OFFICE To Release A Night At The Ritz On September 25

Scratchie/New Line Records
September 25, 2007

AUDIO: The Ritz

Scratchie/New Line Records are thrilled to announce the debut release from one of their newest signings, OFFICE. Due out September 25th, A NIGHT AT THE RITZ is full of the irresistible and sophisticated pop songs that have made this band one of the most popular acts in Chicago over the past year.

Recorded over the Winter and Spring of 2007, A NIGHT AT THE RITZ was produced by frontman Scott Masson, who, along with the band, did the majority of the work on the record at his apartment. Final touches and mixing took place at New York’s Stratosphere Sound.

Over the past year and a half, OFFICE has built an enormous organic buzz at home, through steady gigs in Chicago (including a performance at Lollapalooza ’06) and Masson’s native Detroit, as well as through their two self-released demo albums. Though featured in nearly every publication in Chicago, the band also caught the attention of such national outlets as Billboard, who featured the band in their “Now Hear This” column; Magnet, who reviewed the band’s 2005 self-release, Q&A; NPR, which gave the band a “Song of the Day” feature; and, who included OFFICE as one of 32 contenders for the 2007 Artist of the Year.

Born out of a series of conceptual art pieces at the turn of the century, OFFICE is the brainchild of Scott Masson. Masson would fill galleries with cubicle displays, Xereox paper, boxes, pop culture items. As he recalls, “They were all very minimal and blank-looking, but it was the start of some thematic dialogue within myself.” After about a year, Masson turned his attention to music, recording numerous demos with various friends. In these songs, Masson dealt with similar themes to his sculptures: OFFICE imagery, city life, pop culture, work environments, love, social structure and money. A few years later, OFFICE became a full-fledged band, with the current lineup of guitarist Tom Smith, bassist Alissa Noonan, drummer Erica Corniel and backup singer/multi-instrumentalist Jessica Gonyea, and put out a self-released album of infectious new-wavey pop tunes entitled Q&A.

During the Summer of 2006, the band caught the ear of Scratchie Records owners James Iha and Adam Schlesinger, and the heads of parent company New Line Records, and by November, OFFICE had signed a deal with the label.

A NIGHT AT THE RITZ contains brand new material, as well as select gems culled from five years worth of demo recordings that have been re-worked and re-recorded. All persons involved with OFFICE and THE RITZ felt that these older songs were simply too good to not be released on a wider level. About the album, Masson muses, “This album has easily been the most grueling recording project I’ve ever been a part of, but also the most rewarding. It’s not like this was setting up a band in the studio, and pressing the record button. There are tympanis, keyboards, concert percussion, electronic flourishes, machines, studio tricks, tape machines, choral vocals, and acoustic moments. It was years of revision, reworking, rethinking, subtracting, adding, and re-recording until it got to where it is now.” He adds, “I feel like we live in completely surreal times, and this album is a reaction to that sensation.”

1. Oh My
2. If You Don’t Know By Now
3. The Ritz
4. Company Calls
5. Wound Up
6. The Big Band Jump!
7. Plus Minus Fairytale
8. Paralyzed Prince
9. Had A Visit
10. Q&A
11. Dominoes
12. Possibilities
13. Suburban Perfume



Will join múm, Bloc Party, Chromeo, Of Montreal, !!!, Bonde do Role and more for a glorious five days of music!

Critical darlings Deerhoof (US), Swedish pop-sensation Loney, Dear and indie wunderkind Khonnor (US) are among the latest additions to Iceland Airwaves 2007. Other recent acts include Danish electro sensation Trentemöller, Canadian next-big-things Plants & Animals; not to mention horde of Icelandic performers such as Mínus, Singapore Sling and Ghostigital. All of them will join previously announced attractions that include Bloc Party (UK), !!! (US), of Montréal (US) and Icelandic legends múm and GusGus for a five-day party in downtown Reykjavík during the week of October 19-21.

Iceland Airwaves: A five-day festival, Iceland Airwaves has been steadily growing since its inception and is now widely considered to be among the highlights of the annual music-festival calendar – with hundreds of journalists and music industry people flying in every year from Europe, North America and rest of the world. As per usual, this year’s bash looks to surpass the previous ones in terms of sheer intensity, with an approximated 170 acts competing for the festivalgoers’ attention.

Reykjavík’s proximity to a plethora of geysers, waterfalls and other natural phenomena that are unlike anything found elsewhere in the world helps earn the festival some of its merit, although it’s main attraction has always been the music. Making a point of always showcasing a healthy mixture of local and international talent, the festival often features bands on the brink of it-dom well before they gain international notoriety (cases in point: The Rapture, TV on the Radio, Clap Your Hands Say Yeah). Iceland Airwaves’ location – in the numerous and infamous bars and clubs of 101 – adds a final touch of charm to the world’s northernmost music festival.

The latest additions: Deerhoof’s latest opus, “Friend Opportunity”, was released to great critical acclaim last January, with many a noted publication awarding the trio full marks for their adventurous, yet melodic sonic ventures. They remain a live favourite for the indie set and their legion of devoted fans grows by the day. Those might also fall prey to the irresistible charm of fellow American Khonnor (Connor Kirby-Long), who’s home-grown 2004 début “Handwriting” saw him lauded as a bona fide genius by the NME among others. His reputation certainly precedes him, and with new music in the works his Airwaves performance is highly anticipated.

Comma enthusiast-slash-one man band Loney, Dear’s fourth long-player (and US début), “Loney, Noir”, hit North-American shelves last winter via SubPop. A hefty, still-ongoing world tour followed and will see the lovely Swede sing his “adorable and fragile” songs for new crowds throughout the year.

Iceland Airwaves has always aimed to present the best and brightest of Iceland’s acclaimed music scene, and 2007 will prove no exception. Festival staff are currently in the process of reviewing the 300-strong pile of musician applications for Airwaves 2007, and will leave no stone unturned in the quest to showcase the best things Icelandic music has to offer. <3 Svanhvít!, Esja (featuring members of Airwaves favourites Mínus and Gusgus) and Motion Boys are among the very promising "Airwaves-virgins" selected to play this year, to name but a few. For full listing of the 77 acts now confirmed for Iceland Airwaves 2007 please visit

Iceland Airwaves is produced and promoted by Mr Destiny, in collaboration with Icelandair and the Reykjavik City Council.

Festival website:

For package deals (flight, festival ticket + optional hotel) visit your nearest Icelandair outlet ( or find out more on the Airwaves website.

Old Time Relijun sounds war cry, delivers new K Records album Catharsis In Crisis.

Old Time Relijun sounds ‘war cry’, delivers new K Records album Catharsis In Crisis.

“This is a war cry” declares Old Time Relijun. Can you hear it?

If not now, then soon, very soon the rest of the world will hear the urgent call of Catharsis In Crisis, the Portland, OR quartet’s forthcoming album.

Old Time Relijun continues to further shatter rock’s imperious formalism with its latest K Records release. Song after song, the ferocity of vocalist/guitarist Arrington De Dionyso draws listeners deeper into a

world where language, rhythm and unrepentant libido collide. The music is temperamental, unwieldy and unyielding; aimed to cut listeners to the bone.

Catharsis In Crisis was written and recorded at Calvin Johnson’s fabled Dub Narcotic Studio in Olympia, WA over four inspired days and nights. Legendary producer Steve Fisk was recruited to mix this raw material into OTR’s most fully realized album to date. OTR + Calvin Johnson + Steve Fisk = a magical alchemy of sound and light. But don’t worry folks, it’s still terrible background music.

Arrington de Dionyso’s electrifying vocal delivery retains the blood-soaked risk of a true underground visionary, while showcasing his mastery of over-the-top nuance. Aaron Hartman (contrabass) and Germaine Baca (drums) propel the album forward with relentless bump-and-grind. Catharsis In Crisis is the first album to reveal OTR’s new secret weapon, subversive “saxophonista” Benjamin Hartman, who uses and abuses his classical training to drive the band further into the spheres.

Often lazily compared to a No Wave version of Captain Beefheart, Old Time Relijun’s subversive — dare we call it sadistic — mashing of world folk music styles sounds brutally fresh. No Wave? Forget that. Catharsis In Crisis is Yes Wave for the young millennium. “Daemon Meeting” (MP3) blazes through a bizarre convocation of underworld creatures, to conclude with the query, “what does it mean to be human?” A tenor saxophone throttles the dub-infected “Liberation” with propulsive urgency through a zone of “young life and decay,” while songs such as “In the Crown of Lost Light” and “Invisible New” confront infinity with their bright shimmering sound. Even Dante is given a run for his money with the Ennio Morricone influenced junk-disco centerpiece “Veleno Mortale,” actually an Italian “re-translation” of the brutal “Burial Mound” featured on OTR’s album 2012.

Taken as a whole, the three discs of the “Lost Light Trilogy” (in reverse chronological order Catharsis In Crisis, 2012 and Lost Light) are a tour-de-force of myth, dream and autobiography. “We wanted the ‘Lost Light Trilogy’ to be a kind of rock opera,” de Dionyso says. “But with a non-linear development of plots and characters. Every song on each album contains musical or lyrical fragments of other songs within the trilogy, like broken shards of mirrors reflecting each other infinitely, the way a cubist painting presents multiple perspectives of the same subject, or the labyrinthine twists in a Borges story.”

Catharsis In Crisis, while concluding the trilogy, also stands on its own. Like the confrontational, compulsively danceable live show for which OTR is known and loved, Catharsis is a record and a testament to the oscillations of opposites. Darkness and Light, Water and Fire, Spirit and Matter struggle within Old Time Relijun’s alchemical oeuvre. From this elemental battle, the music emerges, dripping and triumphant.


Olympia, Washington. New Year’s Day, 1995. A dark and smelly basement. Three young musicians gather to tackle the vast songbook of Arrington de Dionyso. They had heard his self-recorded cassettes. The songs were wild and lovely. Arrington (the rebellious son of Methodist ministers) played every instrument with the soul of an outsider artist who didn’t know any better. He knew he needed to bring his songs to life.

The original trio was brought together for one show. Just to see what would happen. They called themselves Old Time Relijun. Arrington played a $20 guitar and a beat up bass clarinet. He sang with a mixture of piss and vinegar that exploded with naive charisma. Bryce Panic harassed the drums. Aaron Hartman beat on a two-string upright bass with a microphone taped to its bridge. They communicated with the clairvoyance of long-married ninjas.

That first show, everything went red: strings broke, the bass was a solid mass of feedback, the PA was blown. They used Arrington’s songs as a template to meld shock-ritual with a mad-tea-party-dance-vibe. They barely noticed the college kids in full Riot Grrrl gear screaming, they had no idea that punkers and hippies were dancing together. Something awful happened that night. A band was born.

Soon they were playing full sets to friends and taste-making Olympia hipsters alike. They played every show they could – whether or not they were on the bill. They developed the kind of intuitive free-jazz rapport of which most bands could only dream.

In 1996, OTR recorded its first album, Songbook Volume One. They released it themselves, financing the production by tricking a friend out of his meager inheritance. The CD was packaged in stolen popcorn bags.

In 1997, Calvin Johnson invited the band to record a song for the Selector Dub Narcotic compilation for his K Records label. At that point, a beautiful relationship was born.

After Bryce left to pursue a life of dance and yoga in India, one of the band’s younger fans, Phil Elvrum, asked if he could join. He moved to Olympia, and OTR’s second of many lives began. Phil’s caveman beats and undeniable production savvy helped launch the first three Relijun albums K would release. Uterus and Fire (1999), was a bombastic exercise in recording in the red. Serena de Pecera (2000) was a one-night multilingual wonder, acting as a coda to the unyielding momentum of Uterus and Fire. Then came the band’s first true masterwork, Witchcraft Rebellion (2001), an album as deep and bizarre as anything you’ll find on your record shelf. A retelling of the first chapters of “Genesis” from the serpent’s point of view.

After a couple U.S. and European tours, Phil decided to focus his energy on his recording projects and his own band, The Microphones. Old Time Relijun continued in a variety of mutated formations, with various lost souls sitting behind the drum set.

The group experienced a brief lull in activity as Arrington began a vagabond period that would take him hitch-hiking across the United States and back and forth between Italy, France and Argentina. A compilation of unreleased oddities, Varieties of Religious Experience, was released in 2003, and both Arrington and Aaron had time to reevaluate the direction their band would take.

During his travels, Arrington composed an outline for what would become “The Lost Light Trilogy”. The first two installments, Lost Light (2003) and 2012 (2005), recorded with the help of drummers Rives Elliot and Jamie Peterson, respectively, saw extensive touring, a wider audience for the band, as well as high praise from critics world wide.

Old Time Relijun Live:

7/07 Portland, OR Holocene

7/20 Seattle, WA Comet Tavern

7/22 Anacortes, WA What the Heck Fest!

7/27 Portland, OR Ground Kontrol

8/10 Missoula, MT Total Fest

Catharsis In Crisis Tracklisting:

Release Date: October 9th, 2007

01. Indestructible Life!
02. The Tightest Cage
03. Daemon Meeting
04. Liberation
05. Garden of Pomegranates
06. Akavishim
07. Dark Matter
08. The Circular Ruins
09. Veleno Mortale
10. Dig Down Deeper
11. A Wild Harvest
12. The Second Day of Creation
13. In The Crown of Lost Light
14. The Invisible New

Made Out Of Babies press release

Made Out of Babies announces summer tour, band led by the singer Decibel calls “Metal’s Most Riveting Frontwoman” and Revolver picks among the “Hottest Chicks in Metal” brings intense, volatile live show to the masses.

Made Out of Babies — the New York City quartet that looks like renegade fashion models and sounds like a ferocious hybrid of PJ Harvey, Jesus Lizard, Babes In Toyland and Big Black — has announced tour dates throughout the east coast and midwest in July. See complete tour dates below.

The band’s sophomore Neurot Recordings album, Coward (E-CARD) received an 8 out of 10 rating from Decibel Magazine and ranked in that publication’s Top 40 Best Albums of 2006. Likewise, Revolver Magazine currently features vocalist Julie Christmas in its “Hottest Chicks in Metal” issue. And, despite the group’s menacing sound and intimidating glamour, much of the mainstream music media has embraced MOoB’s dark portents.

“Metal’s Most Riveting Frontwoman” might be the type of accolades awarded in a construction industry trade magazine, but we double-checked and such high praise for Made Out of Babies and Battle of Mice wailer Julie Christmas is indeed that of the esteemed rock monthly Decibel Magazine (which also awarded the Battle of Mice debut a perfect 10 out of 10!) Likewise, several other publications have sung the praises of Coward since its release in October, 2006.

Made Out of Babies first captured the attention of the underground punk/metal scene with its Neurot Recordings debut Trophy in 2005. On stage, caterwauling front-woman Julie Christmas paces the floor, yelping with a bewitching intensity that defies her charming beauty and occasionally cherubic whispers. Meanwhile, towering guitarist Brendan Tobin coolly strangulates leaden sheets of guitar strata from his battered six-string, bassist Cooper lunges in time as his instrument rumbles and slithers around Matthew Egan’s relentlessly churning rhythms and blood-splattering drum fills.

There’s no rock machismo in the sounds of Made Out of Babies, which just might be what makes it so unsettling and unique. Instead, the group bears a mysteriously unified all-out visual and aural aesthetic assault reminiscent of mid-period Black Flag. And yet, there’s a certain curious glamour to MOoB that gives it a monolithic appeal.

MOoB’s sophomore album was recorded with the equally intimidating Steve Albini at Electrical Audio in Chicago, which could only be described as a match made in… loud. Where its previous album condensed its songs into a single psychotic impulse, Coward blasts its sound inward as well as outward, like a cathartic supernova from a band driven beyond any point of being rational.

From the very first throat-searing yowl that opens the album, Coward is, quite simply, bigger that you. “Proud To Drown” lurches with Cooper’s staccato bass line tugging at Eagan’s pulsating 6/8 drum pattern while Tobin’s Middle Eastern tinged riff winds it all up to erupt. While “Fed” temporarily cools the band’s frenetic energy to greasy throb, it seems primarily to highlight the fact that Julie can really sing – not that any of us are likely to coax a sweet lullaby out of her anytime soon. But, her vocal acrobatics — leaping effortlessly from a demure whisper to a note-perfect murderous scream — are in finest form here, reminiscent of Leslie Rankine of Silverfish and/or a more demented Karen O of the Yeah Yeah Yeahs. Throughout, the album Made Out of Babies remains evocative, intimidating, brutally frank and — as the International rock press shouted with glee over the band’s stunning debut – by far Neurot Recordings’ most unabashedly rocking outfit.

Chris Bathgate – A Cork Tale Wake

So good it’s scary… Yeah, there are plenty of singer/songwriters out there, but in a sense that’s what makes a record like this so special. How does an individual rise above the multitude of those toting acoustic guitars? For the past two years Chris Bathgate has done what few are able to accomplish in a lifetime: created a sound that is entirely his own and transfer every ounce of his talent into one of the most emotionally inspiring albums to see the light of day in years. Produced by the infamous Jim Roll, A Cork Tale Wake highlight’s Chris’ spectacular/haunting voice alongside lush arrangements owing their dynamic sound to a carousel of instruments. If jukeboxes exist for very much longer, these are the songs that will posess the ability to pry a dollar from your pocket so you can share them with a bar full of strangers.

Girl Talk goes topless for Playgirl, eats hot dogs with Congressman Doyle and Newsweek

Girl Talk goes topless for Playgirl, eats hot dogs with Congressman Doyle and Newsweek, quits his job and goes on tour with Dan Deacon.

Although you’re more likely to see Gillis strip down to his skivvies at a Girl Talk show, half a million people saw Gillis exposed in June’s “Man of The Year” issue of Playgirl Magazine. When discussing what he likes to do in his free time, Gillis says, “I enjoy swimming, playing basketball, lighting off fireworks, snacking it out, and bro’n down.” About the issue, Gillis says, “I didn’t know it was out, and a friend actually spotted it in a women’s restroom at this pretty dive-y bar in Pittsburgh. She didn’t know I was in it, she was just browsing. Pretty funny situation.”

What some might find even funnier is the fact that Gillis ate hot dogs with Newsweek journalist Steven Levy and Congressman Mike Doyle shortly after the Playgirl piece hit stands. Levy and Congressman Doyle flew to Pittsburgh to meet Gillis at local hot dog joint Franktuary to discuss Doyle’s recent statements supporting Girl Talk ’s sample based music on the floor of Congress. Read all about it (LINK).

Gillis recently was granted the freedom to do the above mentioned things, as he recently resigned from his job as a biomedical engineer that up until now has also kept him from taking on more remix projects and touring on a regular basis.

“I couldn’t keep up with both worlds,” Gillis says. “It was just too much. I keep getting sick because I’m in a constant state of running somewhere else. Music has always been my main interest, but I never really thought of it as a possible career. I think I’m extremely lucky to be in the position I am in now, where I can dedicate at least a year of my life to music and stay afloat.”

According to Gillis’ booking agent Sam Hunt at The Windish Agency, “It shouldn’t have too great of an impact on his live schedule. There’s something awesome about only playing on the weekends, and we’d like to do our best to keep that going,” Hunt says. “However, there have been a number of uniquely awesome opportunities that have been impossible because they took place during the week. Also, there’s a chance he’ll be able to do a more thorough/actual tour involving multiple consecutive shows!”

Gillis’s resignation also granted him the opportunity to go on tour with Dan Deacon, more flexibility to perform at special events during the week and also more time to work on Trey Told ‘Em, a band he started with friend and collaborator Frank Musarra (Hearts of Darknesses). The duo has already completed one remix for Tokyo Police Club, and has many more in the works including tracks for Simian Mobile Disco and Professor Murder.

Girl Talk was one of the highlights of this year’s Coachella festival (VIDEO), with Paris Hilton (mere weeks before her incarceration!) and Perry Farrell dancing alongside him and throwing confetti. As usual, Gillis had a crew of dancers join him on stage, with gigantic bright yellow balloons tied to their wrists. Girl Talk was also a hit at this month’s Bonnaroo Festival and the Primavera Sound Festival in Barcelona.

Who ever thought you would see the day when the words Playgirl, Newsweek and Paris Hilton could all be used in one of our press releases? In true Girl Talk fashion, he never ceases to amaze.

In addition to the tour with Dan Deacon, Gillis is excited to be playing several more summer festivals, including Pitchfork and the Winnipeg and Montreal Jazz Festivals. He will also put his fan base to the test this July by playing Red Rocks in Colorado with Violent Femmes and Blues Traveler, soon to be followed by a show with Widespread Panic in Boston. This just further illustrates Girl Talk ’s notorious “down for whatever” attitude about music.

Girl Talk Live:

* w/ Dan Deacon

07/04 Morrison, CO Red Rock Pavillion
07/14 Chicago, IL Pitchfork Music Festival
07/18 Boston, MA Bank Of America Pavilion
07/27 Seattle, WA Capitol Hill Block Party
07/28 Louisville, KY Forecastle Festival
08/04 Baltimore, MD Pimlico Race Park
08/09 Indianapolis, IN Talbott Street
08/10 Baton Rouge, LA Spanish Moon
08/24 Tulsa, OK Cains Ballroom
09/08 Portland, OR Roseland Theater
09/12 Toronto, ON Phoenix*
09/15 New York, NY Webster Hall*
09/17 Philadelphia, PA First Unitarian Church*
09/20 Charlottesville, VA Satellite Ballroom*
09/21 Asheville, NC Orange Peel*
09/22 Atlanta, GA MJQ Concourse*
09/27 San Diego, CA Epicentre*
09/28 Los Angeles, CA Echoplex*
09/29 San Francisco, CA The Fillmore*
10/04 Lawrence, KS The Granada Theatre
10/05 Minneapolis, MN First Avenue
10/06 Iowa City, IA The Picador
10/11 Calgary, AB The Warehouse
10/12 Edmonton, AB The Starlite Room
11/01 Houston, TX Engine Room
11/02 Dallas, TX Palladium Loft

People Noise continues seemingly endless six-month U.S. tour supporting debut album Ordinary Ghosts

People Noise continues seemingly endless six-month U.S. tour supporting debut album Ordinary Ghosts, Louisville, KY band features ex-VHS or Beta guitarist Zeke Buck.

Louisville, KY quintet People Noise is on a mission. Just like in the days before the Interwebs when the only way for a band to build a fan base was consistent touring, the band led by former VHS or Beta guitarist Zeke Buck set out on a seemingly endless tour last April with dates stretching into late September this year. …And the tour itinerary keeps stretching onward.

“There’s so much lost time to cover,” says Buck in a recent interview with The Louisville Eccentric Observer’s Mat Herron. “Basically, I’m trying to start anew.” After a successful 10 year run in VHS or Beta – which included a national arena tour with Duran Duran – Buck now devotes his time and talent to People Noise, the band he started with good friend and ex-Boom Bip member Matt Johnson. With Johnson on drums and Buck on, well, everything else, these Louisville natives have produced an epic, drone-laced rock album reminiscent of Black Rebel Motorcycle Club, Spiritualized and Interpol.

Although we never heard him sing a lick during his years in VHS or Beta, Buck’s resume would lead us to ask the question, “why the hell not?” From the ripe age of only four years old he was belting out opera all over the country until the inevitable struck: puberty. Unfortunately for him, it struck in the middle of a performance. It wasn’t until only recently that Buck began to sing again. For a number of months he studied under Turley Richards, a blind Louisville musician with a vocal range that would impress Whitney Houston, and eventually regained the confidence that was lost long ago. On People Noise’s debut album Ordinary Ghosts, Buck sings about everything from reincarnation to thoughts on his former band.

Johnson, a guitarist turned drummer with an experimental electronic music background, boasts quite a resume himself. During his time in Boom Bip, he toured extensively across Europe and has shared the stage with notable acts like LCD Soundsystem, Yo La Tengo, Pinback and Matt Pond PA. Johnson has also performed at London BBC Peel Sessions, Centre Pompideu, Royal Festival Hall and The Renne Music Festival in Renne, France. Not to mention he studied the djembe under Yaya Diallo for a number of years. Quite an accomplishment for a guy who wrote and performed all of the drum parts on Ordinary Ghosts on a rural Kentucky farm with no internet and no cell phone service!

For its live shows, Johnson and Buck are joined by Rahman McGuinnis on guitar, Woody Woodmansee on keyboards, and Sam Marino on bass. People Noise’s debut album Ordinary Ghosts album hit stores on June 12th. And, considering its crazy tour schedule, the band might be available to deliver its album straight to your door.

People Noise on Tour:
07/03 Athens, GA Tasty World
07/04 Chapel Hill, NC Blend Nightclub & Lounge
07/05 Atlanta, GA The ISP Space
07/06 Tampa, FL New World Brewery
07/07 Orlando, FL The Back Booth
07/09 Jacksonville, FL Jack Rabbits
07/10 Tallahassee, FL The Beta Bar
07/11 Deland, FL Cafe Davinci
07/12 Delray Beach, FL City Limits
07/13 Miami, FL Churchill’s Pub
07/14 Gainesville, FL The Atlantic
07/15 New Orleans, LA House of Blues (The Parish)
07/16 Montgomery, AL Off the Wagon
07/17 Jackson, MS Swell-o-Venue
07/18 Little Rock, AR Sticky Fingerz Rock-n-Roll Chicken Shack
07/19 Lafayette, LA The Grant Street Dance Hall
07/20 Houston, TX The Meridian Room
07/21 Austin, TX Beauty Bar
07/25 Salina, KS Lucky’s Bar
07/26 Kansas City, MO El Torreon Ballroom
07/27 Tulsa, OK DFest
07/28 Oklahoma City, OK The Conservatory
07/29 Aurora, CO Wyatt’s Torch Bar
07/30 Boulder, CO The Trilogy Lounge
07/31 Denver, CO 15th Street Tavern
08/01 Albuquerque, NM Atomic Cantina
08/04 Phoenix, AZ Casa Blanca
08/06 Pomona, CA The Glass House
08/07 San Diego, CA The Jumping Turtle (All Ages)
08/09 Davis, CA KDVS 90.3 (In-Studio)
08/12 Eureka, CA The Boiler Room
08/15 Seattle, WA The High Dive
08/18 Boise, ID Neurolux
08/19 Salt Lake City, UT Monk’s House of Jazz
08/20 Riverton, WY Fremont County Fairgrounds
08/24 Missoula, MT The Badlander
08/25 Fargo, ND The Nestor
08/27 Omaha, NE The Slowdown
09/01 St. Louis, MO Lucas School House
09/02 Clinton, IA Zabbies
09/03 Des Moines, IA Vaudeville Mews
09/11 Augusta, GA The Mission
09/26 Durham, NC Duke Coffeehouse
10/11 Bloomington, IN Live From Bloomington

120 Days release new EP Sedated Times on Vice Records

Norwegian electronic rock band 120 Days just released a digital EP June 26th on Vice Records. Featuring songs previously released only in Norway, studio versions of live staples, and an exclusive reinterpretation of “Come Out Come Down Fade Out Be Gone” by Secret Machines, SEDATED TIMES is a a 7 song power house of what the band has been, what they are now, and a glimpse into where the they will take us next year.

1. Float
2. Let Me Come Down
3. So This Is Suicide
4. Sleepless Nights #II
5. Justine
6. Sedated Times
7. BONUS: Come Out Come Down Fade Out Be Gone (Reconstructed by Secret Machines)

The band will release a new 12″ in the fall, their first collaboration with Norwegian space-disco producer Lindstrøm, and begins work on their second full-length in the winter for an 2008 release.


June 21 Sunndal, Sunndal Kulturfestival (NORWAY)
June 28 Hove, Hove festivalen (NORWAY)
June 29 Stjørdal, Hell Music Fest (NORWAY)
July 7 Roskilde, Roskilde Festival (DENMARK)
July 12 Arvika, Arvika festivalen (SWEDEN)
July 13 Florø, Fotballflora (NORWAY)
July 14 Wales, Swansea, Flam Festival (UK)
July 15l Indian Summer festival, Glasgow (SCOTLAND)
July 19l Molde, Moldejazz (NORWAY)
July 21l Tønsberg, Slottsfjell-festival (NORWAY)

July 26 Emmaboda, Emmaboda-festivalen (SWEDEN)
Aug 03 Ã…ndalsnes, Raumarock (NORWAY)
Aug 11 Osaka, Summersonic Festival (JAPAN)
Aug 12 Tokyo, Summersonic Festival (JAPAN)
Aug 17 Steinkjær, Steinkjær-festivalen (NORWAY)
Aug 24 Bodø, Parkenfestivalen (NORWAY)
Sep 8 Stavanger, Numusic Festival (NORWAY)

Their self-titled debut album from Vice Records is one of the most amazing of the year, taking elements of a very modern mood, mixing them with an almost classic-rock feel and taking off to someplace elegantly galactic, like on the single “Come Out (Come Down, Fade Out, Be Gone),” which makes you want to smash illusions, take off, hook up. – URB

Wonder what Radiohead would have sounded like if they had discovered big, room-filling synthesizers during their U2-worshipping phase? The answer is 120 Days, a Norwegian quartet that creates giant, sweeping, rock epics powered by a thick distillation of guitars, bass, and rumbling analog synths. Rather than evoke new wave, these young rockers sound like late-’70s techno-punks mingling with mid-’70s prog-rockers over a 21st century Pro Tools rig, banging out cell phone-waving anthems for hipsters and nerds alike. – XLR8R

120 Days is an interstellar storm of dance beats, synth riffs, guitar drones and Bono-in-Berlin vocals. – ROLLING STONE

It’s a post-punk, post-rave, post-pre-Armageddon masterpiece of sleazy, chaos-worshipping industrial rock, not all unlike Primal’s brilliant XTRMNTR. Good thing they’re on our side, then. – FILTER

Black Moth Super Rainbow to tour with Flaming Lips in September, Aesop Rock in October

“A lot of neo-psych bands get the trippiness right, but can’t find that magical mix of tunefulness and sonic invention that makes listeners want to take their trip more than once. On Black Moth Super Rainbow‘s third album, Dandelion Gum, the mysterious Pennsylvania combo builds songs out of scratched fragments of roller-disco, sunshine-pop, and what sounds like intercepted interstellar broadcasts. Songs like “Jump Into My Mouth And Breathe The Stardust” are dense and fuzzy, with layers of vocoder, shrill synthesizers, and twangy guitar, but they also maintain a basic structural integrity. Even though Dandelion Gum opens with “Forever Heavy,” one of the best mind-bending album-starters since My Bloody Valentine’s “Only Shallow,” Black Moth Super Rainbow is effective because it isn’t afraid to let songs float off like brightly colored balloons.” — Noel Murray, The Onion

The rural Pennsylvania psych-damaged bubble-gum-pop enigma known as Black Moth Super Rainbow continues to tantalize and melt minds with its stellar third album Dandelion Gum and mesmerizing live shows. And, this September, The Flaming Lips has invited the swoozy quintet to support its U.S. tour. Furthermore, the band will soon announce west coast dates with Aesop Rock for October. What next… a tour with the Rolling Stones? Please see current dates below.

To add extra lysergic to the trip, a bizarre and somewhat eerie home video depicting the band members in their natural environment, traipsing through the woods at night has been posted on the web site (LINK). The influential magazine’s “Artist to Watch” feature on the group describes its sound as “Air + Grateful Dead + CIA = Black Moth Super Rainbow.” The accompanying video clip shares more in common with the spookiness of the Blair Witch Project than a simple psychedelic rock band’s home video.

Whatever it is that drives the rural group’s aesthetic, it appears to have caught the fancy of many influential writers. David Fricke of Rolling Stone previously cited the band as one of four standout acts that performed at this year’s South By Southwest Festival last March. “Musically,” Fricke writes, “this bucolic-futurist quintet was a firmly directed trip: pillowy synth chords and day-glo songcraft nailed to Earth by insistent back-beats.”

Likewise, Jon Pareles of the New York Times raved over Black Moth Super Rainbow‘s live show, writing, “its songs are pulsating neo-psychedelia, driving and dizzying, with vamps that keep on building as the keyboard sounds go whizzing, bubbling, zapping and swooping above the beat. Vocals are run through a vocoder for a vintage robotic tone, repeating lines like ‘I love to be with you,’ and ‘this time we’ll rise’ or ‘We miss you in the summertime.’ Above the band, a screen showed eye-popping video animations: wildly proliferating plants, cartoon people and food in metamorphosis. The band’s albums revolve around stories and concepts–its current one, Dandelion Gum, is a tale of witches in a forest–but onstage, its music was one glorious buzz.“

Similarly, many of the nation’s finest music magazines have affirmed their affinity for the Pittsburgh group, including praise in Spin, Blender, Vice, Pitchfork and many more.

More about Black Moth Super Rainbow:
Black Moth Super Rainbow comes from the woods of Western Pennsylvania. An actual, five-person band not comprised of the expected laptops and sequencers, Black Moth Super Rainbow is a psyche-pop group in early ’70s electronic clothing. Some songs feel like local folklore of witches in the forest filtered through a brightly saturated Japanese candy store. Some are like pagan rituals in a sugarcoated fairyland. Others are like sad thoughts on the happiest days…. all played and lovingly assembled by real people with real hands. Black Moth Super Rainbow lives and makes music in its own lollipop neon folktale world.

Dandelion Gum is a concept record loosely-based on witches who make candy in the forest. Each of its 16 songs represents a different candy-induced freakout in the gooiest and sweetest ways possible. Songs that are built to stick in listeners’ heads for hours meet textures that are impossible to scrape off your teeth. You might not even realize that the sunny melody you’re humming to yourself all day has so many hidden layers behind it — all hummable as well. It’s as accessible of a record as it is abstract, and as bright on the surface as it is moody underneath. Dandelion Gum feels as colorful and sticky as its name suggests.

Recorded over the course of three years, the album is a product of the woods. It is deeply inspired by stories passed down from relatives and ones the band created themselves after long nights in the cabin. The best of those stories, and one that we hope could be true, is of the sisters who refused to leave their shack deep within the forest. The sisters (or witches as they are lovingly referred to in local folklore) were truly scary and it is said they would concoct all kinds of sugary treats for anyone foolish or adventurous enough to wander that deep. Most likely, this is an allegory for drugs and you can come up with whatever seemingly appropriate type of operation those women were running. But the stories of the individuals who made it back home are some of the most twisted stories around. Some are really bright, some are really sad, and some are designed to make you think about life and rainbows and death. Black Moth Super Rainbow wants you to feel that when listening to this record. And then they want you to remember it all day, and try it again tomorrow.

Black Moth Super Rainbow‘s first sad/happy/nostalgia-for-something-that-never-existed record, Falling Through A Field (2003) was three years of four-track and sampler recordings that shows how the band came from an almost folk beginning. Printed initially in a limited quantity of 500, the disc has been out of print since its initial release. A reissue on Graveface is in the works.

The band’s sophomore record, Start A People (2004) was about recreating the sounds of childhood public broadcast television and applying them to the Black Moth Super Rainbow formula. It’s a blissful, hazy, fuzzy record that can make you feel good whether you were a kid in 1982 or not. The concept of Start A People is the face Black Moth Super Rainbow is best known for and a thread that runs through everything they do.

Putting together the live show, the group started developing around this time as the extremely psychedelic pop band it is today. Echoplex freakouts and gong smashes with drums spinning all over the place are part of the repertoire now. Noise plays with melody, and old synths that aren’t used by anyone anymore might help you remember why it can be fun to wiggle or jump or cry.

Black Moth Super Rainbow lives on Graveface Records, and although known as somewhat of an enigma, has come out of the forest in 2006 to play at the request of bands like Of Montreal and The Black Angels. They have released a wild full-length collaborative record with The Octopus Project and are working with such diverse artists as Dreamend, Laura Burhenn (Georgie James), and Anticon’s Passage on their future projects.

“It’s hard to imagine that any other artists are treading ground anywhere near this. Hell, it really doesn’t matter anyways – because if anyone was, it sure as hell couldn’t be as good as this.” – Delusions of Adequacy

Black Moth Super Rainbow Live:

w/ The Flaming Lips

07/06 New York, NY Seaport Festival
08/11 Santa Fe, NM Santa Fe Muzik Fest
08/17 Philadelphia, PA Khyber
08/18 Brooklyn, NY Aladdin’s Garden Party
09/07 Chciago, IL Aragon Theater*
09/09 Minneapolis, MN The Myth*
09/12 Kansas City, MO Uptown Theater*
09/18 Vancouver, BC Orpheum Theater*
09/19 Portland, OR Roseland Theater*
09/20 Seattle, WA Paramount Theater*

Dandelion Gum Tracklisting:

01. Forever Heavy
02. Jump Into My Mouth And Breathe The Stardust
03. Melt Me
04. Lollipopsichord
05. They Live In The Meadow
06. Sun Lips
07. Rollerdisco
08. Neon Syrup For The Cemetery Sisters
09. The Afternoon Turns Pink
10. When The Sun Grows On Your Tongue
11. Spinning Cotton Candy In A Shack Made Of Shingles
12. Drippy Eye
13. Lost, Picking Flowers In The Woods
14. Caterpillar House
15. Wall Of Gum
16. Untitled Roadside Demo

Bonde Do Role to tour North America


Bonde Do Role, the riotous funk carioca trio from Curitiba, Brazil are taking their incendiary live show on the road for an extensive tour of North America this fall. The group, comprised of MC’s Marina Vello, Pedro D’Eyrot, and DJ/producer Rodrigo Gorky, are quickly becoming synonymous with the rising baile funk movement garnering attention from outside of Brazil. Most recently opening for CSS and Diplo, these headlining dates will surely incite any audience into a frenzy.

More info on Bonde Do Role:
Since forming two years ago and signing to Diplo’s Mad Decent label in 2006 – with the ‘Melo Do Tabaco EP’ prompting some big waves and little earthquakes among Very Cool People – they’ve teamed up with Domino for ‘Å With Lasers’, a debut album which bangs through 13 songs in half an hour. It is not exactly an album which beats around the bush. Nor do the band’s members pull their punches. “Bonde Do Role is the ultimate, stupid party,” Marina announces, defiantly. “It’s not music which is there to make you want to break something.”

Press on With Lasers:
“Bonde Do Role is taking the world by storm with their filthy Paulista funk. In the process, they might just re-draw the map of Brazil.” – THE FADER

“Their “Gasolina” (not the Daddy Yankee song), with deadpan women’s voices turning “Afrika Bambaataa” into a percussive hook, ought to have dance floors everywhere chanting, “Boom-cha-cha, chicky chicky cha.” – NEW YORK TIMES

“A mutant strain of baile funk – a whiplash-inducing mix of Miami bass, samba drums, Alice in Chains riffs, and lascivious rapping that originally hails from the favelas (shantytowns) of Rio de Janeiro.” – SPIN

Tour dates:
9/14/07 NEW YORK, NY THE POWERHOUSE @ American Museum of Natural History
10/13/07 CHAPEL HILL, NC LOCAL 506