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Tuesday, May 15

CTD Press Update 05/15/2012
Now Available Exclusively/Semi-Exclusively from CTD:
Father You See Queen
Flingco Sound System: fss018
PITCHFORK premier of "We Give and Give and Give and You Take and Take and Take and Take":
“That title's a mouthful, huh? Father You See Queen is the new project co-spearheaded by Mark McGee, aka Makr, who previously was a part of the defunct experimental rock outfit To Kill a Petty Bourgeoisie; along with Nicole Tollefson, aka Mona, the Minneapolis-based duo make music that combines electronic textures and unsettling arrangements. This particular track, taken from their this year's FSS-released debut 47, might remind some of Galaxie 500's glacial majesty.” 
Megan Reilly
"The Well"
Carrot Top Records: saki051
NPR ALL SONGS CONSIDERED interview with Megan Reilly & video premeir of “Throw It Out”:
“Reilly said that 'Throw It Out' was one of the first songs she wrote for her third record, The Well: 'It's a really personal, emotional song and one of my favorites of anything I've written. It deals with the breakup of two friends of mine. I was watching my girlfriend fall apart. It's frustrating watching someone you love make mistakes, and sometimes you want to fix it when it's impossible'.” 

“What we can tell you is that if you, like me, have a weakness for a gorgeous female twang and some country-flavoured alternative indie, Megan Reilly might just be your gal. Working in a similar seam to Kathleen Edwards and Neko Case, the Tennessee-raised New Jersey transplant delivers that sort of lush, warm country sound you want to wear like a blanket.” 
“Her music has remained infused with the dark bluesy sound of Memphis, but has also been influenced by the New York folk-pop scene. With her personal life now being so happy her music is, for the first time, filled with more joy than melancholy. The Well is a beautiful and impressive album.” 
“Harnessing a soft yet powerful voice a la Florence and the Machine, Reilly’s debut single 'Throw It Out' mixes blues guitar with a folk rock rhythm.” 
AMERICAN SONGWRITER Interview with Megan Reilly:
“'Throw It Out:' We performed it recently and a dear friend told me it made her cry. She knows the emotional story of this song but with all of the songs on this record, something dynamic happens between me and this band (Steve Goulding, Tony Maimone and James Mastro). It would be unfair to not mention them because their input is invaluable when bringing these songs to life.” 
NORTH JERSEY Interview with Megan Reilly:
“But while Reilly seeks quiet time to compose, her family never leaves her mind; they inspired many of her new songs. The album begins with a song about her marriage, and ends with a love song to her daughter. Critics have described what Reilly does as country-rock, folk-pop, ethereal, psychedelic, with a voice compared to Dolly Parton and Cat Power'.” 
“'Throw It Out,' which urges a friend to stop wasting her time on unrequited love, suggests that maturity has only enriched Reilly's passionate voice, making it less vulnerable and more knowing. Headliner John Wesley Harding — an exemplar of aging well — drops by for the folky duet 'The Old Man & The Bird'.” 
BAEBLE premier of video for "To Seal My Love":
“New York based singer/songwriter Megan Reilly has returned from a five year hiatus to release her new album, The Well, on 4/24. We have the exclusive premiere of the video for The Well single, 'To Seal My Love.' Shot in a snow-covered garden around Reilly's hometown in Tennessee, the video for 'To Seal My Love' has that intentional look of old home footage that lends the tender intimacy of the song another layer of naked vulnerability.” 
“Megan Reilly recently joined our community with How to Make a Patchwork Quilt.  What you might not know about Megan is that she is not just a crafter (quilter, painter, and mother. . . ), but also an acclaimed singer songwriter!  Her crafting background is apparent in the very title of one of her upcoming tracks, 'Sew the Threads into Your Heart'.” 
HEAR HEAR! Artists to Watch:
“I always love it when I hear an artist for the first time and realize he or she is going to be an immediate personal favorite. Megan Reilly, whose upcoming album The Well comes out April 24th on Carrot Top Records, is destined to be one of those, like Brandi Carlile and Amanda Shires before her, who enters my headphones and never truly completely exists. ‘Throw It Out,’ recently featured on NPR’s All Songs Considered blog, is one of those rare songs which is fully formed upon first listen, giving it the heft to stop listeners in their tracks, assuring maximum control.” 
“Megan Reilly’s voice has a warm quality to it, and between that and the music in 'Sew The Threads Into Your Heart', the song is unforgettable. The instrumentation on this song is something special– evokes Cardinals-esque guitar and expanse. What really captivates me every single time is how, in the pre-chorus, the music does the opposite of what I’d expect. And Reilly is a very talented vocalist: she’s got growling qualities of 70′s-era singers, but she’s got a power and passion to back up her lyrics. She’s releasing her fifth record, The Well, on April 24th.” 
GUITAR WORLD interview with Megan Reilly:
“With The Well, Reilly has plumbed deep into the depths of her being, extracting gorgeously crafted songs that are served up with a refreshingly honest bearing. Here Reilly talks about what it takes to make her musical magic.” 
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.” 
PHILTHY Interview with Megan Reilly:
“Reilly’s current sound, as heard on The Well, does maintain its dark and mysterious origins, but its whimsy feels quite a bit more hopeful.” 
WHIPUP Guest Post - Megan Reilly:
“When I was younger I was a visual artist. It wasn’t until about the age of fifteen I began playing guitar, writing songs and taking singing seriously. Music always inspired art for me.” 
SPINNER premier of “Sew the Threads Into Your Heart” & Interview with Megan Reilly:
“I've always liked a gospel song, something uplifting that elevates you and gives you a reason to go on. I grew up in Memphis, Tenn. attending church every Sunday. This is a really personal and spiritual song and I wrote it at a time I felt the best way for me to be uplifted was to write more music after a hiatus. 'Sew The Threads Into your Heart' is what came from that.” 
“Harnessing a soft yet powerful voice a la Florence and the Machine, Reilly’s debut single 'Throw It Out' mixes blues guitar with a folk rock rhythm.” 
Dope Body
"Natural History"
Drag City: dc513
PITCHFORK premier of "Weird Mirror":
“'Weird Mirror' is our second taste (after 'Lazy Slave') from Baltimore rock deconstructionists Dope Body's Natural History, the follow-up to last year's physical, beguiling Nupping.” 
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
PORK & MEAD MAG 4.5/5:
“You need Marissa Nadler’s sixth full length album, The Sister, to accompany your unapologetic, completely fulfilling night of solo drinking. After your first drink, you decide she is singularly talented and wonder why it’s taken you this long to discover her unique version of gothic folk. You quickly buy her entire catalog on iTunes. After the second, you imagine her serenading you in an American shire in a flowing white dress. You find yourself standing nervously at your window expecting her to appear. After the third, you are convinced she is an angel and consider throwing away your entire music collection because her haunting voice and stirring ballads may be the only music you need for the rest of your life.” 
“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.” 
ALARM Video premier of "The Wrecking Ball Company":
“Still on the heels of her acclaimed 2011 self-titled release, Bostonian singer-songwriter Marissa Nadler is set to bring us even more of her dream-folk, finger-picking goodness. In her latest video, for the single 'The Wrecking Ball Company,' Nadler appears alongside fellow Bostonian folk singer Ryan Lee Crosby. The two play a couple that’s living worlds apart under the same roof as they try to bridge the gap between them.” 
EMUSIC Video premier of "The Wrecking Ball Company":
“Oh Marissa Nadler, you keep on putting out records and I wonder if I’ll ever grow tired of them. But now I’ve finally given up worrying about the ifs or whens and I’ve learned to deal with the fact that nearly every song you put out into the world is just as gorgeous as it is gloriously melancholic and usually, borderline perfect. The latest example is the video for the song off her forthcoming album, The Sister.” 
“On May 29th Marissa Nadler is releasing a new album entitled The Sister, which is a companion piece to her 2011 album Marissa Nadler. So far we’ve only heard 'The Wrecking Ball Company' from it, and that’s good enough to make us really quite anxious to hear the rest. Unfortunately we’re not getting any new tracks just yet, but we do now have the video for 'The Wrecking Ball Company' which is haunting and at the very least it gives us the chance to hear this great song again.” 
IFC Video premier of "The Wrecking Ball Company":
“We are proud to present the video for her first single ‘The Wrecking Ball Company’ off of the upcoming release. Nadler explained that for her, 'The song references the walls that can grow up between two people and how painful that distance can be. The couple is sharing the same desolate, unadorned house, but they are apart, and looking for a hopeful sign to bring them back together.' As with most of Nadler’s tracks, the song is gorgeously melancholic.” 
Blues Control
"Valley Tangents"
Drag City: dc509
PITCHFORK premier of “Iron Pigs”:
“Fresh off of collaborating with New Age artist Laraaji on last year's eighth installment in RVNG's FRKWYS series, NYC avant-noise duo Blues Control are readying their Drag City debut, Valley Tangents, for release on June 19. The swarming collage of ‘Iron Pigs’ is a cut from that album.” 
Silver Jews
"Early Times"
Drag City: dc253
“Drag City will issue a collection of early Silver Jews recordings, titled Early Times, on June 19. Recorded when the lineup consisted of David Berman, Stephen Malkmus, and Bob Nastanovich, these 14 tracks were "captured in the hiss-laden boombox mics of 1990-91," according to a press release. They're culled from the band's long out-of-print The Arizona Record 12" (1993) and Dime Map of the Reef 7" (1992)".” 
Gold Panda
"Mountains" b/w “Financial District”
Ghostly International: gi157
PITCHFORK premier of "Mountains / Financial District":
“Producer Gold Panda releases a new 7" single ‘Mountain’ b/w ‘Financial District’ digitally today via his own Notown in the UK and tomorrow via Ghostly in the U.S. and Europe. The vinyl is out in the U.S. June 12 and the UK June 11.” 
STEREO SUBVERSION premier of "Mountains / Financial District":
“Gold Panda has announced the release of a new 7″ with the tracks ‘Mountain’ and ‘Financial District’ that finally gives fans new material after the tremendous success of 2010′s Lucky Shiner.” 
THE GRUFF TRADE premier of "Mountains / Financial District":
“Like the rest of the world you probably noticed that Gold Panda dropped two new tracks a couple of hours back, that predictably made the internet explode to near the same extent that it did when Animal Collective unleashed some tracks last week. Anyway here they are, and yup just like you expected they are really really good.” 
TRNSCNDNT premier of "Mountains / Financial District":
“One of the best beatmakers ever, Gold Panda, released a 7″ single today.  It’s only been released digitally, but you can snag a vinyl of it June 11/12.” 
EXCLAIM! premier of "Mountains / Financial District":
“London, UK electronic composer and producer Gold Panda (aka Derwin Schlecker) returns with a new single on Ghostly today (May 14), and you can listen to two new tracks now. Released digitally for now, the vinyl version will arrive on June 12.” 
XLR8R premier of "Mountains / Financial District":
“Earlier today, UK producer Gold Panda unexpectedly announced the imminent release of a new 7" single, 'Mountain' b/w 'Financial District'. Dropping ahead of another busy summer of touring around the globe, the two-song effort is meant as a stand-alone release, something Gold Panda is referring to as both a 'short story' and an example of 'modern hip-hop.'” 
BLURT premier of "Mountains / Financial District":
“Gold Panda calls the material 'modern hip-hop,' adding, 'the 808 snares on ‘Mountain' are a nod to Noah '40' Shebib and some-time Drake collaborators Boi-1da. ‘Financial District,' at 125 bpm, though actually feels slower than that because the drum machine pattern on it has a completely different feel. It's in the rhythms that I depart from that initial hip-hop idea.'” 
CONSEQUENCE OF SOUND premier of "Mountains / Financial District":
“Tomorrow (May 15th), UK producer Gold Panda will digitally release his new single, 'Mountain' b/w 'Financial District', via Ghostly International/Notown. Both tracks are currently streaming below. The A-side features the cascade of electronically warped Taiko drums that slowly transform into something resembling modernized DnB. The B-side takes a similar approach, mutilating the sounds of vintage horns and keys into the death rattle of a bird of prey.” 
PASTE premier of "Mountains / Financial District":
“U.K.-based, Eastern-influenced electronic producer Gold Panda is set to release a new 7" single on Tuesday through Ghostly International. The single will mark Gold Panda’s first release since his 2011 DJ-Kicks compilation.” 
NEEDLE DROP premier of "Mountains / Financial District":
“The track 'Mountain' feels like a short visit to some far-off Tibetan monastery, housing some of the most at-peace-with-the-world monks known to man. 'Financial District' seems to fit its title as well, feeling much more robotic, calculated, and regimented. The woozy synths hanging in the background are a nice touch as well!” 
PREFIX premier of "Mountains / Financial District":
“Unlike his namesake marsupial, UK producer Gold Panda has no problem being productive.  The latest in a string of small releases is a new 7” single 'Mountain' and its b-side 'Financial District'.” 
STEREOGUM premier of "Mountains / Financial District":
“British bucolic-electronic producer Gold Panda has a new single hitting the internet today, and it features two warm, expansive, meditative instrumental pieces, both of which will probably have a calming effect on anyone facing a hectic Monday work morning.” 
Neneh Cherry & The Thing
"The Cherry Thing"
Smalltown Supersound: sts229
PITCHFORK premier of "Accordion" video:
“Here's the night vision-goggled video for their cover of MF DOOM and Madlib's Madvillain track 'Accordion', via The Fader. The album is out June 19 on Smalltown Supersound, and also features covers of tracks by the Stooges, Cherry's father the jazz legend Don Cherry, Ornette Coleman, and more.” 
TINY MIX TAPES premier of "Accordion" video:
“Last month, we posted Neneh Cherry and avant-jazz trio The Thing (Mats Gustafsson, Ingebrigt Håker Flaten, Paal Nilssen-Love)’s cover of Suicide’s 'Dream Baby Dream.' It was pretty much unanimously loved. Today, we have a video for 'Accordion,' their cover of the classic Madvillain track. When Cherry has the mic, it’s like the place get like, 'Ah yeah!,' leaving pussy cats like wild hoes need Kotex. Got more lyrics than the church got 'Ooh Lords,' etc.!.” 
STEREOPHILE premier of "Accordion" video:
“Last month, we heard the band’s version of Suicide’s ‘Dream Baby Dream.’ Now we can check out the video for ‘Accordion,’ a selection taken from MF Doom and Madlib’s 2004 album, Madvillainy.” 
STEREOGUM premier of "Accordion" video:
“Cherry’s been on the inactive list for a while, but she recently linked with Scandinavian jazz combo the Thing to record an album of covers called The Cherry Thing. We’ve already posted their version of Suicide’s 'Dream Baby Dream.' And now there’s a video for their cover of Madvillain’s 'Accordion,' which features Cherry wailing every one of MF Doom’s free-associative rap lines and showing some serious night-vision crazy eyes.” 
EAR BUDDY premier of "Accordion" video:
“Now she’s released a video for her cover of the MF Doom single, 'Accordion'. Watch the new video below and see what director Ted Says had to say about it.” 
“Cherry's collaborators for the tune, and for the entirety of her upcoming album The Cherry Thing (out 6/19), are the members of Sacandanavian avant-jazz supergroup The Thing. This is a truly amazing pairing, you guys. Cherry's floetic, metasexy approach meshes beautifully with The Thing's deep, eclectic controlled freakout.” 
CRITICAL MOB premier of "Accordion" video:
“The first video is an appropriately creepy night-vision shoot featuring their complete deconstruction of MF Doom's ‘Accordion.’ Originally released on Doom's Madvillainy collaboration with producer Madlib, Cherry and The Thing -- saxophonist Mats Gustafsson, bassist Ingebrigt Håker Flaten and drummer Paal Nilssen-Love -- strip the song down to the barest essentials, even jettisoning a fair amount of the original lyrics. Cherry is in excellent voice, and her vocals fit perfectly with the Thing's loose-limbed improvisations.” 
PREFIX MAGAZINE premier of "Accordion" video:
“The first thing you might notice about the cover is that there is no actual accordion on it. But with her beat-poet delivery and Sex Mob-inspired double bass and baritone sax instrumentation, Cherry more than channels the creepy ethos of the song.” 
“Neneh Cherry (daughter of Don Cherry) and The Thing (Scandinavian free-jazz trio) cover rapper MF Doom. Wild, no?” 
PITCHFORK Best New Track "Dream Baby Dream":
“Where Springsteen imagined the dream as a Sisyphean rage against death, Cherry and co. hear it as a path to ecstasy. The rhythm, beaten out on toms, mimics the dinky Latinized drum machine patter of Suicide's original but makes it a little slower and a couple of fathoms deeper. Cherry's voice begins as more of a late-Billie Holiday croak but ascends along with the song, one step leading to the next as it grows in intensity and feeling.” 
“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.” 
“The collaboration is fitting too, since The Thing is named after a piece by jazz legend Don Cherry, who is the stepfather of Neneh, who is collaborating with The Thing, who are releasing a new album called The Cherry Thing on June 19 via Smalltown Supersound. See what I mean? Now listen to what I mean.” 
“As previously announced, Neneh Cherry & The Thing are releasing their debut collaborative album, The Cherry Thing, on June 19 via Smalltown Supersound. This new album, Neneh’s first in 13 years, features the music of such diverse artists as The Stooges, MF Doom, Suicide, Ornette Coleman, Don Cherry, and Martina Topley-Bird, plus original pieces by Neneh and The Thing’s Mats Gustafsson.” 
“Neneh Cherry and jazz trio The Thing met for the first time at a recording session in London in the fall of 2010. It clicked right away as they all shared an open, free approach to the music. The high energy of The Thing's playing found a fitting counterpart in Neneh's intense style.” 
“Get a listen to Neneh Cherry & the Thing covering Suicide's ‘Dream Baby Dream.’ Their debut features jazzed up covers of songs by Don Cherry, MF Doom, Martina Topley-Bird,The Stooges, Ornette Coleman and more with original jams from both Neneh and The Thing's Mats Gustafsson. Their album The Cherry Thing drops June 18 on Smalltown Supersound.” 
“Polymorphous Swedish singer Neneh Cherry has teamed up with fellow Scandinavians The Thing for a debut LP suitably named The Cherry Thing. Cherry's new record continues her tendency, ever since her 1996 Man, to avoid solo recording in favour of collaboration. Deeply influenced by Neneh's stepfather, free jazz legend Don Cherry, The Thing are a natural choice as a foil for the singer's talent.” 
“It’s an exultant interpretation, a track that follows a chaotic, cathartic instrumental breakdown into the clouds, Cherry chanting 'Dream baby dream … keep that flame burning!' the whole way. It’s a notable angle and a powerful interpretation, for sure.” 
“Neneh Cherry and the Swedish jazz ensemble the Thing latch onto the piquant edges of Suicide’s 'Dream Baby Dream,' a well loved anthem that is having a bit of a renaissance thanks to this and Bruce Springsteen’s elegiac live cover on his Devils and Dust tour. Cherry folds a lot of the pathos of the former two in her worn velvet voice but delivers each line the way the song title suggests: a sweet imperative bubbled up on effervescent drums.” 
“This was the comeback story no one could have possibly expected. Still, Neneh Cherry's cover of Suicide's 'Dream Baby Dream' is a knock-out, jazzy stunner.” 
“Imagine the joy we felt when we opened the ol’ tips box to find Neneh Cherry covering our very favorite Suicide song, 'Dream Baby Dream,' in advance of her first new record in 13 years. And it’s amazing. It put us right back in the main of why music is electric and the feelings it can give you and how weirdly closely connected it is to this thing that we do in how much it motivates us and never really stops giving us thin.” 
Bonnie ‘Prince’ Billy
"Now Here’s My Plan"
Drag City: dc525
NEW YORK TIMES premier of “I See A Darkness” video:
“Oldham is again releasing a new batch of his own oldies — a six-song EP called Now Here’s My Plan, made up of fresh versions of songs from the Prince Billy catalog. Among the recordings, available on July 24 at Drag City, is an impossibly upbeat rendition of ‘I See a Darkness,’ the beautifully bleak song off his 1999 album of the same name that was later covered by Johnny Cash.” 
Now Here's My Plan EP accompanies the book Will Oldham on Bonnie ‘Prince’ Billy, out June 4 in the UK and due for publication in the U.S. in September. Recorded with members of the Wolfroy Goes to Town touring band, the EP is comprised of new versions of classic Oldham songs.” 
Laetitia Sadier
Drag City: dc526
“Stereolab frontwoman Laetitia Sadier is readying a new solo album to follow up 2010's excellent record The Trip. Silencio is out July 24 on Drag City, and features former Stereolab member Tim Gane, the Zincs' James Elkington and the Sea and Cake's Sam Prekop.” 
Idjut Boys
"Cellar Door"
Smalltown Supersound: sts214
“The pair have been DJing and making music together for almost 20 years. In that time they've become known as crate-digging purveyors of deep disco and house, while founding several imprints - U-Star, Noid, Discfunction, Cottage - to house their productions and those of others. Although Cellar Door is being billed as their debut album, The Idjuts' discography does include examples of the form: In 2009 they put-out Desire Lines as Meanderthals (alongside Rune Lindbæk) while releases like Noid Long Player and Life the Shoeing You Deserve have previously collected their material.” 
“Finally after a career that spans 20 years, Idjut Boys (Daniel Tyler and Conrad McConnell) will be putting out a formal album. For people who play such eclectic DJ sets as they do, it’s not easy to predict what the album will sound like, although we’re told it’s ‘what the Idjut Boys sound like strapped to an Eames chair, cheroot in hand, while their pet tiger Keith sits by the hearth fire.’” 
Midnight Ghost Train
Karate Body: kbr019
“These delta-rooted jams ooze thick stoner rhythms that would stand in the rain holding withered daisies as quickly as they'd overstep the law to defend a dear friend.  The songs move from torrid clip to wispy cadence within a moment, and a metronome was never necessary.  Buffalo's soul is of a homegrown, deep-fried lineage.” 
“Kansas blues/metal band The Midnight Ghost Train will be releasing its album Buffalo in July and we are streaming the track ’Foxhole’ from it. Buffalo was produced by David Barbe, whose credits include R.E.M., Drive-By Truckers and Bob Mould.” 
The Skabbs
"Idle Threat"
Jackpot Records: jpr020
Idle Threat corrals 17 previously unreleased tracks—recorded in 1977 and 1978—that fall somewhere between the weirdo art punk of Pere Ubu and the pissy sneer of the Sex Pistols. The songs are smart and smart-ass, occasionally dipping into the political and cultural issues of the time on tracks like 'This Is The American Way' and 'You are the Hillside Strangler.'” 
“There isn’t a core Skabbs’ sound but, on many of the songs, the band combines quirky and jittery rhythms with the start-stop playing that was the hallmark of a number of the SST bands that sprouted up in later years. Just to confuse things though – on other tracks, the band sounds closer to acts like The Dickies ('N-N-N-Nervous') or The Avengers ('Long May She Wave', 'Who Killed the Kennedys'). Adding to the disc’s punk charm, these rehearsal tracks were recorded on a open mic two-track reel-to-reel so there is a lo-fi 'ragged but right' aura (which sometimes borders on the demented) to these songs.” 
DYING SCENE premier of "Idle Threat" video:
“'Old school rock/punk/new wave group from Lawndale, CA, The Skabbs, have a collection of never-before issued recordings that were just released on Jackpot Records. Along with the record, Blank TV is premiering the video for ‘Idle Threat.’” 
Soft Abuse: sab050
"PUNY, Neville’s first full-length in four years, is a welcome return. Here is the rather rare instance where hearing a sound unchanged by time offers a near-perfect prescription. A studio spell — or even a solid cleaning of the busted amps and cracked instruments strewn about Neville’s apartment — is not what one looks for from this artist. Here, the dirt and decay is welcome, even necessary.”
"There is a rugged beauty to this album that engages the listener beyond simply its musical innovations. Pumice is a great example of a style of music that is, in many ways, one of New Zealand’s true cultural inventions. Within this, Neville has an undeniably unique voice. Despite little media attention or recognition, he remains one of our more significant artists. PUNY is a great album and at the risk of cliché: I can’t recommended it strongly enough.”
"Red Parole"
Karate Body: kbr018
“A Spiderland for a new generation, Seluah’s long-gestating first full-length album is nothing short of a masterpiece. A hypothetical soundtrack for a chilling, sexed-up Nicholas Ray film noir filled with double-crossings, misbegotten sex and stolen money, Red Parole is a precise, sensual overload of cutting riffs, floating rhythms and haunting vocals. While the well-sequenced album progresses with a steady tone, close inspection reveals that every note has been carefully placed and executed.” 
“There’s no denying that there is a lot of depth and weight within the album – musically in terms of structure, instrumentation and harmonies and in the added effects as well as the production (bravo). They all come together to give the melodies their surreal appeal and carry the sounds with a smoothness that is haunting. Red Parole pulls on a lot of different ideas and there’s definitely something within the songs which will draw you back for more.” 
Red Parole, which officially will release April 10, picks up right where that first recording left off, starting with the January single release, ‘The Other Side of the Gun.’ The new disc is nine tracks long, more than 50 minutes in all (including a bonus track titled ‘The Winch’) and, like its predecessor, will sound right at home to the ears of Pink Floyd and Radiohead fans.” 
LEO WEEKLY Interview with Seluah:
“The small number of people who happened to see us play back in the day and the people who bought our old EP have always been very supportive and vocal about their appreciation. Sometimes I wonder about those six lost years, what could’ve been had we stayed together, but I listen to what we’ve done on Red Parole, I hear how intense it is, and I believe all our crooked respective paths were necessary to get us to this destination. And I don’t wish to be anywhere else.” 
“Seluah’s sound is among the most distinctive in the recent history of Louisville music, one where the low thrum of the bottom end slides into warmly aggressive guitars, which then point toward Edward Grimes’ ethereal voice, floating above it all as if sampled at a seance. It’s music as altered state.” 
“From the first album in 10 years by Louisville band that brandishes droning, wraithlike melodies and dub rhythms.” 
“Seluah is a dark, brooding, sprawling piece of work.  A mid-western soundtrack where in the film each of the protagonists end up trawling across the desert in the endless heat.” 
“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.” 
Sic Alps
"Pangea Globe"
Drag City: dc517
IMPOSE MAGAZINE Interview with Sic Alps:
“‘I recorded the 4 songs (Pangea Globe) plus a bunch more in a weekend. Just holed up at home with Sic Alps bassist Tim Hellman and recorded 'em. It was one of those things you're impulsed to do and it's over before you know what happened, or why. We had no intention of releasing the songs at the time, so some of the lyrics are dead wrong. Hopefully the man himself will understand.’” 
“Next Tuesday, April 24, the 7-inch series takes a bow with four covers of UK spiritual forefathers Tronics, via the Pangea Globe EP. Marvel as Donovan and co. do the 'Squiddley Diddley'; thrill to their signature stylings on 'Shark Fucks'.” 
Ty Segall & White Fence
Drag City: dc503
Hair is an album of rowdiness and clamor which you can hear on 'Crybaby' in the form of a drunken piano and crash cymbals.” 
Hair works because even when the pieces aren’t well integrated, they are often enjoyable listening. It also reminds you how much diversity there can be, even among artists who seem to be naturally aligned and compatible.” 
NME 8/10:
“Together, and with the help of ’Cisco fuzz-pop linchpin Mikael Cronin, they’ve turned out a collection which displays a fondness for vintage ’60s psych (dig these song titles: ‘Easy Ryder’ and ‘(I Can’t) Get Around You’) and the spooky microdot-pop of Thee Oh Sees. There’s a lot more where this came from, too.” 
“Ty Segall and White Fence haven't reinvented themselves, nor have they revolutionised garage rock, but Hair stands as a welcome reminder of how enjoyable guitar and drum music can be both to play and to hear.” 
“Their unholy powers combined, they give us Hair, a raucous, psychedelic guitar skirmish that transcends descriptions of its creators’ individual works. How ’bout this: Syd Barrett’s newfound feral tomcats lapping up saucersful of dosed milk.” 
“Pretty acoustic diversions break up the Nuggets-inspired, long-haired rock ‘n’ roll binges; some parts drag, other parts scream, and the whole thing feels like it could fall apart at just about any second. During its finest moments, though, like the swinging, swaggering 'Crybaby,' it sounds like the best music in the world, which is more than you can say for a lot of stuff coming down the pike these day.” 
“There's an expansiveness, too, to tracks such as 'Time', as Segall embraces the bleached, haunted psychedelia that followed the summer of love. One for genre fans only, probably, but one for them to cherish.” 
“There's a change of pace halfway through the slow, George Harrison-esque opener 'Time' and thereafter the blueprint is 1960s garage and psychedelia, right down to the chord changes. Clattering drums, wigged-out guitar and vintage reverb abound, and the back half of the punky 'Scissor People' splices into a groove that could be early Mothers of Invention.” 
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'.” 
"Oh Holy Molar"
Kranky: krank165
Oh Holy Molar, Felix's second album, recalls the starkness and exaggerated intimacy of records by Cat Power and Scout Niblett, but Chua is a far more reserved and poised individual. Whereas those singers can barely hold back their rawest emotion, Chua filters all that through pith and poetry. She delivers her most passive-aggressive lines with a stinging wit, but her funniest lines are self-deprecating, as when she mocks her own musical limitations in the opening track, 'The Bells'.” 
“Their songs are remarkably stripped back and beautifully brittle, yet for such sparse compositions they manage to be packed with emotion and confusion.” 
PREFIX 8/10:
“To say that Oh Holy Molar has a bite is a vast understatement -- the record grabs ahold of your skin and refuses to let go.” 
“What makes Oh Holy Molar excellent is how every single line commands attention. Chua never tackles her subjects head-on; instead her songs collect scattered feelings, memories, and images, often returning to the titular ‘holy molar’ (a lost tooth strung into a pendant).” 
MUSIC OMH 3 Stars:
“Recording in a massive 1940s cinema and subsequently discovering a dental laboratory under the live space after they’d finished recording is a great backstory. But it is the ability of Felix to exploit the idiosyncrasies of the recording space to their fullest that flavours this album.” 
“UK chamber-pop trio Felix are set to release their sophomore LP, Oh Holy Molar, on April 23 via Chicago's own Kranky Records. Centered around singer-songwriter Lucinda Chua's distinct vocal delivery and soft piano lines, Felix also features intricate guitar work from Chris Summerlin and understated percussion courtesy of drummer Neil Turpin.” 
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.”
Riveting and unpredictable across multiple plays, Choir of Young Believers has expanded upon the blueprint outlined on their well-crafted first album and channeled it into a sophomore release that's really outstanding.”
Their sophomore effort, Rhine Gold, hews close to its predecessor, yet builds almost exponentially on it.”
“The strength of the opener and the excellently realised eponymous closer, though, add enough overall momentum to that thrilling middle to make this a worthwhile and rewarding listen. Allow it to deceptively wash over you a few times though and eventually you will be pulled down into their murky but shimmering world.”
Rhine Gold does feel a bit frontloaded, with the most compelling tracks happening in the first half, losing a little momentum towards the end, but this is still a superb release.”
Their ‘expansive blend of orchestral folk-pop, 80s synth-pop, motorik German prog, atmospheric psych-folk and more on mostly sprawling, cinematic songs with majestic melodies, melancholy lyrics and plaintive tenor vocals’ is more than what other groups with years more experience could even hope to accomplish.”
Their emotive, theatrical pop sound with vocals that evokes Fleet Foxes’ Robin Pecknold or Jim James of My Morning Jacket has been creating a lot of buzz throughout the web.”
The musical backdrops have blossomed into far-reaching, cinematic expanses: The blissfully sculpted pop of 'Sedated' is spotted with new headphone-worthy details (storm sound effects, glossy piano strokes and beefy bass), and the bright, bold ‘80s-styled synth-pop of 'Patricia’s Thirst' is miles away from the meditative chamber-folk of yore.”
This is mainly the project of Danish guitarist/writer/singer Jannis Noya Makrigiannis, a Danish/Greek/Indonesian blend of influences who’d been leading a band called Lake Placid, is an inspiring talent with a big voice. His rotating cast of support helps him fill out his nuanced, hushed but grandiose indie pop fantasies.”
Killer Danish tenor wails over wistful orchestrations, miraculously links Fleet Foxes to Neu!.”
While majestic in its cinematic-like scope, if not a teeny bit overly sedated, Makrigiannis’ vocals remain as potently mesmerizing as ever.”
With this record, he and his choir may very well have found that desired breath of fresh air without abandoning the immensely solid groundwork of album #1.”
Expanding on the theatrical tendencies of its reverb-drenched debut This Is For the White in Your Eyes, the darks are darker, but there are also lighter lights. 'Paint New Horrors' breaks from the album’s orchestral pop tendencies for a swinging 1970s-flavored refrain where leadman Jannis Noya Makrigiannis’ mournful voice doesn’t just resonate—it soars.”
Rhine Gold has got everything you want. There’s ambition, surprise and innovation.”
"Perfect Teeth"
Teenbeat: tb119
PITCHFORK Top 45 Releases of Record Store Day 2012:
NPR All Songs Considered "13 Reasons To Visit Your Local Record Store Da":
“Washington, D.C. is mostly known for its history with hardcore and go-go, but in recent years, the Capital's distinctly tongue-in-cheek but charmingly catchy '90s indie-pop scene has received its due. No band exemplified these qualities more than Unrest on its final and best album, 1993's Perfect Teeth.” 
“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.
"A | A"
Kranky: krank168
THE QUIETUS Interview with Grouper:
"So Harris' art is capable of inhabiting any number of places along that continuum at once: it reaches from the nakedly pretty, opiate-soaked pop of 2008's 'Heavy Water/Rather Be Sleeping', through A | A's push and pull between order and chaos, to the fully disassembled threads of her tape-loop compositions, before jumping between media, unravelling on the page, onscreen and through speaker cones. 'Remaining honest is the most important continuity for me,' she concludes.”
Stone Breath 
"The Night Birds Psalm"
Hand Eye: h/e053
"Every successive album that is delivered by Stone Breath increases the level that they set for themselves, and they never seem to disappoint in that respect.  Performances aren’t always flawless but those little details are what bring most of their records to life in a natural way.  Their music paints sound in Autumnal tones that breathes their own unique sense of beauty into the soul of the music.  Again, criminally underrated, but immensely respected amongst those whose souls are comforted by Stone Breath’s compositions.”
"It’s a sense-filled immersion into a strange mixture of instruments topped with an even stranger feeling of listlessness. The deep tones of the vocals and jangly riffage of the banjo roll along on each track, driving the listener deeper into subconscious.”
"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
CONSEQUENCE OF SOUND Interview with Lotus Plaza:
“The calm and collected multi-instrumentalist released one solid helping of dream-rock earlier this year under his Lotus Plaza moniker in the form of Spooky Action at a Distance, his second solo album. Pundt opened up a bit about the ideas behind his new record, traveling the world, and his love-hate relationship with guitars.” 
PITCHFORK.TV on YouTube presents Lotus Plaza on "#1":
“This episode features Lotus Plaza, featuring Deerhunter's Lockett Pundt, who discuss the process of recording Spooky Action at a Distance and perform tracks from that album at Glasslands in Brooklyn.” 
Spooky Action At A Distance is an unabashedly elating and irrevocably hi-fi work of startling genius. Hyperbolical as such enthused articulation may initially appear, you're hereby implored to get up close and personal with this record for it's Kranky's finest and an incontrovertibly perfect one.” 
Spooky Action At A Distance is a phenomenal full-length – one that not only showcases Pundt’s maturation, but also offers a coherent vision that stands on the same level as Deerhunter…something that Atlas Sound records haven’t quite reached.” 
THE L MAGAZINE Interview with Lotus Plaza:
“For a rock star, Lockett Pundt is pretty shy. While that would likely be said about anyone famous for standing next to his gregarious Deerhunter bandmate Bradford Cox, Pundt's presence has always been notably withdrawn. He looks lost in thought even while summoning an enveloping guitar noise. That conspicuous internal quality is the main reason that Spooky Action at a Distance is such a surprise. The new record from Pundt's solo project Lotus Plaza isn't so far off from what he's done previously. But its openness, its shunning of obscuring elements, feels like a big step forward (even if it stops a few stops short of being truly confessional).” 
“Lest it seem like Spooky Action is an overly subtle work, it's worth reiterating that its 44 minutes are unerringly tuneful and immediate, the sort of thing that seems unambitious until you step back and ask yourself just how many records out there manage to actually pull it off. And Pundt's means of cranking out one instantly memorable chorus after another brings to mind someone who's incredibly good at sports wagering: there's surely some intuition and luck involved, but Pundt's a guy who's figured out how certain mismatches and trends work to his advantage.” 
THE FADER premier of "Monoliths":
“‘Monoliths,’ the latest track from Deerhunter guitarist Lockett Pundt’s solo project Lotus Plaza, is a lush, summery anthem. With layers of radiant guitars and a high-flying chorus, it conjures the wide-open spaces of a road trip through the plains states, or rope-swinging into an icy lake on a hot afternoon.” 
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.” 
"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.” 
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.”
"Foreign Body”
Kranky: krank162
“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. At its best when they pool their strengths – highlight ‘Mine’, on which Grouper sinks Fortino’s voice in a whole swimming pool’s worth of watery reverb – Foreign Body crawls under the skin and stubbornly lodges itself there..” 
NME 8/10:
“Start to finish, Mirrorring's debut is submerged in a hazy, blurred production aesthetic. This is not only unsurprising, it's exactly what I would have predicted from this collaboration between Liz Harris (of Grouper) and Jesy Fortino (of Tiny Vipers) before hearing a single reverbed note. Fortunately, Liz Harris' age-old trick is a good one, and Fortino's contributions are key, making Foreign Body more than the sum of its contributors' parts.” 
“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
FACT MAGAZINE interview with Brian Case of Disappears:
“The Chicago four-piece – who currently count Sonic Youth sticksman Steve Shelley in their ranks – have just released their third album, Pre Language, through Kranky. Recorded at Sonic Youth’s fabled Echo Canyon studio, it’s their most robust and engrossing full-length statement to date..” 
“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 MAGAZINE interview with 120 Days:
“It’s been over five years since we last heard from Oslo’s 120 Days, but the wait was well worth it: the quartet is back with a new album (simply called II) that’s oozing with the dance-leaning kraut sound we all came to love with their debut. The only difference this time around is that the guys embraced technology fully and, instead of recording in an old school fashion (direct to tape), they incorporated a pile of samples and plenty of MIDI-sequenced beats, making II more of a club-oriented fist-pumper than you might’ve anticipated.” 
INTERVIEW MAGAZINE interview with 120 Days:
“The band's evolution over the past few years led to their latest album, II, which spews electric emotion and crosses over into many different genres. Its first single, ‘Osaka,’ reflects the darker, more transient feelings on the record—their first on Club Mod/Modular, it's a fresh take for the band, after a decade together.” 
“Now a full-fledged band, the album sounds like a sleepy Jens Lekman fronting The Notwist.” 
“A spate of success after the first album upped the pressure and nearly tore the Norwegian foursome apart, but the principals -- Jonas Dahl, Arne Kvalvik, Kjetil Ovesen, and Ådne Meisfjord - gradually found a way to work together again in an idiom that is almost an engineer's diagram of hedonistic release, most of the time chilly, cerebral and dryly beat-driven but prone to sudden, giddy surges in communal energy.” 
“This is like listening to Ozric Tentacles if they packed up their caravan's, took a shower, bought a spaceship, and went all dance music. Think trippy sounds, oozing synths, never ending bass lines and driving beats and you kind of have an idea of where 120 Days are coming from.” 
“Norwegian electro rockers 120 Days release their appropriately titled second album, II, tomorrow on Splendour Records. The album arrives five years after their debut long-player was released and finds the band taking their exploration of dance music and instrumentation to a bolder, deeper level.” 
“There’s much, much more on II. There’s the big energy of 'Osaka' — which calls to mind Primal Scream’s frenzy-inducer 'Swastika Eyes;' and, there’s white wine material like 'Spacedoubt' which is what one might experience if LCD Soundsystem checked his irony at the door and got together with Germany’s ’70s starchildren Tangerine Dream to redux Vangelis’ soundtrack to Bladerunner.” 
“Funny how Krautrock – something that, up until the late ’90s, was damn near impossible to find at anything other than expensive import prices – has become the lingua franca for any number of musicians and corresponding styles. The Norwegian quartet 120 Days is a perfect example. Their second album, unsurprisingly called II, took six years to make, but in true motorik fashion, it sounds like they just picked back up where they left off on their debut.” 
SOCIETE PERRIER 12 Albums To Watch For In 2012:
“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..” 
“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.” 
SPIN 7/10:
“Not as transcendent as Scandinavian kraut pals K-X-P or Siinai (or their own debut), but more drone-house dancefloor kick.” 
“Taken as a whole, 120 Days II is a surprisingly neat transition from their debut.  It's apparent that the band underwent a lot of experimentation with style and direction.  Nevertheless these issues aren't sufficient to detract from a release that has benefited from a long-gestation period and which hits with force, on the place it should, the dance floor.” 
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
“If electronic music is about rendering blood-and-bone feeling out of cold mechanics, out of the unnatural, Windy & Carl take the wholly natural sounds—guitar, bass, voice—and make them limitless. They cut them free from our contained world of pop structures. They start in the natural musical world and expand beyond it, rather than working their way in from the outside.” 
“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.” 
"Olympic Games"
Splendour: sple006
SPIN 8/10:
Olympic Games takes its melodic cues from rock music, but never fully gives itself over to the genre's forbidden fruit — the temptation to sing actual words or have loud choruses or end the album's catchiest song with anything less than 60 seconds of pulseless jet engine blast.” 
“SIINAI’s debut album Olympic Games is a motorik marathon taking the listener on a vast journey through many peaks and troughs, with grandiose hooks, psychedelic soundscapes, and melodies of grief and relief meeting with entrancing repetition and perfect pacing.” 
“SIINAI’s debut album Olympic Games is a motorik marathon taking the listener on a vast journey through many peaks and troughs, with grandiose hooks, psychedelic soundscapes, and melodies of grief and relief meeting with entrancing repetition and perfect pacing.” 
BEST NEW BANDS video premier of “Anthem Part 1 & Part 2”:
“Ain't no neo-krautrock like Finnish neo-kraturock, as Siinai prove on their new album, Olympic Games, out domestically in late February on Splendour Records. As a teaser for that great release (destined to appear on my top whatever year-end chart, for what it's worth), check out 'Anthem Part 1 & Part 2,' a majestic, celestial gust of Harmonia-like portent and motorik chug.” 
Whistle Peak
"Half Asleep Upon Echo Falls"
Karate Body: kbr017
PASTE MAGAZINE 10 Kentucky Bands You Should Know About:
“Louisville’s Whistle Peak describes its music as ‘pop music in disguise [with] experimentation at its core,’ and the band backs that statement up on Half Asleep Upon Echo Falls, using (appropriately enough) something that sounds a lot like a tea-kettle whistle to set the rhythm for their debut album opener ‘Big and Bright.’ The band’s sound is fully realized on Half Asleep, a follow-up to 2008’s self titled album, which sees band members just as enthusiastic toward electronic instruments as they are acoustic.” 
“Though the music is an eclectic mix of various sounds and encompasses two genres on opposite ends of the spectrum, Whistle Peak channels these elements in a way that makes the songs feel simple. Each track on the sophomore release is instantaneously accessible, an ultimate nod to the band’s musical savvy and clear talent.” 
“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.” 
Silver Tongues
"Black Kite"
Karate Body: kbr016
PASTE MAGAZINE 10 Kentucky Bands You Should Know About:
“Silver Tongues’ willingness to explore many sounds and styles across the length of an LP recall one of Louisville’s best known bands, My Morning Jacket. Although the band’s respective sounds don’t have much in common (save the reverb-heavy, high-register vocal lines on Black Kite’s title track), Silver Tongues proves that you don’t have to lock into the same groove over and over again to make a consistently good album. Black Kite features a long list of local musicians, including Kentucky favorite Ben Sollee on cello.” 
(UPDATED MAY 15, 2012):
200 Years
06/18 - Montreal, PQ @ Casa del Popolo
Action Beat
08/10 - Bescancon, France @ Les Passengers du Zinc
A Storm Of Light
05/16 - Rome, Italy @ Circolo degli Artisti
05/17 - Cortemaggiore, Italy @ Fillmore
05/18 - Berne, Switzerland @ Dachstock
05/19 - Dortmund, Germany @ FZW
05/27 - Antwerp, Belgium @ Muziekcentrum Trix
05/28 - Munich, Germany @ Feierwerk
Atlas Sound
07/13-15 - Chicago, IL @ Pitchfork Music Festival 2012
07/15 - Louisville, KY @ Forecastle Festival 2012
A Winged Victory For The Sullen
05/27 - Dordrecht, Netherlands @ Schouwburg Kunstmin
05/31 - Brussels, Belgium @ AB Theatre at Ancienne Belgique 
07/07 - NYC @ Le Poisson Rouge
08/12 - Helsinki, Finalnd @ Flow Festival at Parrukatu
Meg Baird
06/21 - Philadelphia, PA @ Union Transfer
Chris Bathgate
05/29 - Grand Rapids, MI @ Pyramid Scheme
Masaki Batoh
06/14 - Barcelona, Spain @ Sonar Festival 2012
06/17 - Geneva, Switzerland @ La Kab
06/19 - London, UK @ Cafe Oto
Big Eyes Family Players
07/21 - Sheffield, UK @ Tramlines Festival 2012
Andrew Bird
07/15 - Louisville, KY @ Forecastle Festival 2012
Sir Richard Bishop
05/15 - Essen, Germany @ Unrock Records (afternoon in-store)
05/15 - Krefeld, Belgium @ Suedbanhof
Black Bananas
05/15 - Atlanta, GA @ 529 
05/16 - Durham, NC @ The Pinhook 
05/17 - Lancaster, PA @ Chameleon Club
05/18 - Lancaster, PA @ Nelsonville Music Festival 2012
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
06/05 - Costa Mesa, CA @ Galaxy
Blues Control  
06/21 - Baltimore, MD @ Floristree
06/22 - Philadelphia, PA @ PhilaMOCA
06/23 - Brooklyn, NY @ 285 Kent Avenue
07/25 - Pittsburgh, PA @ Gooski’s
07/26 - Louisville, KY @ Zanzabar
07/27 - Chicago, IL @ Hideout
07/28 - Columbus, OH @ Ace of Cups
07/29 - Cleveland, OH @ Happy Dog
07/30 - Rochester, NY @ Bug Jar
07/31 - Toronto, ON @ Parts & Labour
08/01 - Montreal, QC @ Il Motore
08/02 - Burlington, VT @ Signal Kitchen
08/03 - Allston, MA @ O’Briens Pub
Bonnie Prince Billy 
06/23 - Rehoboth Beach, DE @ Dogfish Head Brewing & Eats
06/24 - Philadelphia, PA @ Trocadero Theatre
California Guitar Trio
06/29 - Frederick, MD @ All Saints Episcopal Church
06/30 - Sellersville, PA @ Sellersville Theater
07/06 - Redlands, CA @ Redlands Bowl/Smiley Park
07/07 - Santa Monica, CA @ McCabe’s
07/10 - Felton, CA @ Don Quixote’s
7/12-13 - Grass Valley, CA @ California Worldfest 2012
07/14 - Sutter Creek, CA @ Sutter Creek Theatre
08/11 - Park City, UT @ Prospector Theater
08/12 - Cedar City, UT @ St. Jude’s Episcopal Church 
08/17 - Sedona, AZ @ Fisher Theatre
08/18 - Phoenix, AZ @ Rhythm Room
10/13 - Rockport, MA @ Shalin Liu Pac
12/01 - Detroit, MI @ Detroit Institute of The Arts Lecture Hall
Tom & Christina Carter
05/20 - London, UK @ Cafe Oto
05/25 - Chicago, IL @ Empty Bottle
07/06 - Madison, WI @ Mickey’s
07/07 - Chicago, IL @ The Burlington
05/15 - Brooklyn, NY @ Death By Audio
05/19 - London, UK @ Cafe Oto
05/21 - Lyon, France @ Sonic Lyon
05/24 - Madrid, Spain @ Space Cadet
05/25 - San Martino Spino, Spain @ Musica Nelle Valli Festival 2012
05/26 - Naples, France @ Riot Studio
05/27 - Rome, Italy @ Init Club
05/28 - Kortrijk, Belgium @ De Kreun
05/29 - Leipzig, Germany @ UT Connewitz
05/30 - Berlin, Germany @ Marie Antoinette
05/31 - Glasgow, UK @ Mono Cafe Bar
06/01 - Newcastle, UK @ Morden Tower
06/02 - West Yorks, UK @ Heben Bridge Trades Club
Choir of Young Believers
05/16 - Zurich, Switzerland @ Papiersaal
05/17 - Innsbruck, Austria @ PMK
05/18 - Paris, France @ Cafe de la Danse
05/19 - Brugge, Belgium @ Cactus Club
05/21 - London, UK @ Birthdays
05/22 - Leuven, Belgium @ Stuk
05/23 - Deventer, Netherlands @ Burgerweeshuis
05/25 - Hamburg, Germany @ Uebel & Gefaehrlich
05/26 - Malmo, Sweden @ KB
Chrome Hoof
05/18 - 05/19 - St. Petersburg, Russia @ Skiff 16 Festival 2012 at Kuryokhin Centre
Com Truise 
05/26 - George, WA @ Sasquatch Festival 2012
05/31 - Padova, Italy @ Student Festival 2012
06/01 - Krakow, Poland @ Selector Festival 2012
06/02 - London, UK @ Field Day
06/05 - Brighton, UK @ The Haunt
06/06 - Gent, Belgium @ Trash Festival 2012
06/07 - Rotterdam, Netherlands @ Ekko
06/08 - Rome, Italy @ Meet In Town
06/09 - Paris, France @ Nouveau Casino
06/10 - Manchester, UK @ Parklife
06/12 - Glasgow, UK @ West End Festival 2012
06/14 - Hamburg, Germany @ Ubel & Gefahrlich
06/30 - Istanbul, Turkey @ Mono Istanbul
08/17 - Hasselt, Belgium @ Pukkelpop Festival 2012
08/18 - Trondheim, Norway @ Samfundet
08/31 - 09/02 - Chicago, IL @ North Coast Music Festival 2012
Mikal Cronin 
06/06 - Groningen, Netherlands @ Vera
06/07 - Amsterdam, Netherlands @ Paradiso
06/08 - Utrecht, Netherlands @ Ekko
06/09 - Leffinge, Belgium @ De Zwerver
06/10 - Welbeck Abbey, UK @ No Direction Home Festival 2012 
06/11 - London, UK @ Shacklewell Arms
06/12 - Eindhoven, Netherlands @ Effenaar at Altstadt
06/13 - Antwerp, Belgium @ Trix
06/14 - Paris, France @ Nouveau Casino
06/15 - Luzern, Switzerland @ B-Sides Festival 2012
06/16 - Bologna, Italy @ Vicolo Bolognetti 
06/18 - Vittorio Vento, Italy @ Bianconinglio
06/20 - Toulouse, France @ St. Des Seins
06/21 - Bordeaux, France @ Fete De La Musique @ Skatepark
06/23 - Madrid, Spain @ Dia De La Musica Festival 2012
Dale Earnhardt Jr. Jr.
05/27 - Quincy, WA @ Sasquatch Music Festival 2012
07/07 - Manchester, TN @ Bonnaroo Festival 2012
05/24 - London, UK @ Earnest Endeavors (DJ Set)
05/25 - Geneva, Switzerland @ Le Kab de L’usine (DJ Set)
05/26 - Paris, France @ La Machine du Moulin Rouge (DJ Set)
06/01 - Nijmegen, Netherlands @ Doornroosje (DJ Set)
06/02 - Rotterdam, Netherlands @ Low Festival 2012 (DJ Set)
06/02 - Amsterdam, Netherlands @ Het Lente Kabinet Festival 2012 (DJ Set)
Matthew Dear
05/27 - Brooklyn, NY @ Loreley (DJ Set)
06/16 - Hollywood, CA @ Avalon (DJ Set)
06/30 - Chicago, IL @ Montrose Beach (DJ Set)
07/20 - Washington, DC @ U Street Music Hall (DJ Set)
07/21 - Long Island City, NY @ MOMO PS1 (DJ Set)
11/17 - NYC @ Webster Hall
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
Dope Body
05/19 - Baltimore, MD @ Coward Shoe Building
06/14 - Brooklyn, NY @ Public Assembly
06/15 - NYC @ Cake Shop
06/22 - Chicago, IL @ Empty Bottle
09/07 - Raleigh, NC @ Hopscotch Festival 2012
05/15 - Atlanta, GA @ 529 
05/16 - Durham, NC @ The Pinhook
The Ex
05/18 - Brighton, UK @ Concorde 2
05/19 - Berlin, Germany @ Magnet Club
10/26 - Tubingen, Germany @ Sparkassen-carre
Geoff Farina
05/18 - Chicago, IL @ The Whistler
05/25 - Chicago, IL @ The Whistler
Faun Fables
09/02 - Salt Lake City, UT @ Urban Lounge
09/07 - Denton, TX @ Dan’s Silverleaf
09/20 - Brooklyn, NY @ Knitting Factory
09/21 - Hudson, NY @ Spotty Dog Books & Ale
Frontier Ruckus
05/26 - Evans, GA @ Banjo-B-Que
06/01 - Greensboro, NC @ Friday Night Live at Center Park
06/16 - Grand Rapids, MI @ T-Rex Festival 2012 at Pyramid Scheme
06/23 - Lansing, MI @ Festival of The Sun 2012
07/27-28 - Lake Ann, MI @ Sleepy Bear Music Festival 2012
Fruit Bats
06/10 - Manchester, TN @ Bonnaroo Festival 2012
06/27 - Milwaukee, WI @ Milwaukee Summerfest 2012
06/28 - Chicago, IL @ Schuba’s
06/29 - Chicago, IL @ Schuba’s
06/30 - Rothbury, MI @ Elect Forest
07/02 - Brooklyn, NY @ Knitting Factory
07/03 - Boston, MA @ Brighton Music Hall
07/13 - Asheville, NC @ Emerald Lounge
07/14 - Nashville, TN @ 12th & Porter
07/15 - Louisville, KY @ Forecastle Festival 2012
09/02 - Seattle, WA @ Bumbershoot Festival 2012
Girl Talk
06/01 - Ozark, AR @ Wakarusa Festival 2012
07/15 - Louisville, KY @ Forecastle Festival 2012
06/09 - Columbus, OH @ The Treehouse
06/10 - Columbus, OH @ The Treehouse
07/09 - Chicago, IL @ Hideout
07/10 - Chicago, IL @ Hideout
08/09 - Cleveland, OH @ Beachland Ballroom
08/10 - Cleveland, OH @ Beachland Ballroom
09/09 - Washington, DC @ Black Cat
10/09 - Philadelphia, PA @ Kung Fu Necktie
10/10 - Philadelphia, PA @ Kung Fu Necktie
11/09 - NYC @ Cake Shop
12/09 - Allston, MA @ Great Scott
Godspeed You! Black Emperor
07/14 - Chicago, IL @ Pitchfork Music Festival 2012
09/23 - Asbury Park, NJ @ ATP I’ll Be Your Mirror N2012
10/01 - Boston, MA @ Orpheum Theatre
10/02 - Philadelphia, PA @ Union Transfer
10/03 - Baltimore, MD @ Rams Head Live
10/04 - Carrboro, NC @ Cats Cradle
10/05 - Atlanta, GA @ Buckhead Theatre
10/06 - Birmingham, AL @ Bottletree
10/07 - New Orleans, LA @ Tipitinas
10/09 - Austin, TX @ The Mohawk
10/10 - Austin, TX @ The Mohawk
10/11 - Dallas, TX @ Granada Theatre
10/12 - Nashville, TN @ Cannery Ballroom
10/13 - Louisville, KY @ Headliners Music Hall
10/14 - Detroit, MI @ Majestic Theatre
Gold Panda
05/27 - Detroit, MI @ Movement Festival 2012
06/02 - London, England @ Field Day Festival 2012
06/10 - Manchester, England @ Parklife Festival 2012
06/23 - Clonmellon, Ireland @ Body & Soul Festival 2012
06/30 - Evreux, France @ Le Rock Dans Tours Ses Etats
07/07 - Amsterdam, Netherlands @ Pitch Festival 2012
07/26 - Miami, FL @ Bardot
07/27 - Chicago, IL @ Bottom Lounge
07/28 - Vancouver, British Columbia @ Electric Owl
08/01 - Washington, DC @ U Street Music Hall
08/02 - NYC @ Bowery Ballroom
08/04 - Salzburg, Austria @ Stuck!Festival 2012
08/19 - Leicester, England @ Summer Sundae Festival 2012
08/30 - Pula, Croatia @ Outlook Festival 2012
09/02 - San Francisco, CA @ FYF Festival 2012
09/06 - Pula, Croatia @ Outlook Festival 2012
09/09 - Isle of Wight, England @ Bestival 2012
10/05 - Vienna, Austria @ Waves Festival 2012
10/12 - Bologna, Italy @ Robot Festival 2012
Rachel Grimes
07/15 - Louisville, KY @ Forecastle Festival 2012
06/18 - Montreal, PQ @ La Sala Rossa
Neil Hamburger
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
07/27 - Chicago, IL @ Lincoln Hall
07/28 - Madison, WI @ Majestic
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
Harvey Milk
05/22 - Birmingham,UK @ Hare and Hounds
05/23 - Bristol, UK @ The Croft
05/24 - Manchester, UK @ The Roadhouse
05/25 - Leeds, UK @ Brudenell Social Club
05/26 - London, UK @ ATP presents “I’ll Be Your Mirror” 
05/27 - Antwerp, BE @ Trix
05/28 - Paris, UK @ Glaz'art
05/29 - Lausanne, CH @ Le Romandie
05/31 - Marseille, FR @ L'Embobineuse
06/01 - Barcelona, ES @ Primavera Sound Festival 2012
06/03 - Bologna, IT @ XM 24
06/04 - Vienna, AT @ Arena
06/05 - Leipzig, DE @ UT Connewitz
06/06 - Berlin, DE @ Cassiopeia
06/07 - Tilburg, NL @ Incubated
06/08 - Rotterdam, NL @ Worm
06/09 - Gent, BE @ DOK
Tim Hecker
05/16 - Manchester, UK @ St. Philip’s Church
05/17 - Liverpool, UK @ Liverpool Sound City Festival 2012
05/18 - Dublin, Ireland @ Dublin Unitarian Church
05/19 - Edinburg, UK @ Pilirig St. Paul’s Church
05/20 - Glasgow, UK @ St. Andrew’s In The Square
06/02 - Montreal, QC @ Mutek
06/21 - Calgary, ON @ Sled Island Festival 2012
07/13-15 - Chicago, IL @ Pitchfork Music Festival 2012
08/04 - Seattle, WA @ Substrata Festival 2012
08/25 - Brooklyn, NY @ Public Assembly
The Howling Hex
06/07 - Denver, CO @ Lost Lake Lounge
06/14 - Denver, CO @ Lost Lake Lounge
06/21 - Denver, CO @ Lost Lake Lounge
06/28 - Denver, CO @ Lost Lake Lounge
09/06-08 - Raleigh, NC @ Hopscotch Music Festival 2012
Chuck Johnson
09/06-08 - Raleigh, NC @ Hopscotch Music Festival 2012
Sophia Knapp
06/19 - NYC @ Le Poisson Rouge
08/17 - Stockholm, Sweden @ Gainesville Festival 2012
Pokey LaFarge
05/30 - Los Angeles, CA @ Wiltern Theatre
05/31 - Los Angeles, CA @ Wiltern Theatre
06/06 - St. Louis, MO @ Schlafly Tap Room
06/22 - St. Louis, MO @ St. Louis Art Museum
06/23 - Gillette, WY @ Donkey Creek Festival 2012
06/26 - Pittsburgh, PA  @ Club Cafe 
06/27 - York, PA @ Strand-Capitol Performing Arts
06/28 - Rochester, NY @ Rochester International Jazz Festival 2012
06/29 - Cincinnati, OH @ Taft Ballroom
06/30 - Owensboro, KY @ River Of Music Party
07/06-08 - Winnipeg, MB @ Winnepeg Folk Festival 2012
07/14 - Greenfield, MA @ Green River Festival 2012
07/20-22 - Dawson City, Yukon Terriotory @ Dawson City Music Festival 2012
07/28-29 - Calgary, Alberta @ Calgary Folk Festival 2012
08/12 - Regina, SK @ Regina Folk Festival 2012
08/21 - Rockport, MA @ Shalin Liu Performance Center
08/25 - Fayetteville, AR @ George’s Majestic Lounge
08/26 - Fayetteville, AR @ George’s Majestic Lounge
08/04 - Seattle, WA @ Substrata Festival 2012
Lotus Plaza
05/15 - Houston, TX @ Fitzgerald's 
05/16 - New Orleans, LA @ One Eyed Jack's
07/06 - Chattanooga, TN @ JJ's Bohemia
07/07 - Louisville, KY @ Zanzabar 
07/08 - Bloomington, IN @ The Bishop
07/09 - Columbia, MO @ Mojo's
07/10 - Des Moines, IA @ Wooly's
07/11 - Minneapolis, MN @ Triple Rock Social Club
07/12 - Madison, WI @ Wisconsin Union Theater
07/14 - Chicago, IL @ Pitchfork Music Festivaln 2012
07/15 - Cleveland Heights, OH @ Grog Shop
07/17 - Allston, MA @ Brighton Music Hall
07/18 - New York, NY @ Mercury Lounge
07/19 - Brooklyn, NY @ Knitting Factory
07/20 - Philadelphia, PA @ The Underground Arts
07/21 - Washington, DC @ Rock & Roll Hotel
07/22 - Asheville, NC @ Emerald Lounge
07/07 - Brugge, Belgium @ Cactus Club
07/09 - Market Square, UK @ Lancaster Library
07/10 - Dublin, Ireland @ Vicar Street
07/11 - Cork, Ireland @ Cyprus Avenue
07/13 - Halifax, UK @ Halifax Minister
07/14 - Southwold, UK @ Latitude Festival 2012
09/02 - Seattle, WA @ Bumbershoot Festival 2012
05/17 - Adelaide, Australia @ Sugar Nightclub
05/18 - Melbourne, Australia @ Electric Owl
05/18 - Melbourne, Australia @ Electric Owl
05/19 - Melbourne, Australia @ Revolver Nightclub
Magik Markers
05/15 - Atlanta, GA @ 529 
05/16 - Durham, NC @ The Pinhook 
06/14 - Brooklyn, NY @ Public Assembly
07/15 - Brooklyn, NY @ Roulette
Man...Or Astro-Man?
07/19 - Orlando, FL @ The Social
07/20 - Miami, FL @ Churchill’s Pub
07/21 - Jacksonville, FL @ Jack Rabbits
05/25 - Brooklyn, NY @ Loreley (DJ Set)
06/08 - Miami, FL @ Vagabond (DJ Set)
Midnight Ghost Train
05/15 - Lafayette, LA @ Wild Salmon
05/16 - Florence, AL @ Pegasus Records
05/17 - Sheffield, AL @ JD’S Glass
05/19 - Monroe, LA @ Tsunami Bar
Mux Mool
07/06 - Belden Town, CA @ Fractalized Festival 2012
07/13 - Mariaville, NY @ Camp Bisco 11
05/22 - Warsaw, Poland @ Sen Pszczoly
Marissa Nadler
06/01 - Somerville, MA @ The Armory
06/02 - New Haven, CT @ Cafe Nine 
06/13 - Philadelphia, PA @ Johnny Brenda's
06/14 - Washington, DC @ DC 9
06/15 - Brooklyn, NY @ Union Hall
06/16 - NYC @ Joe's Pub
Scout Niblett
07/09 - Seattle, WA @ Triple Door
07/11 - Portland, OR @ Doug Fir Lounge
No Means No
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
5/30 - 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
Pan American
08/04 - Seattle, WA @ Substrata 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
09/06 - Raliegh, NC @ Hopscotch Festival 2012
Portland Cello Project
05/15 - Los Angeles, CA @ Largo At The Coronet
05/16 - Santa Cruz, CA @ The Crepe Place
05/17 - San Francisco, CA @ Swedish American Hall
05/18 - Santa Rosa, CA @ Wells Fargo Center For The Arts
05/19 - Davis, CA @ Sophia’s Thai Kitchen
05/25-26 - Port Angeles, WA @ Juan de Fuca Festival 2012
06/09 - Tieton, WA @ Mighty Tieton Warehouse
06/26 - NYC @ Hudson Square Music & Wine Festival 2012
06/27 - Philadelphia, PA @ World Cafe Live
06/28 - Arlington, VA @ Iota Club & Cafe
07/20-21 - Portland, OR @ Doug Fir Lounge
08/23 - Northampton, MA @ Iron Horse Music Hall
08/25 - Bethlehem, NH @ Colonial Theater
The Ravenna Colt
07/14 - Louisville, KY @ Forecastle Festival 2012
Ravens & Chimes
06/01 - NYC @ WNYC Greene Space
Megan Reilly
05/19 - Rosendale, NY @ Market Market
05/22 - NYC @ Living Room
06/09 - Chicago, IL @ Hideout
06/20 - NYC @ Rodeo Bar
06/22 - Pittsburgh, PA @ Club Cafe
Alasdair Roberts
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
05/30 - Allonnes, France @ L’Excelsior
06/03 - Skopje, Macedonia @ OFF Festival 2012
Ty Segall
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
07/13-15 - Chicago, IL @ Pitchfork Music Festival 2012
07/23 - Bordeaux, France @ Festival Relache
07/25 - Torino, Italy @ Museo Regionale Di Scienze Naturali
07/26 - Rome, Italy @ Roma Vila
07/27 - Ancona, Italy @ Lazzaretto
07/28 - Bologna, Italy @ Bolognetti Courtyard
07/29 - Helsinki, Finland @ Kuudes Aisti Festival 2012
07/30 - Manchester, UK @ The Castle Hotel
08/02 - London, UK @ Birthdays
08/03 - Binic, France @ Binic Folks Blues Festival 2012
08/04 - Haarlem, Netherlands @ Garage Festival 2012
08/05 - Katowice, Poland @ Off Festival 2012
08/06 - Berlin, Germany @ Festall Kreuzberg 2012
08/07 - Copenhagen, Denmark @ KB18
08/08 - Olso, Norway @ Oya Festival 2012 at The Crossroads Club
08/09 - Antwerp, Belgium @ Trix
School Of Seven Bells
06/05 - NYC @ Terminal 5
06/07 - Boston, MA @ House of Blues
05/26 - Brooklyn, NY @ Glasslands
Silver Tongues
05/16 - Louisville, KY @ Zanzabar
The Skabbs
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
05/19 - NYC @ The Climate Ride
05/23 - Washington, DC @ U St. Music Hall 
05/24 - Chicago, IL @ Lincoln Hall
05/25 - Madison, WI @ Majestic Theatre 
05/26 - Indianapolis, IN @ Radio Radio
06/16 - Duluth, GA @ Eddie Presents at The RCT 
06/20 - Wilmington, DE @ World Cafe Live at The Queen
06/21 - NYC @ Rockwood Music Hall 
06/22 - Burlington, VT @ Signal Kitchen 
06/23 - Bristol, CT @ Ingraham House 
07/05 - Quincy, CA @ High Sierra Festival 2012
07/13-15 - Louisville, KY @ Forecastle Festival 2012 
07/21 - Somerset, KY @ Master Musicians Festival 2012 
07/29 - Newport, RI @ Newport Folk Festival2012 
09/21 - Pensacola, FL @ Deluna Festival 2012
05/31 - NYC @ Santos Party House
06/02 - Montreal, Quebec @ Satosphere 
Southern Culture On The Skids
05/24 - St. Louis, MO @ Off Broadway
05/25 - Kansas City, MO @ Knuckleheads
05/26 - Booneville, MO @ Pedaler’s Jamboree
06/02 - Buena Vista, CA @ Campout East
06/07 - Wilmington, DE @ World Cafe Live at The Queen
06/08 - Hoboken, NJ @ Maxwell’s
06/09 - NYC @ Big Apple Barbecue Block Party
06/15 - Roanoke, VA @ Fridays on Franklin
06/16 - Winston-Salem, NC @ Ziggy’s
06/20 - West Yellowstone, MT @ Longhorn Saloon
Speck Mountain
06/09 - Chicago, IL @ Hideout
06/16 - Salt Lake City, UT @ Van’s Warped Tour 2012
06/17 - Denver, CO @ Van’s Warped Tour 2012
06/20 - Las Vegas, NV @ Van’s Warped Tour 2012
06/21 - Irvine, CA @ Van’s Warped Tour 2012
06/22 - Pomona, CA @ Van’s Warped Tour 2012
06/23 - San Francisco, CA @ Van’s Warped Tour 2012
06/24 - Ventura, CA @ Van’s Warped Tour 2012
06/27 - San Diego, CA @ Van’s Warped Tour 2012
06/28 - Phoenix, AZ @ Van’s Warped Tour 2012
06/29 - Las Cruces, NM @ Van’s Warped Tour 2012
06/30 - San Antonio, TX @ Van’s Warped Tour 2012
07/01 - Houston, TX @ Van’s Warped Tour 2012
07/03 - Dallas, TX @ Van’s Warped Tour 2012
07/05 - St. Louis, MO @ Van’s Warped Tour 2012
07/06 - Detroit, MI @ Van’s Warped Tour 2012
07/07 - Chicago, IL @ Van’s Warped Tour 2012
07/08 - Minneapolis, MN @ Van’s Warped Tour 2012
07/09 - Kansas City, KS @ Van’s Warped Tour 2012
07/10 - Indianapolis, IN @ Van’s Warped Tour 2012
07/11 - Cleveland, OH @ Van’s Warped Tour 2012
07/12 - Pittsburgh, PA @ Van’s Warped Tour 2012
07/13 - Toronto, ON @ Van’s Warped Tour 2012
07/14 - Montreal, PQ @ Van’s Warped Tour 2012
07/15 - Hartford, CT @ Van’s Warped Tour 2012
07/17 - Buffalo, NY @ Van’s Warped Tour 2012
07/18 - Scranton, PA @ Van’s Warped Tour 2012
07/19 - Boston, MA @ Van’s Warped Tour 2012
07/20 - Philadelphia, PA @ Van’s Warped Tour 2012
07/22 - Oceanport, NJ @ Van’s Warped Tour 2012
07/24 - Washington, DC @ Van’s Warped Tour 2012
07/25 - Virginia Beach, VA @ Van’s Warped Tour 2012
07/26 - Atlanta, GA @ Van’s Warped Tour 2012
07/27 - Orlando, FL @ Van’s Warped Tour 2012
07/28 - Miami, FL @ Van’s Warped Tour 2012
07/29 - Tampa, FL @ Van’s Warped Tour 2012
07/30 - Charlotte, NC @ Van’s Warped Tour 2012
07/31 - Cincinnati, OH @ Van’s Warped Tour 2012
08/01 - Milwaukee, WI @ Van’s Warped Tour 2012
08/04 - Seattle, WA @ Van’s Warped Tour 2012
08/05 - Portland, OR @ Van’s Warped Tour 2012
12/09 - Stockport, UK @ Thatched House (2 shows)
Todd Terje
07/12-15 - Benicassim, Spain @ Festival Internacional de Benicassim 2012
06/01 - Charlotte, NC @ Amos' Southend
06/03 - Nashville, TN @ Exit/In
06/05 - Oklahoma City, OK @ The Conservatory
06/07 - Tempe, AZ @ Club 910
06/08 - Long Beach, CA @ Ink N Iron Festival
06/09 - San Francisco, CA @ Slim's
06/11 - Seattle, WA @ Studio Seven
06/12 - Portland, OR @ Hawthorne Theatre
06/13 - Vancouver, British Columbia @ Rickshaw Theatre
06/15 - Salt Lake City, UT @ Urban Lounge
06/16 - Denver, CO @ The Summit Music Hall
06/18 - St. Louis, MO @ Firebird
06/19 - Cincinnati, OH @ Taft Theatre
06/20 - Flint, MI @ The Machine Shop
06/21 - Toronto, Ontario @ The Opera House
06/22 - Montreal, Quebec @ Les Foufounes Electriques
06/23 - Cambridge, MA @ Middle East Downstairs
06/24 - Atlantic City, NJ @ Orion Music & Arts Festival
Tu Fawning
06/08 - Portland, OR @ Holocene
06/20 - San Francisco, CA @ Brick & Mortar
06/21 - Los Angeles, CA @ The Bootleg Bar
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
06/25 - Reno, NV @ Knitting Factory
06/27 - Salt Lake City, UT @ Urban Lounge
06/28 - Fort Collins, CO @ Aggie Theatre
06/29 - Denver, CO @ Summit Music Hall
06/30 - Colorado Springs, CO @ Black Sheep
07/02 - Lawrence, KS @ Granada Theatre
07/03 - St. Louis, Mo @ Plush
07/05 - Minneapolis, MN @ Varsity Theatre
07/06 - Chicago, IL @ Lincoln Hall
07/07 - Pontiac MI @ Crofoot Ballroom
07/08 - Cleveland, OH @ Beachland Ballroom
07/10 - Toronto, ON @ The Hoxton
07/11 - Montreal, PQ @ La Sala Rossa
07/13 - Mariaville, NY @ Camp Bisco 11
07/14 - NYC @ Webster Hall
05/26 - Dallas, TX @ Homegrown Music & Arts Festival 2012
06/02-03 - Houston, TX @ Free Press Summerfest 2012
06/08 - Austin, TX @ Red 7
06/11 - Phoenix, AZ @ The Rhythm Room
06/12 - Los Angeles, CA @ The Satellite
06/13 - San Francisco, CA @ Bottom of The Hill
06/15 - Portland, OR @ Bunk Bar
06/16 - Seattle, WA @ Barboza
06/18 - Salt Lake City, UT @ Urban Lounge
06/19 - Denver, CO @ Walnut Room
07/15 - Cincinnati, OH @ Bunbury Festival 2012
05/24 - 27 Baltimore, MD @ Maryland Deathfest 2012
09/06-08 - Raleigh, NC @ Hopscotch Music Festival 2012
Wild Belle
05/11 - Chicago, IL @ Millennium Park
Whistle Peak
06/15 - Louisville, KY @ WFPK Studios Live Lunch
07/18 - Cincinnati, OH @ Mayday Northside
William Elliot Whitmore
08/31 - 09/02 - North Dorset, UK @ End of The Road Festival 2012
09/01 - North Dorset, UK @ End of The Road Festival 2012
05/19 - Cincinnati, OH @ OTR Summer Celebration 2012
6/07 - St. Louis, MO @ KDHX Radio Live Performance
6/07 - St. Louis, MO @ Twangfest 2012 at Duck Room at Blueberry Hill
06/09 - Denver, CO @ The Lost Lake
06/13 - Wenatchee, WA @ Caffe Mela
06/14 - Portland, OR @ Star Theatre
06/15 - Seattle, WA @ KEXP Live Performance
06/16 - Tacoma, WA @ Mandolin Cafe
06/19 - Merced, CA @ Partisan
06/20 - Ventura, CA @ Zoey’s
06/21 - San Diego, CA @ Ruby Room
06/26 - Austin, TX @ Mohawk
06/27 - Dallas, TX @ City Tavern
06/28 - Little Rock, AR @ Sticky’z Rock & Roll Chicken Shack
06/29 - Nashville, TN @ Springwater
06/30 - Louisville, KY @ WFPK Radio Live Performance
07/15 - Cincinnati, OH @ Bunbury Festival 2012
07/28 - Brooklyn, NY @ Union Hall
08/10 - Philadelphia, PA @ North Star Bar
08/11 - NYC @ Mercury Lounge

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