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Best New Albums Best New Tracks Best New Reissues News | Klaxons Plot Spring Tour Advanced Search Departments Rising Interviews Photos 5-10-15-20 Echo Chamber Director's Cut Take Cover Top Tags New Releases Tours Audio Video Festivals WTF Best New Tracks Cold Cave: "The Great Pan Is Dead" Toro Y Moi: "New Beat" James Blake: "The Wilhelm Scream" xxxy: "Ordinary Things" Cut Copy: "Need You Now" Light Asylum: "Dark Allies" Purity Ring: "Ungirthed" Women: "Bullfight" Dirty Beaches: "Sweet 17" Smith Westerns: "All Die Young" Thursday, February 3 Klaxons Plot Spring Tour Including stops at Coachella and Ultra Music Festival
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Fresh off of spreading some holiday cheer by giving away the Landmarks of Lunacy EP on Christmas Day, rave-rockers Klaxons are outlining a spring tour hitting major North American cities. The roughly month-long jaunt will also include stops at this year's Coachella and Ultra Music festivals. We've got the dates for you below, as well as the expansive video for Surfing the Void cut "Echoes".
Klaxons:
03-25 Orlando, FL - The Social
03-26 Miami, FL - Ultra Music Festival
03-28 Boston, MA - Paradise Rock Club
03-29 New York, NY - Webster Hall
03-30 Baltimore, MD - Ottobar
04-01 Columbus, OH - The Basement
04-02 Chicago, IL - Metro
04-03 Madison, WI - High Noon Saloon
04-05 Denver, CO - Larimer Lounge
04-06 Salt Lake City, UT - Urban Lounge
04-08 Vancouver, British Columbia - Venue
04-09 Seattle, WA - Chop Suey
04-10 Portland, OR - Doug Fir Lounge
04-12 San Francisco, CA - The Fillmore
04-15 Indio, CA - Coachella
06-18 Neuhausen ob Eck, Germany - Southside Festival
06-19 Scheeßel, Germany - Hurricane Festival
"Echoes" video:
Posted by Larry Fitzmaurice on February 3, 2011 at 2:30 p.m.Tags: Klaxons, Tours
Continue Reading ? M.I.A. Shares Visuals for Vicki Leekx Mixtape Tweet
Right around the time the new year flipped over, M.I.A. released the Vicki Leekx mixtape, a continuous half hour of paranoid party anthems. And on her Twitter today, M.I.A. has posted some visual companions for the mixtape.
When posting that photo above, M.I.A. wrote in typical M.I.A. style, "vicki leekx home made wardrobe ! ill explain later! u likeeeee isss niccce , its cheeep u buuuy !!! i got coooloooouuurrrrr many many ..." I'd like to imagine that she's dressing as the character of Vicki Leekx, the robotic host that occasionally shows up during the mixtape.
M.I.A. also posted a panel of Vicki Leekx logos and a video for the first 10 minutes of the mix, which you can watch below. The video combines M.I.A.'s recent kaleidoscopic internet-overload video style with genuinely unnerving WikiLeaks-style footage of third-world cityscapes and shit blowing up.
Tags: M.I.A., Video
Continue Reading ? R.I.P. Quix*o*tic Bassist Brendan Majewski Tweet
Washington City Paper reports that Brendan Majewski, former bassist for the Washington, DC band outfit Quix*o*tic, committed suicide on January 20 in New York City. He was 37 years old. (Via the Daily Swarm.)
Majewski's musical career began in the late 1990s as a member of the Baltimore band Murder. While in that band, he met Mira Billotte (now of White Magic) at the Maryland Institute College of Art and formed Quix*o*tic in 1998 with Mira and her sister Christina (formerly of Bratmobile, Autoclave and Slant 6). The band combined elements of doo-wop and early R&B with spartan post-punk affectations, as demonstrated on their cover of Smokey Robinson and the Miracles' 1961 single "What's So Good About Goodbye", which you can hear below.
The band self-released a single, "Heliotrope", as well as a full-length produced by Fugazi's Guy Picciotto, Night for Day, before Majewski left the band in 2001. (They later recruited Orthrelm's Mick Barr and signed to Kill Rock Stars.) Majewski later went on to form the metal-leaning NYC outfit Orphan. Check out audio and video of some of Majewski's work with Quix*o*tic and Orphan below.
Quix*o*tic: "What's So Good About Goodbye" (Smokey Robinson and the Miracles cover):
Orphan: "Penis Farm":
Tags: Quix*o*tic, Obituary, Brendan Majewski
Continue Reading ? Hear Lil Wayne's Green Bay Packers AnthemWeezy hijacks Wiz Khalifa's "Black and Yellow"
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Photo by Ryan Dombal
MP3: Lil Wayne: "Green and Yellow"
Last year, the New Orleans Saints won the Super Bowl just as Lil Wayne was preparing to ship off to prison. Everyone thought that Wayne-- a New Orleans native, after all-- would be delighted. But no. As Wayne told anyone who would listen, he is, for absolutely inexplicable reasons, a fan of the Green Bay Packers. After all, when you think of the freezing, working-class town of Green Bay, Wisconsin, you think of face-tatted, drug-gobbling rap stars, right?
As you may have heard, this Sunday, the Packers will head to the Super Bowl to play the Pittsburgh Steelers. The Steelers already have an honest-to-god Super Bowl anthem: "Black and Yellow", a monster hit from the Pittsburgh rapper Wiz Khalifa, which turns the team's colors into the sort of mantra that you will never, ever get out of your head no matter how hard you try. Wiz even performed the song before the AFC Championship Game a week-and-a-half ago, when the Steelers beat the Jets to clinch a Super Bowl spot. Tons of rappers, from Young Jeezy to Tom Hanks' son, have already recorded a freestyle over "Black and Yellow"-- an easy thing to do, since literally any four-syllable phrase fits right into the chorus.
The Packers, on the other hand, had a fight song by, um, Butch Vig, but no big name rap anthem-- until this morning, when Wayne posted his own Packers-themed "Black and Yellow" freestyle on his blog.
The best thing about Wayne's "Green and Yellow" is the way it comes from a true fan's perspective. He sticks hard to the Packers theme throughout: "We knocked the Eagles and the Falcons and the Bears off / Now we 'bout to cut Troy Polamalu's hair off." (As a Ravens fan, I pray this happens.) He also says on the intro that it's not a diss song, but one repeated line seems like an ill subliminal directed at the young Mr. Khalifa: "I'm a cheesehead, y'all niggas Cheez Whiz."
If you can stand to look at Terrible Towels for three minutes and 51 seconds, watch the "Black and Yellow" video below.
Tags: Lil Wayne, Audio, Wiz Khalifa
Continue Reading ? James Blake's Album Get U.S. Release DateBlake's self-titled debut LP drops digitally in five days
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Yesterday, we reported that the British electronic-pop wunderkind James Blake had signed to Universal Republic in the U.S. His hotly anticipated self-titled debut album already had a UK release date; it comes out February 7 over there via Atlas/A&M. And today, Blake's American label has given it a release date. The album will be out digitally February 8, next Tuesday.
Below, watch the video for the BNM'ed album track "The Wilhelm Scream".
Tags: James Blake, New Releases
Continue Reading ? The Pains of Being Pure at Heart Talk New LPPlus: Listen to new single "Belong" and check out the album cover.
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Photo by Pavla Kopecna
The Pains of Being Pure at Heart: "Belong"
The beginning of "Belong"-- the title track and new single from the Pains of Being Pure at Heart's second album, which is out March 29 via Slumberland-- features the indie-pop band casually jangling along. But it's something of a red herring. Right at the fifteen-second mark, the guitars blitz out louder and harder than anything on their self-titled debut. The gargantuan distortion recalls nothing less than prime-era Smashing Pumpkins, which makes sense considering Belong was produced by Flood and mixed by Alan Moulder, aka the guys who helped craft the sounds of Pumpkins classics like Siamese Dream and Mellon Collie and the Infinite Sadness, not to mention records by My Bloody Valentine, Nine Inch Nails, U2, PJ Harvey, Depeche Mode, and many more. Basically, if you grew up in the 90s, your ears are subconsciously attuned the studio wizardry of Flood and Alan Moulder.
We recently met up with the band at the delightfully cheesy grilled-meats chain Dallas BBQ in downtown Manhattan. As lead singer Kip Berman slurped a red, white, and blue frozen drink called the "Firecracker," he and the rest of the group-- that's keyboardist Peggy Wang, bassist Alex Naidus, and drummer Kurt Feldman-- talked about their unlikely studio gurus in semi-shocked tones. The chummy foursome were more than happy to chat about the movie Clueless and something called a Travel Pussy, too.
Click on for the Q&A, the cover art for Belong, and Pains' spring tour dates, including a trek with Twin Shadow:
Pitchfork: How did you end up working with Alan Moulder and Flood?
Kip Berman: Alan had expressed interest in working with us two years ago, but we never thought it was going to happen. When it came time to record, Alan couldn't produce the record because of scheduling but he could mix it. But then he was like, "Would you be interested in Flood?" It was like a fantasy world. I mean, a band on our level just doesn't have those experiences ever. These people were involved in the records that inspired us to make music.
Peggy Wang: Before this experience, I didn't really even understand what a producer was. I associate producers with big, successful albums, so it didn't even seem within the realm of possibility for us. At the same time, we wanted to record the album differently than the first one, and this was an opportunity to do that.
Pitchfork: Were you anxious about recording with Flood?
KB: Yeah. We had a conference call with him beforehand, and I thought, "He might not like the sound of our voices-- he could change his mind!" And there were a lot of fears-- like, is this guy going to show up and tell us to do these sweeping Edge guitar solos? But, really, it helped us be more us.
Alex Naidus: I didn't know if I was supposed to call him "Flood." [laughs] The answer is yes-- that's all he goes by. Then I was nervous because we had never really recorded properly before-- I didn't know if he was going to make fun of how I play bass. There were all these levels of pseudo-anxiety but, by the end of the first day, we were cracking jokes. I would hang out with him any day. We even showed him that Nine Inch Nails "shreds" thing where they put awful music over the "March of the Pigs" video and he loved it. He e-mailed to Trent.
KB: We got comfortable enough that, at one point, we took some paper and tape and made it look like his U2 Grammy was ours.
Listen to "Heart in Your Heartbreak" from Belong:
Heart in Your Heartbreak
Pitchfork: As an indie band, did you have any reservations about working with these guys who are known for so many big, major label records?
KB: Not really. Some of my favorite records came out on RCA or Columbia, and to denigrate those albums to a certain level is kind of ignorant. The Flaming Lips did their best work on a major label. Look at David Bowie, Leonard Cohen, the Ramones. It's easy to pick apart the failings of that major label world, but some great records have been a result of it.
AN: Just because we're indie, it doesn't mean we can't do this or that. That whole idea doesn't exist as much as it used to.
KB: Yeah, we equally romanticize the Pastels and the Smashing Pumpkins. It's not like the world has totally changed and all good music gets validated and covered-- there's still a lack of justice in pop and rock. But the fact that people can access smaller bands without the filter of them being signed or promoted or played on the radio is huge.
Pitchfork: Seeing your show a few times over the last few years, it seems like you were getting louder and louder-- and a lot of the guitars on this album have this massive sound. Is that directness something you wanted to focus on with this record?
KB: We wanted the songs to exist in an immediate and instinctual place. The album sounds like we're taking away what we were hiding behind before. Lyrically, the first record had a lot of remembered experiences that I was looking back on and trying to make more clever, which can sound contrived. I like the idea of lyrics that don't get beyond themselves but catch you and make an impression. I think that's more emotionally compelling.
Pitchfork: I did notice that there were less puns on this record than the last one.
KB: [laughs] There are still a few dick jokes, though. You know, like "Come Saturday". I try to be careful now because my grandmother's discovered how this all works-- she prints out the Internet. I said the f-word once in an interview and she was like, "I didn't show that one to grandpa."
PW: And our dads discovered the travelogue videos.
AN: Oh yeah! I bought a Travel Pussy in Germany. Do you know what that is?
Pitchfork: I do not.
PW: It's in vending machines at rest stops. It's basically a bag that says "water here" on it. So we filled it up and it started oozing. The video we made with it is set to "Girlfriend" by Matthew Sweet. [laughs]
Watch the "Travel Pussy" tour video:
AN: And when we went to Sweden for the first time we took a bunch of video footage and set it to this song we made called "Gothenburg Handshake".
Pitchfork: I'm kinda scared to ask-- what's a "Gothenburg Handshake"?
AN: Well, instead of shaking someone's hand, you shake...
PW: ... their crotch.
Pitchfork: Did that happen to you?
AN: It happened to Kip.
KB: [half-singing] "You shook much more than my hand-- Gothenburg Handshake."
Watch the "Gothenburg Handshake" video:
Pitchfork: You recently wrote on Twitter: "We just turned down a lot of $$,$$ because we don't want to be in TV ads. Not self righteous, just rather be unknown than known for that." Can you expound on that?
KB: I shouldn't have said that because one day we'll be on a commercial and someone will be like, "Oh wow, you compromised your original values!" If someone else had said that, I probably would've rolled my eyes at them. The thing is no one really knows our music and suddenly for everyone to hear it for the first time all at once on TV-- I don't know. I just want people to hear our music as music first.
At the same time, there are a lot of bands that are better and cooler than us that have done it. It allows a lot of artists to make music on their own terms. Ultimately, the song's a song, no matter the context. It's a way for bands to make money and bands deserve to make money. But we do want our songs to be in TV shows and movies. I've always wanted to be a part of popular culture like that.
PW: If they wanted to use our music on "The Hills" I'd be so into it. [laughs]
KB: Please, "Gossip Girl", put us on your show!
AN: Our music was in Another Gay Sequel, which stars Perez Hilton.
Pitchfork: Actually, I was playing Belong at the office and one of my co-workers thought it was the Clueless soundtrack.
AN: That is the biggest compliment.
KB: Clueless is one of the best movies ever.
PW: And the soundtrack is amazing. There's a Velocity Girl song on it from their first EP, which came out on Slumberland.
AN: You just made our day.
The Pains of Being Pure at Heart:
02-19 St. Malo, France - La Route du Rock Festival
02-20 Luxembourg, Luxembourg - Exit 09
02-21 Lille, France - L'Aeronef
02-22 Cologne, Germany - MTC
02-24 Berlin, Germany - Magnet
02-26 Münster, Germany - Gleiss 22
02-27 Amsterdam, Netherlands - Bitterzoet
03-01 Kortrijk, Belgium - De Kreun
03-03 London, England - Kings College
03-10 Denton, TX - Outdoor Stage
03-11 Austin, TX - Venue 222 - SXSW Interactive
03-12 Mexico City, Mexico - Polyforum Siqueiros
03-31 Philadelphia, PA - First Unitarian Church
04-01 Washington, DC - Black Cat *
04-02 Carrboro, NC - Cat’s Cradle *
04-04 Athens, GA - 40 Watt Club *
04-05 Atlanta, GA - The Earl *
04-06 Birmingham, AL - Bottletree Cafe *
04-07 New Orleans, LA - One Eyed Jacks *
04-08 Houston, TX - Fitzgerald’s *
04-09 Austin, TX - Emo’s *
04-12 Santa Fe, NM - VFW *
04-13 Tucson, AZ - Club Congress !
04-15 Indio, CA - Coachella
04-18 Visalia, CA - The Cellar Door *&
04-19 San Francisco, CA - Great American Music Hall *&
04-21 Portland, OR - Doug Fir Lounge *&
04-22 Seattle, WA - The Crocodile *
04-25 Minneapolis, MN - Triple Rock Social Club *
04-26 Milwaukee, WI - Turner Hall *
04-27 Chicago, IL - Lincoln Hall
04-28 Chicago, IL - Lincoln Hall
04-29 Bloomington, IN - Rhino’s *
04-30 Columbus, OH - The Basement *
05-02 Milford, CT - Daniel Street *
05-03 Boston, MA - Paradise Rock Club *
05-06 New York, NY - Webster Hall *
! with Warpaint, Twin Shadow, PVT, Catwalk
* with Twin Shadow
& with Catwalk
Tags: Interviews, Audio, Art, The Pains of Being Pure at Heart
Continue Reading ? Ted Leo Reschedules Solo Tour Tweet
Photo by Jody VB
Last month, indie-punk vet Ted Leo cancelled more than a few dates on his forthcoming solo tour because he was "in the midst of a very bad time." Looks like things might have turned out all right, though, as Matablog has announced that those dates have been rescheduled for a run from early April through the middle of May. Check out Leo's full itinerary-- as well as the hilarious clip for his and the Pharmacists' The Brutalist Bricks standout "Bottled in Cork"-- below.
Ted Leo:
02-19 Los Angeles, CA - Skybar at Mondrian Hotel
02-20 Los Angeles, CA - Center for the Arts Eagle Rock
02-23 Riverside, CA - The Barn @ UC Riverside
02-24 San Francisco, CA - Bottom of the Hill (Noise Pop Festival)
02-25 Seattle, WA - U of Washington
02-26 Portland, OR - BackSpace Cafe
04-27 Boston, MA - Brighton Music Hall
04-28 Dover, NH - Dover Brickhouse
04-29 Hamden, CT - The Space
04-30 Scranton, PA - The Vintage Theater
05-01 Philadelphia, PA - Kung Fu Necktie
05-03 Pittsburgh, PA - Andy Warhol Museum
05-04 Cleveland, OH - B-side Liquor Lounge
05-05 Chicago, IL - Schubas Tavern
05-06 Madison, WI - The Terrace
05-07 Iowa City, IA - Gabe's
05-08 St Louis, MO - Off Broadway
05-11 Atlanta, GA - Drunken Unicorn
05-12 Chapel Hill, NC - Local 506
"Bottled in Cork" video:
Posted by Larry Fitzmaurice on February 3, 2011 at 10:30 a.m.
Tags: Tours, Ted Leo
Continue Reading ? New Release: Micachu and the Shapes and London Sinfonietta: Chopped & Screwed Tweet
Artists: Micachu and the Shapes / London Sinfonietta
Release: Chopped & Screwed
Release Date: March 28
Label: Rough Trade
Tracklist:
01 State of New York
02 Unlucky
03 Everything
04 Average
05 Freaks
06 Medicine
07 Low Dogg
08 Fall
09 Not So Sure
Notes: The avant-pop trio and the London orchestra collaborate on a classical album recorded live in May 2010.
Media: Stream or download "Everything" below:
Posted by Larry Fitzmaurice on February 3, 2011 at 9:55 a.m.Tags: Rough Trade, New Releases, Micachu and the Shapes
Continue Reading ? Rising: Colin StetsonThe experimental saxophonist talks about his surreal new album.
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Colin Stetson: "Judges"
On the surface, Colin Stetson's second album, New History Warfare Vol. 2: Judges, is a solo saxophone record. But across the LP, he turns the instrument into its own weirdo one-man band, using pad-hitting sounds as percussion and even singing through the horn while he's playing quick-trigger figures. It's disorienting and engrossing, somewhere between Ornette Coleman and Tom Waits (with whom Stetson has collaborated).
But the album seems even more unusual once you learn Stetson performed almost the whole thing by himself without overdubs or loops, with many songs nailed on their first recorded take. It's not just an artistic feat but a physical one as well.
Now 35, Stetson grew up in Michigan and currently resides in Montreal. Originally turned on to the alto sax by Men at Work's "Who Can It Be Now?", he started playing at 10. He went on to compete as a classical performer in high school before getting into more adventurous fare like John Zorn and Dewey Redman while studying at the University of Michigan. Since then, he's opened for Arcade Fire and the National, and played with Waits, Laurie Anderson (who provides guest vocals on Judges), and TV on the Radio. He's planning on recording the final album in his New History Warfare trilogy this spring before rehearsing and going on tour with Bon Iver later in the year.
Until then, though, he's concentrating on Judges, which is out February 22 on Constellation. Click on to read our Q&A with Stetson about his one-of-a-kind style and The Lost Boys:
Pitchfork: As a kid growing up playing sax, were you ever in a ska band?
Colin Stetson: [laughs] Never had a ska phase, but I was in a very grunge-like rock band that awkwardly had an alto sax in it. Remember the scene in Lost Boys where there's that ridiculous guy with his shirt off playing sax? It was kind of like that-- except not nearly as awesome.
Pitchfork: When I first started listening to Judges, I didn't know you recorded all the songs by yourself without overdubs. It makes it more impressive on a technical level, but how important are those recording restrictions to you?
CS: It's important to me in the creation of it because I figured as soon as I crossed that threshold into effects and loops it would completely undermine the premise of how I go about creating things physically, with the instrument. The element of breath through everything injects it with a life that it wouldn't have if I started playing around with machines. But I don't think it's too important musically. I would like for people to appreciate the album musically whether they knew how it was made or not.
Colin Stetson: "The righteous wrath of an honorable man"
Pitchfork: The way you recorded and mixed the record-- with lots of mics and boosting certain sounds to make it seem like there's more going on-- is also really unorthodox, and helps to make the album sound like nothing I've heard before.
CS: I didn't want to just put up a stereo mic in a room and try to get some two-dimensional snapshot of an instrument. The set-up allowed us to capture it in three dimensions so we could then spread out and reshuffle and make our own surreal representation of that performance. There are mics inside the instrument, a contact mic on my throat, and countless mics clustered around the air of the horn and throughout the room. I wanted to make something that was specific to the medium of recording. I want to make albums that are like a Murakami novel or a Terrence Malick film-- something that explicitly states its own world.
Pitchfork: It's especially impressive that most of these songs were cut on first takes, too.
CS: Yeah, I think it's something I learned from Tom Waits when I was working with him back in the early 00s. I would listen to a song, go back to the studio, overdub a sax part, and he'd just give me a thumbs up and say, "That's it, we're done." I was just feeling my way around the song for the first time, but he wanted to stick to that initial gut reaction. Now, I feel like if I do my homework practice-wise, by the time I get to the studio I can put everything exactly where I want it to be right away.
Pitchfork: Playing these songs seems physically taxing. Do you have to do anything special to get your body in shape?
CS: I practice yoga and breathing daily along with all the exercises on the instrument. I'm getting more and more monastic about it, especially when I'm on tour, because I'm making songs that are harder to perform all the time. So I no longer smoke and I drink a lot less on tour.
Pitchfork: The album has some ominous and apocalyptic overtones. Were you going for any specific narrative?
CS: Narratively, there are two levels to it. The more general thematic arc is about isolation, but I was also thinking about isolation on an evolutionary scale as well, like when you think of an island like Madagascar where things are free to evolve unfettered by outside powers. That starts to reach into the underlying narrative, which is more of a literal story that I used as a construct to build songs around. I'm trying to write it all right now, and I'm collaborating with a friend to make a graphic novel of the story, too.
Pitchfork: Can you outline that more literal narrative?
CS: Oh, it's super weird and there's so much crap in it. [laughs] It goes along with the trilogy of albums and the first one was a story of some people lost at sea and this one is from one person's perspective who's washed up after a shipwreck in a strange place.
The first scene is this person on a small stretch of beach between two cliffs, and the only thing that he hears and sees is a mass of horses. These horses don't have any eyes and they had been created only to defend this island. They're rigged on each side with these automatic guns and, with every stride, they pump the cannons. So it's basically this idea of these blind animals charging toward the sea in total fear of the sound they're creating, and that blind mayhem and violence is how this place makes sure it's not touched by the outside. I can't believe I'm actually talking about this-- you will never listen to Judges the same now that you know about the horses. [laughs]
Posted by Ryan Dombal on February 3, 2011 at 9 a.m.Tags: Colin Stetson, Interviews, Rising
Continue Reading ? New Dum Dum Girls: "He Gets Me High"Download the title track from the band's new EP
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He Gets Me High, the new EP from garage-pop queens Dum Dum Girls, arrives March 1 from Sub Pop. And after the jump, you can download the fuzzed-out, harmonically rich title track.And speaking of that title, the band is currently asking fans to send them pictures of whatever or whoever gets them high. Send your contribution to ddgLUV@gmail.com, and you could see it show up in a tour booklet that they're putting together.
Over the next few months, the band will tour all over North America and Europe, and we've got their dates listed below. Also below, check out the glamorously low-tech video for "Bhang Bhang, I'm a Burnout", a highlight from their 2010 debut album I Will Be.
Dum Dum Girls:
02-15 Las Vegas, NV - House of Blues
02-16 San Francisco, CA - Bottom of the Hill *#
02-17 Los Angeles, CA - Skybar
02-18 San Diego, CA - Casbah *#
02-21 Denver, CO - Hi-Dive *#
02-23 St. Louis, MO - Billiken Club *#
02-24 Chicago, IL - Empty Bottle *#
02-25 Detroit, MI - Magic Stick *#
02-26 Toronto, Ontario - El Mocambo Club *#
02-27 Montreal, Quebec - Il Motore *#
03-01 Burlington, VT - Club Metronome *#
03-02 Boston, MA - Brighton Music Hall *#
03-03 Brooklyn, NY - Glasslands #
03-04 New York, NY - Bowery Ballroom *#
03-05 Philadelphia, PA - Johnny Brenda's *#
03-06 Washington, DC - Black Cat *#
03-08 Chapel Hill, NC - Local 506 #$
03-09 Charlotte, NC - Milestone Club #$
03-10 Atlanta, GA - The Earl #$
03-11 Jacksonville, FL - Jack Rabbits #$
03-12 Orlando, FL - The Social !#
03-13 Tampa, FL - Orpheum !#
03-31 Manchester, England - Deaf Institute
04-01 Dublin, Ireland - Whelans
04-02 Belfast, Northern Ireland - Black Box
04-03 Glasgow, Scotland - Stereo
04-04 Leeds, England - Brudenell Social
04-05 London, England - Dingwalls
04-06 Brighton, England - Komedia
04-07 Gent, Belgium - Vooruit
04-08 Groningen, Netherlands - Vera
04-09 Rotterdam, Netherlands - Motel Mozaique
04-11 Berlin, Germany - Festaal
04-12 Munich, Germany - 59:1
04-13 Antwerp, Belgium - Crossing Border Festival
04-14 Vienna, Austria - Flex
04-15 Bern, Switzerland - ISC Club
04-16 Vevey, Switzerland - Rocking Chair
04-17 Zurich, Switzerland - Mascotte
04-19 Ljubljana, Slovenia - Menza Pri Koritu (SL)
04-20 Milan, Italy - La Salumeria Della Musica
04-21 Rome, Italy - Lanificio Factory
04-22 Bologna, Italy - Covo Club
04-23 Marseilles, France - Cabaret Aleatoire
04-24 Paris, France - La Machine
* with Minks
# with Dirty Beaches
$ with Reading Rainbow
! with Tennis, La Sera
Tags: Dum Dum Girls, Audio, Tours
Continue Reading ? Next Page ? Top Story 
Recently Saturday,
February 5 Friday,
February 4 Thursday,
February 3 Wednesday,
February 2 Tuesday,
February 1 Monday,
January 31 Friday,
January 28 News LCD Soundsystem Announce Farewell NYC Show Album Reviews Ride: Nowhere [20th Anniversary Edition] Essie Jain: Until the Light of Morning Sonny Smith: 100 Records Volume II: I Miss the Jams Young Prisms: Friends For Now Various Artists: Baby How Can It Be? The Playlist Cold Cave: "The Great Pan Is Dead" Dum Dum Girls: "He Gets Me High" Features Columns: The Out Door #10 News Video: Beach House Perform New Song Live Director's Cut: No Age: "Fever Dreaming" Robyn Reveals Dates With Katy Perry Frog Eyes' Mercer Releases Blackout Beach Live LP Curren$y Signs to Warner, Plans Tour, Mixtape Listen: Horrors Side Project Remixes Grinderman New Release: Midlake: LateNightTales Watch: OFF!, Interpol's Paul Banks' Hair on TV Jenny and Johnny Share New Video, Tour Dates Death From Above 1979 Issue Reunion Statement Album Reviews The Go! Team: Rolling Blackouts Young the Giant: Young the Giant White Sea: This Frontier EP Robag Wruhme: Wuppdeckmischmampflow Exploding Star Orchestra: Stars Have Shapes The Playlist Lil B: "Motivation" Fleet Foxes: "Helplessness Blues" News New Cold Cave: "The Great Pan Is Dead" Nancy Sinatra, YACHT on Black Devil Disco Club LP MTV Brings Back "Beavis and Butt-Head" Phosphorescent Announce International Tour Klaxons Plot Spring Tour M.I.A. Shares Visuals for Vicki Leekx Mixtape R.I.P. Quix*o*tic Bassist Brendan Majewski Hear Lil Wayne's Green Bay Packers Anthem James Blake's Album Get U.S. Release Date The Pains of Being Pure at Heart Talk New LP Album Reviews Demdike Stare: Tryptych Various Artists: Superlongevity 5 My Disco: Little Joy The Dirtbombs: Party Store We Are the Lilies: We Are the Lilies Features Guest Lists: Smith Westerns News DJ Kool Herc Fights for Health Care Reform Sufjan, PJ Harvey, Interpol Added to Primavera Mount Kimbie Announce North American Tour Low Announce Tour, Share New Song Watch: The Decemberists on "Yo Gabba Gabba" Jonny Greenwood Film Soundtrack Gets U.S. Release Video: Marissa Nadler: "Rosary" The Notwist, Subtle, Themselves Return as 13 & God James Blake Signs to Universal Republic in U.S. The White Stripes Officially Call It Quits Album Reviews RJD2: The Glow Remixes EP MEN: Talk About Body Dark Party: Light Years Death: Spiritual, Mental, Physical Various Artists: Inès The Playlist Toro Y Moi: "New Beat" Dodos: "Black Night" James Blake: "The Wilhelm Scream" News Rusko Announces North American Tour Kid Sister, Just Blaze Lead Fool's Gold Tour Atmosphere Tour Minnesota, Drop Posse Cut Video: Bibio: "Excuses" New Pornographers, Walkmen Tour Together Jónsi Releases Another Live Video/Album Hear the New Isolée Album Citigroup Takes Control of EMI Peter Bjorn and John Announce Tour New Dodos: "Black Night" Album Reviews Hercules and Love Affair: Blue Songs ESG: Dance to the Best of ESG Apex Manor: The Year of Magical Drinking Various Artists: Pop Ambient 2011 The Octopus Project: Hexadecagon The Playlist xxxy: "Ordinary Things" Features Interviews: Sufjan Stevens News Cut Copy, Crystal Castles, Chemical Bros Do Ultra New Toro Y Moi: "New Beat" Echo Chamber: R. Kelly Video: James Blake: "The Wilhelm Scream" New Release: Planet E Retrospective The Fresh & Onlys Hit the Road Salem Announce North American Tour Vivian Girls Share Album Details, New Track Watch: Spoon's "Take Away Show" Video: R.E.M.: "Mine Smell Like Honey" Album Reviews Fujiya & Miyagi: Ventriloquizzing John Vanderslice: White Wilderness Wanda Jackson: The Party Ain't Over Geotic: Mend Eleven Tigers: Clouds Are Mountains The Playlist Cass McCombs: "County Line" Patrick Wolf: "The City" Features Columns: Why We Fight #10 News Watch: Cute Kids Chorus Sings Ariel Pink New Release: Six Organs of Admittance The National: More Movie Music News The xx’s Jamie Smith Talks Gil Scott-Heron, Drake Death Set | Theophilus London | Memory Band Rivers Cuomo Plans Pinkerton-Era Book, Outtake CD Behold: The Cover of Panda Bear's Tomboy Echo and the Bunnymen Tour Classic Albums Thurston Moore Releases Jack Rose Tribute Album New Release: Bosco Delrey: Everybody Wah
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