Three chords, a pair of green Chucks, and the truth! Members of Best Coast, Vampire Weekend and Kid Cudi team up.

By Blurt Staff

Converse - yes, that Converse - is bringing together three musicians from different genres to form a unique collaboration known as Three Artists. One Song. The nucleus of this initiative is a brand new, all original track featuring Bethany Cosentino of Best Coast, Rostam Batmanglij of Vampire Weekend and Kid Cudi that will be released this July and available to music fans globally via free download at converse.com and authorized Converse websites around the world. In addition to collaborating on the track, each of the artists also participated in the creation of the music video, which will be released later this summer.

"Best Coast's Bethany Cosentino is one of today's most hotly-tipped musicians," said Geoff Cottrill, Chief Marketing Officer of Converse, in a statement. "She has jumped onto everyone's radar within the past six months due to her refreshingly honest and clean musical style and having her be involved with the new collaboration was a no-brainer. She brings a west-coast flair and ease to the single and we couldn't be more excited to have her participate in the songs creation."

This film is the first installment in a series of three short films being released in anticipation of the song's release, featuring each of the musicians. It follows Cosentino of Best Coast on her first European tour as she explores Hamburg, Germany and discusses the west coast, warm weather and the beachy, sun-kissed songs of the 50's and 60's that inspired her to create music of her own. (You can view the clip right here - check out those green Chuck Taylors the gal is prominently sporting, natch....)

Roll over Beethoven and tell Howlin' Pelle the news...

By Blurt Staff

The Hives are back and have completed what they are calling "a surprise EP release for the fans" titled Tarred and Feathered." It's three choice cover songs and recorded live to tape:

*"Civilization's Dying" by the Zero Boys (legendary Indiana hardcore band; read the Blurt interview with the Zero Boys right here)

*"Early Morning Wake Up Call" by Flash and the Pan (equally legendary Aussie group that featured producers Vanda and Young)

*"Nasty Secretary" by Joy Ryder & Avis Davis

It's going to be released digitally worldwide on July 2^nd and then a 7 inch version will be released on July 9^th.  Fans can go to www.thehivesbroadcastingservice.com and sign up for the mailing list to receive a free song download from the EP. 

Meanwhile, the Hives kick off a European tour this weekend (no US dates yet) - see the itinerary below.  

Tour Dates:

Jun 25 - Hard Rock Calling Festival  - London, UK
Jun 26 - Askena Rock Festival - Vitoria-Gasteiz, ES
Jul 02 - Peace & Love Festival - Borlänge, SE
Jul 03 - Festival Eurockéennes Territoire de Musiques - Belfort, FR
Jul 04 - Heineken Open'er Festival - Gdynia, PL
Jul 08 - Hultsfredsfestivalen 2010 - Hultsfred, SE
Jul 31 - Putte i parken Festival - Karlskoga, SE
Aug 11 - Sziget Fest - Budapest, HU
Aug 13 - Rocco del Schlacko Festival - Püttlingen/Saarbrücken, DE
Aug 14 - Open Flair Festival - Eschwege, DE
Aug 15 - Taubertal Festival - Rothenburg, DE
Aug 27 - Open Air Festival - Zurich, DE

Internationally acclaimed experimental artists came together at the Big Ears Festival in 2009.

By Blurt Staff

It's titled Knoxville, logically enough, and it's a live document of the first meeting of three of the most recognized players in experimental music - Christian Fennesz (guitar and electronics), David Daniell (guitar), and Tony Buck (drums). The album is due Aug. 24 from Thrill Jockey, and it was originally recorded in February of 2009 at the Big Ears Festival in Knoxville, Tennessee.

The musicians were brought together and encouraged to collaborate by the festival, and used the opportunity to channel their collective energies into a darkly atmospheric piece of music that ebbs and flows with remarkable cohesion.  Minimalist drum passages scatter over the top of textured layers of guitar and subsumed melodic sequences, eventually giving way to warm beds of evolving, tactile drones.  Sonic rain showers roll into full-blown thunderstorms of effected guitar and pounding drums only to yield a field of shattered electronic and percussive debris.  For never having played together (aside from a brief soundcheck), the three retain a remarkable sense of unity while allowing plenty of room for each person to express their individual personality.  

Christian Fennesz is known for creating his own intricate musical world and for his impeccable work in crafting beautiful compositions for guitar.  Somewhere between concrete music, classical and ambient sounds, he stretches musical resources and effects to create melodies and atmospheres that fuse classical and orchestral concepts with conceptual musical research and complex digital structures, resulting in dense multilayered sheets of sound underpinned by a strong melodic sensibility.  He has recorded and performed with Ryuichi Sakamoto, Keith Rowe, David Sylvian, Sparklehorse, Mike Patton and many others.  Fennesz has also worked for nearly a decade alongside Peter Rehberg and Jim O'Rourke in the improvisational trio Fenn O'Berg.

David Daniell recently recorded his Thrill Jockey debut Sycamore with Douglas McCombs of Tortoise.  As a duo, the two create a delicate tapestry of spacious and ethereal guitar lines woven into abstract, slow-burning and multi-layered textural improvisations. The sounds blend and overlap to create richly faceted and thickly psychedelic passages, unveiling new layers of detail with each and every listen.  Over the years, Daniell has collaborated with many notable musicians, including Loren Connors, Rhys Chatham, Tim Barnes, Jeph Jerman, Thurston Moore, Greg Davis, and Jonathan Kane, as well as releasing numerous albums under his own name and with his band San Agustin on labels such as Table of the Elements, Family Vineyard, and Antiopic.

Born in Sydney, Tony Buck is regarded as one of Australia's most creative and adventurous exports, with vast experience across the globe.  He is best known as the drummer for the award-winning piano/bass/drums trio The Necks, with fifteen albums over their 20-year history.  The Necks work in extended forms featuring lengthy pieces which slowly unravel in the most mesmerizing fashion, founded in a confluence of avant-garde, minimalist, jazz and ambient approaches.  Early in his musical life, after having graduated from the New South Wales Conservatorium of Music, he became very involved in the jazz scene in Australia, often touring with visiting international artists such as Vincent Herring, Branford Marsalis and Ernie Watts.  Tony has played, toured or recorded with, among others, Otomo Yoshihide, John Zorn, Tom Cora, Haino, The Ex, Peter Brotzmann, Han Bennink, and Wayne Horvitz.

Stay tuned for more details - the trio is rumored to be working up more performances in order to tour behind the release.

Legendary ‘70s/'80s punk zine collected under one cover while TV and his Hate Police jam for posterity and profit.

By Blurt Staff

The Washington Post once called him "a cross between Buddy Hackett and Johnny Rotten" - so you know we must be talking about Tesco Vee, erstwhile frontman from the infamous Meatmen. As the saying goes, "fans of scumpunk can rejoice, he hath returned once again."

Tesco and his band Tesco Vee's Hate Police kick off a series of shows with his 'Summer of The Cuddly Convict Consort' Series July 16 in Cleveland Ohio. Tesco swears this brand spankin' new line up to be the "biggest, baddest and beefiest assemblage of bangers" he has ever put together:

Featuring 'Hairy Pits" Latini on the axe (recently paroled from Rikers Island for crimes against man, nature, and an antalope), Freddie 'Green Sack' Cobretti on the basso profundo (recently paroled  from the supermax wing of San Quentin for assault and buggery, Zip Gun manufacture, and for  delivering repeated  'wood shampoos' in the cellblock'), and Swarthy 'Bun Length' Franklin (just extricated via late nite chopper commando raid  from the yard of Jackson Prison, where he spent 7 years for moonshining, bunko, and grifting grannies). Bands along for the ride at various stops on this cavorting cavalcade of cockbags, includes Negative Approach, Hellmouth, White Flag, and many others.

"This line up of hardened pricks flat out brings it on stage," said Mr. Vee, ever a master of understatement (who as you recall was turned into a bobblehead not all that long ago).

But wait, there's more: longtime TV watchers will recall the man's punk zine Touch and Go, one of the great rock mags ever to come out of the U.S. punk scene. He's now got a new book titled Touch and Go - The Complete Hardcore Punk Fanzine 1979-83. All 22 issues, and 576 pages, of the seminal fanzine in one loud fast volume, published by Bazillion Points.  Many bookstore appearances are also planned where Tesco will be signing copies. Check the book and music itinerary below.

July 16 - Cleveland
READING @ Visible Voice Books (1023 Kenilworth) 7pm
TESCO VEE'S HATE POLICE @ Now That's Class (11213 Detroit Avenue) with Hellmouth and White Flag
 
July 17 - Chicago
READING @ Quimby's (1854 W. North Ave) - 7pm
TESCO VEE'S HATE POLICE  @ The Abbey Pub (3420 West Grace Street) with Fester and White Flag
 
July 30 - Oak Park, MI
READING @ Bookbeat (26010 Greenfield) - 7pm
 
July 31 - East Lansing / Detroit
READING @Flat Black & Circular (541 East Grand River)-1PM
TESCO VEE'S HATE POLICE @ St Andrews Hall (431 East Congress Street) with Violent Apathy, Hellmouth, Sorcen, TVHP, Negative Approach
 
August 14 - Pekin, IL
READING and TESCO VEE'S HATE POLICE @ Bottoms Up (431 1/2 Court Street) with Chelsea Brick
 
August 26 - Pittsburgh
READING @ Eide's Entertainment (1121 Penn Avenue) - 4pm
TESCO VEE'S HATE POLICE  @ 31st Street Pub (3101 Penn Avenue) with Hellmouth
 
August 27 - Philadelphia
READING @ Brickbat Books (709 South 4th Street) - 7pm
TESCO VEE'S HATE POLICE@ The North Star Bar (Poplar & N. 27th Street) with American Speedway, Hellmouth and Common Enemy
 
August 28 - New York City
READING @ TBA
TESCO VEE'S HATE POLICE  @ Santos Party House w/Hellmouth, Negative Approach, Mind Eraser and tba
 
August 29 - Rehobeth Beach, DE
READING and TESCO VEE'S HATE POLICE @ Double L Bar (622 Rehoboth Ave)
 
August 30 - Richmond, VA
TESCO VEE'S HATE POLICE @ Banditos Burrito Lounge (2905 Patterson Avenue)
 
October 7 - Buffalo NY
TESCO VEE'S HATE POLICE @ Mohawk Place (47 E Mohawk St) w/Easy Action
 
October 8 - Providence, RI
TESCO VEE'S HATE POLICE @ Club Hell (73 Richmond Street) with Easy Action
 
October 9 - New Haven, CT  
TESCO VEE'S HATE POLICE @ Cafe Nine (250 State Street) with Easy Action
 
October 22 - Lansing, MI  
TESCO VEE'S HATE POLICE @ The Loft (414 East Michigan Avenue) with Easy Action

Mount Wittenberg Orca EP picks up thread from last year's live happening.

By Fred Mills

Pitchfork and Stereogum bring us news about a recording collaboration between Bjork and Dirty Projectors - it's a brief (20-minute) 7-song EP titled Mount Wittenberg Orca, and it's an outgrowth of a project the two artists debuted a little over a year ago in NYC in front of a small audience at the Housing Works Bookstore Café as a benefit for Housing Works.

Turns out they wanted to get some of this down for posterity, so near the end of April they all convened at Rare Book Room studio to record the Dave Longstreth-penned tunes, and it is now set to arrive as a digital release next week (June 30). Tracks include

1 Ocean
2 On and Ever Onward
3. When the World Comes to an End
4 Beautiful Mother
5 Sharing Orb
6 No Embrace
7 All We Are

You can go here to preorder it, and it's kind of a no-brainer since it's also a benefit for the National Geographic Society.

Suggested minimum donation: a mere 7 bucks. Pony up, kids. The EP cover is displayed above. Incidentally, follow the Stereogum link to read comments from Longstreth about how the whole thing came together. Hey, how about a physical release for all us fans out here that are more down with permanent, not fleeting, artifacts, Dave?

Released this week by Sounds Familyre, The Threshingfloor marks erstwhile 16 Horsepower frontman David Eugene Edwards' sixth album as Wovenhand. It's a bone-shaking rocker leavened by spirituality, and a career capper in every sense of the term.

By Jennifer Kelly

"Oh beat the drum for him, oh holy measure, strum and buzz for Him, is our only treasure," booms David Eugene Edwards in his echo-haunted, arena-scale voice on "Oh Holy Measure." And yes, in this sixth full-length as Wovenhand (following more than a decade with 16 Horsepower), there are plenty of driving drums, an onslaught of raw and stinging open-chorded strumming, an ominous undercurrent of buzz throughout, and, perhaps most important, the palpable, overriding presence of the "Him."  One of 2010's most intense and riveting albums, The Threshingfloor (Sounds Familyre) infuses the bone-shaking transport of rock music with spiritual struggle.

Edwards' core band - Pascal Humbert on bass and Ordy Garrison on drums - is back from Ten Stones, and they continue to become larger-sounding and more sure. It's hard to even remember that Wovenhand was once a solo project. The driving rhythms that these two contribute have become integral to the band's sound.

The rhythmic drama underscores a sense of headlong search and turmoil. There is nothing complacent or settled about Edwards' faith. Indeed, the title track's central metaphor is of one earthly suffering, of life as a violent threshing that shakes out the small grain of good in us. The song, the album's best, underscores its point with a relentless, pummeling beat, and guitars that sting like whiplashes.

The title cut is the first of several Threshingfloor tracks to employ Middle Eastern sounds, this title cut bristles with multi-toned percussion and some sort of primitive wind instrument. It's a violently propulsive track, faster than the rest of the album and imbued, despite its darkness, with a kind of physical release.   "Terre Haute," near the album's close," has the same wild sense of transport, a high shepherd's flute (that's guest artist Peter Eri) careening over outsized rhythms. "Raise Her Hands" brings Edwards' affinity for Native American forms to the front, with its ritual beat and interlayered, incantatory vocals. These are heady, intoxicating cuts, short-circuiting any attempts at analysis and going directly to the primitive, spiritual parts of the brain. Even Edwards is sometimes overcome by the rush of these songs, singing in tongues or soaring, wordlessly, in choral flourishes.

The Threshingfloor, like all Wovenhand albums, is full of drama, yet it also includes intervals of respite. "His Rest," coming a little before the midway point, is the first of these, its pace slow, its tone serene, its arrangement eased by cello. Later, "Truth" has the echo-washed keyboards, the stately percussion of the Cure. Odd little "Wheatstraw," only a minute long has a Latin lilt to its drum machine and keyboard riff. Closer "Denver City" sounds lighthearted and garage-y and oddly like the Eagles of Death Metal, though minus the raunch.

These tracks allow listeners to catch their breath, providing a bit of a rest between barrages of pounding, pummeling intensity. Yet what you remember, what makes Wovenhand so compelling, is the struggle Edwards' work embodies. Some Christian songwriters attempt to capture the solace of religion, the tranquility and sureness that they expect from heaven. Edwards stays right here on the threshing floor, in the hard, sweaty midst of life, suffering now but looking towards salvation.   

[Wovenhand is currently on tour opening for Tool. A European and Middle Eastern tour follows in July. Details and dates here. Photo by Gary Isaacs.]

Feeling fucked-up inside rarely sounds so good: the firm of Berninger, Dessner, Dessner, Devendorf & Devendorf, abetted by St. Vincent and Sufjan Stevens, are propelled to a prestigious sold-out event in NYC on June 18. Greatness looms - or maybe it's already here.

By Zachary Herrmann

There's a saying in the acting business that when you are playing bored, it's not enough to just look bored. You have to really sell the emotion. You must learn to appear actively bored.

This apparent contradiction is at the heart of what The National are all about, especially as live performers. The chief emotion isn't boredom though; it's misery.  And boy, do these guys ever know how to sell that.

Armed with a string and horn section, famous friends and a whole lot of A-game, The National stormed Radio City Music Hall, only letting up for a ballad ("Runaway", "Daughters of the Soho Riots") here and there. It was the picture of a band in its moment - all the rave reviews and profile pieces for High Violet, the band's bombastic masterpiece, seem to have propelled the band to this one sold-out night at Radio City Music Hall.

If The National didn't seem cowed by the vastness of the venue, they were certainly appreciative of the adoring reception from their adoptive home. Lead singer Matt Berninger expressed thanks time and time again. Saying it is one thing, but swimming through the crowd to belt out "Abel" from, well, the top of my seat... that's really showing it.

To be sure, the crowd interaction is a thoroughly calculated move: Berninger's done it regularly on tour, and came out later in the night to scale the sides and mezzanine of the venue, trailing the world's longest mic cord. Clearly, the routine must have been blocked out to some extent, pre-show. Populist stunt or not, the theatrics work and felt genuine. For a band that splits the difference between mannered (see strings and horns) and unhinged (see Berninger, and the Dessner brothers' guitars), it's about the primal and instinctual winning out. Berninger, as s singer and songwriter, is something like one of J.G. Ballard's protagonists. He's an everyman through a glass darkly, violence seething under his monotone, occasionally bursting through to the surface. It's a constant battle going on between civility and chaos in the music - it's the balancing dynamic that makes The National such an interesting case.

Fun doesn't really seem like the appropriate adjective, but somehow, all the rage and sorrow connects. Just ask the guy near the front row who was fist-pumping during "Fake Empires".

 "We wanted to play you something from when Matt was single and tortured," Aaron Dessner quipped, as he introduced "Available", one of the band's "bitter" songs.

"It's a little dark," Berninger conceded before launching into one of the band's ragers (to be contrasted with everything else, the brooders). His admission, of course, was made all the more facetious by the following "cannibalism" song ("I was afraid/ I'd eat your brains"/ "Because I'm evil" in "Conversation 16"). Berninger's damn civilized on stage - showered and black-blazered - up until the point he breaks loose.

And it all works brilliantly for the live show.  If I could levy any serious criticism against The National, it's in the still waters of Side B of The Boxer. Sometimes, in all that depression and misery, things get a little too civilized and stagnant.

Those moments occurred here and there (however beautiful, "Runaway" gets tired live), but the electricity was palpable nearly everywhere else. You could hear it in Bryan Devendorf's thundering drums, or in the guitar riff slashing through the center of "Afraid of Everyone".

Annie Clark (St. Vincent) and Sufjan Stevens made a brief appearance to repeat their contributions to High Violet, creating a trifecta of Brooklyn rock royalty. Their presence and relative power broke the trance briefly, providing a few more laughs and smiles amidst The National's sort of overbearing presence.

Things are just looking too good for these guys to feel bad, even if the music is, more often than not, absolutely dour. It's in that spirit that "Mr. November", the story of a has-been, has now become more of a celebration. "Bloodbuzz, Ohio" and "Apartment Story" felt like Bruce Springsteen anthems, crowd singing along to the latter, repeating the refrain: "Stay inside until somebody finds us/ Do whatever the TV tells us".

It's music that feels downright American, a mix between the wide-open, wide-eyed Midwest and self-pitying, self-proscribing East Coast, delivered in Berninger's honest voice. Feeling fucked up inside rarely sounds so good.

Set list:

Mistaken for Strangers

Anyone's Ghost

Bloodbuzz, Ohio

Brainy

Secret Meeting

Slow Show

Squalor Victoria

Vanderlyle Crybaby Geeks (w/ Annie Clark on vocals, piano)

Afraid of Everyone (w/ Annie Clark and Sufjan Stevens on vocals)

Little Faith

Available

Conversation 16

Apartment Story

Abel

Daughters of the Soho Riots

England

Fake Empire

-- encore break --

Runaway

Lemon World

Mr. November

Terrible Love

Hear the tune, below. Tear down that wall, folks.

By Blurt Staff

Billboard.com is reporting that Mistachuck - that's Chuck D, of Public Enemy, to you, pal - has issued a new single called "Tear Down That Wall" in protest of Arizona's controversial new immigration law. It's out on his own label SlamJamz (www.slamjamz.com) and will eventually be included on his next solo album as well.

According to Billboard.com, Chuck D told them, of his motivation behind recording the tune, "Yeah, because the governor is a Hitler. Things do change from time to time but it goes right back into just proving that it wants to be something else. 'Tear Down That Wall' is something that has its own life. It's not that you're doing anything to be opportunistic. I talked about the wall not only just dividing the U.S. and Mexico but the states of California, New Mexico and Texas. But Arizona, it's like, come on. Now they're going to enforce a law that talks about basically racial profiling."

The hypnotic, gritty song, incidentally, cleverly samples Public Enemy's earlier Arizona-themed screed, "By the Time I Get To Arizona."

The story also outlines how Public Enemy is funding its next album through fan donations (it's slated for a 2011 release) as well as some details about a P.E. box set.

On-again, off-again reunion appears to be off for the moment.

By Blurt Staff

Well, is he or isn't he? Spinner.com tells us that Beach Boys frontman Mike Love has been suggesting that founding member (and musical architect) Brian Wilson will be reuniting with the band, saying, "We're gearing up for the 50th anniversary and Brian Wilson, who has been working on some unfinished Gershwin music project, will rejoin us."

However, Spinner.com is also telling us now that "such a collaboration is not in the cards," citing a statement by Love on the band's website that reads thusly:

"The Beach Boys continue to tour approximately 150 shows a year in multiple countries. At this time there are no plans for my cousin Brian to rejoin the tour. He has new solo projects on the horizon and I wish him love and success. We have had some discussions of writing and possibly recording together, but nothing has been planned. I, as I'm sure he is, am proud and honored that the Beach Boys music has endured these 50 years, but felt the need to clarify that there are no current 'reunion' tour plans."

Those wacky Beach Boys - ya never know what one of them will say. Love and Wilson have had, shall we say, an on-again, off-again relationship over the years. Stay tuned!

Remade/remodeled live album accompanied by fall tour.

By Blurt Staff

Latin alternative label Nacional Records has set a Sept. 28 release date for Genius of Live - and yeah, you guessed it: a new (sorta...)  album from the Tom Tom Club.

It will feature select tracks from classic album ‘Live At The Club House' as well as a Latin remix tribute to the group's iconic hit, "Genius Of Love."

Tom Tom Club will also embark on their first lengthy U.S. tour in 10 years this fall.  "It will be a real pleasure for us to see so much of the USA again this fall," said Tom Tom Club drummer/founder Chris Frantz (you may also remember him and his partner Tina Weymouth from the Talking Heads). "We are all very excited about this tour, to go out and make new friends and reconnect with old friends. The band consists of seven players, is smoking hot and completely live. We don't use any sequencers or backing tapes at all!"

‘Live At The Club House' was recorded with the group performing at peak energy for a collection of friends in their Connecticut home studio. It features Tom Tom Club's effervescent, energetic, and upbeat live show while proving their original fusion of hip hop, reggae, Afrobeat and funk is truly timeless. The album travels the group's catalog from "Genius Of Love" and "Wordy Rappinghood" to their renowned covers of Al Green's "Take Me To The River" and Hot Chocolate's "You Sexy Thing." It was recorded shortly after the September 11 tragedy, converting the stress and paranoia of the times into positive energy.

"We have a really exciting band and wanted to record the band for posterity while we were all together," said Franz. "Who knew if we would still be all together in the future? This was in October immediately following the harrowing events of September 11 and we wanted to do something positive and fun to counteract the sad and confused feeling people were experiencing at the time."

"Genius Of Love" has been prominently sampled since the early days of hip hop, from Grandmaster Flash to Mariah Carey and Tupac Shakur to T.I. On ‘Genius Of Live,' Latin alternative artists like Ozomatli, Nortec Collective, Money Mark and The Pinker Tones tackle the track for their own remixes.

"‘Genius Of Love' is a song that really has taken on a life of its own," added Franz. "It is not just about dancing or getting down. It's about musical salvation; that a life can be saved by funky music. When we were first introduced to Grandmaster Flash, he said, ‘You're going to hear a lot of people using this track.' Of course, we had no idea how right he would turn out to be."

Franz and Weymouth originally connected with Nacional founder/president Tomas Cookman in a conversation about Cookman's longtime management client Los Fabulosos Cadillacs. They were approached to produce the legendary Argentine band's album ‘Rey Azucar.' 

Explained Franz, "I took one look at the video for ‘Matador' and before I knew it, I was on a plane to Puerto Rico to meet the Cadillacs. I soon found out that Tomas had been a habitué of CBGB's and we shared a lot of common. My first thoughts were, ‘How will I communicate with the band if I cannot speak Spanish?' But, when I met them for the first time and saw what amazing musicians they were, I knew that we would be able to understand each other on a musical level. Producing ‘Rey Azucar' in the Bahamas was a completely satisfying and successful experience and one that we will always remember with great affection."
 

Tour Dates:

9/21 - StageOne - Fairfield, CT
9/22 - - StageOne - Fairfield, CT
9/23 - Rock and Roll Hotel - Washington, DC
9/24 - Grog Shop - Cleveland, OH
9/25 - Midpoint Music Festival - Cincinnati, OH
9/26 - Exit In - Nashville, TN
9/27 - The Old Rock House - St. Louis, MO
9/28 - Metro - Chicago, IL
9/29 - Mickey Finn's Pub - Toledo, OH
9/30 - Phoenix Theatre - Toronto, ON
10/1 - Cabaret Mile End - Montreal, QC
10/2 - Higher Ground Showcase Lounge - Burlington, VT
10/3 - Paradise Rock Club - Boston, MA
10/8 - Great American Music Hall - San Francisco, CA
10/9 - The Getty - Los Angeles, CA
10/10 - Echoplex - Los Angeles, CA
10/12 - Casbah - San Diego, CA