Tag Archive: “Xiu Xiu”

I’ve been hesitating. It’s probably because I just can’t get enough of the latest album by A Tribe Called Quest. Listening to a podcast today I wasn’t even thinking their album but then Michael Rapaport brought up the group’s performance on the Grammys and the loss of a key member, so I had to play it. Again. The maturity of that album and the songs(!) get me every time. I’ve even started hitting ATCQ back catalog. Timeless. But it detracts me from what I need to do and the tasks at hand. And again, I’m thinking about Phife’s album that’s supposed to drop this year. And if it’s not something ATCQ relatedo, then it’s that Beach Slang, which has me tightly wound like a crack whore. But I digress. Again.

Today there are a number of releases, monotonous or not, hitting shelves of stores like Haffa Records and Stinkweeds (shameless plugs.) This week, we have a few, um, unexpected albums that made this one scribe really think. About? Well let’s just say life is full of surprises.  Many people probably don’t know about Ten In The Swear Jar; it was a project Jamie Stewart was a part of early on in his musical career (I still have a 10″ they released.) It touched on some of the things he’s done with Xiu Xiu over the past 15 years. But as any fledgling musical group or artist does, he’s evolved. With the band’s new album Forget (Polyvinyl Records) the evolution has continued. I’m hard pressed to simply write-off Xiu Xiu as just another experimental outfit because what Stewart and the band, whose current roster also includes Shayna Dunkelman and Angela Seo, and have put together are a collection of tracks that seamlessly flow from one to another with a deep rooted pop sensibility. But that’s not to say the group doesn’t continue to explore new avenues of sound structuring. The opening “The Call” isn’t how you’d expect a Xiu Xiu song to begin but then again it is. Jamie Stewart immersing himself in other genres of music outside of his Xiu Xiu outfit has possibly contributed to it. The group gets Enyce Smith to quickly rhyme on the track, coming in and out, while the band builds a clever synth-pop track around it, keeping that relentless beat from dissipating. The song is soon followed by “Queen Of The Losers,” which sounds anthemic with images of grandeur. The bitter feel and darkness of previous releases seems to have almost vanished and there’s nary a negative feel here, although the band seemingly wraps Stewart’s sometimes gloomy wordplay around light-hearted music. But that doesn’t happen on “Hay Choco Bananas” where you’re overwhelmed by the wall of sound of instruments that are quite frightening. Stewart’s lyrics begin hauntingly with “The plague / That is your eyes / A joke to break ones heart” does jab knives into you. When you get to “At Last, At Last,” you get the full treatment of interchanging dynamics. When Xiu Xiu is at its most explosive it’s as if the group is punk band for the thinking man. It’s not until getting to “Petite” that you realize Xiu Xiu isn’t just about electronics and beating listeners over the head with synthetics. Here on this sparse track you get the beauty of Stewart’s unique voice and delivery, along with strings and acoustic guitars. Oh the majesty of it all! With Forget, the band has undoubtedly surpassed expectations. The band tears sounds apart and reconnects them with originality and sheer abandon.

PRC327-hires
Xiu Xiu – Forget

Well now…. the San Francisco four-piece band Blank Square drops a new album completely different from anything else I’ve listened to today. While the pace isn’t as frantic as I expected, the band takes an unorthodox approach. I dont want to categorize the group’s release, Animal I (Castle Face Records), as some fly-by-night avant-garde recording, although some of those elements may be present but hot damn if this isn’t listenable, again and again. While there may be no new ground broken here by the members of Blank Square, it sounds as if they’ve taken elements of a few 90’s outfits, taken out the bits and pieces that matter, and have created a story that’s both innovative and insane at the same time. You may be overcome with a feel of dread once the 1:28 minute plays. Disjointed guitars are occasionally surrounded by an unrelenting horn section before bellowing with dissonance and a quick rhythmic pace on “Bangers.” There’s grit, and lots of it here and yet it showcases the cohesiveness of it much like how one southern California outfit might do it. Simply put, the members of Truman’s Water would probably be thrilled to hear the band’s take a style they’ve perfected by not perfecting it. But one simple comparison doesn’t do Blank Square justice. After listening to “Exit Saint” I can’t help but think this might be what The Cows would sound like after molesting Brainiac in a vat filled with ice water. And if I were to go back further I’d say they were the great grandkids of the Fall, who happen to take more chances than a whore without a stack of condoms.

Blank Squares - Animal I
Blank Square – Animal I

I can’t help but think that Blank Square doesn’t come to play at being a flash-in-the-pan outfit with visions of grandeur. They’re here simply to  shock an industry with the necessary defibrillator shocking them back to life. Animal I is just that good.

I tried, I really, really did, but Wild Pink and its self-titled release (Tiny Engines) had something I really couldn’t put my finger on with my first run through, but the boys from Brooklyn pieced together a collection of songs that fall short. I can’t say that there’s anything necessarily bad about the the album but there’s nothing that makes the group stand out from an assortment of bands that play every week at a local club. “How Do You Know If God Takes You Back” is probably the group’s strongest song on this 11-song collection of music but an attempt of changing the dynamics of songs fails to nudge listeners into a sense of wanting to listen to more of the album. And of wanting what? Something that doesn’t linger in mediocrity. There are moments the band nudges from a slowcore genre but there’s nothing interesting enough to keep my attention at least.  There are pop-punk sensibilities the band holds onto but doesn’t really work well. Songs ebb and flow from one direction to the other and I don’t feel the need to dwell on each track. “Nothing To Show” though has my attention. But then I realize it’s probably because it reminds me of Superchunk. But it’s more of a time that’s already forgotten in my head. Well, maybe next time… but not this time.

WildPink
Wild Pink – S/T

In the tradition of great singer-songwriters, Justin Carter seems to stick out like a sore thumb. Not because he’s better than the ones who have come before him, but it’s because although he’s traversed ground that’s been treaded previously, with his new album The Leaves Fall (Mister Saturday Night Records) I’m hard pressed to squeeze him into just any old sub-genre. No, some know Carter by his collaborative efforts with Eamon Harkin, as half of popular New York party and record label Mister Saturday Night but this release here, really isn’t much of a part of it. While it may be released on the label, The Leaves Fall is occasionally a haunting affair, with Justin’s sweet voice throughout it. The opus, “The Great Destroyer” opens the album with a simple and catch finger-picked guitar line with a cello suddenly entering as Justin’s delicate vocals sound like they would break apart at just about any moment. I can’t get enough of this song. Now while you may believe there’s more of the same to follow, that’s not what happens. The beat drives a number of these songs but fortunately it’s Justin Carter’s voice that reels everything in to streamline The Leaves Fall into a cohesive album. “Infinite Pieces” drown out the world with its syncopated rhythm over the rest of the music. Carter begins showing his easy flowed range here, and it doesn’t even sound like he’s trying too hard. It works though. And then it dips into “Know It All” where it goes back to the basics again with one instrument under his vocals. THIS is how we know there will be a reckoning with Justin Carter.

Justin Carter
Justin Carter – The Leaves Fall

He’s able to pull out all the stops on his songs in whichever mode he’s set to. Here I’m sure he’s fully aware of the beauty of his song structure, sprinkling it with background harmonies. It does sound as if he has a full orchestra behind him at times, and while he may utilize other musicians for their talent here and there, this is strictly a Justin Carter affair. “With The Old Breed” he makes everything sound so damned easy. Again, that feel of multi-person musical unity treads all throughout the song. This time around though, it’s the fragility of the music that threatens to fall apart.  But minds are blown with “Leaves” which don’t threaten to take the beat further, it just simply does. The odd-man-out of a track you’d be likely to find on the dance floor rather than a hipster coffee shop. It’s obvious the man can do it all which makes The Leaves Fall one of my favorite albums of the year.

 

 

Justin Carter – Facebook / Twitter / Instagram
Wild Pink – Facebook / Twitter / Instagram
Xiu Xiu – Facebook / Twitter / Instagram
Blank Square – Facebook / Twitter / Instagram

The One Where Brian is a Dummy

Buckle up, because you are now entering the DOOM TOMB.  After an odd and menacing introduction, things calm down a bit and the LaBenne men talk about how dumb Brian is (on a couple occasions,) participate in a Neil Young Showdown, Luke gets spooked out by a song and Brian’s new catchphrase is actually somewhat successful with Luke this time!  It’s a decidedly goofy episode for the ages.  So sit back, relax and get ready to hear Best Song Ever.

Every week Ghettoblaster feature writers (and dear cousins!) Brian LaBenne and Luke LaBenne will be bringing you fresh new songs with the hopes of introducing you to some that you may consider to be the best song ever.  Both Brian and Luke have no idea what songs the other has picked, so what you are hearing is their genuine reaction to listening to the songs together.  Also, if you enjoy this episode, head to ITunes to subscribe and rate our podcast with the highest rating available to you.

ITUNES LINK


Songs Played on The One Where Brian is a Dummy

Cloud Nothings – “Internal World” from Life Without Sound out January 27th on Carpark Records

Hideout – “I Got Your Message” from So Many Hoops/So Little Time out February 3rd on Small Plates Records

Xiu Xiu – “Wondering” from FORGET out February 24th on Polyvinyl Records

Tyvek – “Real Estate and Finance” from Origin of What out now on In the Red Records

Generationals feat. Sarah Quinatana – “In Green (Volcano, I’m Still Excited!! cover)” from Polyvinyl Plays Polyvinyl out now on Polyvinyl Records

Carla dal Forno – “Fast Moving Cars” from You Know What It’s Like out now on Blackest Ever Black

Mikko Joensuu – “No One Knows” from Amen 2 out December 16th

Ty Segall – “Orange Color Queen” from Ty Segall out January 27th on Drag City

Only Xiu Xiu could really pull this off.

Last year Australia’s Gallery of Modern Art commissioned a special presentation of the music from Twin Peaks from Xiu Xiu for their David Lynch: Between Two Worlds exhibition. Following that debut, the band has performed the material during select concerts all over the globe, including the Hollywood Forever Cemetery in LA and London’s Saint John-at-Hackney church. It is hard to imagine a group better fitted to enter the simultaneously playful and horrifying world of cherry pie, murder, and demonic possession that David Lynch and Mark Frost brought to life.

After the success of these shows and overwhelming support for the project, Xiu Xiu recorded their interpretation of the Twin Peaks soundtrack, resulting in Plays The Music of Twin Peaks. The album was produced by JherekBischoff and mixed by Greg Saunier.  The album is set for release April 16, 2016 for Record Store Day on Polyvinyl.

Xiu Xiu Tour Dates

04/03 – The Hague, NL @ Rewire Festival
04/04 – Duisburg, DE @ Grammatikoff
04/05 – Cologne, DE @ Stadtgarten
04/06 – Istanbul, TK @ Salon IKSV
04/08 – Paris, FR @ Centre Pompidou
04/09 – Brugge, BE @ More Music!
04/10 – Offenbach, DE – Leder Palast
04/11 – Esslingen, DE – Komma
04/12 – Hamburg, DE @ Kamgnagel
04/13 – Copenhagen, DK @ Jazzhouse
04/14 – Malmo, SE @ Inkonst
04/15 – Berlin, DE @ Silent Green
04/30 – New York, NY @ The Kitchen

 

Xiu

 

Xiu Xiu – Xiu Xiu Plays The Music of Twin Peaks

Tracklist:

  1. Laura Palmer’s Theme
  2. Into The Night
  3. Audrey’s Dance
  4. Packard’s Vibration
  5. Nightsea Wind
  6. Blue Frank Pink Room
  7. Sycamore Tree
  8. Harold’s Theme
  9. Dance Of The Dream Man
  10. Falling
  11. Love Theme Farewell
  12. Josie’s Past
Jamie Stewart of Xiu Xiu
Jamie Stewart of Xiu Xiu

(Web Editor’s note: This feature was originally published in issue 37 of Ghettoblaster Magazine.) Although it wasn’t glaringly obvious to Xiu Xiu mastermind Jamie Stewart while he was writing it, Angel Guts: Red Classroom, the group’s latest full-length, is really an homage to his new neighbors.  Having spent the previous four years living in North Carolina, Stewart relocated to Los Angeles, moving into a neighborhood whose notorious, and well-deserved reputation for danger and violence was unknown to him.  The amenities offered by his new home include a park divided among four gangs, a lake routinely dragged for bodies, and a building wherein two infant skeletons were recently uncovered. For the resulting response, Angel Guts: Red Classroom, he and his collaborators put their most radical and darkest foot forward, uncovering unsettling and touchy subject matter along the way.  Racialized sex, double suicide, criminality, fear of physical harm, the record is no Mister Rogers tale.  The impact of existing in his new environment is felt in each lyric, which bleeds the essence of terrible beauty, despair, violence, humanity, and uncertainty. The record, released by Polyvinyl on February 4, is Xiu Xiu’s first album of original material since 2012’s Always and caps an interesting few years for Stewart who travelled with Michael Gira’s Swans, and released Nina, an album that documents his unique take on a selection of Nina Simone covers. Inspired by a combination of muses, including John Congleton who recorded the LP and offered critical input its approach, Xiu Xiu entered the studio with analog synths, a drum set, and 1970s analog drum machines.  The lethal combination of inspiration and tools introduces the groups renewed focus to create risky, and gripping avante garde music that pushes the boundaries of boldness in barely bearable and ominously fantastic ways. This is what Stewart told Ghettoblaster about obsessing, feeling, transforming, and not giving up. What prompted the move to your new home and did the change of scenery set the mood or tone for an of your new record? Yeah, I had been living in North Carolina under not the best of circumstances and had been wanting to move away for a long time.  I figured I’d move back to San Francisco or Los Angeles or New York and I flipped a coin and ended up in Los Angeles.  A friend of mine found an apartment for me in a neighborhood, which I didn’t know very well.  But, as it turned out, it was an incredibly dangerous and somewhat fantastical kind of place.  It is such a mess here that it is almost surreal. I didn’t really realize the affect the neighborhood had on the record until my bandmate Angela pointed out that almost every song was about things that had happened to us here, or things that were going on here. Is recognizing that it catalyzed you in an artistic way what has kept you interested in staying there? I just moved here about a year ago, but really economics has kept me here. Are you willing to acknowledge on some level that some of your subject matter and artistic response to is it feels challenging or dangerous to some listeners? It’s not really any of my business how listeners respond to it.  People can think whatever they want to think (laughter). I did a search today and realized that there are several Xiu Xiu records at our public library and it occurred to me that there may be some new music listener who stumbles across your records and is challenged in a way that they’ve never been challenged before…Is that a welcome feeling for you as an artist; to challenge people’s normative feelings about who they are and what art they respond to at their core? Well, I wouldn’t presuppose that any of that actually goes on (laughter).  It would be nice.  It would be nice to think that it would.  There are certain types of bands and art that are important to me.  If that type of situation did happen for someone, great.  I can only be grateful for bands and artists who have done the same for me… Did you first encounter John Congleton when you did the split with The Paperchase, or is your relationship with him older than that? After our first record he wrote me a letter saying that he’d be interested in working with us.  We stayed in touch and our bands did a number of shows together over the years.  It took us a while before we were able to do a full-length together.  The first time he produced something that I was working on was the collaboration I did with Jonathan Meiburg from Shearwater called Blue Water White Death.  So I’d actually known him for about seven years before we had a chance to work together. When you started writing the material for the new record he became the natural choice for this?  What was it about him and his approach toward his work endeavors that made him right for this? Our approach to this record was really his idea.  He mixed our last record and said that the next one should be simple and really stripped down like something the band Suicide would do.  And as soon as he said it, it seemed like the right thing to do.  Additionally, he likes things to sound evil basically.  That’s his natural inclination.  For me he’s had a profound impact; he’s able to push sounds in ways that I’ve never even imagined before. The title tracks that bookend the record couldn’t be any more different to the casual listener in terms of space and volume and mood.  Which came first, “Angel Guts” or “Red Classroom”? (Laughter) I did them both on the same day (laughter). Do you think people will have that kind of surprised reaction to them? We did our best to make this record be very different than anything we’d done before.  I hope that people have a different reaction to it than the records we’ve released in the past.  But as I said before, I really don’t have any control over how people react.  We tried to do something different because the pop influences, which had been the driving force from the last several records, completely melted away from my brain.  It is just not there anymore.  So doing another pop record would be completely false.  Did I answer that question? I think so.  Do you have songs on the record that you’ve become obsessive about or is it the kind of thing where you put something out into the universe and then never really revisit those initial feelings later? Everything that is on that record is very much present in my current consciousness.  We didn’t finish the record that long ago. Do you believe that making a record like this affects or changes the core of who you are as a person or is there a distinction between an artist as an artist, and an artist as a person? Personally, making this record affected me tremendously.  I don’t think that is inherent in every artistic process.  I don’t think that it needs to be.  At the risk of sounding like a lunatic, there is not a lot of distance between what you’re hearing here and what the lives of the band members are actually like. So these are things that you feel constantly and struggle with consistently even after you’ve presented them in the recording studio? I would never record something that I didn’t feel.  It’s not like upon completing a song that the feelings are expunged from my consciousness.  I’m certainly not in the exact emotional state of what’s on the record every second of every day, but it is a regular part of my life and the lives of the people who are in the band.  Recording things is as much a way of processing feelings for me, as it is living through them. In 2013 you also did the Nina album.  Had that been in the work since your earlier covers EP in 2006, or was it something else that moved that back to the forefront for you? No, they were totally unrelated and I undertook those projects under completely different circumstances.  They weren’t related. I read that you had some conversations with Michael Gira that ignited your focus on the project… I’ve done a couple tours with Swans and we were talking at length backstage one night about how we both loved Nina Simone.  The next night we played a show together and I didn’t feel like I played particularly well, and I was sitting back stage feeling terrible about it.  And I was listening to Swans play incredibly well, which only made me feel worse…not that I was jealous, but the fact that they were playing so well only pointed out to me how badly I’d played.  So I put on my headphones and was listening to Nina Simone and I was realizing that she had all these dramatic ups and downs, but only got better.  It made me want to try to get better, and not to want to quit.  So the combination of that conversation and experience provided the inspiration for the record. What has the experience of being in the trenches with Gira done to affect your approach to your output? It has raised my standards tremendously (laughter). You’ve been doing this for a long time and have considerable chops too…what is it about his approach that challenges you in that way? I think it is what challenges anybody.  He is incredibly devoted, incredibly relentless, super talented.  He’s able to create something that no other band has done before.  Essentially, everything I’ve ever wanted to do, he is currently doing. Last time I talked to you was for a feature for Ghettoblaster online, and the next day I spoke with Youth Code, who relayed a story about eating next to you at a Vietnamese restaurant and how they got a kick out of dining in the same restaurant as the man who’d released a music video with a woman puking on him… (laughter) That said, you also mentioned really liking them too.  Could we ever anticipate you doing a collaboration with them? I hope so.  We are touring together this next year.  I’m hoping that discussion comes up.  I’d really like to do that.  They’ll be on the February/March tour. (Timothy Anderl)

Print issue #37 of Ghettoblaster is on shelves now, folks! As is always the case, we put a ton of effort into this issue of the magazine, and we hope all you readers out there are looking forward to getting your copy on the magazine rack or in the mail.

Step Brothers is on the cover and there are pages and pages of features on such lovely acts as Sharon Jones, Dethklok, Stephen Malkmus, Liars, Mogwai, Glitch Mob, Moistboyz, Shearwater, Xiu Xiu, Wooden Shjips, Prince Po & Oh No, The Men and many more. There’s also a shit ton of album, book and movie reviews, as you might expect.

You can order a copy over here, or you can email us to subscribe for a whole year’s worth of Ghettoblaster delivered straight to your door!

Enjoy!

Jamie Stewart (photo by Dan Bleckley)
Jamie Stewart (photo by Dan Bleckley)

With an artist as wide-ranging and prolific as Xiu Xiu’s Jamie Stewart, it can be hard to put into words what, exactly, his music sounds like. But when it comes to Stewart’s forthcoming NINA, he certainly doesn’t sound like himself.  NINA is a thank-you note, a love letter and a kind of musical fan-fiction for the late icon Nina Simone. This being Xiu Xiu, of course, Stewart’s tribute album is far from a collection of straight covers. Rather, he and long-time collaborator Ches Smith bring Simone into focus through their own avant-dark lens.

NINA was recorded in just one day, all in first or second takes. In doing so, Stewart captured the immediacy of the feelings that inspired the record, but it was also a practical decision. Stewart is a busy man. In the next year alone he has a new full-length Xiu Xiu record coming out, along with other planned releases, and an event with conceptual artist Danh Vo at Milwaukee’s Walker Arts Center in October. Last month, he wrapped up another performance, “Dark Materials,” with visual artist Monika Grzymala and choreographer Jeremy Wade at Hamburg’s Internationales Sommerfestival and he’s also been busy touring with Swans and working with Eugene Robinson from Oxbow on their side project, Sal Mineo. 

Simone’s work, and his recent artistic collaborations isn’t the only places from which Stewart draws inspiration.  Is Los Angeles home also provides him with a colorful palate of influences.  This is what he told Ghettoblaster about his Stomping Grounds.

What’s your town’s nickname?

City of Angels.

What’s your nickname for your town?

La La La La.

Why do you live there?

The weather is great, the people are attractive, the food is amazing, the beach, the desert, the mountains, the museums are excellent, there is every kind of human you could imagine here.

Did you grow up there? If not, what brought you there?

I grew up here, but moved away when I was about 20.  I just moved back a little less than a year ago. In deciding between moving to NYC, SF and LA, to tell you the truth I flipped a coin.

What is your favorite local attraction (monument, park, etc)?

Leo Carrillio Beach.

What is the best time of year to be there?

Fall, but that is true of everywhere.

Who is your favorite local celebrity?

This is Los Angeles…

Where is the best place to drink and what’s their specialty or happy hour?

Silver Platter, The specialty is Latina drag queens.

Who has the best jukebox (and what’s in it)?

Vermont Pool. Tejano and soul music.

Do you play music there? If so, where is your favorite place to play?

My little home studio.

Does where you live influence your music?

Immensely. I live in a neighborhood called Macarthur Park. It is one of the center of Santa Muerte Worship in Los Angeles.  Dead bodies show up in the lake two blocks from my apartment, you can buy fake IDs, sex, guns and drugs with ease, and there is a rotting ghost mansion across the street. It is never boring.

What is your favorite place to see live music and what was your favorite show there?

I don’t really go to shows anymore. WHAT A DICK!

What is your favorite local band?

Youth Code.

What is your favorite diner or restaurant and what is their best dish?

Beverly Tofu. Dubu chigae with mushroom.

What is your favorite record store and what was your best find there?

it is not to be unexpected, but Ameoba cannot be beat. Best recent find was Eliane Radigue’s transamorem-transmortem.

What is your favorite local shop?

Skylight Books.

If you could live anywhere else, where would that be?

I just moved back. I can’t think of leaving yet. It would have to be far way, like Taipei.

Six years after it’s original release, and long out-of-print, Xiu Xiu’s groundbreaking The Air Force makes its return this fall. Xiu Xiu frontman, Jamie Stewart, and his brother, long-time Xiu Xiu designer, Joe Stewart, have since completely re-imagined the album packaging, remastered the tracks and pressed the record on 180 gram black vinyl. This just in time for a tour supporting Swans!  Dates are below:

Aug 28, 2012 – Gallery 5, Richmond, VA BUY TICKETS

Aug 29, 2012 – Golden West Cafe, Baltimore, MD +
Aug 30, 2012 – Bowery Ballroom, New York, NY # BUY TICKETS
Sep 2, 2012 – APK Live, London, Canada BUY TICKETS
Sep 3, 2012 – Schubas Tavern, Chicago, IL ^ BUY TICKETS
Sep 6, 2012 – Venue, Vancouver, Canada * BUY TICKETS 
Sep 7, 2012 – Neumos, Seattle, WA * BUY TICKETS
Sep 8, 2012 – Hawthorne Theater, Portland, OR * BUY TICKETS
Sep 10, 2012 – Regency Center Grand Ballroon, San Francisco, CA * BUY TICKETS
Sep 11, 2012 – Music Box @ The Fonda, Los Angeles, CA * BUY TICKETS
Sep 12, 2012 – The Crescent Ballroom, Phoenix, AZ * BUY TICKETS
Sep 14, 2012 – La Zona Rosa, Austin, TX * BUY TICKETS
Sep 15, 2012 – Fitzgerald’s, Houston, TX * BUY TICKETS

Sep 16, 2012 – Trees, Dallas, TX * BUY TICKETS

Sep 18, 2012 – ACM @ UCO Performance Lab, Oklahoma City, OK * BUY TICKETS

Sep 19, 2012 – Beaumont Club, Kansas City, MO * BUY TICKETS

Sep 20, 2012 – Bourbon Theatre, Lincoln, NE * BUY TICKETS

Sep 21, 2012 – Fine Line Music Cafe, Minneapolis, MN * BUY TICKETS 

Sep 22, 2012 – Shank Hall, Milwaukee, WI * BUY TICKETS

Sep 24, 2012 – Gothic Theatre, Englewood, CO * BUY TICKETS

Oct 11, 2012 – Kings Arms, Auckland (NZ)
Oct 14, 2012 – This Is Nowhere, Perth (AUS)
Oct 17, 2012 – Goodgod, Sydney (AUS)
Oct 18, 2012 – Brisbane Powerhouse, Brisbane (AUS)
Oct 19, 2012 – Gasometer, Melbourne (AUS)
Oct 25, 2012 – TBA, Rome (IT) 

Oct 26, 2012 – Ravenna, Bronson (IT) 

Oct 27, 2012 – Auditorium Malchovic, Verona (IT) 

Oct 28, 2012 – TNT, Jesi (IT)  

Oct 30, 2012 – Tvornica, Zagreb (HR) 

Oct 31, 2012 – Korjaamo, Helsinki (FI) 

Nov 1, 2012 – Revolver, Oslo (NO)

Nov 2, 2012 – Ahoi Pop Festival, Linz (AT)  

Nov 3, 2012 – PMK Bogen, Innsbruck (AT)  

Nov 4, 2012 – K4, Nuernberg (DE)  

Nov 5, 2012 – Schlachthof, Wiesbaden (DE) 

Nov 6, 2012 – Theater Am Palais, Erfurt (DE) 

Nov 7, 2012 – Beatpol, Dresden (DE) 

Nov 8, 2012 – Cafe Cairo, Wuerzburg (DE) 

Nov 9, 2012 – TBA, Brno (CZ)  

Nov 10, 2012 – Arena, Wien (AT) 

Nov 11, 2012 – Klub Strahov 9007, Prague (CZ) 

Nov 12, 2012 – Baustelle Kalk, Koeln (DE) 

Nov 13, 2012 – Eureka, Zwolle (NL) 

Nov 14, 2012 – Trix, Antwerp (BE) 

Nov 15, 2012 – Karlstorbahnhof, Heidelberg (DE) 

Nov 16, 2012 – Musiques Volantes Festival, Metz (FR) 

Nov 17, 2012 – Fri-Son, Fribourg (CH)

+ w/ Celebration

# w/ Les Bon Hommes (Greg Saunier of Deerhoof), Talk Normal

^ w/ Mister Lies

* w/ Swans