds of 'Return of the Rat' from Is It Real? and you'll hear it-- the guitars are sludgy but still articulate and colorful. I always imagine hot lava slowly spilling out of headphones…Songs on Youth of America are slower yet more propulsive. It's a defiantly un-rock move to rip out the backbeat and let the songs stretch out with little more than a kick/snare timekeep, the bassline just rolling along, indifferent to what it buoys…Over the Edge, which came next, has the needle moving back toward straight-up punk. There are tricks here, but they're under the hood, not as explicitly artsy as what was happening on Youth of America. Sage seems to have baked the psychoacoustic context in which he wants us to hear this music into the recordings themselves: punk-inflected pop songs you stumble on while turning through the AM dial late night, maybe, and curse yourself for missing the band names.”

Rachel Grimes
"Book Of Leaves"
Karate Body: kbr007

“For the whole of Book of Leaves, I was exploring the interior contemplative life as it relates to being outdoors, where nature dictates. I was also looking at the idea of past lives and their present influence, both people we have known or are related to, and those who have shaped our world through their decisions and work.”

Mungolian Jetset
Smalltown Supersound: sts209

“The whole thing is reeled off with such intention and gusto that to call it trite would be like criticizing a steamroller for being big. While it would be sad to see them go too far down this road, Schlungs does nothing to diminish Mungolian Jet Set's reputation as one of the most genuinely entertaining acts around.”

“This Norwegian techno duo of Pal Nyhus and Knut Saevuk serve up a giddy mix of club-friendly disco combined with delightfully cheesy EM effects and intricately layered counterpoint.”

“Red Planet”
Strange Attractors Audio House: saah067

“This husband-and-wife duo plays a trance-folk that, at every turn in the slipstream, seems to hail from another country: the murder ballads of Appalachia; the plucked-string stasis and Om drone of New York minimalism; the iridescent-Middle East imagination of the Incredible String Band.”

TEXTURA TOP ALBUMS OF 2011: #03 Red Planet:
“Arborea's fourth album, Red Planet, captures the group—multi-instrumentalists Shanti and Buck Curran as always, with cellist Helena Espvall (of Espers) guesting—in perfect form. The Maine-based group's sound has matured and reached a stage of refinement without becoming overly polished, and there's still a raw quality to the material but a rawness that feels natural and honest.”

Fang Wizard
“Pure Hex”
Teenbeat: tb477

THE AGIT READER interview with Duane Warr:
“The debut from the mysterious Fang Wizard (who could actually be Teen Beat's Mark Robinson in a lucha libre mask) was apparently six years in the making. What is more mysterious, though: that the record contains not a single lyric, or that it sounds like it was made by a kid genius on one rain-soaked Sunday afternoon? Like a number of other Teen Beat classics, Pure Hex has that perfect balance of incidental and elemental: ultra-strummy, homespun percussion, household noises clicking. In fact this is so right up Robinson's alley, that if this isn't actually him, it's a mix-tape devoted to his ethos.”

Ghostly International: gi145

“... an album to reach for repeatedly.”

PREFIX - 8/10:
“His tunes provide the fuel to get him anywhere his imagination conjures up. Tycho is worth any self-respecting electronic fan's time.”

“The album's mechanical style creates mood and atmosphere that's feels organic and earthy, while never sacrificing the glitchy integrity of electronic music.”

“A ten-track statement that captivates in spades, defying shorthand descriptors at every stroke.”

“Ghostly Intl. does it again with the latest offering from the Bay Area's Tycho with an end of the year stunner. With tracks that chronicle elements of the human experience of everything from ’A Walk,’ ‘Hours’ to ’Eulogy;’ Scott Hansen has created electronic arrangements for the soundtrack for every moment and movement of minutiae from our every day lives.”

FILTER - 88%/100%:
“A beautiful album with an amniotic vibe.”

“His attention to detail goes beyond highlighting individual instruments. It's there in the way Hansen simply builds a song, merging all the synth wooshes and percussive ripples to find a natural arc. ‘Daydream’, for example, starts out fairly simple with twinkly guitars and a sturdy, knocking beat, but the song's pulse quickens as it progresses, and by the end you've got something heady enough to live up to its title. Because Hansen clearly wants this to be a deep headphone experience, those subtle shifts go a long way in holding your interest.”

WIRED Feature on Tycho:
“When making his latest album, Dive, which came out last week on Ghostly International, Hansen fell in love with the Minimoog and ended up using it to create many of the sounds on the record. He also used string synths to get the ambient, atmospheric vibes he was looking for.”

“You can find the work San Francisco-based artist Scott Hansen under two different names, ISO50 and Tycho. Here, he's embracing the latter on Dive, his excellent, shimmering sophomore album under the guise of Tycho.”

XLR8R Interview with Tycho:
“From the propulsive drift of dreamy lead single ‘Hours,’ to the seaside-conjuring atmospheres of ‘Coastal Brake,’ to "Adrift’’s six minutes of understated melodic anthems and woozy bounce, Dive is an immersive record right down to the psychedelic album artwork.”

SPIN: Dive Album Stream:
“Tycho is Scott Hansen, a San Francisco producer who's gearing up to release Dive, his excellent new full-length under that pseudonym, on November 16 via Ghostly International. It's an elliptical, sun-shot slab of electro-pop that came to be during a break from Hansen's other gig as well-known designer and blogger, ISO50. Note how many of the bright tones that permeate his visual work are also at play here.”

SPIN 6/10:
“Peaking with its eight-minute title track, Dive is a pretty and sturdily crafted collection of techno maybe-memories -- hypnagogic pop for a very discerning Ikea shopper.”

PITCHFORK review of "Hours":
“While his world-of-tomorrow arrangements justify the boast, there's still something familiarly melancholic in those synths that could evoke someone's past, as the shimmer and echoes invite listeners to attach their own memories to the song's self-contained universe.”

“There’s a warmth and vibrance to Dive that is unrivaled, but more importantly, and why this is album is undeniably important, is its ability to tell a story without words. Say what you will about Tycho, maybe you’re not a fan or maybe you’ve never even heard of him, but Dive is one of those transcendental records that should appeal to anybody with a rooting interest in independent music.”

“Dive, his latest album, is by far his best, both in terms of quality and reception. The ambient electronica instrumentals manipulated by a guitar give the listener the closest feeling they will ever have to lounging around on an intergalactic space beach.”

ALL THINGS GO premier of "Hours":
“The song immediately brings me to the beach just in time to watch the sun fall below the horizon. While the track could be categorized as ambient, the up-tempo beat gives it a steady dance groove perfect for some late-night head-nodding. 'Hours' comes from Hansen’s new LP, Dive, set to drop November 15 on Ghostly International, and if it’s any indication of what’s to come, this is a can’t-miss release.”

“Tycho achieves something totally new in his aesthetic—something that could have been extended…Perhaps he’ll expand on that flickering moment on future singles and the next LP, but he certainly deserves to be proud of Dive.”

“The relaxed tempos, achingly pretty synthscapes, and sweet as punch melodies conjure up fuzzy, sun-saturated images of hazy summer days and cool neon evenings. Put him firmly in the Boards of Canada and Plone school of electronics, in other words.”

“Says Tycho 'I always have visuals, but it was a crutch…The goal is to have moments when you get lost in the visuals and then bounce back and forth to the people playing instruments'.”

“San Francisco's Tycho makes rich sonic soundscapes that always calm me down when I'm stuck in bumper to bumper on the 405 at 5pm on a Friday and all I want to do is get home to my kung pao chicken leftovers from the night before. Quite a feat.”

CHINASHOP MAGAZINE: End of Summer MixTape featuring "Quiet Place":
“This song seems to be about transition; something is leaving us and on the horizon is the unknown, but we can only sit in acceptance and ponder the space between. The lyric, ‘A quiet place and nature’s way, A season comes and whispers life’ is about as fitting as you’ll find, and while I prefer the warmth of summer to the grey of winter, there is a beauty in the quiet place that separates them.”

“Electronic artist Tycho just shared the first track, 'Hours,' from his upcoming LP, Dive, set to drop internationally November 14/15. The new track features a cascade of delightfully lazy, modulated melody and halcyon textures that have come to define Scott Hansen's aural project.”

“As seamless as his two creative outlets have been, nearly a decade passed before the release of Hansen’s first proper Tycho LP, Sunrise Projector (originally released in 2004 on Gammaphone Records, later expanded and reissued under the title Past Is Prologue on Merck Records, and ultimately reissued again by Ghostly). And while three striking singles have emerged since then, the sum of all those sepia-toned parts is nowhere near the double-exposed soundscapes of his new, forthcoming album Dive.”

“The track puts out a nice analog warmth that recalls Boards of Canada's soundscapes.”

“Producer Scott Hansen — aka Tycho — could almost fit into the ‘glo-fi’ microtrend, since he has all the required attributes: warm, bubbly, laptop melodies; dinky programmed drumbeats; songs that loop on and on. By contemporary standards, though, he's sophisticated.”

XLR8R premier of “Hours”:
“The song is just plain pretty, yet smartly avoids twee territory with its thick bassline and organic drum sounds. More like this one please.”

“Dive pays tribute to Tycho’s prismatic past, but spends most of its time pointing to the project’s not-so-distant future. That can mean any number of things, really, from the halcyon hooks and hopeful horizons of ‘A Walk’ to the expansive, wildly expressive tone poetry of the title track, an eight-minute epic that unfolds like a compressed concept album.”

“Hansen says he tries to make music that's an artifact from a ‘retro-future, like what people in the '70s thought 2020 was going to look like.’ That cinematic and highly visual style comes through on Tycho's first full-length record for the Ghostly International label, Dive, which will be released in November.”

“his beats will put you straight into one of those indescribable music moods—alert-yet-spacey, awake-but-dreamy, reaching a higher plane of existence.”

“With Tycho's upcoming new album Dive set to drop on November 15 via Ghostly International, we have high hopes for Scott Hansen's electronic project this year. Along with the new release, he's now got us all excited about a tour as well.”

“Tycho mesmerizes listeners with warm, nostalgic synths, engaging beats, and occasional guitar riffs. Appropriately, Tycho performed for Decibel’s Optical series last year as well. This time, he’ll be previewing songs from his upcoming LP, Dive, along with beautiful visual projections.”

PERFECT MIDNIGHT WORLD premier of "Costal Brake":
“'Coastal Brake' is a great jam to kick off the weekend. The track has been floating around blogs for a while, but it’s featured on the new Tycho album coming out in November on Ghostly International. It’s a gorgeous, glimmering dream of a track that feels like the sun going down as you blast north on the PCH.”

NITE VERSIONS premier of "Hours":
“Tycho returns with another great single, and even better – a new album. 'Hours' is the second track (out of 10) listed on his upcoming Dive LP, expected on November 15.”

“...his new single, “Hours,” a nearly six-minute, surfer-wax bumper that doesn’t belie Tycho’s trademark synths-and-keys atmospherics and penchant for more modestly uptempo and tripper-friendly jams.”

INDIE SHUFFLE premier of "Hours":
“Ahh, Tycho. You’ve done it again. You’ve created a dreamy soundscape of soothing, ambient beats that lull the listener into a surreal alternate reality, where everything sounds softer and more subdued.”

“Dive establishes its position as the most diverse musical statement of Hansen’s multi-medium career; the point where his skills as a performer finally catch up with his vaporized vision of a world that doesn’t belong to any particular time or place.”

“If ever a 400ft high Casio RZ-1 were to rise out of the waters off the coast of San Francisco, like an electronic kraken intent on spewing synthetic beats from its innards to sooth the people of the city at sunset, then Scott Hansen would be the man to soundtrack that moment. Otherwise known as Tycho, Hansen produces dreamy, electro beat, chillers.”

“Ghostly International’s Tycho turned out to be one of my favorites of the festival. His music was warm, upbeat, more structured than the previous artists on the bill and involved visual themes of surfing, knee-boarding and winter landscapes. For me, it was a set full of nostalgia for sun-drenched beaches, reminiscent of Delorean or a warmer Boards of Canada, warm flashed of yellow and read synchronized with the downbeat. It set the stage perfectly for a night of harder electronic music that followed.”

“...the beautiful single ‘Hours’ invokes a vague and endless shoreline on a timeless beach somewhere in a contented recollection of the most meaningful September of your life. Each and every track on Dive carries a similar emotional weight.”

“We’re praying for another hot day before August is done. Partly so we can crank this hazy slice of heat-shimmer electro in an appropriate climate, but mostly because we fucking refuse to believe that summer is over so soon.”

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

“Undercutting the players’ remarkable synergy are moments of chaos that segueinto minimalist respites inhabited by quirky computerized sounds. 'Untitled' bears the mechanistic influences of progressive 1970s Krautrock. Nonetheless, the trio delivers a spirited workout throughout, eschewing labels in favor of mood and emotion.”

“Interesting and refreshing to hear Hebden’s melodies used as rhythm while Reid’s drums lay down a smattering of elaborating textures; the drums in this equation are not complimentary or supportive, but the main act, and Hebden’s respect for Reid is evident as his characteristic skittishness is put aside.”

“Shifting from dark and brooding textures to exciting, heavy and powerful features, the double album unfolds in a continuous suite waxing and waning like the unstoppable tide. This unique and fascinating performance is highly recommended for progressive jazz and rock fans.”

“'Lyman Place,' originally from Hebden and Reid's NYC, Gustaffson treats his instrument as a source of sounds rather than a melody generator. His growls are a tasteful addition to the Manhattan garbage truck-load of textures coming from Hebden's laptop. Hopefully Gustaffson and Hebden will continue collaborating. It's a surefire way to keep Steve Reid's spirit alive.”

“Their chemistry is evident in this performance, Hebden weaving a common thread through Reid’s complex rhythms with his key strikes and knobs twists. Add to that Gustafsson horn-blasting you into submission and this set must is one find-fuck of a revelation. What a scene this must have been to behold.”

“Live At South Bank captures the trio's 1.3 hour improvised set, with six extended, highly adventurous jams. Reid motors relentlessly throughout, shifting between reckless, krautrock mania and colorful cymbal shimmers, while Gustafsson, as always, blows his damn brains out--raging, rampaging, head-butting and squawking like a sharp-clawed, pissed off velociraptor.”

“Hebden does laptronica under the name Four Tet, and is something of a star as those things go. Somehow he hooked up with Reid -- a drummer, had a couple of obscure but quite good 1970s avant records, plus a resume that includes Motown, James Brown, and Fela Kuti; sadly, Reid died in 2010, a couple years into a very productive comeback. Gustafsson is a Norwegian saxophonist -- plays tenor and baritone, not specified which here but sounds like mostly bari -- has a group called the Thing, plays a lot with Ken Vandermark and a little with Sonic Youth. He can be unbearably noisy, but holds to an interesting range here, adding soulful depth to the blips and beats.”

“Another album worth its weight in replay value is the astonishing live recording from Four Tet's Kieran Hebden, Swedish saxophone veteran Mats Gustafsson, and long-time drummer Steve Reid on Live at the South Bank (Smalltown Supersound). This is the best thing they've ever released.”

“File this one under a meeting of the masters. Together in this live setting, the trio breathe fire into Hebden and Reid’s sci-fi funk and punk experiments – a wash of gear manipulations and processed sounds, tidal waves of grooves and percussions and hell-bent reed madness.”

“Another album worth its weight in replay value is the astonishing live recording from Four Tet's Kieran Hebden, Swedish saxophone veteran Mats Gustafsson, and long-time drummer Steve Reid on Live at the South Bank (Smalltown Supersound). This is the best thing they've ever released.”

“This is a truly inspired performance, with the band performing six long improvisations, featuring Hebden’s bubbling and zooming electronics and sampling and Reid’s ever changing rhythms, which shift like dunes of sand in the desert wind.”

“This is so far beyond jazz that the term becomes useless: instead, it’s a liberating, occasionally anarchic group sound that evolves as organically as a frank, spirited conversation.”

“The trio are adept at maintaining their building-and-building motion, sustaining a climax over the distance.”

“This is crossover free-jazz of a rare power.'”

“On South Bank -- the most vital and essential document of Reid and Hebden's five-year partnership-- it feels clear that, at least onstage, they were finally able to go the distance. The invocation ‘Morning Prayer’ opens slowly, circling in space with a meditative calm. For 17 minutes, the pair traces lines around the other's rhythm, Hebden's electronics and keys shaping a cradle for Reid's busy tom-and-cymbal patter, and vice versa.”

“The order at which they chose to perform these tunes shows a deep mastery of conveying a message through the constraints of abstract instrumental music. From start to finish, this album plays like a day of life, from 'Morning Prayer' to 'The Sun Never Sets'. The message is timeless: in the eternal present, one is always alive - there is no death among the living.”

PITCHFORK Forkcast of "Lyman Park":
“On June 20, 2009, Kieran Hebden (aka Four Tet), late jazz drummer Steve Reid, and Swedish saxophonist Mats Gustafsson performed in the foyer of the Queen Elizabeth Hall at London's Southbank Centre as part of that year's Ornette Coleman-curated Meltdown Festival. That performance was recorded, and on November 15 Smalltown Superjazz will release a recording of the performance, Live at the South Bank. "Lyman Place" is taken from that release.”

“Given that this is likely the final entry in Reid's catalog, it is a very fitting one: it showcases his astonishing skills as soloist and ensemble player; it also delightfully illustrates deeper and wider aspects in both Hebden's and Gustafsson's musical personas.”

“'Steve (Reid) is the greatest musician I have ever encountered,' Hebden once said. 'Not only was he the best player I've worked with but he was into music like no one else I know... Knowing someone be that into it was truly inspiring.'”

“After playing with the likes of Miles Davis, Fela Kuti and Ornette Coleman, jazz drummer Steve Reid linked up with Kieran Hebden (aka Four Tet) for a number of projects before passing away last year. Now a new live disc believed to be the final authorized recording of Reid is primed to demonstrate the bond between the pair.”

“Recorded in 2009 and evocative of the four LPs the pair recorded before Reid's death last year, the set approaches a kind of electronic free jazz, with Reid's complex live percussion providing the bedrock for Hebden's electronic experimentations and Gustaffson's powerful sax work.”

“Live at the South Bank is a double CD documenting a performance held on June 20th, 2009, in the foyer of Queen Elizabeth Hall at London’s Southbank Centre, part of the Meltdown Festival curated by Ornette Coleman. Kieren Hebden on laptops and electronics; Steve Reid on drums and percussion; Mats Gustaffson on saxophone. I’ll have to have this record, too. Why should I deny myself such beautiful pleasures?.”

“It would be fair, then, to consider this fifth and final recording between the two to be a tribute to Reid, and what ended up being a providential confluence of two innovative musical figures.”

“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)….”

PITCHFORK New Release Announcement with video:

Silver Tongues
“Black Kite”
Karate Body: kbr016

“Louisville’s hidden treasure Silver Tongues, and their debut album Black Kite, serve as a glorious throwback to classic rock bands, where a debut album could freely experiment by dabbling in multiple genres.”

“On their debut album Black Kite, Silver Tongues have finally given a voice to despondence. Something so dark but passively optimistic that you can’t help but want to submerge yourself completely in the quiet madness these nine tracks.”

“This new Louisville band is both confounding and fascinating — the former because of their occasional 'big rock' moves, the latter because of the clear gospel-via-Spiritualized influence we hear ringing throughout.”

“Sounds like the soundtrack to the best movie that you've never seen.”

“this debut from Silver Tongues shows skyward ambition, opening with a prayerful exhortation and closing with an angelic vision.”

“This lion-hearted, genre-bending debut seamlessly rubber-bands slow to mid-tempo tunes, flourishing arrangements, crafty instrumentation and reflective lyrical themes, many of which are saturated in reverb that would find solace in a cathedral — not to mention in one’s headphones.”

THE 405:
“Incorporating some of the soulful melancholy that originates from their Kentucky home, Black Kite glides opaquely from beginning to end.”

“Cronin’s voice is, by the way, one of the main draws here. Cool and unruffled, without much vibrato, it carries easily, the kind that seems to dominate without much strain. You never hear a real break in it, even at the highest registers. And yet there’s an untouchability to it, perhaps coming from the way Cronin surrounds his sound with echo. Even the earthiest songs, blues-vamping ‘Wet Dog’ for instance, have a remote quality, their warmth seeming to come from a long way away.”

“It’s a spiritual encounter of more than 30 minutes, offering vocals with trails of prayers, nostalgia, gospel structures and a smooth integration of music elements. Music that gives wings to your soul, that’s how Silver Tongues sounds to me.”

Midium Records: mid018

ULTIMATE EARS premier of “A Ways To Uprise”:
“When you march your barbarian horde through the streets of a fallen city, atop a fifteen hands high silver wildebeest (using their horns as handles), laser beams sparkling and shimmering over the smoking battlefields, a thousand million pearlescent snakes coiling slowly through the dead city streets, tiny unicorns cowering in their cages, ‘A Ways to Uprise’, the first single from Kerretta’s sophomore album Saansilo, will be your soundtrack.”

CONSEQUENCE OF SOUND premier of “A Ways To Uprise”:
“'A Ways To Uprise' kicks off the album with a sludgy trudge through the trenches of something like The Melvins or the sharper edge of post rock.”

“On their sophomore album, Saansilo, New Zealand–based instru-metallers Kerretta unleash as much mythic riffing as a Peter Jackson–led Lord of the Rings script meeting. The group covers a lot of ground on the CD’s seven tracks, which abound with snaking guitar lines and delicious hypnotic effects.”

“The New Zeland trio’s latest release, though merciless and fierce, is heaven in disc form. Saansilo is nothing shy of stunning and quite possibly one of my favorite releases of the year.”

Hecker, Tim
“Dropped Pianos”
Kranky: krank161

RESIDENT ADVISOR Interview with Tim Hecker:
“I actually began to write them with piano in mind and I used a lot of piano pieces to kind of play with motifs. I actually recorded all that early stuff and released it as Dropped Pianos, but the more I worked on it in the studio the more it became these sort of suffocating, internal, mixing desk only-type of pieces with digital reverbs.”

“Some might say that Dropped Pianos, with all of its gorgeous washes of double and triple tracked piano, is one of the more accessible oeuvres in Hecker’s vast catalog. And although that may well be true, neglecting the warnings of the label’s press release, Dropped Pianos stands on its own as a significant piece of music.”

“It’s rare that two sides of one’s personality can co-exist in the same orbit but Dropped Pianos proves that Hecker’s inclinations will always lead to a state of bliss. Music this beautiful and unpretentious is a rare commodity. There is no fuss or no filler; Tim Hecker is a man that will always deliver the unexpected through the expected.”

“They're compelling mostly because they sound intimate. Where Ravedeath, 1972 had a widescreen flavor, these sketches feel personal and individual. You can imagine Hecker sitting alone at a piano spinning simple yarns, rather than at a huge organ generating worlds of sound.”

“At the heart of those works are the piano and delay experimentation of the sketches present on Dropped Pianos. Though we’re given that glance it doesn’t diminish either work. When you see demo collections you’re often given a glance at the progression of a song from idea to fully formed song. The difference here is that even Hecker’s sketches came out fully formed and ready to be consumed on their own merit.”

“Ambient noise deconstructionist Tim Hecker already released an album this year, Ravedeath, 1972; on October 10, Kranky will release Dropped Pianos, an album of sketches recorded by Hecker last year while preparing to record Ravedeath, 1972.”

ALTERED ZONES preview of “Sketch 5”
“Kranky just announced a follow-up to the release by the name of Dropped Pianos, though its contents-- a series of preparatory sketches for Ravedeath, 1972 -- suggest a wry reversal of narrative causality. ‘Sketch 5’ showcases some delicate alchemical reactions between piano and delay pedal that, in addition to providing a glimpse into his working process, are pretty bewitching in themselves.”

Kranky: krank158

EVERYTHING IS CHEMICAL Interview with Tom & Christina Carter:
“Exile has to do with subversion, inversion, decadence, dissolution, withering, extinction… A lot of reviewers try to find messages of hope on the record, but there really aren’t any messages of hope, per se. There is human fortitude in the face of these things.”

“The album's patient songs stop time in its tracks, freezing moments of thought and emotion so they can be viewed from all angles.”

“This is a record for the somber and focused. Yet more than anything, Exile is defined by a skeletal atmosphere that threads through every track despite the varied density of the instruments and voices droning along, stark in the way more friendly folk music often avoids.”

“...a series of spellbound songs that shimmer and shake for as long as 14 minutes at a time. Getting caught in a K-hole just got its free-folk counterpart.”

“...the struggles they recount are individual ones, and the tongues they speak in now are their own. This is a heavy record, and yet, a reassuring one.”

“Tom and Christina have returned to concentrating on their duo work in more recent years, fusing introspective, open-ended, and often spacious song structures with blasts of feedback and explosive sound often startling to fans familiar only with the band’s deceptively low-key reputation.”


120 Days
03/09 - Bergen, Norway @ Teglverket

Action Beat
04/04 - Paris, France @ Glaz'art

Amen Dunes
02/16 - Birmingham, AL @ Bottletree
02/18 - Houston, TX @ Warehouse Live

Apache Dropout
02/25 - Fort Wayne, IN @ The Brass Rail
02/27 - Bloomington, IN @ Magnetic South
03/07 - Bloomington, IN @ The Bishop
03/11 - Chicago, IL @ Empty Bottle
03/14 - Austin, TX @ Beerland (SxSW Festival 2012)
03/23 - Milwaukee, WI @ Quarter’s Rock & Roll Palace
03/24 - Madison, WI @ Der Rathskeller Memorial Union U. of Wisconsin
03/25 - Bloomington, IN @ The Bishop
04/20 - Bloomington, IN @ Russian Recording

02/23 - NYC @ Rockwood Music Hall
02/24 - Hudson, NY @ Spotty Dog
03/01 - Farmington, ME @ The Landing at University of Maine
03/04 - Vienna, VA @ Jammin' Java
03/13-18 - Austin, TX @ SxSW Festival 2012
03/30 - Philadelphia, PA @ Hitt House Concerts
04/06 - Becket, MA @ Dream Away
04/13 - Charlottesville, VA @ Tea Bazaar
04/17 - Montague, MA @ Montague Bookmill
04/27 - Lewiston, ME @ Guthrie's
04/28 - Belfast, ME @ Free Range Festival 2012

Fred Armisen
02/19 - Philadelphia, PA @ The Trocadero
02/20 - Boston, MA @ Berklee Performing Arts Center
02/21 - Washington, DC @ 9:30 Club
02/22 - Durham, NC @ Carolina Theatre
02/23 - Atlanta, GA @ Variety Playhouse
02/24 - Nashville, TN @ Marathon Music Works

Ed Askew
02/16 - Brooklyn, NY @ Union Pool
02/17 - Brooklyn, NY @ Vaudeville Park
05/08 - NYC @ Judson Church

A Storm Of Light
03/01 - NYC @ Grammercy Theatre
03/02 - Baltimore, MD @ Sonar
03/03 - Raleigh, NC @ Lincoln Theatre
03/05 - Cleveland, OH @ Grog Shop
03/06 - Grand Rapids, MI @ Pyramid Scheme
03/07 - Chicago, IL @ Double Door
03/08 - Minneapolis, MN @ Triple Rock Social Club
03/17 - New Orleans, LA @ One Eyed Jack's
03/18 - Birmingham, AL @ Zydeco

Atlas Sound
02/19 - Tokyo, Japan @ Hostess Club Weekender
02/24 - Los Angeles, CA @ Eagle Rock Centre for the Arts
02/25 - San Francisco, CA @ Bimbo's 365 Club
02/28 - Seattle, WA @ Neumo's
02/29 - Vancouver, British Columbia @ Biltmore Cabaret
03/02 - Minneapolis, MN @ Cedar Cultural Center
03/04 - Cleveland Heights, OH @ Grog Shop
03/06 - Toronto, Ontario @ Lee's Palace
03/07 - Montreal, Quebec @ Cabaret
03/08 - Boston, MA @ Paradise

A Winged Victory For The Sullen
02/15 - Rennes, France @ La Route Du Rock Winter Edition
02/25 - Hasselt, Belgium @ Cch
02/26 - Bruges, Belgium @ Cactus Club
03/19 - Catania, Sicily @ Le Ciminere
03/20 - Palermo, Italy @ Teatro Dante
04/14 - Genk, Belgium @ C-mine Jazz
04/30 - Brussels, Belgium @ Bozar

02/26 - Brooklyn, NY @ Union Pool

03/04 - Brooklyn, NY @ Cameo Gallery
03/06 - Hudson, NY @ Club Helsinki
03/07 - Philadelphia, PA @ Union Transfer
03/20 - Seattle, WA @ Neptune Theatre
03/23 - Los Angeles, CA @ Orpheum Theatre
03/24 - Oakland, CA @ Fox Theatre
03/26 - Chicago, IL @ Vic Theatre
03/30 - Toronto, ON @ Sound Academy
03/31 - Montreal, QC @ Le National

Meg Baird
02/17 - Philadelphia, PA @ Union Transfer
03/10 - NYC @ John Wesley Harding’s Cabinet of Wonders

Aidan Baker
02/17 - Bochum, Germany @ Christuskirche Bochum
02/19 - Utrecht, Netherlands @ dB's Studio
02/21 - Esslingen, Germany @ Jugendhaus Komma

Balloon Magic
02/16 - Albertslund, Denmark @ Forbrændingen

Andrew Bird
03/05 - London, UK @ Barbican Cantre
03/06 - Paris, France @ La Cigale
03/08 - Brussels, Belgium @ Cirque Royal
03/09 - Amsterdam, Netherlands @ Paradiso
03/15 - Dallas, TX @ Majestic Theatre
03/16 - New Orleans, LA @ The Howlin’ Wolf
03/17 - Atlanta, GA @ Tabernacle
03/19 - Nashville, TN @ Ryman Auditorium
03/20 - Columbus, OH @ Southern Theatre
03/22 - St. Louis, MO @ The Pageant
03/23 - Kansas City, MO @ The Uptown Theatre
03/24 - Milwaukee, WI @ Riverside Theatre
04/09 - Seattle, WA @ Paramount Theatre
04/10 - Vancouver, BC @ The Vogue
04/11 - Portland, OR @ Arlene Schnitzer Concert Hall
04/13 - Oakland, CA @ Fox Theatre
04/18 - Mesa, AZ @ Ikeda Theatre at Mesa Arts Center
04/19 - Santa Fe, NM @ Lensic Performing Arts Center
04/20 - Tucson, AZ @ Rialto Theatre
05/03 - Philadelphia, PA @ Union Transfer
05/04 - NYC @ Beacon Theatre
05/05 - NYC @ Beacon Theatre
05/06 - Boston, MA @ House of Blues
05/08 - Washington, DC @ 9:30 Club
05/09 - Baltimore, MD @ Ram’s Head Live
05/10 - Detroit, MI @ The Fillmore Detroit
05/12 - Chicago, IL @ Auditorium Theatre

Sir Richard Bishop
03/15 - San Francisco, CA @ Great American Music Hall
03/16 - Los Angeles, CA @ The Echo
03/18 - Culver City, CA @ Museum Of Jurassic Technology
03/22 - Seattle, WA @ Triple Door
03/23 - Portland, OR @ Mississippi Studios

Black Bananas
02/16 - Washington, DC @ 9:30 Club
02/17 - NYC @ Terminal 5
02/18 - Toronto, Ontario @ Phoenix
02/21 - Los Angeles, CA @ Mayan Theatre
02/23 - San Francisco, CA @ The Regency Ballroom
02/24 - Seattle, WA @ The Showbox

02/24 - Frankfurt, Germany @ Robert Johnson

Bohren & Der Club of Gore
03/23 - Dachau, Germany @ Dachauer Kulturschranne

Bonnie “Prince” Billy
02/24 - Perth, Austrailia @ Piaf (Perth Festival 2012)
02/25 - Margaret River, Austrailia @ Jewel Cave
02/26 - Margaret River, Austrailia @ Jewel Cave
03/01 - Eumundi, Australia @ Joe’s Wateringhole Gaming Lounge
03/02 - South Brisbane, Australia @ Gallery Of Modern Art
03/03 - Byron Bay, Australia @ Hotel Great Northern
03/05 - Sydney, Australia @ Sydney Opera House
03/08 - Melbourne, Australia @ Regall Ballroom
03/09 - Melbourne, Australia @ National Theatre
03/10 - Castlemaine, Australia @ Theatre Royal
04/26 - Holmfirth, UK @ Holmfirth Picturedrome
04/28 - Cheltenham, UK @ The Frog & The Fiddle
05/02 - Penzance, UK @ Acorn Arts Centre
05/03 - Bristol, UK @ Trinity Centre
05/04 - Oxford, UK @ Bullingdon Arms
05/06 - London, UK @ Union Chapel

Peter Brötzmann/Paal Nilssen-Love/Fred Lonberg-Holm
02/19 - London, UK @ Cafe OTO
02/20 - London, UK @ Cafe OTO
02/25 - London, UK @ Cafe OTO

Brute Heart
02/14 - Minneapolis, MN @ First Avenue

California Guitar Trio
02/24 - St. Louis, MO @ The Old Rock House
02/25 - Indianapolis, IN @ Radio Radio
02/26 - Lexington, KY @ Natasha’s Bistro
02/27 - Frankfort, KY @ Kentucky Coffeetree Cafe
02/29 - Athens, GA @ Melting Point
03/01 - Charlotte, NC @ The Evening Muse
03/02 - Asheville, NC @ The Altamont
03/03 - Atlanta, GA @ The 5 Spot
03/04 - Chattanooga, TN @ Rhythym & Brews
03/05 - Birmingham, AL @ Workplay Theatre
03/07 - Jackson, MS @ Duling Hall
03/09 - Houston, TX @ Mucky Duck
03/10 - Austin, TX @ Cactus Cafe
03/11 - Dallas, TX @ Poor David’s Pub
03/12 - Edmond, OK @ UCO Jazz Club
03/20 - Minneapolis, MN @ Cedar Cultural Center
03/22 - Okoboji, IA @ Pearson Lakes Art Center
03/23 - Cedar Rapids, IA @ CSPS
03/24 - Hartford, WI @ Knoll Theatre
03/25 - Evanston, IL @ Evanston Space
03/28 - East Lansing, MI @ Lakehouse Music Concerts
03/29 - Grand Rapids, MI @ Grand Rapids Community College Center
03/30 - Rockford, IL @ Memorial Hall
04/01 - Ann Arbor, MI @ The Ark
04/05 - Cambridge, MA @ Regatta Bar
04/06 - Londonderry, NH @ Tupelo Music Hall
04/07 - Northampton, MA @ Iron Horse Music Hall
04/12 - Terrebone, Quebec @ Theatre du Vieux Terrebonne
04/13 - St. Hyacinthe, Quebec @ Espace Rona du Centre des Arts
04/14 - Quebec City, Quebec @ Palais Montcalm
04/17 - Burlington, Ontario @ Main Theatre Burlington PAC
04/21 - San Louis Obispo, CA @ Spanos Theatre
04/22 - Saratoga, CA @ Carriage House
04/25 - Napa, CA @ Mondavi Theatre
04/27 - Bend, OR @ Tower Theatre
04/28 - Forest Grove, OR @ McReady Recital Hall
05/12 - Pomeroy, OH @ Fur Peace Ranch
07/06 - Redlands, CA @ Redlands Bowl

Bill Callahan
02/08 - NYC @ Lincoln Center/Allen Room (American Songbook Series)

04/20 - Grinnell, IA @ Grinnell Gollege
04/21 - Chicago, IL @ Empty Bottle
05/04 - Louisville, KY @ Zanzabar
05/05 - Bloomington, IN @ Magnetic South

Choir Of Young Believers
03/09 - Los Angeles, CA @ The Echo
03/14-17 - Austin, TX @ SxSW Festival
03/19 - NYC @ Mercury Lounge

02/17-18 - Oulu, Finland @ Rotos Loves Paskis VI 2012

Com Truise
03/14-17 - Austin, TX @ SxSW Festival
06/02 - London, UK @ Field Day

Mikal Cronin
03/02 - San Francisco, CA @ Great American Music Hall
03/03 - Los Angeles, CA @ Troubadour
03/04 - San Diego, CA @ The Casbah
03/05 - Tucson, AZ @ Plush
03/11 - Atlanta, GA @ The Earl
03/13 - Houston, TX @ The Green Room At Warehouse Live

03/02 - Brooklyn, NY @ Glasslands (DJ Set)
03/22 - Toronto, ON @ The Drake Hotel (DJ Set)
04/06 - Los Angeles, CA @ Low End Theory (DJ Set)

Matthew Dear
02/17 - Mexico, City, Mexico @ Club Social Rhodesia (DJ Set)
02/22 - Los Angeles, CA @ Center for The Arts Eagle Rock
02/24 - San Francisco, CA @ Noise Pop Festival
03/02 - NYC @ Bowery Ballroom
03/09 - Raleigh, NC @ King’s Baracade
03/14-17 - Austin, TX @ SxSW Festival
04/12 - Montreal, QC @ Le Belmont (DJ Set)
04/13 - Chicago, IL @ Spy Bar (DJ Set)
04/14 - St. Louis, MO @ 2720 Cherokee (DJ Set)
04/20 - Miami, FL @ Electric Pickle (DJ Set)
04/21 - El Paso, TX @ Lowbrow Palace (DJ Set)

Dirty Three
03/16 - Melbourne, Australia @ Palace Theatre
03/22 - Fortitude Valley, Australia @ The Tivoli
05/25-27 - London, UK @ All Tomorrow’s Parties I’ll Be Your Mirror Festival 2012
05/30 - 06/03 - Barcelona, Spain @ Primavera Sound Festival 2012
06/07 - 06/10 - Porto, Portugal @ Primavera Sound Festival 2012
06/08 - 06/10 - Mansfield, UK @ No Direction Home Festival 2012

02/18 - Vancouver, BC @ Biltmore Cabaret
02/19 - Seattle, WA @ Chop Suey
02/20 - Portland, OR @ Doug Fir
02/23 - Los Angeles, CA @ The Echo
02/24 - Pioneertown, CA @ Pappy & Harriet’s
02/25 - San Diego, CA @ The Casbah
03/21 - Groningen, Netherlands – Vera
03/26 – Colmar, France @ Supersounds Festival at Le Grillen
03/27 – Paris, France @ Glaz’art
03/28 – Tourcoing, France @ Grand Mix
03/29 – London, UK @ Corsica Studios
03/30 – Brussels, Belgium @ Atelier Claus
03/31 – Hasselt, Belgium @ Kunstencentrum
04/01 – Amsterdam, Netherlands @ Paradiso (upstairs)
04/13 – Chicago, IL @ Lincoln Hall
04/14 – Ann Arbor, MI @ The Yellow Barn
04/15 – Toronto, ON @ The Garrison
04/16 – Montreal, QC @ Casa Del Popolo
04/17 – Ithaca, NY @ The Haunt
04/18 – Albany, NY @ Valentine’s
04/19 – Brooklyn, NY @ Glasslands
04/20 – Philadelphia, PA @ Johnny Brenda’s
04/21 – Raleigh, NC @ Kings Barcade
04/22 – Knoxville, TN @ Pilot Light
04/24 – Atlanta, GA @ The Earl
04/25 – Birmingham, AL @ The Bottletree
04/27 – Austin, TX @ Austin Psych Fest
04/28 – Dallas, TX @ Club Dada
04/29 – Memphis, TN @ Hi-Tone Cafe

DoggieWoggiez! PoochieWoochiez! & All Dogs Go On Tour
02/14 - Sacramento, CA @ Bows & Arrows
02/16 - Oakland, CA @ Starline Social Club
02/17 - San Francisco, CA @ Roxie Theater (Indie Fest)
02/18 - Los Angeles, CA @ Cinefamily
02/19 - Irvine, CA @ Acrobatics Everyday
02/21 - San Diego, CA @ Che Cafe
02/23 - Phoenix, AZ @ Filmbar
02/24 - Tucson, AZ @ The Loft
02/25 - Albuquerque, NM @ The Guild
02/27 - Austin, TX @ The Alamo Ritz
02/28 - Austin, TX @ The Alamo Village
02/29 - Denton, TX @ The Rubber Gloves Rehearsal Space
03/01 - Dallas, TX @ The Texas Theatre
03/02 - Houston, TX @ Super Happy Fun Land
03/03 - New Orleans, LA @ Zeitgeist Multi-Disciplinary Arts Center
03/04 - Mobile, AL @ Crescent Theater
03/05 - Jacksonville, FL @ Sun-Ray Cinema
03/06 - Tampa, FL @ Crowbar
03/07 - Gainesville, FL @ The Laboratory
03/08 - Orlando, FL @ Will's Pub (Orange You Glad Festival)
03/09 - Athens, GA @ Cine
03/10 - Atlanta, GA @ Plaza Theatre
03/11 - Nashville, TN @ The Belcourt Theatre
03/12 - Asheville, NC @ Broadways
03/13 - Chapel Hill, NC @ Varsity On Franklin
03/14 - Richmond, VA @ Strange Matter
03/15 - Winchester, VA @ Alamo Drafthouse
03/16 - Washington DC @ The Fridge
03/17 - Baltimore, MD @ The Whole Gallery
03/19 - Philadelphia, PA @ The Ibrahim Theater @ International House
03/20 - Brooklyn, NY @ The Bell House
03/21 - Beacon, NY @ The Coffee Shoppe
03/22 - Worcester, MA @ The Firehouse
03/23 - Providence, RI @ The Cable Car Cinema
03/24 - Boston, MA @ The Coolidge Corner Theatre
03/25 - Portland, ME @ Space 538
03/26 - Bar Harbor, ME @ Reel Pizza
03/27 - Montreal, QC @ Broue Pub Brouhaha
03/28 - Ottawa, ON @ Mayfair Theatre
03/29 - Toronto, ON @ The Drake (Underground)
03/30 - Toronto, ON @ The Drake (The Box)
03/31 - Syracuse, NY @ Spark Contemporary Art Space
04/02 - Pittsburgh, PA @ Garfield Art Works
04/03 - Cleveland, OH @ The Grog Shop
04/04 - Detroit, MI @ Corktown Cinema
04/05 - Ann Arbor, MI @ The Yellow Barn
04/06 - Columbus, OH @ Skylab Gallery
04/07 - Athens, OH @ TBD
04/08 - Cincinnati, OH @ Mayday
04/09 - Louisville, KY @ Zanzabar
04/10 - Knoxville, TN @ The Pilot Light
04/11 - Memphis, TN @ Hi-Tone Cafe
04/12 - Bloomington, IN @ The Bishop

The Ex
03/15 - Dresden, Germany @ Scheune Kulturzentrum
03/16 - Strasbourg, France @ La Laiterie Club
03/17 - Dijon, France @ La Vapeur
03/19 - Limoges, France @ La Fourmi
03/21 - La Rochelle, France @ La Sirene - Espace Musiques Actuelles
03/22 - Rennes, France @ L’Ubu
03/23 - Rouen, France @ Le 106
05/18 - Brighton, UK @ Concorde 2
05/19 - Berlin, Germany @ Lido

Faun Fables
05/04 - Indianapolis, IN @ Radio Radio
05/06 - Asheville, NC @ Jack Of The Wood
05/11 - Columbia, SC @ Conundrum Music Hall

The Fresh & Onlys
02/18 - Vancouver, BC @ Biltmore Cabaret
02/19 - Seattle, WA @ Chop Suey
02/20 - Portland, OR @ Doug Fir
02/23 - Los Angeles, CA @ The Echo
02/24 - Pioneertown, CA @ Pappy & Harriet’s
02/25 - San Diego, CA @ The Casbah

Laura Gibson
02/15 - Norman, OK @ Opolis Production
02/16 - Albuquerque, NM @ Low Spirits Bar & Stage
02/17 - Denver, CO @ Hi-Dive
02/18 - Salt Lake City, UT @ Kilby Court
02/19 - Boise, ID @ Neurolux Lounge
04/17 - Hamburg, Germany @ Dachgarten, Ubel & Gefahrlich
04/19 - Berlin, Germany @ Gruner Salon
04/20 - Gera, Germany @ Buhnen Der Stadt Gera
02/24 - Dusseldorf, Germany @ Zakk
02/25 - Frankfurt, Germany @ Das Bett
04/26 - Erlangen, Germany @ E-Werk Erlangen
04/27 - Geislingen, Germany @ Ratschnmuhle
04/29 - Zurich, Switzerland @ El Lokal

Girl Talk
04/13-15 - Indio, CA @ Coachella Festival 2012
04/20-22 - Indio, CA @ Coachella Festival 2012
06/01 - Ozark, AR @ Wakarusa Festival 2012

04/09 - Rochester, NY @ Boudler Coffee Company
04/10 - Rochester, NY @ Boudler Coffee Company
05/09 - Buffalo, NY @ Mohawk Place
05/10 - Buffalo, NY @ Mohawk Place

Godspeed You! Black Emperor
04/15 - Big Sur, CA @ Henry Miller Library
04/16 - San Francisco, CA @ Great American Music Hall
04/17 - San Francisco, CA @ Great American Music Hall
04/18 - San Francisco, CA @ Great American Music Hall
04/19 - San Francisco, CA @ Great American Music Hall
04/20 - San Francisco, CA @ Great American Music Hall

Gold Panda
06/02 - London, UK @ Field Day

David Grubbs
04/20 - Berlin, Germany @ Hebbel Am Ufer HAU1

David Grubbs & Susan Howe
02/26 - Chicago, IL @ Bond Chapel at The University of Chicago
03/06 - NYC @ The New School
04/05 - New Haven, CT @ Yale University

Half Japanese
03/09 - 12 Minehead, UK @ All Tomorrow’s Parties 2012

Neil Hamburger
03/28 - San Diego, CA @ The Casbah
03/29 - Visalia, CA @ The Cellar Door
03/30 - Sacramento, CA @ Sacramento Comedy Spot
04/04 - Seattle, WA @ Chop Suey
04/05 - Indianapolis, IN @ Star Theatre
04/06 - Vancouver, BC @ Waldorf Cabaret
05/16 - Leeds, UK @ Brudenell Social Club
05/17 - Glasgow, UK @ St. Andrew’s In The Squre
05/19 - Bristol, UK @ Spring And Airbrake
05/21 - Bristol, UK @ The Fleece
05/23 - Liverpool, UK @ Leaf Tea Shop & Bar
05/24 - Manchester, UK @ St. Clements Church
05/25 - Oxford, UK @ The Bullingdon Arms
05/27 - London, UK @ 100 Club

The Handsome Family
02/24 - St. Louis, MO @ St. Louis Art Museum
05/16 - Leeds, UK @ The Brudenell
05/17 - Glasgow, UK @ St. Andrews In The Squre
05/19 - Belfast, UK @ Spring & Airbrake
05/21 - Bristol, UK @ The Fleece
05/23 - Liverpool, UK @ Leaf
05/24 - Manchester, UK @ Chorlton Arts Festival at St. Clements
05/25 - Oxford, UK @ The Bullingdon Arms
05/27 - London, UK @ The 100 Club

Harvey Milk
05/30 - 06/03 - Barcelona, Spain @ Primavera Sound Festival 2012

The Howling Hex
03/24 - Denver, CO @ Oriental Theatre

04/13 - Chicago, IL @ Lincoln Hall
04/15 - Paris, France @ La Maroquinerie

Jealous Sound
02/14 - Allston, MA @ Great Scott
02/15 - Brooklyn, NY @ Knitting Factory Brooklyn
02/16 - Philadelphia, PA @ MilkBoy Philly
02/17 - Cleveland, OH @ Grog Shop
02/18 - Chicago, IL @ Subterranean
02/19 - Minneapolis, MN @ Triple Rock Social Club
02/21 - Denver, CO @ Marquis Theater
02/22 - Salt Lake City, UT @ Kilby Court
02/24 - Portland, OR @ Hawthorne Theatre
02/25 - Seattle, WA @ El Corazon
02/27 - San Francisco, CA @ Bottom of the Hill
02/28 - Los Angeles, CA @ The Satellite

02/14 - Kecskemét, Hungary @ Kilele Music Cafe
02/15 - Ljubljana, Slovenia @ Channel 0
02/16 - Graz, Austria @ Club Wakuum
02/17 - Chemnitz, Germany @ Weltecho
02/18 - Offenbach, Germany @ Hafen 2
02/19 - Strasbourg, France @ Mudd Club
02/21 - Le Havre, France @ Mac Daids
02/23 - Freiburg, Germany @ White Rabbit
02/24 - Esslingen, Germany @ Komma
02/25 - Leipzig, Germany @ Uschis Hardcore-imbe
02/26 - Hamburg, Germany @ Hafenklang
02/27 - Münster, Germany @ Gleis 22
02/28 - Zwolle, Netherlands @ Eureka
02/29 - Metz, France @ La Lucarne
03/01 - Siegen, Germany @ Vortex
03/02 - Mannheim, Germany @ Juz Mannheim
03/03 - Brunswick, Germany @ Nexus

Sophia Knapp
02/23 - Brooklyn, NY @ Union Pool
02/29 - NYC @ Sway
04/24 - NYC @ Bowery Ballroom

Pokey LaFarge
02/16 - Kansas City, MO @ Davey's Uptown Rambler's Club
02/17 - Columbia, MO @ Mojo's
02/19 - Memphis, TN @ Hi-Tone Cafe
02/23 - Bloomington, IL @ Castle Theatre
02/24 - Springfield, Il @ Hoogland Center For The Arts
03/15 - Kilkenny, Ireland @ Cleere’s Theatre
03/16 - Dublin, Ireland @ Ubangi Stomp @ The Grand Social
03/17 - Cork, Ireland @ Crane Lane Theatre
03/18 - Belfast, Ireland @ The Black Box
03/20 - Manchester, UK @ The Deaf Institute
03/21 - Glasgow, UK @ Stereo
03/22 - Aberdeen, UK @ The Blue Lamp
03/23 - Edinburgh, UK @ The Bongo Club
03/24 - Newcastle Upon Tyne, UK @ The Cluny 2
03/25 - Leeds, UK @ Brudenell Social Club
03/27 - Bristol, UK @ The Cooler
03/28 - Brighton, UK @ The Haunt
03/29 - London, UK @ Bush Hall
04/03 - Tonder, DK @ Hagges Musik Pub
04/20 - Amsterdam, NL @ Paradiso

02/17 - Berlin, Germany @ Watergate
02/18 - Oslo, Norway @ Sunkissed
02/25 - London, UK @ Scala
03/03 - Amsterdam, The Netherlands @ Trouw
04/28 - Paris, France @ Social Club
04/09 - Mayrhofen, Austria @ Snowbombing
04/20 - St. Petersburg, Russia @ Dom Beat
04/21 - Moscow, Russia @ Solyanka
05/05 - Stockholm, Sweden @ Debaser

Little Annie
02/19 - Turin, Italy @ Musica 90
02/23 - Milan, Italy @ Bitte
02/25 - Naples, Italy @ obSession, Galleria Toledo
02/26 - Dessau, Germany @ Kurt Weil Fest
02/27 - Dessau, Germany @ Kurt Weil Fest

Lotus Plaza
03/07 - Atlanta, GA @ 529
04/13 - Chicago, IL @ Lincoln Hall
04/14 - Ann Arbor, MI @ The Yellow Barn
04/15 - Toronto, Ontario @ The Garrison
04/16 - Montreal, Quebec @ Casa del Popolo
04/17 - Ithaca, NY @ The Haunt
04/18 - Albany, NY @ Valentine's
04/19 - Brooklyn, NY @ Glasslands Gallery
04/20 - Philadelphia, PA @ Johnny Brenda's
04/21 - Raleigh, NC @ King's Barcade
04/22 - Knoxville, TN @ Pilot Light
04/24 - Atlanta, GA @ The Earl
04/25 - Birmingham, AL @ The Bottletree
04/27 - Austin, TX - Austin Psych Fest
04/28 - Dallas, TX - Club Dada
04/29 - Memphis, TN @ Hi-Tone Cafe

03/09 - Minehead, UK @ All Tomorrow’s Parties Festival
03/26 - Sevilla, Spain @ Teatro Central
03/27 - Barcelona, Spain @ Apolo
03/28 - Madrid, Spain @ Teatro Kapital
03/29 - Santiago de Compostela, Spain, @ Sala Capitol
03/30 - San Sebastian, Spain @ Kursaa
03/31 - Madrid, Spain @ Circulo de Bellas Artes
03/31 - Toledo, Spain @ Circulo de Arte de Toledo
04/02 - Birmingham, UK @ Glee Club UK
04/03 - London, UK @ Royal Festival Hall
04/10 - Denver CO @ Ellie Caulkins Opera House
04/11 - Omaha NE @ Omaha Music Hall
04/13 - Louisville KY @ Louisville Palace
04/14 - Grand Rapids MI @ Covenant Fine Arts Center / Calvin College
04/15 - Milwaukee WI @ Riverside Theatre
04/16 - Chicago IL @ Chicago Theatre
04/19 - Toronto ON @ Massey Hall
04/20 - Montreal QC @ St Jean Baptiste Church
04/21 - Boston MA @ Citi Performing Arts Center / Wang Theatre
04/23 - Providence RI @ Veterans Memorial Auditorium
04/24 - Buffalo NY @ Kleinhan’s Music Hall
04/25 - Philadelphia PA @ Tower Theatre

Magik Markers
02/18 - Brooklyn, NY @ Death By Audio
03/01 - Annandale-On-Hudson, NY @ Bard College

Major Stars
02/29 - Boston, MA @ Church

Mannequin Men
03/14 - Austin, TX @ Beerland (SxSW Festival 2012)

02/18 - NYC @ Tammany Hall (DJ Set)

Mount Eerie
03/03 - Bristol, UK @ Arnolfini
03/05 - Dublin, Ireland @ Button Factory
03/07 - Manchester, UK @ The Ruby Lounge
03/08 - Edinburgh, UK @ The Caves
03/09-11 - Minehead, UK @ All Tomorrow's Parties 2012
03/09 - Leeds, UK @ Brudenell Social Club
03/11 - London, UK @ Union Chapel
03/12 - Brighton, UK @ The Haunt
03/13 - Haarlem, Netherlands @ Patronaat Kleine Zaal
03/14 - Leuven, Belgium @ Het Depot Nieuw Adres
03/15 - Paris, France @ La Maroquinerie
03/16 - Bordeaux, France @ I Boat
03/19 - Barcelona, Spain @ City Hall
03/21 - Feyzin, France @ L'Epicerie Moderne Merge
03/25 - Lausanne, Switzerland @ Le Romandie
03/26 - Wiesbaden, Germany @ Schlacthof
03/31 - Berlin, Germany @ Festall Kreuzberg

Mux Mool
02/16 - Denver, CO @ Cervantes
02/17 - San Francisco, CA @ 1015
02/18 - Missoula, MT @ Palace Theatre
02/25 - Amherst, MA @ Hampshire College
02/29 - Boston, MA @ Wonderbar
03/01 - Burlington, VT @ Metronome
03/02 - Buffalo, NY @ Soundlab
03/09 - Lincoln, NE @ Bourbon Theatre
03/14-17 - Austin, TX @ SxSW Festival
03/26 - Philadelphia, PA @ University of Penn
05/05 - Cambridge, MA @ M.I.T. Campus

Joanna Newsom
03/09 - Minehead, UK @ All Tomorrow’s Parties Festival 2012
03/10 - Minehead, UK @ All Tomorrow’s Parties Festival 2012
03/13 - Brussells, Belgium @ Ancienne Belgique

Night Beats
03/03 - San Francisco, CA @ Great American Music Hall
03/21 - Des Moines, IA @ House Of Bricks
03/22 - St. Paul, MN @ Turf Club
03/23 - Milwaukee, WI @ Quarter’s Rock & Roll Palace
03/24 - Chicago, IL @ Empty Bottle
03/25 - Bloomington, IN @ The Bishop
03/26 - Fort Wayne, IN @ The Brass Rail
03/27 - Detroit, MI @ PJ’s Lager House
03/28 - Cleveland, OH @ Now That’s Class
03/29 - Columbus, OH @ Ace Of Cups
04/07 - NYC @ Mercury Lounge
04/24 - Gainesville, FL @ The Backyard at Boca Fiesta

No Means No
04/04 - Toronto, ON @ Lee's Palace
04/07 - St. Germain en Laye, France @ La Clef
04/08 - Bordeaux, France @ Le Rocher De Palmer
04/09 - Andoain, Spain @ Gaztetxe
04/10 - Vigo, Spain @ La Iguana
04/12 - Porto, Portugal @ Porto Rio
04/13 - Lisbon, Portugal @ ZDB
04/14 - Granada, Spain @ Sala El Tren
04/15 - Madrid, Spain @ La Sala Live
04/16 - Zaragoza, Spain @ Arena Rock
04/17 - Barcelona, Spain @ Apolo 2
04/19 - Firenze, Italy @ Auditorium Flog
04/20 - Milano, Italy @ Cox 18
04/21 - Ljubljana, Slovenia @ Cvetlicarna
04/22 - Brezice, Slovenia @ MC Brezice
04/23 - Osijek, Croatia @ Mini Theatre
04/25 - Zagreb, Croatia @ KSET
04/26 - Vienna, Austria @ Arena
04/27 - Prague, Czech Republic @ Futurum
04/28 - Nurnberg, Germany @ K4
04/29 - Frankfurt, Germany @ Exzess
04/30 - Venlo, Holland @ Perron 55
06/02 - Koln, Germany @ Gebaude 9
06/03 - Bremen, Germany @ 25 Years of Trust Magazine Festival
06/04 - (near) Hamburg, Germany @ Wilwarin Festival
06/05 - Copenhagen, Denmark @ Loppen
06/07 - Tønsberg, Norway @ Total
06/08 - Stavanger, Norway @ Checkpoint Charlie
06/09 - Bergen, Norway @ Garage
06/10 - Lillehammer, Norway @ Felix
06/11 - Trondheim, Norway @ Blaest
06/12 - Oslo, Norway @ Blitz
06/14 - Turku, Finland @ Klubi
06/15 - Tampere, Finland @ Klubi
06/16 - Kuopio, Finland @ Henry's Pub
06/17 - Helsinki, Finland @ Nosturi
06/18 - Järvakandi, Estonia @ Rabarock Festival

Olivia Tremor Control
03/07 - London, UK @ Cargo
03/09-12 - Minehead, UK @ All Tomorrow’s Parties
05/30 - 06/01 - Barcelona, Spain @ Primavera Sound Festival 2012
06/07 - 06/10 - Porto, Portugal @ Primavera Sound Festival Porto 2012

03/08 - Denton, TX @ 35 Denton

Jim O’Rourke
04/15 - Tokyo, Japan @ Studio Coast (I’ll Be Your Mirror ATP Festival 2012)

Papa M
06/02 - London, UK @ Field Day 2012 at Victoria Park

P. G. Six
03/10 - Brooklyn, NY @ Death By Audio
04/12 - Brooklyn, NY @ Public Assembly
04/13 - Easthampton, MA @ Flywheel

02/16 - Munich, Germany @ Orangehouse
02/17 - Luzern, Switzerland @ Treibaus
02/19 - Offenbach, Germany @ Hafen 2
02/20 - Berlin, Germany @ Comet Club
02/21 - Hamburg, Germany @ Prinzebar
02/22 - Esch-Alzette, Luzembourg @ Rockhal
02/23 - Leuven, Belgium @ Stuk
02/24 - Paris, France @ La Fleche D'or
02/25 - Cologne, Germany @ Artheater
02/27 - Amsterdam, Netherland @ Bitterzoet
02/28 - London, UK @ Cargo
03/01 - Manchester, UK @ Castle Hotel

02/27 - Albany, NY @ Valentine’s
02/28 - Easthampton, NY @ Flywheel
02/29 - Boston, MA @ Church of Boston
03/01 - Annandale-On-Hudson, NY @ Bard College
03/02 - Brooklyn, NY @ Zebulon
03/03 - NYC @ Le Poisson Rouge

Ravens & Chimes
03/06 - Zurich, Switzerland @ Ziegel auLac
03/07 - Bern, Switzerland @ Progr/Turnhalle
03/08 - Basel, Switzerland @ Hinterhof
03/09 - Massa Ms, Italy @ Tagomago
03/10 - Bologna, Italy @ Covo
03/15 - Vienna, Austria @ Arena
03/18 - Dresden, Germany @ Scheune
03/20 - Bamberg, Germany @ Morph
03/21 - Munich, Germany @ Rote Sonne
03/22 - Schorndorf, Germany @ Manufaktur
03/23 - Friedburg, Germany @ Swamp
03/24 - Weinheim, Germany @ Café Central
03/26 - Frankfurt Am Main, Germany @ Brotfabrik
03/27 - Hamburg, Germany @ Zentrale
03/28 - Berlin, Germany @ Deutsches Theater/Box
03/29 - Hannover, Germany @ Feinkost Lampe
03/30 - Copenhagen, Denmark @ Pumpehuset
03/31 - Esbjerg, Denmark @ Studenterhuset
04/04 - Bourran, France @ Le Grand Mix
04/05 - Paris, France @ La Maroquinerie
06/01 - NYC @ WNYC Greene Space

02/23 - London, UK @ The Lexington
02/24 - London, UK @ Koko

Megan Reilly
02/15 - Brooklyn, NY @ The Bell House
03/22 - Boston, MA @ Cafe 939

Alasdair Roberts
02/24 - Glasgow, UK @ Margins Book & Music Festival
03/06 - Glasgow, UK @ Stereo
03/08 - Leeds, UK @ Howard Assembly Rooms
03/30-31 - Barcelona, Spain @ Mini Festival 2012
05/23 - London, UK @ The Slaughtered Lamb
11/14 - Torquay, UK @ Princess Theatre

Alasdair Roberts & Mairi Morrison
02/25 - Glasgow, UK @ CCA
05/22 - Milton Keynes, UK @ The Stables
05/23 - London, UK @ The Slaughtered Lamb
06/02 - Stornway, UK @ An Lanntair

Ty Segall
03/02 - San Francisco, CA @ Great American Music Hall
03/03 - Los Angeles, CA @ The Troubadour
03/04 - San Diego, CA @ The Casbah
04/13 - Kenyon, OH @ Kenyon College
04/27 - Berkeley, CA @ UC Berkeley
05/03 - Portland, OR @ Star Theatre
05/04 - Vancouver, BC @ Waldorf Hotel
05/05 - Seattle, WA @ Chop Suey
05/06 - Missoula, MT @ The Palace
05/08 - Minneapolis, MN @ 7th Street Entry
05/09 - Madison, WI @ High Noon Saloon
05/10 - Chicago, IL @ Lincoln Hall
05/11 - Detroit, MI @ Lager House
05/12 - Toronto, ON @ Horseshoe Tavern
05/13 - Montreal, PQ @ Il Motore
05/14 - Portland, ME @ Space Gallery
05/16 - NYC @ Webster Hall
05/18 - Philadelphia, PA @ Johnny Brenda’s
05/19 - Raleigh, NC @ King’s Baracade
05/20 - Atlanta, GA @ The Earl
05/21 - Nashville, TN @ The End
05/22 - Memphis, TN @ Hi-Tone Cafe
05/23 - Little Rock, AR @ White Water Tavern
05/24 - Houston, TX @ Walter’s
05/25 - Austin, TX @ Mohawk

School of Seven Bells
02/28 - NYC @ Mercury Lounge
03/01 - NYC @ Mercury Lounge
04/04 - Philadelphia, PA @ Johnny Brenda's
04/05 - Washington, DC @ Black Cat
04/06 - Asheville, NC @ Grey Eagle Tavern
04/07 - Atlanta, GA @ The Earl
04/08 - Birmingham, AL @ Bottletree
04/10 - Baton Rouge, LA @ Spanish Moon
04/11 - Houston, TX @ Fitzgerald's Downstairs
04/13 - Austin, TX @ The Mohawk
04/14 - Fort Worth, TX @ Modern Art Museum of Fort Worth
04/15 - Kansas City, MO @ The Riot Room
04/16 - Denver, CO @ Larimer Lounge
04/17 - Salt Lake City, UT @ Urban Lounge
04/19 - Los Angeles, CA @ Echoplex
04/20 - San Francisco, CA @ TThe Rickshaw Stop
04/22 - Portland, OR @ Doug Fir Lounge
04/23 - Seattle, WA @ The Crocodile
04/24 - Vancouver, BC @ Electric Owl
04/27 - Minneapolis, MN @ Triple Rock Social Club
04/28 - Chicago, IL @ Lincoln Hall
04/29 - Bloomington, IN @ The Bishop
04/30 - Detroit, MI @ Magic Stick
05/02 - Toronto, ON @ The Hoxton
05/03 - Montreal, QC @ La Sala Rossa
05/04 - Boston, MA @ Brighton Music Hall
05/05 - NYC @ Le Poisson Rouge

02/15 - Los Angeles, CA @ Low End Theory
02/16 - San Diego, CA @ Kava Lounge
02/17 - San Francisco, CA @ 1015 Folsom
02/18 - Missoula, MT @ Palace Lounge
02/25 - Amherst, MA @ Hampshire College
02/29 - Boston, MA @ Wonderbar
03/01 - Burlington, VT @ Metronome
03/02 - Buffalo, NY @ Soundlab
03/14-15 - Austin, TX @ SxSW Festival
03/22 - Los Angeles, CA @ King King
03/23 - San Francisco, CA @ Yoshi’s
03/24 - Sebastopol, CA @ Hopmonk Tavern
03/25 - Santa Cruz, CA @ Moe’s Alley
03/28 - Arcata, CA @ Arcata Theatre
03/29 - Eugene, OR @ Wow Hall
03/30 - Portland, OR @ Doug Fir
03/31 - Bellingham, WA @ Wild Buffalo
04/01 - Seattle, WA @ Neumo’s

Sic Alps
02/25 - San Francisco, CA @ Brick & Mortar Music Hall

Ben Sollee
02/21 - Los Angeles, CA @ Hotel Cafe
03/07 - Sydney, Australia @ The Basement
03/10-12 - Victoria, Australia @ Port Fairy Folk Festival
03/14 - Melbourne, Australia @ The Toff in Town
03/16 - Brunswick, Australia @ Mechanic Institute Performing Arts Center
03/17 - Victoria, Australia @ MossVale Music Festival 2012
03/18 - Katoomba, Australia @ Blue Mountain Music Festival 2012
03/21 - Canberra, Australia @ Street Theatre
03/22 - Sydney, Australia @ The Vanguard
04/13-14 - Louisville, KY @ Whitney Hall with the Louisville Ballet
04/26-28 - Charlotte, NC @ Knight Theatre
05/06 - Knoxville, TN @ Bijou Theatre

Southern Culture On The Skids
03/16 - Asheville, NC @ The Grey Eagle
03/17 - Greensboro, NC @ Blind Tiger
03/23 - Greenville, SC @ The Handlebar
03/24 - Isle Of Palms, SC @ The Windjammer
04/21 - Wilmington, NC @ Riverfront Park
05/04 - Baltimore, MD @ Ram’s Head Onstage
05/05 - Sellersville, PA @ Sellersville Theatre
05/25 - Kansas City, MO @ Knuckleheads
05/26 - Booneville, MO @ Pedaler’s Jamboree

Speck Mountain
03/08 - Chicago, IL @ The Hideout

Todd Terje
07/12-15 - Benicassim, Spain @ Festival Internacional de Benicassim 2012

03/01 - NYC @ Grammercy Theatre
03/02 - Baltimore, MD @ Sonar
03/03 - Raleigh, NC @ Lincoln Theatre
03/05 - Cleveland, OH @ Grog Shop
03/06 - Grand Rapids, MI @ Pyramid Scheme
03/07 - Chicago, IL @ Double Door
03/08 - Minneapolis, MN @ Triple Rock Social Club
03/09 - Kansas City, MO @ The Beaumont Club
03/10 - Little Rock, AR @ Downtown Music & Records
03/11 - Memphis, TN @ Hi-Tone Cafe
03/12 - Dallas, TX @ Trees
03/17 - New Orleans, LA @ One Eyed Jack's
03/18 - Birmingham, AL @ Zydeco
04/06 - Gainesville, FL @ The Atlantic
04/07 - Miami, FL @ Churchill's Pub

02/16 - Amsterdam,Netherlands @ Paridiso
02/17 - Luxembourg, Luxembourg @ Exit 07
02/18 - Copenhagen, Denmark @ Gretchen
02/19 - Copenhagen, Denmark @ Loppen
02/22 - Milan, Italy @ Magnolia
02/24 - Paris, France @ Batofar
02/25 - London, UK @ Cargo
02/26 - Antwerp, Belgium @ Trix
03/14-17 - Austin, TX @ SxSW Festival

02/14 - Salt Lake City, UT @ Urban Lounge
02/15 - Boise, ID @ Neurolux
02/17 - Seattle, WA @ Neumos
02/18 - Vancouver, BC @ The Media Club
02/19 - Portland, OR @ Bunk Bar
02/22 - San Francisco, CA @ Great American Music Hall (Noise Pop Festival)
02/24 - Hollywood, CA @ Troubadour
02/25 - Pamona, CA @ The Glass House
02/26 - San Diego, CA @ The Casbah
02/27 - Phoenix, AZ @ The Crescent Ballroom
02/28 - Albuquerque, NM @ Launchpad
03/02 - Kansas City, MO @ Record Bar
03/03 - Omaha, NE @ Slowdown

04/11 - San Jose, CA @ Blank Club
04/12 - San Francisco, CA @ Great American Music Hall
04/13 - Los Angeles, CA @ Troubadour
04/14 - San Diego, CA @ The Casbah
04/19 - Austin, TX @ The Mohawk
04/24 - Gainesville, FL @ Double Down
04/25 - Atlanta, GA @ The Loft
04/29 - NYC @ Webster Hall
05/02 - St. Louis, MO @ Firebird
05/07 - Dallas, TX @ Trees
05/24 - 27 Baltimore, MD @ Maryland Deathfest 2012

Whistle Peak
03/03 - Louisville, KY @ Zanzabar

Wild Belle
02/28 - Santa Barbara, CA @ Soho Restaurant & Music Club
02/29 - San Diego, CA @ The Casbah
03/01 - Los Angeles, CA @ Echoplex

Christopher Willits
03/01 - San Francisco, CA @ Public Works

02/25 - Dayton, OH @ Canal Street Tavern
03/03 - NYC @ Cake Shop

Young Dreams
02/21 - London, UK @ Madame JoJo’s
02/24 - London, UK @ Koko
02/24 - London, UK @ Madame JoJo’s

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