Gold and Youth – Beyond Wilderness album review

Hailing from Vancouver, the four-piece group, Gold and Youth, have been raising anticipation and hype with their trio of EP’s that they have trickled out in the past couple of years. Playing cross-continental, the group managed to garner critical acclaim on a global basis even before they had a full length out. Signed to the Canadian label, Arts and Crafts (Broken Social Scene, Stars, Timber Timbre), Gold and Youth have kicked off their career with Beyond Wilderness and from the hearing of things, it becomes apparent that the hype and acclaim was, and is, all rightfully beheld.

Beyond Wilderness had a healthy host of talent working behind the scenes; Colin Stewart (Black Mountain, New Pornographers, Destroyer) and mixed by Gareth Jones (Depeche Mode, Interpol, Grizzly Bear) and Damian Taylor (Björk, Robyn, Arcade Fire). With such creative powerhouses backing this project, it would seem that Beyond Wilderness would be a recipe for success, and in the end, it certainly is.

The album opens up with welcoming, warming synths that are being backboned by a simple, yet effective percussive loop which soon expands and introduces some guitar pickings that are laden with a golden aura of pure hook and 80’s nostalgia with a modern twist on ‘City of Quartz’. The track immediately pulls you in and leaves you to be swooned and carried by Matthew Lyall’s deep, towering, yet all too handsome vocals that impressively manage to keep with the 80’s nostalgia and which are also eerily reminiscent of White Lies’ Harry McVeigh. The track is a perfect introduction the group’s dark, sleek mystique all presented in an irresistibly catchy form.

From there, Gold and Youth continually stay strong. With ‘Tan Lines’, the group slows it down a bit with thick, sharp bass riffs, wonderful male and female vocal shadowing, and fantastically alluring synthesizers. On ‘Cut Lip’, Gold and Youth really slow it down as this track serves as an interlude of sorts. It’s a nice attempt, but it sort of takes away from the momentum that the previous tracks help build. ‘Cut Lip’ is bold yet ambient and eventually leads into the cinematic ‘Come To Admire’, a track which relentlessly constructs, deconstructs, constructs again, and eventually leaves the listener amidst an audio climax which is quite brilliant. Ever so layered and textured, with three sets of vocals, the group shows off their adventurous song writing spirits and absolutely captivating song writing.

Gold and Youth have a very strong debut with Beyond Wilderness, their ability to blend elements of the past so seamlessly with that of the present results in a record which is well inspired, yet all too unique in its own right. Very catchy, very melodic, it’s an album sure worth getting stuck in your head.

Kinski – Cosy Moments album review

Kinski wants to sleep with your girlfriend and they aren’t afraid to tell you. This unapologetic grunge-rock band just released their first album in almost 6 years titled Cosy Moments (Kill Rock Star records), ending a decade long, lucrative partnership with Sub-Pop records. As a band that started in Seattle in the late 90s (only a few years post Nirvana), Kinski remains in the realm of Seattle’s West Coast grunge/punk scene helping to keep this unique blend of heavy guitars and slow pounding rhythms alive.

With tracks from just over 1 minute to almost 8 minutes long, the album blends itself nicely throughout the course of its 10 tracks, and comes to a halt a lot sooner than expected. There is a good mix of heavy instrumental tracks, and poignant lyrics trace their way through the album and sound similar to a teenage goth depressingly marching up a Victorian set of stair with 3.5 inch platforms. Not that there is anything goth about this band, but for some reason their music can drag on similar to a depressed teenager with no legitimate reason to be upset.

Really the album sounds as though after 6 years of not writing, the band sort of showed up to the studio and just played the songs that have accumulated in their heads from such a long hiatus. There is something very visceral about the material, but also underworked, almost as if it came too easily, however, this helps keep things simple and makes the tracks very accessible to new fans (who they are going to need after such a long break between material).

The band has recently come off a tour through the East coast of North America, but watch for some local shows popping up over the summer now that they are back home in the West.

Cafeine – New Love album review

On New Love’s title track Cafeine’s songwriter/multi-instrumentalist Xavier Cafeine offers guidance with the line “spread your feathers and get some height”.   The song is an upbeat anthem on finding new love that inspires you to break the monotony that life can develop.  Based on the aforementioned line, the track and album as a whole can be seen as the French-Canadian Cafeine’s desire to reach ears far outside of Quebec.

From the start it is clear that this album is a project that has consumed Cafeine’s efforts in more ways than one.  New Love, the follow up to 2009’s Bushido, features overtly personal lyrics.  Additionally, Xavier played all the instruments found on the record to create a series of songs that range from new wave to alternative.

Cafeine explores several variations of love within New Love.  With over half of the album’s tracks containing “love” in the title the constant theme becomes trite more often than it hits the mark.  The poppy French-spoken “Lettres d’amour” is one of the album’s highlights, guided by its repetitive guitar riff and call and response chorus.  Next, the bouncy “I Love You” feels like a watered down Bloc Party song with its high-pitched synth and reverb vocals.  The endearing title is completely ruined when crassly preceded by, “Hey bitch I got a message for you.”

Fortunately, Cafeine realizes his shortcomings as a lyricist and directly acknowledges this on “Fucking Time”.  “Wish my songs were a little more clever, at least they fucking rhyme” he sings along with a series of lamentations on how there is no fucking time.  This acceptance of his often simplistic songwriting helps make the song one of the album’s most enjoyable tracks, eschewing complexity for a fun song that is easy to relate to.  The dark tones and brooding vocals fit the downtrodden tale of a city without love on “No Love”.  The loveless city is described with Halloween type imagery of ghosts and vampire.  “Black Swans”, the whistle infused album closer is another somber track but Cafeine finds joy in knowing there are others that share his outlook.

New Love is a compilation of songs that allows its writer to voice his feelings on love.  The songs, much like his feelings on love, are varied.  At some points this draws the listener in, while at others it drives them away.  It is not a great album, but there is enough substance to draw in new listeners and “get some height” as we know Cafeine strives for.

Vondelpark – Seabed album review

Despite “Seabed” being the English electronic act “Vondelpark”‘s first proper full length, it is safe to say that it is quite a shift in form from their previous musical identity. Prior to this release, Vondelpark released a series of EPs that was more in the realm of dance/house/electronica. With Seabed, the band wanted to challenge themselves a bit more to create a self-proclaimed “real album” and not just a collection of songs with a simple house dance-party vibe. While their signature R&B luster remained in tact, Seabed showcases a much more lo-fi and introverted musical vision, allowing a greater deal of longevity as a result.

Mentioning a comparison to James Blake is almost unavoidable. Vondelpark has an incredibly similar vocal aesthetic (see: heavily processed, heavily somber, and heavily English) to Blake, and at first the similarity may be off-putting as it’s such an intense likeness, but when you put that aside there is clearly a great deal of individuality in the musical vision behind what’s presented. What stands out to me, besides the samples of computer mouse-clicking and default Windows “bloop” sounds on the track “Blue Again,” is the heavily rhythm and blues influenced guitar riffs and well-fitting mumbled vocals. Your typical American Idol fan surely would have a hissy fit about the lack of lyrical clarity and showoff-ness, but artistically it works perfectly to both draw more attention to the music and add to the demure attitude of the album. Ultimately, even what could be seen as flaws on the album add to the intimacy of the music.

What really gives the album the longevity it has is that even though the tracks are so low to the ground and emotional in nature, the melodies are so tastefully done that they provide a perfect balance so that they’re intensely catchy but not too cheesy or labored in that regard. It’s easily to get hooked on the album by the immediacy of these hooks, and then later relish in the finer details as the ideas of the songs are already embedded in your brain. It’s tough to pull something like this off when 90 percent of your lyrics are unintelligible, but somehow Vondelpark pulls it off. In my opinion, the album is best listened to alone, with the lights out, when you’re about to go to sleep and the subconscious is at its most dominant.

The Crackling – Mary Magdalene album review

Solo and side projects are always a very interesting ordeal. They put a spotlight on an artist and give them a dignified voice and choice of expression, usually free of the confines of his previous or main roles as a musician in other projects. With side projects, we hear the true and unfiltered expression of an artist which we may have never heard or seen otherwise.  Sometimes not exactly panning out as intended (Chris Cornell) and other times, ending up to be very successful (Brian Eno, we salute you), a solo career move can make or break a career. In terms of Kenton Loewen’s The Crackling and latest release, Mary Magdalene, it would seem that this now underrated Vancouver-native is most certainly headed to fit in the latter of the two.

The Crackling is a group headed by, Kenton Loewen, acclaimed drummer of artists like Dan Mangan and Mother Mother. As well, The Crackling features members from not only those two previously stated, but the Be Good Tanya’s, Gord Grdina Trio, and even throughout their sophomore, Mary Magdalene, features the work of some of Vancouver’s top-notch jazz talent like Peggy Lee, J.P Carter, and Jesse Zubot. The Crackling could be seen as a Vancouver’s who’s who of the music scene and this can be heard throughout the music itself.

To start, Mary Magdalene is an expertly crafted record. Everything not only fits where it needs to, but everything and every note and chord excel in where they fit.  You can really hear the experience in the music, echoing throughout. The record carries this, as Loewen himself put, a “hopefully dark” vibe as the music beholds a very melancholic dapper over a sometimes rambunctious, energetic, emotional rollercoaster of an album. The vocals on this record are sure to capture your attention; Loewen sings like a gruff, roughed-up cowboy with a certain alt-folk influence that creates a sometimes harsh but usually melodic juxtaposition of the softer, harmonious instrumental.  Sometimes layered with backing female vocals which help soften Loewens vocals, it is clear that this man can sing and has the pipes and the means to show it.

Like previously stated, Mary Magdalene is an emotional rollercoaster as stomping, pub sing-alongs like ‘The Harm’, ‘Ashen’, ‘The Crackling’ are fluctuated and coupled with slower, more stripped-down tracks like ‘Keep Me Drunk’, ‘Suicide Is Painless’, and ‘The Cold Sky’. There is a great variety in the tracks and in the composition throughout the album, but it never deviates too far from the core message or sound.

In the midst of a time where it seems like there are an unrelenting wave of folk and folk-rock albums spewing out, Mary Magdalene is a refreshing take from the norm and offers true musicianship and skill that is coupled with raw, and exhilarating emotions that should not be so easily dismissed. Hopefully, Loewen’s name will become more appropriately known in Canadian music, as this multi-talented, well facilitated artist is more than proving his worth.

NXNE presents Billy Talent, Sloan and Evan Dando

NORTH BY NORTHEAST (NXNE) has confirmed that punk rockers Billy Talent will perform a free show on Saturday, June 15 at Yonge-Dundas Square. Plus NXNE Film announces another Canadian premiere, NXNE @ YYZ returns, and The 7th Annual Put The Boot In soccer match unveils the 2013 roster.

NXNE will take over Yonge-Dundas Square (YDS) for four days of free concerts starting Thursday, June 13 with the legendary Social Distortion, presented by Monster Energy Drink, along with Old Man Markley, The Flatliners and Imperial State Electric. On Friday, June 14, Deezer Canada, the official streaming partner of NXNE, presents The National, in partnership with Collective Concerts, with CTZNSHP.

Saturday, June 15 at YDS – presented by Ford – will feature a performance by hometown heroes Billy Talent headlining a full day of music including Millencolin, Big Black Delta, Moon King, Blinker The Star, We Are Scientists, Steve Hill and The Burning Boyz.

Also confirmed by NXNE Music is Toronto’s Sloan, presented by Porter Airlines, who will play The Great Hall on Friday, June 14; and Evan Dando of The Lemonheads, performing Saturday, June 15 at The Rivoli.

NXNE will present top festival bands at the NXNE @ YYZ concert series – marking the sixth year that NXNE and Toronto Pearson International Airport have worked together to entertain travelers. On Thursday, June 13, Terminal 1’s Arrivals Hall will host Shadowy Men on a Shadowy Planet, of Kids in the Hall fame. And on Friday, June 14, Toronto seven-piece Mamabolo and indie stalwarts Blinker The Star will rock the concourse at Terminal 1.

NXNE Film presents the Canadian premiere of If We Shout Loud Enough, a documentary about Double Dagger, a post-hardcore band from Baltimore, on Friday, June 14 at the Drake Underground, preceding a performance by Peals (featuring Bruce Willen from Double Dagger). This charming, funny film follows these DIY musicians, chronicling their history and final memorable performances – and features interviews with Dan Deacon, members of Wye Oak, Future Islands, Ruiner, Thank You and more.

NXNE and Right to Play will team up again this year for The 7th Annual Put The Boot In charity soccer match. Canadian musicians (the Rockers) line up against a team of media moguls (the Rollers) in the country’s longest running fundraiser for Right To Play. This year’s match – on Sunday, June 16 at Lamport Stadium – will include Rockers and Rollers like Brendan Canning (Broken Social Scene), Mike Haliechuk (Fucked Up), Scott Jardine (DirectKickTV), Adam Killick (CBC Radio 1), Adam Van Koeverden (Olympian) and many more. For the full team rosters visit

All NXNE passes, wristbands and tickets are now available online at

19 Years, 1000 Bands, 30 Films, 65 Interactive Sessions, 200 Comedians, 35 Visual Artists, 7 Days.

NXNE acknowledges the financial support of the Government of Canada through the Department of Canadian Heritage (Canada Music Fund) and of Canada’s Private Radio Broadcasters.

Boston Calling September Festival Headlined by Vampire Weekend and Passion Pit

WHAT: Boston Calling’s Early Bird Weekend Passes for both General Admission and VIP go on sale tomorrow. The festival’s second edition will take place September 7 and 8, 2013 at City Hall Plaza [One City Hall Square, Boston, Massachusetts] and will see performances by 18 artists. The September festival is headlined by Vampire Weekend and Passion Pit, with Kendrick Lamar, Local Natives, Major Lazer, The Gaslight Anthem, and Solange joining the lineup.

General Admission Early Bird Weekend Passes are $120 and VIP Early Bird Weekend Passes are $325 with the early bird code CALLING.

WHEN: Early Bird on-sale opens tomorrow, Friday May 31, 2013 at 10AM EST

WHERE: Online at,, and with no service fee at The Sinclair and Royale box offices (52 Church Street, Cambridge MA; 279 Tremont Street Boston, MA).

MORE: After selling out its May 2013 festival, Boston Calling, produced by Crash Line Productions in partnership with Bowery Presents, recently announced it will return September 7-8 2013. September nails the festival offerings with its diversity of 18 live performances, which, as with its hit May 2013 line-up, were co-curated by Aaron Dessner, acclaimed songwriter and multi-instrumentalist of The National. The festival will be headlined by Vampire Weekend, whose album, Modern Vampires of the City, is currently topping the charts, and the internationally acclaimed yet locally originated Passion Pit guarantees a dance party. Further daring fans not to dance, are Flosstradamus, Major Lazer and Boston’s Bearstronaut. Meanwhile Local Natives, The Gaslight Anthem, The Airborne Toxic Event, and Providence’s Deer Tick offer plenty of reasons to rock out, and two of the country’s leading hip-hop and r&b artists, Kendrick Lamar and Solange will no doubt seduce fans.

Perched on a hill in Downtown Boston and with the city’s skyscrapers encircling its grounds, Boston Calling’s locale at City Hall Plaza will offer the ideal urban festival vibe. As with May 2013’s festival, producers will enhance this environment with two performance stages, two beer gardens, a food pavilion comprised of food trucks and local food vendors, and world-class lighting and design by locally based Party by Design. Boston Calling will also feature a VIP component whereby VIP ticketholders will have access to City Hall Courtyard, a 25,000 square foot, second-floor Mezzanine offering prime views of the main stage as well as specially curated menus and luxurious amenities.

Boston Calling’s September 2013 line-up is as follows:
Vampire Weekend
Passion Pit
Kendrick Lamar
Local Natives
Major Lazer
The Gaslight Anthem
The Airborne Toxic Event
Wolfgang Gartner
Bat for Lashes
Deer Tick
Okkervil River
Big Black Delta
You Won’t

A portion of all proceeds from Boston Calling will go to the Music Therapy Program at Boston Children’s Hospital – the program helps patients cope during their hospitalization by bringing the joy of music to their bedsides.

Crash Line Productions is a full-service music and entertainment production company. Formed in the Fall of 2012 by Brian Appel and Mike Snow, Crash Line sees the two executives drawing from their extensive backgrounds in the music and event industry.

City Hall Plaza is located at One City Hall Square in downtown Boston. The festival is accessible via the city’s T via the Park Street stop on the Red Line, the State Street stop on the Orange or Blue line or the Government Center stop on the Green line. The 92 and 93 buses also stop outside of City Hall Plaza on Congress Street.

The Bowery Presents is an independent promotion company based in New York City. With a core business based around great music, its mission is to bring the best bands to the best venues and to provide a great concert experience for fans and artists, along with reasonable ticket prices. Over the years, The Bowery Presents has worked with a vast cross section of some of the most talented performing artists, including Willie Nelson, Aretha Franklin, LCD Soundsystem, Kings of Leon, My Morning Jacket, Passion Pit and Deadmau5. The company’s activities center on programming live music in the venues it owns and operates, including several New York and New Jersey music venues, such as Terminal 5, The Bowery Ballroom, Mercury Lounge, Music Hall of Williamsburg and the Wellmont Theatre in Montclair, N.J. The Bowery Presents also presents shows at other venues in New York City, such as Madison Square Garden, Radio City Music Hall, Central Park SummerStage and the Beacon Theatre, and across the Northeast, at places like the Constellation Brands- Marvin Sands Performing Art Center, located on the campus of Finger Lakes Community College in upstate New York. In 2010, the business launched The Bowery Presents: Boston, an extension of the company with an office headquartered in Boston and became the live-music partner for the Royale nightclub in the Theater District. In 2010, The Bowery Presents partnered with Alex Crothers, from Higher Ground in Burlington, Vt., to reopen The State Theatre in Portland, Maine, and in 2011, partnered to open Union Transfer in Philadelphia. In 2012, The Bowery Presents: Boston opened The Sinclair, a concert venue and restaurant with consulting Chef Michael Schlow. In 2012, The Bowery Presents: Boston began to exclusively promote shows at Boston music institutions TT the Bear’s Place and Great Scott.

Austra Reveal New Album Track: Listen to “Painful Like” Now. Album Out 6/18 + On Tour Soon

Austra reveal second Olympia track “Painful Like” Stream Below

Sold out release week shows in New York City, London, Paris and Berlin

Announce new headlining New York City show

Photo by Norman Wong

Following the release of lead single “Home,” we are excited to share the new single “Painful Like” from Austra’s forthcoming album Olympia out June 18 on Domino.

Influenced by early Chicago house music when dance music was performed with a live band, “Painful Like” too was performed live in the studio free of any programming or loops. While the lyrics may deal with the disillusionment of growing up gay in a small town and finding solace in the arms of a lover, it’s bubbly and buoyant and reflects that Olympia is fundamentally a dance record.

Stream the new single “Painful Like”

Principal songwriter/vocalist Katie Stelmanis says that was the band’s aim all along. “We are really into dense harmonies and big beautiful melodies, but I also love techno and dance music. I wanted to bring those elements together.” Founding Detroit techno producer Kevin Saunderson recently remixed lead single “Home “ and it will appear on a forthcoming “Home” remixes 12″ backed with a remix from Ital.

Stream Kevin Saunderson and Ital’s remixes of “Home”

Olympia is also an album of transformation. Though it has only been two years since their 2010 debut Feel It Break, After three years of non-stop international touring with the likes of the XX, Grimes and the Gossip, when it came time to record Olympia, Austra had evolved into a complex collaborative effort between its members.

Olympia is available to pre-order now via Domino (Rest of the world) and Paper Bag (in Canada) on CD, limited edition double colored vinyl, standard double vinyl and digitally via iTunes. All pre-orders through Domino or Paper Bag will receive an instant mp3 download of the Home single and the six track Austra + Gina X ‘Mayan Drums’ 12” collaboration released earlier this month for Record Store Day.

Austra have sold out release week shows in New York, London, Paris, and Berlin have announced new headlining shows in those cities including September 22 at Webster Hall in New York.

Austra is Katie Stelmanis, Maya Postepski and Dorian Thornton, in collaboration with Ryan Wonsiak, Sari Lightman and Romy Lightman.

Watch the lead single “Home” video Here directed by That Go.

Stream the lead single “Home” Here


06-02 Dublin, IE – Forbidden Fruit

06-06 Zurich, CH – Plaza

06-07 Luzerne, CH – Sudpol

06-08 Yverdon-les Bains, SE – L’Amalgame

06-10 Amsterdam, NL – Bitterzoet

06-11 Gent, BE – DOKBox

06-12 Paris, FR – Nouveau Casino (SOLD OUT)

06-14 Berlin, DE – Lido (SOLD OUT)

06-17 London, UK – Hoxton Bar Grill (SOLD OUT)

06-20 Brooklyn, NY – Music Hall of Williamsburg ^ (SOLD OUT)

06-23 Los Angeles, CA – Troubadour

06-26 San Francisco, CA – The Independent

07-18 Nijmegen, Netherlands – Valkhof Festival

07-19 Ferropolis, DE – Melt Festival

07-21 Suffolk, UK – Latitude Festival

07-25 Madrid, ES – Nasti Club

07-26 Barcelos, PT – Milhoes De Festa Festival

07-30 Milan, Italy – Magnolia

07-31 Padova, Italy – Radar Festival

08-01 Feldkirch, AT – PoolBar Festival

08-02 Salzburg, AT – Stuck! Festival

08-03 Katowice, PL – OFF Festival

08-04 Katowice, PL – OFF Festival (DJ)

08-07 Luxembourg – EXIT 07

08-09 Gothenburg, SE – Way Out West Festival

08-10 Helsinki, FI – Flow Festival

08-14 St Malo, FR – La Route Du Rock Festival

08-17 Biddinghuizen, NL – Lowlands Festival

08-30 Detroit, MI – Crofoot Ballroom *

08-31 Chicago, IL – Lincoln Hall *

09-01 Minneapolis, MN – Triple Rock *

09-04 Seattle, WA – Neumos *

09-05 Portland, OR – MusicFest NW

09-10 Phoenix, AZ – Crescent Ballroom *

09-12 Dallas, TX – Trees *

09-13 Austin, TX – Mohawk *

09-14 Houston, TX – Fitzgeralds *

09-15 New Orleans, LA – One Eyed Jacks *

09-17 Atlanta, GA – The Earl *

09-18 Carrboro, NC – Cat’s Cradle *

09-19 Washington, DC – Black Cat *

09-20 Philadelphia, PA – Union Transfer *

09-22 New York, NY – Webster Hall *

09-24 Boston, MA – Brighton Music Hall *

11-25 London, UK – Koko

^ w/ Mozart’s Sister

* w/ DIANA

Radiation City, GoPro Presents Magical Live Performance at Austin’s Cathedral of Junk, National US Tour Continues Through The Summer

“impossibly catchy” – NPR

“charmingly evocative” – TIME

“ …a perfectly eerie throwback piece of indie pop.” – NYLON

“ …full of charming, winsome (but not too winsome) indiepop that will appeal to fans of Camera Obscura and The Rosebuds.” – BrooklynVegan

Click Image Above To Watch Radiation City at Austin’s Cathedral of Junk

Radiation City just released their highly anticipated sophomore studio album, Animals In The Median, via Tender Loving Empire. Effortlessly blending vintage soul with modern electronic sounds, the album has already received critical acclaim from VICE’s Noisey, Rolling Stone, MAGNET & many more.

The Portland quintet recently teamed up with GoPro to create a spectacular live video shot at Austin’s famed Cathedral of Junk. Vince Hanneman, the self-proclaimed “Junk King,” sets the scene as Radiation City plays two live songs from Animals In The Median: “Lark” and “Foreign Bodies.”

Radiation City is now back on the road on a national US tour, bringing their spellbinding live show to over 25 cities across the country! The dream pop band has shared stages with Pickwick, Caveman, YACHT, The Walkmen, Unknown Mortal Orchestra and more. Be sure to catch the band’s entrancing live show on tour!

Radiation City National Tour Dates
* w/ Cuckoo Chaos to support
! Social Studies and XDS to support

5/29: Los Angeles, CA @ The Satellite
5/30: San Diego, CA @ Soda Bar*
6/01: Tempe, AZ @ Sail Inn
6/03: Dallas, TX @ Bryan Street Tavern
6/04: Austin, TX @ The Mohawk
6/05: New Orleans, LA @ The Circle Bar
6/06: Atlanta, GA @ The Earl
6/07: Athens, GA @ The Georgia Theater
6/08: Durham, NC @ The Pinhook
6/10: Washington, DC @ Black Cat
6/11: Philadelphia, PA @ Kungfu Necktie
6/12: New York, NY @ The Mercury Lounge
6/13: Brooklyn, NY @ The Paper Box
6/15: Chicago, IL @ Taste Of Randolph Street
6/16: Cincinnati, OH @ Motr Pub
6/17: Nashville, TN @ Cause a Scene House Show
6/18: Indianapolis, IN @ Do 317 Lounge
6/19: Milwaukee, WI @ Mad Planet
6/20: Minneapolis, MN @ First Avenue
6/21: Des Moines, IA @ Vaudeville Mews
6/23: Denver, CO @ Larimer Lounge
6/25: Salt Lake City, UT @ Kilby Court
6/26: Boise, ID @ Neurolux
6/28: Portland, OR @ Wonder Ballroom *RELEASE SHOW!*
7/23: Hood River, OR @ The Ruins at Springhouse Cellar
7/27: Seattle, WA @ Capitol Hill Block Party

The London Suede Premiere ‘Hit Me’ Video. Release EP

Since the release of their 6th studio album and first in over a decade, ‘Bloodsports’ has received international critical acclaim, deservedly positioning the legendary Brit Pop band back into the top of the charts across the globe.

Their follow up single to the hugely successful ‘It Starts And Ends With You’ will be the soaring and infectious 6th track from ‘Bloodsports’ titled ‘Hit Me’, and was penned by front-man Brett Anderson, guitarist Richard Oakes and keyboardist Neil Codling.

Having recently sold out at the prestigious ten thousand capacity venue Alexandra Palace in London this spring, the five-piece will be embarking on a 5 day UK arena tour in October.

1. Hit Me
2. Falling Planes
3. What Violet Says
4. Hit Me (Radio Edit)

“Calling Bloodsports a comeback album almost seems to belittle just how strong a record it really is; it’s nearly as good as any they’ve put out before.”
– Under The Radar Magazine

“Throughout Bloodsports, Suede consistently strikes the balance between decadence and elegance that marked their signature work.”
– Pitchfork

“Boasting strength, durability and psychic stability on comeback Bloodsports, Suede shows its true dramatic worth on pensive, atmospheric exhibitions.”
– Magnet Magazine

“Bloodsports still thrums with the darkness and danger that made the fivesome’s early records so worthy of your absolute allegiance.”
– FILTER Magazine

“Never once do they sound desperate on Bloodsports; they sound confident, and comfortable in the knowledge that this is where they all should be.”
– Boston Globe

“(Suede) have returned to reclaim the Brit Pop crown with the excellent new album ‘Bloodsports”.
– New York Post

“Full of the dramatic guitars and romantically anguished melodies that helped kickstart the British rock renaissance.
– SPIN Magazine

‘The record powerfully disproves the idea that it’s impossible for veterans to re-ignite the spark…twenty years on, Suede are still jumping barriers. Reunion act turned resurrected creative force’
– The Guardian

‘Swells with hook-laden guitars and pulsing bas and drums…no feeding off former glories here…they prove themselves vital and contemporary’
– The Independent

‘A recalibration. Suede’s renewed charge is obvious’
– Uncut

‘A galvanising return’
– Mojo

‘An album of largely tremendous pop songs. Suede are still capable of taking you over’
– Q Magazine

The London Suede – Hit Me video