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Tuesday, March 27

CTD Press Update 3/27/12!

CTD Press Update 03/27/2012
Now Available Exclusively/Semi-Exclusively from CTD:

Choir of Young Believers
"Rhine Gold"
Ghostly International: gi153

ROLLING STONE premier of "Patricia's Thirst":
“Founding songwriter and vocalist Jannis Noya Makrigiannis explains that the lush ‘Patricia's Thirst’ is structurally different than the group's other tracks. ‘Patricia's Thirst' is the fastest and shortest song we have ever recorded in the band. Not that it is particularly fast or short, but for us it is,’ Makrigiannis says. ‘Nis Bysted and Aske Zidore, our two friends who produced and recorded the song with us, forced us to play the song three times as fast in the studio as we intended. I was almost crying in despair and felt very misunderstood, but after screaming at each other for half a day, I actually ended up preferring their tempo over ours.’”

CONSEQUENCE OF SOUND premier of "Patricia's Thirst":
“As our first taste off the record, the band has premiered 'Patricia’s Thirst'. COYB is known for a lonesome, folk-infused sound, but this track has a decidedly ’80s lean to it. Thanks to a heavy groove and a squawking guitar, Makrigiannis sounds less alone than ever, newly alive with the warmth of collaboration. But even still, the track maintains the group’s aesthetic of larger-than-life, nuanced soundscapes.’”

“Choir of Young Believers were performing cuts from forthcoming sophomore album, Rhine Gold. Even though extended cut ‘Paralyse’— which clocks in at ten minutes—was cut significantly short, it was a rousting set of bittersweet, retro-flavored pop tunes. Frontman Jannis Noya Makrigiannis’ Andrew Bird-like voice proved as strong as it is in recordings.”

PASTE MAGAZINE premier of "Nye Nummer Et":
The band is offering a preview of the Rhine Gold track titled 'Nye Nummer Et.' It’s a stacked track that, aside from the obligatory guitars, drums and bass, features trickling digital noise and strings. 'Nye Nummer Et' easily recalls some of Ra Ra Riot’s slower, more melodic moments.’”

“If Rhine Gold hews closely to the template of its predecessor, it expands on it in every way. Now a proper band, the collaborative dynamic has imbued their sound with more authority and daring, as Choir inhabits a wholly unique space where intimate folk, classic Krautrock, big-sky Americana, avant-garde composition and bombastic theatricality seamlessly serve the same master.”

STEREOGUM premier of "Patricia’s Thirst":
“…another cut of lush instrumental pop with Makrigiannis' pleading vocals cutting through.”

KEXP Song Of The Day for "Patricia's Thirst":
“On March 2, the label will release Choir of Young Believer’s sophomore album, Rhine Gold, and today’s featured song, ‘Patricia’s Thirst,’ is an instant single, showcasing the band’s seamless blend of electronic and traditional instrumentation, as well as Makrigiannis’s vocals, which wash over the song like a reverberating river of beautiful electricity (he has a good voice).”

“There are many subtleties that can only be appreciated after listening to Rhine Gold several times, and so far I’ve found something new to like each time. Rhine Gold is an album that demands scrutiny, and it’s definitely worth taking the time to engage in. I’m looking forward to see what these Danish songwriters have up their sleeves.”

EXCLAIM review of Choir of Young Believers at SxSW 2012:
“Still, the Danish band played a brand of expertly crafted avant-pop reminiscent of the best days of Talk Talk with a great melodic sense.”

“Danish troubadour Jannis Noya Makrigiannis continues to refine the sonic cathedrals of reverb and melancholy he established in his debut...a kissing-cousin to Andrew Bird’s vocal slur.”

“... a wisp of Wilco here, a brush of Neil Young there. Some Paul McCartney and some NEU! that litter pieces of the nine tracks on Rhine Gold.”

“... grand, sweeping, and lush.”

Newbury, Mickey / Bill Callahan
"Heaven Help The Child (Split)"
Drag City: dc476x

“Last year, Drag City released Bill Callahan's album Apocalypse. They also reissued a bunch of material by country singer/songwriter Mickey Newbury, collected in the box set An American Trilogy. On March 27, the label will release a split 7" featuring Callahan covering Newbury's 1973 track ‘Heaven Help the Child’ on the B-side of Newbury's original.”

Ghostly International: gi143

“Now, seven years later, the once-Ohio-based producer (last we checked, he had hopped across the pond and landed in Barcelona) has quietly returned to the home of his well-received debut with a new, 11-track LP entitled R+B=?. If ‘For Sake’ is any indication, this new outing finds White picking up about where Viscous Solid left off, folding open sonic spaces and rich electronics into his melodic, at times jazzy, acoustic guitar-led productions.”

“Aeroc sees White pick up where his maiden Aeroc LP left off, making use of strings, keys and snappy hip-hop percussion on almost all of R+B=?'s 11 tracks. Though, stylistically, it's a far cry from the techno and house productions White is perhaps best known for, the overall sound remains somewhat related—minimal, glitchy and bass-heavy.”

Mairi Morrison & Alasdair Roberts
Drag City: dc498

“Roberts and Morrison perform here with a full band (and a rotating cast of guest musicians), and Urstan has a looser, more live feel than anything Roberts has previously recorded. Indeed, the album is full of superlative performances, and exudes an uncommon level of energy and joy, even at its more melancholic moments, and is a far cry from Roberts’ often cold and hermetic (but excellent) solo performances.”

“For Roberts, who was treading dangerously close to diminishing returns with each release, it’s a record that sounds distinctly different than the last few and should be refreshing to his followers. For Morrison, a relative unknown in the U.S., it could perhaps pave the way to an international audience. She possesses a beautiful, soothing voice, even when she’s singing in a language common to only a handful of small islands. Urstan is worth a plunge, even for listeners new to the musical genre.”


Stone Breath
"The Night Birds Psalm"
Hand Eye: h/e053

"This is one of the heaviest albums I have ever heard, and there’s not one shred of distortion within. The music is like but not like Earth or Master Musicians Of Bukake in that realm where formal parameters are referred to but never willingly embraced. Or perhaps so fully understood that it stands in between medieval folk, world, metal and chant music so skilfully it creates it’s own destination, a name for which I don’t believe should be said, just heard. Suffice to say this music isn’t made by art school hipsters trying to fit into Pitchfork, this music is heavy shit. Occult, wyrd, rustic, soulful, exquisitely played hermetically sealed inside it’s own deeply serious and intoxicating universe.”

“The Night Birds Psalm – released onHand/Eye Records has catchy bastard songs of sinners, songs of killers, and songs of Springheel Jack-type underworld characters that no good Euro-X-tian would DARE to class as Inspired By The Lord. So, if yooz searching for compelling bare-arsed WHICKER MAN chants, Odinist tales of one-eyed sages, and banjo-driven odes to Devil children, then look no further than Brother Revelator and his righteous ensemble Stone Breath.”

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

STOOL PIGEON Interview with Lotus Plaza:
“Reflection on companionship sustained over time and distance has always bled through his output — both on previous solo LP The Floodlight Collective and on his often-standout tracks written appearing on Deerhunter records — and on Spooky… that exploration is continued.”

“Deerhunter guitarist Lockett Pundt's first LP as Lotus Plaza, The Floodlight Collective, was slathered in the kind of six-string amniotic goo that continues to be all the rage within indie musical culture. On a whole, it was an enjoyable first step, but ‘Strangers’, the first single from Pundt's forthcoming follow-up, Spooky Action at a Distance, finds him making considerable growth as a solo artist.”

“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.”

"Dive (Single)"
Ghostly International: gi152

XLR8R premier of "Dive (Keep Shelly In Athens Remix)":
“There's been absolutely no shortage of praise for San Francisco producer Tycho's excellent Dive LP on this website, and at this rate, it won't be letting up any time soon. The latest reminder of that album's sepia-soaked synths and angelic atmospheres is this remix of the title track by Grecian blog darlings Keep Shelly in Athens, which basically deconstructs the original song and reshapes it into something even more drifty and warm.”

“The remix by Greek underground duo Keep Shelly in Athens removes the reliable sound of a dance beat by rapidly increasing the tempo in favor of slowing down and distorting the synths for an airy feeling and experience. The once consistent female vocals now weave in and out of the track resulting in a much more haunting and distant ‘Dive’ than the original. Instead of wanting to grab your friends and head to the dance floor, KSIA's ‘Dive’ is a track more suitable for the privacy of headphones in your own room.”

“Tycho (aka Scott Hansen) released the very solid Dive LP last year and has been touring in support of it. On April 3, he'll release a 12" single for the album's title track which includes remixes of the song by Memoryhouse and Keep Shelly in Athens.”

DEATH & TAXES premier of "Dive (Keep Shelly In Athens Remix)":
“Keep Shelly in Athens and Memoryhouse have remixed Tycho’s 'Dive' for the April 3rd single release. The Tycho original is perhaps the strongest track on the recently released LP Dive, and Keep Shelly in Athens preserve its glazed atmospherics, but subdue it into an even more relaxed state.”

"Forever Grinning"
Splendour: sple015

PITCHFORK premier of "Forever Grinning":
“On March 26, Danish soft-psych outfit Thulebasen will release a new EP, Forever Grinning, via Tambourhinoceros and Splendour. Along with the title track, the EP will feature remixes from Black Dice's Eric Copeland, Lucky Dragons, Gala Drop, and others.”

"Perfect Teeth"
Teenbeat: tb119

“DC indie-poppers Unrest, as far as I'm concerned, made two unimpeachable classics in the early 1990s. The first, 1992's Imperial f.f.r.r., got a lush reissue in 2009 via the band's label, Teenbeat. Doing justice to the other one, 1993's Perfect Teeth, is a bit more complicated: The original Teenbeat release was an awesomely over-the-top collection of six 7-inches.
Good news, then. Teenbeat is reissuing the album in all of its boxed-set glory, with six 7-inches plus a handful of bonus tracks (that weren't on the 1993 CD or LP versions) sprinkled among them.”

“Perfect Teeth would be one of five records I would hand someone if they wanted me to explain indie-rock. To me, this album is about as perfect as they get. It brings together excellent songs while breaking many unwritten standards for great records. Unrest created a timeless slice of indie-rock that was both ahead of its time and a direct reflection of its time.”

“Teenbeat are re-releasing Unrest's PERFECT TEETH, no cheap jewel case shenanigans mind, but a beautifully boxed collection of six colored 7 inch records with extra tracks. Hats off to you Mark Robinson… it looks so lush…those poppy hooks and that jangled sizzle, grabbing the focus, simple songs full of mileage.”

“Unrest’s landmark indie-rock album, Perfect Teeth, has been out of print for 15 years. Their last, and widely considered their best album. Featuring MTV hits ‘Make Out Club’ and ‘Cath Carroll’, the other 8 songs, plus 6 non-LP tracks…it is being re-released in it’s original 7″ vinyl box set format, revised with a 7″ 24-page booklet filled with photographs of the band by Erin Smith and recording session photos by Mark Robinson, six records all on color vinyl, full-color labels, replicas of the Unrest and Teen-Beat stickers, and a download coupon.”

“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.”

Matthew Dear
"Headcage EP"
Ghostly International: gi151

“‘In the Middle (I Met You There)’ is the highlight, with a dreamy, layered, and beat-heavy intro that Daedelus would be proud of, that evolves into a showcase for the lovely vocal of The Drums’ Jonathan Pierce, which eventually Dear squashes like bad fruit to gain great, melodic rewards. This, set amidst an electronic landscape, that mixes a classical sensibility and a love of pop (bringing to mind Owen Pallett and Grizzly Bear) is what makes this one of the best songs of Dear’s long and varied career.”

IMPOSE premier of “Headcage” video:
“the EP's title track Dear conjures sounds similiar to Talking Head's "Listening Wind", but dodges the atmospheric edge and steers it towards a healthy new wave frontier. His baritone plants debaucherous enticements in your ear to stay out late, like it was coming from that little devil on your left shoulder that wants what's best for your liver.”

“‘In the Middle (I Met You There),’ however, finds Dear at his best. With Jonny Pierce of The Drums on lead vocals, Dear can really dig into the beat, which with touches of hip-hop and waterfalling organs might be one of his best solo tracks.”

STEREOGUM premier of "Headcage":
“EP’s title track features Matthew singing over a superb, churning polyrhythmic electro production.”

“A continued evolution of the sound he’s been crafting since 2007’s Asa Breed that is very welcome.”

“He has now proven he knows how to play with pop structures while exploring a cohesive sound.”

“If Headcage is a precursor to Dear's new sound, 2012 will be the year he finally emerges from his shell.”

“It sounds like something off Talking Heads’ Remain in Light slowed to 16 rpm, or like the birth of romantic-minimalist bleep techno, submerged in molasses. I can imagine DJs pitching this to +16 for club purposes. Dear croons with a voice somewhere between Bill Callahan and Barry White, and the effect is creepily sensual.”

"Red Parole"
Karate Body: kbr018

“Throbbing menace envelopes Red Parole, but its melodic core, as thin as a piece of string, is as hard - and just as sharp - as an unplucked diamond.”

“While Red Parole retains the brooding nature that inhabits (and marks) the band's genetic code, it's definitely a full-length that moves into a heavier direction, bringing a plumper guitar sound that reminds me of mid- to late-70s rock influence. I've heard the use of the word ‘noirish’ to describe Seluah's direction.”

“Taking a wee wander through the full album unveils nine tracks that swim in atmosphere and depth. Hypnotic melodies wander around coated in lush instrumentation and the vocals sit perfectly in the mix, working as an additional instrument at times rather than the delivery of hooks.”

“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.”

Ty Segall & White Fence
Drag City: dc503

PITCHFORK premier of "I Am Not A Game":
“Bay Area garage heroes Ty Segall and White Fence are set to release collaborative LP Hair on April 24 via Drag City. Here's a track from the album, the '60s psych-leaning, organ-driven 'I Am Not a Game'.”

Megan Reilly
"The Well"
Carrot Top Records: saki051

KUT premeir of “Sew The Threads Into Your Heart”:
“Reilly is set to release her third record The Well on April 24 –and it’s well worth the wait. Reilly comes right out of the gate with the excellent 'Sew The Threads Into Your Heart,' today’s song of the day. You can hear a bit of Loretta Lynn and Dolly Parton in Reilly’s strong vocals. She belts out her lyrics over a hypnotic, and vaguely psychedelic, alt-country melody.”

AOL SPINNER video premier of “Old Man & The Bird”:
“‘My good friend John Wesley Harding came to me with a new song he had written,' Reilly tells Spinner. 'He said it made him think of when we first met at a club in Memphis when I was 19 and I sang the traditional 'Cuckoo' song. 'Old Man and the Bird' is deceptively simple and I immediately loved it as a track for my new album, The Well. I have always loved birds and am happy to play the part of one. We recorded this video on my front porch.’”

“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.”

“The night opened with John Wesley Harding playing songs from his latest venture The Sound of His Own Voice. He opened with ‘Sing Your Own Song,’ the inspiring song with the advice that sometimes we just need to open our mouths and sing. He followed with ‘Starbucks,’ and then brought out Megan Reilly, a guest at a future Cabinet, to perform ‘Old Man and the Bird,’ a song on her upcoming album.”

Dope Body
"Natural History"
Drag City: dc513

PITCHFORK premier of "Lazy Slave"
“On May 22, Drag City will release Natural History, the second album from Baltimore rock deconstructionists Dope Body. The album follows up last year's physical, beguiling Nupping; "Lazy Slave" is our off-kilter first taste from the new one.”

Marissa Nadler
"The Sister"
Box Of Cedar: boc002

“I've only had the time to spin Marissa Nadler's ‘The Wrecking Ball Company’ four times since its release today, but I'm pretty comfortable in calling it an early frontrunner for track of the year. To say my anticipation for The Sister is at new heights after hearing this track would be an understatement.”

“Over the years Nadler has perfected the tear-jerker, and 'Wrecking Ball Company' is certainly no exception..”

“Call it dream-folk, call it haunting, but I think we can all agree that Marissa Nadler’s new song, 'The Wrecking Ball Company', is a thing of beauty. It slowly builds with not much more than Nadler’s epic vocals rising high alongside light finger picking.”

“'The Wrecking Ball Company' is a sparsely beautiful effort that emphasizes Nadler’s soaring vocals even more than usual. Acoustics trickle down like rain, as a snare drum creeps in as the guitar progressions increase in intricacy. It’s an excellent track, with her trademark ghostly and serene sound, to get us excited for The Sister. If this is indication of the entire album, it’s poised to be another success.”

“The track, named 'The Wrecking Ball Company', is a slow paced and atmospheric take on Marissa’s previously established sound that plays out like an old movie. The subtle voice of the finger style guitar fills out the track while Marissa’s own vocal parts dance harmoniously over the layers. The two working together give the track an other worldly feel that is as beautiful as it is haunting.”

“Whereas last year’s self-titled album was, for the most part, a sinless and endearing Americana record, 'The Wrecking Ball Company' finds her in all-out séance mode – as slow-burning fingerpicks and a soul-straining vocal performance steadily build toward a stirring brew of wordless howls and reverberating country fog. It’s a song of staggering beauty, and a welcome refinement of Nadler’s more ethereal inclinations.”

“It’s a slow, methodical cut of finger-picked guitar that reveals its somber, vaguely ethereal intentions like a truly great horror flick.”

“The first track to be taken from her upcoming album The Sister, the companion to last year’s eponymous full-length, ‘The Wrecking Ball Company’ is every bit as delicate and ethereal as we could have hoped. Nadler’s siren like vocals accompany gentle, finger-picked guitars from the start before sparse instrumentals unfold to reveal a lavishly adorned number.”

“The first taste of The Sister comes in the form of 'The Wrecking Ball Company,' a track that has less of the instrumentation that brightened Marissa Nadler and instead is a dark and brooding song based around acoustic guitar that really lets Nadler’s vocals shine.”

“Beautiful new track from the singer-songwriter. This is the latest single off her newest album The Sister her sixth album in eight years. It has a very dream like atmosphere, and the vocals provided by Miss Nadler, are nothing short of remarkable.”

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.”

Neneh Cherry & The Thing
"The Cherry Thing"
Smalltown Supersound: sts229

“The idea of this album isn't as crazy as you might think. The members of the Thing first met recording Don Cherry compositions, and their name is derived from a Don Cherry song. The Thing have become known for their renditions of songs by the likes of Yeah Yeah Yeahs, the White Stripes, and Lightning Bolt. Members of the band have collaborated with Thurston Moore, Jim O'Rourke, and more.”


"Foreign Body”
Kranky: krank162

“It's a funny sort of irony that by building a series of small, subtle movements on top of one another, Fortino and Harris constructed something huge.”

“Foreign Body is the pair's collaborative record as Mirrorring, and it effectively and purposefully combines their respective sounds. Tension is the driving force for these six compositions, as each builds from electro-acoustic whispers to landscapes that range from paralyzing paranoia to a glistening sense of subliminal bliss. The recordings feel realized and complete, but never too dense, and while listening I feel placed distinctly between either musician, their sounds tearing from various angles.”

“Foreign Body may be the work of collected nostalgia but it is not its playground. Harris and Fortino willingly discard their bare necessities to fashion a new vessel. Though it is sure to evoke differing moods among its passengers, it refuses to seek the same terrain no matter how familiar it may seem. It’s all an illusion and we are the marks to Mirrorring’s disappearing act.”

“Foreign Body is stunningly beautiful, crafted with tremendous care and talent. Could we expect anything less from two musicians of the caliber of these two women? Although it’s not explicitly “about” anything, the record is profoundly troubling—spectral, pained and cryptic. There are moments here to take your breath away..”

NME 8/10:
“Anyone familiar with either Grouper or Tiny Vipers’ Jesy Fortino should be able to build up a reasonably accurate mental picture of what a collaboration between the two would sound like. Hazy, droning backdrops? Check. Muffled acoustic guitars? Check. Delicate vocals submerged in the background? Check. Still, they’re so well suited that the pair’s beautiful and sad debut album as Mirroring proves far more than the sum of its parts.”

BOWLEGS 9.5/10:
“Ever tried playing Tiny Vipers and Grouper records simultaneously? Me neither – and with the release of Mirrorring you won’t have to. This is a lesson in collaboration – two unique styles entwined, the lines blurred – it’s one of the most beguiling, unique and quietly stunning records I’ve heard in a long time.”

“In a recent interview with DiS, Harris describes their collaboration ‘as reflections and comments on each other as much as they remained statements of our individual emotions.’ Those reflections on one another come as ripples and disturbances below the surface of each other’s individual contributions. Harris works at the depths, her low-end soundscapes gently affecting currents at the surface. Fortino’s strums rise from this sonic mire, faintly perceptible between the reverb.”

PITCHFORK Interview with Mirroring:
“They're based in the Pacific Northwest (Harris in Portland, Fortino in Seattle) and specialize in dark, introspective songs that do much with little. As Grouper, Harris moves between blurred-out singer/songwriter fare and expansive bottom-of-the-ocean drones, while Fortino's Tiny Vipers work focuses on stark songs reminiscent of British folk that's built around her voice and acoustic guitar. For Harris and Fortino, it seemed only a matter of time before they worked on something together. And with Foreign Body - the pair's collaborative album as Mirrorring, which is due out March 19 via Kranky - it's finally happened.”

DROWNED IN SOUND Interview with Mirroring:
“Mirrorring then reflects Harris’s approach onto Fortino and visa versa – Fortino’s gentle arpeggios overlaid with Harris’s sighing, melancholic harmonies, Harris’s longer sound pieces now featuring plaintive acoustic guitars. It’s a beautiful record.”

“This is straight-up ambient to separate the monks from the boys, and just dark enough to suit the late night set, which when compared to their accomplished peers is ultimately the same stark, slow moodiness that sets both women apart in their respective circles. They capably keep things from ever really moving into what might be considered the new age department by never giving in to drama, though there is always some subterranean tidal wave being held barely back by whispered incantations, a lurking low range that buoys the spare twinkle of lonely, swimming guitar notes and supplants the typical sense of dynamic tension.”

“Some artist collaborations make perfect sense from the moment hear about them. Such is the case with Mirrorring, a team-up between Grouper's Liz Harris and Jesy Fortino, who writes stark stunners as Tiny Vipers. Mirrorring's forthcoming debut LP, Foreign Body, was the result of a songwriting session between the two in Portland, and you can hear the pair's talents meld in the album's lead track, ‘Fell Sound’.”

“With a lush background of Grouper-styled pop creeping in icy increments behind them Foreign Body feels slow motion stormfront rolling across the horizon but despite the menacing doom at its core you can't help but be wonder-struck by the way it makes the light take on an eerie beauty. Certainly a highlight in both artists' catalogs and sure to be a necessity on vinyl.”

“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.”

"One Quiet Place To Live"
Smalltown Supersound: sts22512

DANGEROUS MINDS Interview with Todd Rundgren on his remix for Lindstrom:
“Since I don’t usually focus on a single genre I don’t think of myself as having a ‘style’. It’s a little odd because in the 70s we thought of ourselves as prog-rock players and that disco was something of a sell-out for artists like Rod Stewart and Blondie. This ‘nu disco’ is a more organic movement, especially the emphasis on the instrumental aspect and lack of lyrics. That does remind me of some of the experimental excursions I’ve taken in the past.”

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.”

"Pre Language"
Kranky: krank164

“He adds a few more fills and a tricky rhythm or two but Pre Language isn’t a departure from it’s predecessors and sounds like the logical next step, to my ears. If anything, there’s a bit more space in the arrangements and Brian Case’s vocal style of Mark E. Smith meets Iggy Pop by way of Lou Reed’s yammer and bark works better than ever.”

“Over the course of the album, the band channels the same dynamic thrust that made Guider rocket from speakers into tight, focused songs that zoom close to the ground and explode in dazzling blasts. Pre Language is some of Disappears' most confident, most accessible music yet.”

“Pre Language is a graduate garage album with chops. From radar screen blips to sunken battleships, the guitar work and songwriting recalls decades’s worth of rock and roll and maintains much of the specific aesthetic appeal of Lux and Guider.”

“First the Chicago-based band make you take note with a steady garage rock swing and then when you’re not expecting it – as guitarist Brian Case’s monotone poeticism arrests your thoughts – it explodes with psychedelia bursting out of corner. As Case puts it, ‘Delay, reverb, repetition. Finding the right combination of these is always good’. Caution: it’s also addicting.”

“Disappears have created a record that can appease fans happy with how they sounded anyway and those that are searching for something new.”

“D’yknow this could be the kind of album Joy Division might have made had Ian stayed with us.”

“Pre Language bucks and sneers and manages to be punchy and expansive at the same time. ‘Replicate’ makes for one helluva way to start an album and suggests that on Pre Language Disappears have made a huge leap beyond the Black Angels-like reverby guitar drone of its predecessor. Sure, the reverb’s still there in cavernous quantities, but the swampy psychedelia has given way to an altogether more direct, forward-facing rock sound.”

“There’s not a wasted moment on this record – it’s just nine tracks of magnificently malevolent garage drone magic.”

“This is a reminder that sometimes the things that actually sound the most mean and menacing are the ones that don't try so hard to put on an act, but instead just kick out bombastic songs with full on conviction. Something really refreshing these days about a band who channel their intensity with full on punk spirit, for focused and furious sounding results.”

“The Chicago collective return with an energetic follow up to 2010's Guider. Subtle it ain’t but neither is it lacking in depth - overdriven crunch guitars roll over accented, meandering bass-lines and unrelenting drums to create a punchy sound reminiscent of The Stooges.”

“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.”

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.”

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.”

“It’s definitely Disappears’ most muscular album to date, perhaps reflecting that it’s their first as a trio – Sonic Youth’s Steve Shelley is now a permanent member (this also explains why the drums sound so prominent, and so good). A great deal more polished than its predecessor, Guider, but still raw and to-the-point, Pre Language will strongly satisfy the cravings of your inner rockist.”

“Pre Language, the band’s third album in three years, is their first recorded with Steve Shelley from Sonic Youth as their full-time drummer. Shelley, who first toured with the band in 2011 before entering the studio with them, is an invaluable pick-up as his drumming allows for a few new shades to come into the band’s palette, and he forms an air-tight rhythm section with bassist Damon Carruesco that favors groove and repetition over noodling, recalling great less-is-more combos like Holger Czukay and Jaki Liebezeit from Can or Peter Hook and Stephen Morris from Joy Division.”

“The last two LPs from Chicago’s Disappears were equal parts down-and-dirty garage punk and menacing Krautrock. It’s what they do best: creating short, fast sonic explosions, not unlike a slightly stripped down Sonic Youth, or No Age at their loudest. Now, just a year removed from their last release, the band returns with another full-length, Pre Language.”

“Pre Language finds Disappears at their most potent and focused. The band has finally stepped into their own world and the results are thrilling.”

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..”

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

“Be it the ramped-up action of Dirty Three’s wildest workouts or the cool-off come-downs that give their music a sense of closure and completeness, everything has a purpose and place on Toward the Low Sun. It’s just one of many examples of how Ellis, Turner, and White go with the flow and run with their instincts to make what they do look easier than it really is.”

“A genre rife with hollow oversaturation, instrumental rock runs the risk of sounding either stunningly frank or wantonly pretentious. On Toward The Low Sun, Aussie post-rockers Dirty Three have yet again achieved a beautiful post-rock sound both ingenuously carefree and wisely tempered, an impressive feat this far into their careers.”

“Dirty Three have always managed to shine as three individuals working at exceptionally high levels, but simultaneously coalescing into an organic hybrid which enraptures beyond the sum of its parts. Toward The Low Sun is no exception.”

“White, Turner and Ellis realize a unique musical conversation between country, post-rock, and experimental sounds, and an endless wandering, back and forth, between loneliness and collective rage. But even during its most melancholic and introspective moments, Toward The Low Sun exudes a fervid, unstoppable hopefulness.”

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.”

Sophia Knapp
"Into The Waves"
Drag City: dc484

“Here, the instrumentation is almost self-consciously goofy-- the strings are tinny, the beats are pre-fab, and fade-outs prevent several of these tracks from ever having to actually resolve-- but Knapp's sweet and craggy vocals still manage to temper (and, in some cases, even justify) the goofiness of her backing tracks. The easiest analogue is Julee Cruise, who famously collaborated with David Lynch on the ‘Twin Peaks’ soundtrack; Knapp's singing imparts a similar ghostliness, a sense of odd, unsettling discontinuity.”

“This feels a sight more natural, mind you, and also features a voice infinitely preferable to Dan Bejar’s indie weediness. It’s a highlight of a fine album which might be too much of a period piece to truly be the ‘sound of 2012’ or somesuch, but has a greater chance of making Sophia Knapp into a minor unit-shifter than Lights or Cliffie Swan ever did.”

“The duets with Bill Callahan are especially satisfying, his gruff, straightforward delivery wonderfully complementing Knapp’s mellifluous, delicate coo. It’s still got a sort of light disco feel to it, but I like it. Like much of Knapp and Callahan’s other work, the sound is spacious, natural, and present.”

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.”

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

“Write this name down: Wild Belle. So far, the South by Southwest Music Conference belongs to them. Wild Belle didn't have a prime slot Friday, stepping on stage at Antone's just as many conference-goers were elsewhere finishing up their after-dinner drinks. Still, a substantial crowd had gathered, and the Chicago brother-sister duo of Elliot and Natalie Bergman did not disappoint.”

“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.”

“The effect is haunting but naggingly infectious – a double-whammy if ever we heard one. Whether or not the rest of their material will continue in this ethereal-ska vein we have no idea, although attendants at this year's SXSW, where Wild Belle are playing and bound to be one of the buzz-bands, will find out.”

“A steadfast drum-rattle bubbles under dancehall pulses, music-box chimes, and a hearty horn-line. Natalie Bergman’s coo sounds like the idyllic middle-ground between Kate Bush, Lykke Li, Robyn and Lily Allen. It’s basically one of our favorite songs in the world right now.”

“NOMO bandleader, Iron & Wine live member and fellow Midwesterner Elliot Bergman has a new project called Wild Belle. Their first single ‘Keep You’ is a sexy dubbed out psychedelic pop jam.”

“The one known nugget of info about Wild Belle is their amazing debut single, 'Keep You.' For an initial release, the track is incredibly luscious and rich, a beautifully layered pop gem buoyed by a charming reggae lilt. Natalie's playful, smoky vocal is a cheekily confident debut. Elliot's booming sax solos are punchy and bold, giving the track an extra groove that stitches 'Keep You' into the listener's mind.”

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

“Windy & Carl’s greatest achievement on We Will Always Be is making music that’s both near and far. It often feels vast, tracking the curvature of the Earth, but it never forgets that music is made by people, and that there is real intimacy in the consort of two individuals relating to each other through simple gestures like singing, or brushing against six guitar strings.”

“We Will Always Be is a statement from a group still somehow getting better and better at doing more with less - the key to surviving in the drone genre - and Windy and Carl have managed to deliver an album that, aside from appealing to those with experience of their past work, may just snare a new generation of listeners at the same time, all without compromising on their sound.”

SPIN 8/10:
“If your navel was as guitar-lush and drone-lovely as these ambient veterans’, you’d gaze at it too.”

“Windy & Carl have succeeded in creating a record that, while heavily indebted to electronics, is remarkably human. It offers a soft, almost tangible warmth and space, simultaneously embracing, rejecting and amalgamating opposing sonic traits.”

“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

“What makes the whole thing work is Whistle Peak’s grasp of pop sensibility (whatever the conceptual approach may be toward their craft). The songs on Half Asleep never fail to incorporate satisfying tonal shifts and sing-along chorus structures, easily absorbed as light-hearted indie pop with anachronistic style. The mood is overwhelmingly bittersweet, but pleasant. The songs travel a wide range in narration and atmosphere.”

“Whatever the case may be, Half Asleep Upon Echo Falls is more than enough to keep those of us inclined towards it's slick and sweet ways content in the meantime. This album doesn't grow on you so much as fills a groove it was meant for all along.”

“Make no mistake — this album comes highly recommended for lovers of sounds both familiar and surprising, and makes quiet sound confident and vibrant.”

LEO WEEKLY Interview with Whistle Peak:
“Describing the unusual mixture of sounds making up the stew in Whistle Peak’s indie pop is difficult, but their music is tasty and intriguing, and even more so in their second album, Half Asleep Upon Echo Falls.”

“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.”

"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

“Laura Gibson has written an album that moves this way and that, in and out of musical styles, singing about issues of personal longing. More than anything though, it is the gravitational pull of, and to, her Oregon roots that gives this album its heart. It is a truly beautiful album.”

“That's La Grande, a homage to a majestic West that's largely losing its majesty. That's Gibson sounding freer and better than she ever has before – truthing through her goddamn teeth.”

“While a sense of nostalgia runs through the record — from archaic instrumental sounds and gramophone crackle to Gibson’s own pure vocal distilled through multi-tracking — the sheer craft she brings to blending the old with the new makes listening an altogether rewarding experience.”

“Although La Grande is a wholesome and welcome addition to a back-catalogue which has very few flaws, even if the moments which stand up and make you take notice are not numerous. This is no sin – if what you practice is as well-made and put together as La Grande then you should only be commended.”

“Gibson works wonders when she plays to her strengths, utilizing her famous friends’ skills to augment and subtly shade her songs. ‘Milk-Heavy, Pollen-Eyed’ is jazzy cocktail atmosphere, somehow both dense and quiet, with loads of sounds speaking peacefully to themselves—acoustic guitar fingerpicking, a gust of glockenspiel, a murmur of clarinet.”

“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.”

California Guitar Trio
Karate Body: kbr013

MICHIGAN LIVE interview with California Guitar Trio:
“Andromeda is their first all-original album, has a mix of styles including prog rock, surf, jazz, folk and flamenco. ‘I usually like to give a quite vague, general description,’ Richards said. ‘We play instrumental acoustic guitar music. That can be inclusive of pretty much anything.’”

“Well, they aren’t from California—but there are three of them, and they do play guitar, so California Guitar Trio’s name is at least partially fitting. Paul Ricards, from Utah; Bert Lams, from Belgium; and Hideyo Moriya, from Japan, make up the trio and are certainly not your average cover band.”

“CGT blends classical, jazz and prog rock. Its members draw on flamenco, folk and surf rock. They juxtapose classical pieces with covers of Pink Floyd, Queen and Lynyrd Skynyrd. The guitarists of CGT weave and wander, intertwine and innovate. The band has been labeled new acoustic, world music and avant-progressive. In short, CGT has mastered the unexpected”

RED & BLACK Interview:
“‘From the beginning it has always been about trying to do things differently on acoustic guitars than what has been done before,’ Richards said. ‘Instead of playing it straight — because there are so many good acoustic-style old-timey guitar players out there — instead of playing straight classical guitar we play a blend of our influences.’”

WELD Interview:
“There were a few pieces on there that had developed over time. The title track, Andromeda,' is a piece of music that we had been playing for a couple of years and it evolved from our live performances up to the point where we recorded the version that appears on the album. There are several pieces on there that developed in the studio while we were recording the album. Each piece has its own story behind it – it’s interesting to see how pieces develop. 'Andromeda' has some things in there that are very complex. I think it was nice for us to play that one live for quite a while until it settled and we could get a good take in the studio.”

“...CGT was much more classical, technical and precise. This was most evident in ‘Toccata and Fugue,’ a piece originally composed by Johann Sebastian Bach on the organ. Amazingly, CGT was able to replicate the sound of an organ in their performance with three acoustic guitars.”
http://www.thelamron.com/a-e/guitar-trios-fuse-styles-in-skillful- show-1.2704292#.TsrGEM1DGhe

“They’ve toured internationally, playing their virtuosic blending of pieces ranging from Queen’s ‘Bohemian Rhapsody’ to Bach’s Toccata and Fugue. In their concerts, one minute they will play a pop piece; the next, a classical suite. For this trio, no music is too esoteric or off-limits.”
http://www.sltrib.com/sltrib/entertainment/52788193-81/california-richards-bird- free.html.csp

“...what I did see was exactly as advertised: virtuoso performances by three amazingly talented players...The group's current tour is a celebration of two decades together, and they worked from a set list careful to touch on all aspects of their lengthy career.”
http://www.cityweekly.net/utah/blog-3455-6562-music-blog-concert-review-california-guitar- trio-at-the-state-room.html

The Fervor
“Arise, Great Warrior”
Karate Body: kbr014

SLOUCHER interview with The Fervor:
“A fair amount of the influences for this record came from bands that we have contact with. Arise, Great Warrior was co-produced by Charles Gonzalez, who’s own work displays some of the most beautiful and heartfelt melodies ever to be put out into the world. We’ve done a fair amount of touring with the band Wussy, and being witness to the magic and charisma of their live set certainly raised the bar for us. Similarly we all took note when Louisville‘s own Wax Fang set their big, hairy balls on the scale to be weighed in. We’ve also had the pleasure of working with Yim Yames on this release, and we’ve looked to his band, My Morning Jacket to show us that normal people can write the kind of anthems that fill stadiums if they are willing to work hard enough.”

(UPDATED MARCH 27, 2012):

200 Years
03/30 - Northampton, MA @ Feeding Tube Records
04/06 - Montague, MA @ Montague Bookmill
04/07 - Syracuse, NY @ Roji Tea Lounge
04/08 - Cleveland, OH @ Happy Dog
04/09 - Chicago, IL @ The Burlington
04/10 - Kalamazoo, MI @ Kalamazoo College
04/11 - Louisville, KY @ Zanzabar
04/12 - Pittsburgh, PA @ Garfield Artworks
04/13 - Charlottesville, VA @ Twisted Branch
04/14 - Baltimore, MD @ Soft House
04/15 - Brooklyn, NY @ Zebulon
06/18 - Montreal, PQ @ Casa del Popolo

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

Apache Dropout
04/20 - Bloomington, IN @ Russian Recording

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

Ed Askew
04/20 - NYC @ The Living Room (Upstairs)
04/21 - Philadelphia, PA @ Aux (Vox Populi Gallery)
04/22 - New Haven, CT @ The Outer Space
04/23 - Richmond, VA @ Steady Sounds
04/25 - Greensboro, NC @ Mack & Mack
04/26 - Chapel Hill, NC @ The Nightlight
04/27 - Washington, DC @ The Cherch
05/02 - NYC @ Judson Church

A Winged Victory For The Sullen
03/20 - Palermo, Italy @ Teatro Dante
04/14 - Genk, Belgium @ C-mine Jazz
04/30 - Brussels, Belgium @ Bozar

03/30 - Toronto, ON @ Sound Academy
03/31 - Montreal, QC @ Le National
04/20 - Los Angeles, CA @ The Echo

Masaki Batoh
06/14 - Barcelona, Spain @ Sonar Festival 2012

Andrew Bird
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
04/20 - Brighton, UK @ The Blind Tiger
04/21 - Liverpool, UK @ Bold Street Coffee
04/22 - Glasgow, UK @ Captain’s Rest
04/23 - Edinburgh, UK @ The Banshee Labyrinth
04/24 - Leeds, UK @ The Fox & Newt
04/25 - London, UK @ Cafe Oto
04/26 - Helsinki, Finland @ Siltanen
04/28 - Nijmegen, Netherlands @ Extrapool
04/30 - Malmo, Sweden @ Far I Hatten
05/02 - Copenhagen, Denmark @ Stengade
05/03 - Berlin, Germany @ NK
05/06 - Geneva, Switzerland @ L’Ecurie
05/07 - Zurich, Switzerland @ El Lokal
05/08 - Milan, Italy @ Lo-Fi
05/09 - Lyon, France @ Sonic
05/10 - Tours, France @ Le Temps Machine
05/11 - Nantes, France @ Le Lieu Unique
05/12 - Brest, France @ Penn-Ar-Jazz
05/13 - Paris, France @ Les Voutes
05/14 - Kortrijk, Belgium @ De Kreun
05/15 - Krefeld, Belgium @ Suedbanhof

Black Bananas
05/11 - Laredo, TX @ Old No. 2
05/12 - Austin, TX @ Red 7
05/13 - Houston, TX @ Walter's
05/15 - Atlanta, GA @ 529
05/16 - Durham, NC @ The Pinhook
05/17 - Lancaster, PA @ Chameleon Club
05/19 - Ann Arbor, MI @ The Blind Pig
05/20 - Chicago, IL @ Lincoln Hall
05/21 - Madison, WI v High Noon Saloon
05/22 - Minneapolis, MN @ 400 Bar
05/23 - Fargo, ND @ The Aquarium
05/25 - Missoula, MT @ The Palace
05/26 - Seattle, WA @ Comet Tavern
05/27 - Portland, OR @ Star Theatre
05/30 - San Francisco, CA @ The Fillmore

Bonnie Prince Billy
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

California Guitar Trio
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

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
03/30 - Berlin, Germany @ Michelberger Hotel
03/31 - Berlin, Germany @ Comet Club

Com Truise
04/19 - Brooklyn, NY @ Music Hall of Williamsburg
04/20 - Austin, TX @ Beauty Bar
04/21 - San Antonio, TX @ The Korova
06/02 - London, UK @ Field Day

04/06 - Los Angeles, CA @ Low End Theory (DJ Set)
05/02 - Charlottesville, VA @ Jefferson Theatre (DJ Set)
05/03 - Washington, DC @ Howard Theater (DJ Set)
05/04 - Virginia Beach, VA @ The Jewish Mother (DJ Set)
05/05 - Baltimore, MD @ Soundstage (DJ Set)

Matthew Dear
03/29 - San Francisco, CA @ Clift Hotel
03/30 - Los Angeles, CA @ Natural History Museum of Los Angeles
04/01 - NYC @ Yotel (DJ Set)
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)
04/25 - Lille, France @ Paradis Artificiels
04/26 - Paris, France @ Nouveau Casino
04/27 - Paris, France @ La Machine du Moulin Rouge (DJ Set)
04/28 - Glasgow, UK @ Sun Club (DJ Set)
04/29 - Edinburgh, UK @ Sneaky Pete’s
04/30 - London, UK @ Hoxton Square Bar & Kitchen
05/01 - Brussels, Belgium @ AB Club 250
05/02 - Amsterdam, Netherlands @ Bitterzoet
05/03 - Berlin, Germany @ Berghain
05/06 - Dublin, Ireland @ Beatyard Weekender (DJ Set)

Dirty Three
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
06/06 - Brussels, Belgium @ AB Box
06/07 - 06/10 - Porto, Portugal @ Primavera Sound Festival 2012
06/08 - 06/10 - Mansfield, UK @ No Direction Home Festival 2012
08/31 - 09/02 - Salisbury, UK @ End of The Road Festival 2012
09/21-23 - Asbury Park, NJ @ ATP I’ll Be Your Mirror Festival 2012

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
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

Dope Body
04/27 - Baltimore, MD @ Golden West Cafe

05/12 - Austin, TX @ Red 7
05/13 - Houston, TX @ Walter's
05/15 - Atlanta, GA @ 529
05/16 - Durham, NC @ The Pinhook

The Ex
03/31 - Pittsburgh, PA @ Brillbox
05/10 - Bremen, Germany @ MS Treue
05/18 - Brighton, UK @ Concorde 2
05/19 - Berlin, Germany @ Magnet Club
10/26 - Tubingen, Germany @ Sparkassen-carre

Faun Fables
04/01 - San Francisco, CA @ Brava Theater
05/04 - Indianapolis, IN @ White Rabbit
05/05 - Louisville, KY @ The Mammoth
05/06 - Asheville, NC @ Jack Of The Wood
05/10 - Athens, GA @ Caledonia Lounge
05/11 - Columbia, SC @ Conundrum Music Hall
05/12 - Knoxville, TN @ The Pilot Light

Fruit Bats
04/26 - San Francisco, CA @ The Independent
04/27 - Los Angeles, CA @ The Echo
04/28 - Sonoma, CA @ Gundlach-Bundschu Winery
06/30 - Rothbury, MI @ Elect Forest

Laura Gibson
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
06/09 - Columbus, OH @ The Treehouse
06/10 - Columbus, OH @ The Treehouse
07/09 - Chicago, IL @ Hideout
07/10 - Chicago, IL @ Hideout

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
04/05 - New Haven, CT @ Yale University

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
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
05/26 - London, UK @ Norfolk & Norwich Festival
05/27 - London, UK @ The 100 Club

Hanson Brothers
03/27 - Brno, Czech Republic @ Fleda
03/29 - Vienna, Austria @ Arena
04/01 - Ljubljana, Slovenia @ Orto Club
04/03 - Munich, Germany @ Feierwerk/Kranhalle
04/04 - Karlsruhe, Germany @ Alte Hackerei
04/05 - Lucerne, Switzerland @ Sedel
04/06 - Berne, Switzerland @ Isc
04/07 - Frankfurt, Germany @ Ex
04/08 - Nuremberg, Germany @ Desi
04/11 - Cologne, Germany @ Gebaude 9
04/12 - Groningen, Netherlands @ Vera
04/13 - Diksmuide, Belgium @ 4AD
04/14 - Leeds, UK @ Brudenell Social Club
04/15 - London, UK @ Lexington
04/17 - Hamburg, Germany @ Fabrik
04/18 - Bochum, Germany @ Bhf Langendreer
04/19 - Muster, Germany @ Gleis 22
04/20 - Hannover, Germany @ Glocksee
04/21 - Bielefeld, Germany @ Forum
04/22 - Nijmegen, Netherlands @ Merleijn

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

Tim Hecker
04/06 - Moscow, Russia @ Avantfest 2012
07/13-15 - Chicago, IL @ Pitchfork Music Festival 2012

The Howling Hex
04/20 - Denver, CO @ Lion’s Lair

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

04/19 - Montreal, PQ @ Mutek Festival 2012
04/20 - NYC @ Unsound Festival 2012
04/27 - Boulder, CO @ Communikey Festival 2012
04/29 - Portland, OR @ Holocene

Sophia Knapp
04/07 - NYC @ Cake Shop
04/24 - NYC @ Bowery Ballroom

Pokey LaFarge
03/27 - Bristol, UK @ Thekla Bristol
03/28 - Brighton, UK @ Concorde
03/29 - London, UK @ Bush Hall
03/31 - Brussels, Belgium @ Ancienne Belgique
04/03 - Tønder, Denmark @ Hagge’s Musik Pub
04/04 - Aarup, Denmark @ Rastof til Industrien
04/05 - Malmö, Sweden @ Folk å Rock
04/06 - Falkenberg, Sweden @ Grand Hotel Falkenberg
04/07 - Stockholm, Sweden @ Akkurat
04/08 - Stockholm, Sweden @ TV4
04/09 - Eindhoven, Netherlands @ Meneer Frits
04/10 - Rotterdam, Netherlands @ Radio Rijnmond
04/11 - Spijkerboor, Netherlands @ Café ‘t Keerpunt
04/12 - The Hague, Netherlands @ Paard van Troje
04/13 - Vlissingen, Netherlands @ Poppodium De Piek
04/14 - Hilversum, Netherlands @ VPRO National Radio
04/14 - Haarlem, Netherlands @ De Patronaat
04/15 - Ottersum, Netherlands @ Roepaen
04/15 - Amsterdam, Netherlands @ VPRO National TV
04/17 - Deventer, Netherlands @ Burgerweeshuis
04/18 - Rotterdam, Netherlands @ Rotown
04/19 - Tilburg, Netherlands @ 013
04/20 - Amsterdam, Netherlands @ AVRO National Radio
04/20 - Amsterdam, Netherlands @ Paradiso Grote Zaal
04/21 - Nijmegen, Netherlands @ Merleyn
04/22 - Breda, Netherlands @ Breda Jazz Festival
04/24 - Leiden, Netherlands @ Q-Bus
04/26 - Waldkraiburg, Denmark @ Haus der Kultur
04/27 - Wageningen, Netherlands @ Hof van Wageningen
04/28 - Groningen, Netherlands @ De Oosterpoort
04/29 - Wendelstein, Denmark @ Waldhalle
04/30 - Munchen, Denmark @ Amerika Haus
05/01 - Ingolstadt, Denmark @ Neue Welt
05/02 - Reutlingen, Denmark @ Franz K
05/03 - Zürich, Czech Republic @ GZ Buchegg
05/30 - Los Angeles, CA @ Wiltern Theatre
05/31 - Los Angeles, CA @ Wiltern Theatre
06/23 - Gillette, WY @ Donkey Creek Festival
06/24 - Pittsburgh, PA @ Club Cafe
06/27 - York, PA @ Strand Capitol Performing Arts
06/28 - Rochester, NY @ Rochester International Jazz Festival
06/30 - Owensboro, KY @ River Of Music Party
07/20-22 - Dawson City, Yukon Terriotory @ Dawson City Music Festival
07/28-29 - Calgary, Alberta @ Calgary Folk Festival

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

Lotus Plaza
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
04/28 - Dallas, TX - Club Dada
04/29 - Memphis, TN @ Hi-Tone Cafe
04/30 - St. Louis, MO @ The Luminary Center For The Arts
05/01 - Kansas City @ The Record Bar
05/02 - Denver, CO @ Larimer Lounge
05/03 - Salt Lake City @ Urban Lounge
05/04 - Boise, ID @ Neurolux
05/05 - Seattle, WA @ Neumo's
05/06 - Vancouver, BC @ The Media Club
05/07 - Portland, OR @ Doug Fir Lounge
05/09 - San Francisco, CA @ The Independent
05/10 - Los Angeles, CA @ The Echo
05/11 - San Diego, CA @ Soda Bar
05/12 - Tucson, AX @ Plush
05/13 - El Paso, TX @ Lowbrow Palace
05/15 - Houston, TX @ Fitzgerald's
05/16 - New Orleans, LA @ One Eyed Jacks

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
04/17 - Chicago IL @ Chicago Theatre
04/18 - Cincinnati, OH @ Ballroom at Taft 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
05/12 - Austin, TX @ Red 7
05/13 - Houston, TX @ Walter's
05/15 - Atlanta, GA @ 529
05/16 - Durham, NC @ The Pinhook

Major Stars
05/03 - Somerville, MA @ Radio

Mount Eerie
03/31 - Berlin, Germany @ Festall Kreuzberg

Mux Mool
03/29 - Kalamazoo, MI @ The Glove
03/31 - Denver, CO @ Cervantes
04/17 - Tampa, FL @ Crowbar
04/18 - Atlanta, GA @ 529
04/19 - Athens, GA @ New Earth Music Hall
04/20 - Charlotte, NC @ Fillmore Charlotte
04/28 - Apache Pass, TX @ Nocturnal Festival 2012
05/05 - Cambridge, MA @ M.I.T. Steer Roast
05/11 - Den Hauge, Netherlands @ Walk The Line Festival 2012

Scout Niblett
04/30 - Krems, Austria @ Donaufestival
05/02 - Istanbul, Turkey @ Arkaoda
07/09 - Seattle, WA @ Triple Door
07/11 - Portland, OR @ Doug Fir Lounge

Night Beats
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
05/30 - 06/01 - Barcelona, Spain @ Primavera Sound Festival 2012
06/07 - 06/10 - Porto, Portugal @ Primavera Sound Festival Porto 2012
07/13-15 - Chicago, IL @ Pitchfork Music Festival 2012

04/04 - Brussels, Belgium @ AB Club
04/05 - Helsinki, Finland @ Nosturi
04/06 - Stockholm, Sweden @ Strand Etablissemang
04/07 - Gothenburg, Sweden @ Truckstop Alaska
04/08 - Malmo, Sweden @ Inkost
04/09 - Hannover, Germany @ Cafe Glocksee
04/10 - Berlin, Germany @ Berghain
04/11 - Hamburg, Germany @ Hafenklang
04/12 - Tilburg, Netherlands @ Roadburn Festival 2012
04/15 - Paris, France @ La Moroquinerie
04/16 - Poitiers, France @ Le Confort Moderne
04/17 - Bilbao, Spain @ Azkena
04/18 - Madrid, Spain @ El Sol
04/19 - Barcelona, Spain @ La (2)
04/20 - Toulouse, France @ Le Saint Des Seins

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

Papa M
05/26 - Cork, Ireland @ The Crane Lane Theatre
05/27 - Dublin, Ireland @ Workman’s Club
05/28 - Glasgow, UK @ King Tuts
05/29 - Leeds, UK @ Brudenell Social Club
05/30 - Colchester, UK @ Colchester Arts Centre
05/31 - Bristol, UK @ The Cube
06/01 - Reading, UK @ South Street Arts Centre
06/02 - London, UK @ Field Day 2012 at Victoria Park
06/04 - Paris, France @ La Maronquinerie
06/05 - Tourcoing, France @ Le Grand Mix
06/06 - Brussels, Belgium @ AB Box

P. G. Six
03/27 - Brooklyn, NY @ Union Pool
04/12 - Brooklyn, NY @ Public Assembly
04/13 - Easthampton, MA @ Flywheel
05/03 - Somerville, MA @ Radio
05/04 - Montreal, Quebec @ Casa del Popolo
05/05 - Toronto, Ontario @ Placebo Space
05/06 - Cleveland, OH @ Happy Dog
05/07 - Chicago, IL @ Empty Bottle
05/08 - Louisville, KY @ Zanzabar
05/09 - Columbus, OH @ Ace of Cups
05/10 - Washington, DC @ DC Nine
05/12 - Baltimore, MD @ Golden West Cafe

Phantom Family Halo
04/02 - Pittsburgh, PA @ Garfield Artwork
04/06 - Dallas, TX @ The Prophet Bar
04/07 - Kansas City, MO @ The Riot Room
04/08 - Denver, CO @ Larimer Lounge
04/09 - Salt Lake City, UT @ Urban Lounge
04/11 - Tucson, AZ @ Club Congress
04/12 - San Diego, CA @ Soda Bar
04/13 - Los Angeles, CA @ Echo
04/14 - San Francisco, CA @ Bottom Of The Hill
04/16 - Portland, OR @ Holocene
04/17 - Seattle, WA @ The Tractor Tavern
04/18 - Vancouver, BC @ The media Club
04/21 - Minneapolis, MN @ 7th Street Entry
04/22 - Madison, WI @ The Frequency
04/23 - Chicago, IL @ Empty Bottle
04/24 - Cleveland, OH @ Grog Shop
04/25 - Detroit, MI @ Magic Stick
04/26 - Toronto, ON @ The Garrison
04/27 - Montreal, QC @ Il Motore
04/28 - Allston, MA @ Great Scott
04/30 - Brooklyn, NY @ Knitting Factory
05/01 - NYC @ Mercury Lounge
05/02 - Philadelphia, PA @ Johnny Brenda’s
05/03 - Baltimore, MD @ Ottobar
05/04 - Washington, DC @ Red Palace
05/05 - Chapel Hill, NC @ Local 506
05/06 - West Columbia, SC @ New Brookland Tavern
05/07 - Atlanta, GA @ Drunken Unicorn
05/08 - Birmingham, AL @ Bottletree
05/09 - New Orleans, LA @ One Eyed Jacks
05/10 - Houston, TX @ Fitzgerald’s
05/11 - San Antonio, TX @ The Korova
05/12 - Austin, TX @ The Mohawk

The Ravenna Colt
04/20 - Boise, ID @ Record Exchange
07/14 - Louisville, KY @ Forecastle Festival 2012

Ravens & Chimes
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

03/28 - Nagoya, Japan @ Apollo Theatre
03/29 - Shinsaibashi, Japan @ Clapper
03/30 - Shibuya, Japan @ O-Nest

The Red Krayola
04/13 - NYC @ Whitney Museum of American Art
04/14 - NYC @ Whitney Museum of American Art

Megan Reilly
04/03 - NYC @ Roden Bar
04/14 - Rhinebeck, NY @ Liberty Public House
04/20 - Philadelphia, PA @ Tin Angel
04/24 - NYC @ Lakeside Lounge
04/28 - NYC @ City Winery
05/12 - Oxford, MS @ Two Stick

Alasdair Roberts
03/27 - Huelva, Spain @ Universidad de Huelva
03/28 - Madrid, Spain @ Taberna Alabanda
03/30 - Zaragoza, Spain @ Musica Subterranea Festival 2012
03/31 - Barcelona, Spain @ Mini Festival de Musica Independent 2012
04/01 - Azpeitia, Spain @ Sangustin Kulturgunea
04/02 - Castellon, Spain @ Sons Circle
05/23 - London, UK @ The Slaughtered Lamb
11/14 - Torquay, UK @ Princess Theatre

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

Laetitia Sadier
05/16 - Poitiers, France @ Le Confort Moderne
06/13 - Skopje, Macedonia @ Skopje Festival 2012

Ty Segall
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 Barcade
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

04/13 - Louisville, KY @ University of Louisville Red Barn
04/15 - Louisville, KY @ Zanzabar
04/17 - Lexington, KY @ Cosmic Charlie’s

School of Seven Bells
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

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
04/13 - Dijon, France @ Kill Your Pop Festival 2012
04/14 - Besancon, France @ La Rodia
04/18 - Amsterdam, Netherlands @ Paradiso
04/19 - Luxembourg, Luxembourg @ Exit 07
04/20 - Creil, France @ Grange A Musique
04/21 - Tours, France @ Temps Machine
04/24 - Berlin, Germany @ Berghain
04/25 - Linz, AT @ STWST
04/26 - Moscow, Russia @ Zavtra
04/27 - Vilnius, LT @ Satta
05/03 - London, UK @ Birthdays
05/04 - Belfast, UK @ Cathedral Quarter Arts Festival 2012
05/06 - Manchester, UK @ SFTOC Festival 2012
05/26 - Brooklyn, NY @ Glasslands

Sic Alps
04/19 - Athens, Greece @ Six Dogs
04/20 - Larissa, Greece @ Stage Dive
04/21 - Thessaloniki, Greece @ Coo
04/22 - Skopje, Macedonia @ MKC Club
04/23 - Belgrade, Serbia/Montenegro @ KC Belgrade
04/24 - Zagreb, Croatia @ Tvornica Kultur
04/25 - Turin, Italy @ Spazio 211
04/26 - Rome, Italy @ Init Club
04/27 - Firenze, Italy @ Museo
04/28 - Verona, Italy @ Interzona
04/29 - Ancona, Italy @ Tnt Iesi
04/30 - Faenza, Italy @ Clandestino
05/03 - Tilburg, Netherlands @ Paradox (Incubated Festival 2012)
05/04 - Leffingen, Belgium @ De Zwerver
05/05 - Antwerp, Belgium @ Trix
05/06 - Arlon, Belgium @ Palais
05/07 - Cologne, Germany @ King Georg
05/08 - Paris, France @ La Mecanique Ondulatoire

The Skabbs
04/14 - Hermosa Beach, CA @ Suzy’s
04/21 - Los Angeles, CA @ Permanent Records
06/17 - San Francisco @ Hemlock Tavern
06/21 - Portland, OR @ Jackpot Records
06/21 - Portland, OR @ Dante’s
06/23 - Arcata, CA @ The Alibi

Ben Sollee
04/13-14 - Louisville, KY @ Brown Theatre with the Louisville Ballet
04/18 - Columbia, KY @ Lindsey Wilson College
04/19 - Frankfort, KY @ The Grand Theatre
04/26-28 - Charlotte, NC @ Knight Theatre
05/02 - Nashville, TN @ Loveless Barn
05/04 - Atlanta, GA @ River Festival
05/05 - Knoxville, TN @ Square Room
05/10 - Raleigh, NC @ Kings Barcade
05/11 - Asheville, NC @ Asheville Music Hall
05/13 - Atlanta, GA @ Grocery On Home
05/19 - NYC @ The Climate Ride
05/24 - Chicago, IL @ Lincoln Hall
05/26 - Radio Radio; Indianapolis
07/13-15 - Louisville, KY @ Forecastle Festival 2012
07/21 - Somerset, KY @ Master Musicians Festival 2012
07/29 - Newport, RI @ Newport Folk Festival 2012

Southern Culture On The Skids
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
04/04 - Chicago, IL @ Empty Bottle

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

04/06 - Gainesville, FL @ The Atlantic
04/07 - Miami, FL @ Churchill's Pub

05/24 - Portland, OR @ Doug Fir Lounge
05/25 - Vancouver, BC @ Electric Owl
05/27 - George, WA @ Sasquatch Festival 2012
05/30 - San Francisco, CA @ The Independent
06/01 - Los Angeles, CA @ Troubadour

06/02-03 - Houston, TX @ Free Press Summerfest

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
04/16 - Louisville, KY @ Zanzabar

05/04 - Columbus, OH @ Ace Of Cups
07/28 - Brooklyn, NY @ Union Hall

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