Monday, August 26, 2013

What I Heard This Morning: I Know You Well Miss Clara and simakDialog

MoonJune Records is releasing two progressively positioned jazz albums from Indonesia's I Know You Well Miss Clara (Chapter One) and simakDialog (The 6th Story).  I spent some time today listening to snippets of each album and really enjoyed what I heard.  IKYWMC is playing Mahavishu Orchestra straight up, but it sounds great.

All info comes courtesy of MoonJune Records.


simakDIALOG – "The 6th Story"

The Sixth Story is the exhilarating, full-throttle follow-up to 2009's critically-acclaimed Demi Masa and 2007's Patahan (one of Mr. MoonJune's favorite album on the label), from the Indonesian progressive gamelan-jazz band simakDialog. Raising the benchmark in a genre known for its brilliant artists is no easy feat, but this album is up to the task: each composition is an exquisite master-class rendering of equal parts elegance and intrigue. This is modern progressive jazz at its most original, most far-reaching and most achieving. Referencing the discernible influence of a host of the genre's most innovative voices – from the great Miles Davis, to Return To Forever, to The Zawinul Syndicate, John Abercrombie Quartet, Tribal Tech, and even the late, great Charles Mingus – the band continues to push the musical envelope: leaping boldly into uncharted territories where progressive music has yet dared venture (and precious few would be brave- or skilled-enough to even consider attempting).

Liners note by Raymond Benson

SD's guitar player Tohpati is recording new studio album in Los Angeles in mid Septemeber with Jimmy Haslip on bass and Chad Wackerman on drums. And SD's keyboardist Riza Arshad is recording as well his studio album in Los Angeles in mid September with Ernest Tibbs on bass guitar and Chad Wackerman on drums and a guest guitar player to be announced. Both albums to be released on MoonJune in 2014.

I Know You Well Miss Clara is an experimental jazz quartet, formed in the summer of 2010 and hailing from Jogjakarta, Indonesia. With such wide-ranging influences as Soft Machine, Weather Report, Mahavishnu Orchestra, Matching Mole, Focus, Ornette Coleman and many more, the group continues to break new ground as it discovers and defines its musical identity. Dark and foreboding; mysterious, suspenseful and unpredictable: their creations are a breath of fresh air for a genre clamoring desperately for such sincerity. Chapter One is a profound, monumental release: an album boldly (and easily) surpassing most of the genre's recent efforts in terms of ambition and accomplishment. It's songs are full of intrigue, expressed in a vibrant, urgent manner that – while paying homage to a host of stellar, profound influences – never sacrifices sensitivity and reverence of the moment for the sake of showing off chops. (... and these cats have got some chops!) IKYWMC's music goes places where few have been fearless- or capable-enough to venture. Their influences are unmistakeable, yet the end result is completely and uniquely their own.

Liner notes by Sid Smith.

IKYWMC's guitarist Reza Ryan is working on his solo album to be released on MoonJune in 2013.

Both CDS are $13 plus shipping.

simakDialog USA Tour 2013

Sunday, September 1 - Chapel Hill, NC (ProgDay Festival)
Wednesday, September 4 - New York, NY - (ShapeShifter Lab) LIVE WEBCAST - 7pm NYC time $3 only, via
Thursday, September 5 - Dunellen, NJ (Roxy & Dukes)
Friday, September 6 - WPRB 103.3 FM Princeton University, NJ (Jerry Gordon of Serenade to a Cuckoo radio show with simakDialog and MoonJune, 11am-3pm, live stream)
Friday, September 6 - Princeton, NJ (Small World Coffee House)
Saturday, September 7 - Baltimore, MD (Orion Studio)
Sunday, September 8 - Silver Spring, MD (Made In Indonesia Festival)

I Know You Well Miss Clara India Tour December, 2013

Dates to be announced soon..
Also, expect the band to be seen in the USA, Brazil and Europe in 2014.

Letters From A Tapehead

Jesu: "Homesick"

I've possibly granted Jesu's upcoming new album, the title of which is Everyday I Get Closer To The Light From Which I Came, a little too much ink.  But, I'm enthused.

A new single, "Homesick," premiered last week.  You can give a listen below.  Be sure your tears aren't plentiful enough to damage your keyboard.

Letters From A Tapehead

Tuesday, August 20, 2013

Singels: Black Moth, HSY, Akron/Family, Big Black Cloud, Joanna Gruesome, No Age

Black Moth: "The Articulate Dead" (via SPIN)

HSY: "Milk Chug" (via Noisey)

Akron/Family: "Sand Talk" (via Dead Oceans)

Big Black Cloud: "Bomb My Brain" (via Brooklyn Vegan)

Joanna Gruesome: "Sugarcrush" (via Pitchfork)

No Age: "An Impression" (via SPIN)

Letters From A Tapehead

Thursday, August 15, 2013

Has Locrian Ever Left Annihilation? (or, the Perils of Misty Shopping Carts)

Return to Annihilation
Relapse Records
Released: 6.25.13

In jazz critic Ben Ratliff's book, Coltrane: The Story of a Sound, there's a quote from drummer Rashied Ali that stuck with me long after I'd finished the last page. Toward the end of John Coltrane's life, and as his creative evolution had taken him irretrievably into the throes of structureless free form jazz and the ultimate demonstration of improvisational chaos, he'd begun to pound on his chest and holler into the microphone during live performances. Ali said, "I'd say, 'Trane, man, why are you doing that, beating on your chest and howling into the microphone?' He'd say, 'Man, I can't find nothing else to play on the horn.' He exhausted the saxophone. He couldn't find nothing else to play... he ran out of horn."

Coltrane passed away in 1967, before this dilemma really led to any noticeable skid in his production as a musician. He remained a prolific artist and his discography is abundant to say the least. But, before I'd read that, it hadn't ever occurred to me that one, especially one who'd essentially let the horn pull him into some strange and dissonant areas sonically, could simply run out of places to go. You have to think that, unless Miles Davis' progressions into jazz fusion informed his future endeavors, Coltrane may have retreated back into his Blue Note or Atlantic output, retreading familiar ground to set him on a potentially new path, or simply for the sake of rebuilding himself so as to knock himself back down again.

(Or, Coltrane would've just learned a new instrument, but that would defeat my point entirely, so let's just ignore that logic altogether.)

The Chicago drone metal act known as Locrian has been sculpting sound for some time now. Having followed the band's progression since their 2009 debut, Drenched Lands, I did wonder at times how the band would prevent themselves from "running out of horn," (or, in their case, "dystopia"), their adeptness at constructing drones and black metal-bastardizations of Eno-ish fields of ambience either too unique to the band to abandon or too broad stylistically to allow any true variation creatively. It was evident with the band's 2011 album, The Clearing, that an instrumental focus was slowly becoming more and more essential to their soundscapes. But, when I heard "Eternal Return," the introductory track to Locrian's new album, Return to Annihilation, I was taken aback by how musical the band had become and how melodic.

As if "Cacophony Outreach" were a thing, Locrian members André Foisy, Terence Hannum and Steven Hess have realized an excellent synthesis of composition with their expansive tonal mutations, breaching "gaze" territory to some extent while continuing to foment an air of intensity. While "Eternal Return" demonstrates a profound accessibility relative to this band, the album's first single, "A Visitation From the Wrath of Heaven," pushes Locrian's want of tension, delicate streams of whining distortion quiver beneath a constant percussive thud and light strings are plucked arbitrarily while an echoing series of tones softly hum. The track's persistence eventually collapses into a heavy barrage of vocalized drones, amplified guitar and hammered cymbals, an emotional outro that contrasts with the track's initial machine-like repetition.

Locrian is a new acquisition for Relapse Records, home to bands like True Widow, Baroness and Black Tusk. In addition to Annihilation being Locrian's breakthrough release, it's also a transitional album meant to enable continued growth. Working within their self-imposed boundaries, drones remain essential to the songwriting, though there’s less of a spatial investment. “Two Moons” is a drone track, but it’s also encumbered by psychedelic guitar licks and a slow march of a drumbeat. The song has rhythm and tone, warmth and soul. Instead of absentia, Annihilation attempts life in terms of action, whether that be cycled machine-like or violently colliding with forces unseen, suggesting near catastrophe in the aftermath of a stream of something perpetual. The title track for instance begins as a ritualized drum track that devolves into layers of running guitar lines and feedback, a melting pour of sonic mud that wallows for an extended period of time until the track shifts into a very lush guitar-driven outro. The following “Exiting the Hall of Vapor and Light” takes a more subtle approach with how repetition works in its effort to build something substantial, its low end peaking about halfway through the track, a gentle pick keeping time with its single pulsating beat while guitar strings are plucked, wandering in and out of earshot as if floating.

“Panorama of Mirrors” is loud and ominous. While distortion slowly singes what little air exists in the track, a kick drum and snare find a way to anchor the frequency of noise and screams, itself not always reliable. While “Panorama of Mirrors” seems mostly aimless, it provides an excellent forerunner to the album’s grand finale, “Obsolete Elegies.”

Locrian’s aforementioned debut album, Drenched Lands, was introduced by a very lonely piece of music titled, “Obsolete Elegy In Effluvia and Dross.” As if to simply expand on an idea that had begun Locrian’s creative development five albums ago, (coming full circle perhaps), the Obsolete Elegy thing is revisited and expanded into a very involved 15+ minute suite. While thematically the track is familiar, the lengths to which its melodic basis is stretched are fascinating. From piano balladry to science fiction tonality, from Sébastien Tellier electronics to discordantly sublime string play, the exploration eventually transitions into urgent tempos and circular guitar soloing that hybridizes industrial propulsion and arena rock braggadocio. It’s so good, and so perfectly summarizes much of what Locrian has accomplished in four years by detailing who they were and who they’ve become as a band, having championed thoughtfully composed chaos and homage-inspired score music, all carefully considered in a metallic haze heavy enough to obscure what’s going on beneath the mire. With Return to Annihilation the band has realized the perfect breakthrough album, one that places high value on identity while smartly allowing its authors to avoid painting themselves into a dark and all-too familiar corner. 

Or, "running out of horn."

Letters From A Tapehead

Wednesday, August 14, 2013

Skeletonwitch: "Burned From Bone"

Following the very good Forever Abomination, Skeletonwitch is releasing a new album, Serpents Unleashed.  "Burned From Bone" is the first track/video to surface online, preceding the album's release date of late October.  Lots of time to wait, but 2013's been flying by, so I think October will be here before we know it. 

All info is courtesy of Earsplit PR.

Kurt Ballou and John Baizley always seem to have their hands full these days. 

SKELETONWITCH: New Album Serpents Unleashed Due This October

Free Download Of New Track Available Now; Behind-The-Scenes Studio Footage Posted

Currently celebrating ten years of blackened metal, SKELETONWITCH are proud to unveil details about their most venomous release yet -- Serpents Unleashed. Set for release in North America on October 29 (October 28 EU/UK, October 25 Germany), the highly anticipated follow-up to 2011's critical-lauded, Billboard-charting Forever Abomination was recorded earlier this year at GodCity Studio with Kurt Ballou (Converge, Trap Them, High on Fire), who expertly channeled the band's colossal live sound into eleven blasts of abominable, frosty fire. Serpents Unleashed features cover artwork by John Baizley (Baroness, Kylesa, Kvelertak), who returns to the 'WITCH fold for the first time since 2007's Beyond The Permafrost.

Today, new track "Burned From Bone" -- which the band debuted earlier this year during a headlining set at Pitchfork's "Show No Mercy" showcase at South By Southwest -- premiered on SiriusXM's "Liquid Metal with Jose." The song is available now as a free* download by texting SERPENTS to 24587. Behind-the-scenes studio footage of the band recording the track at GodCity can be view at THIS LOCATION.

Serpents Unleashed Track Listing:
1. Serpents Unleashed
2. Beneath Dead Leaves
3. I Am Of Death (Hell Has Arrived)
4. From a Cloudless Sky
5. Burned From Bone
6. Unending, Everliving
7. Blade On The Flesh, Blood On My Hands
8. This Evil Embrace
9. Unwept
10. Born of the Light That Does Not Shine
11. More Cruel Than Weak

Serpents Unleashed digitally via Bandcamp now or physically on CD, audio cassette, three different 180-gram LP variants (black, clear or red) and a limited-edition 7-inch collector's box via Also available for pre-order now is a new vinyl pressing of Beyond The Permafrost, which is back in print on 180-gram black vinyl as well as a new 180-gram clear vinyl variant.

Over the past decade, SKELETONWITCH has toured extensively throughout the U.S. and Europe with a who's who of modern heavy metal in addition to leveling some of the genre's largest festivals (Wacken, Graspop, Summer Breeze, Ozzfest, Tuska, Bloodstock), in the process gaining a dedicated legion of fans on both sides of the stage. The band recently completed a successful run of high-profile dates opening for Sweden's Ghost B.C., a group they will again perform alongside this fall. Additional fall tour dates will be announced later this week.


10/04/2013 Majestic Theatre - Madison, WI
10/07/2013 Newport Music Hall - Columbus, OH
10/14/2013 Bijou Theatre - Knoxville, TN

Letters From A Tapehead

Tuesday, August 13, 2013

Al Cisneros: "Ark Procession"

Al Cisneros, the low end provider/vocal demonizer for both Sleep and OM, is putting out a two-song 10" via Drag City, "Ark Procession" b/w "Jericho."  The A-side has surfaced online and it's more of a dub track, sort of in line with the 12" Alpha & Omega remixes of selected tracks from OM's Advaitic Songs, which was released as Addis Dubplate and Gethsemane Dubplate respectively.

All links and info are courtesy of Rarely Unable.

OM's Advaitic Songs was reviewed at No Ripcord.


Al Cisneros is no stranger to the deep meditations of a minimalist, sub-sonic song. The ritual low-end thunder his band OM bestow as gospel both live and on record can hardly be described as minimal, yet never needs more than a smattering of accompaniment beyond its usual, steady drumming. Perhaps a bit of guitar here, some keys there, or maybe just some extra tambo to provide colour, but first and foremost, you get full-frontal bass. Earlier this year, OM took a dub-step further down the subtlety-laden path with a double dose of Alpha & Omega-lized dub 12"s - songs from the Advaitic tome, each a winding circle of essential, minimalist hypnotics.

These in turn pave the expanded road-consciousness for Al's deepest exploration of minimal hypnotics yet: Ark Procession/Jericho on a 10" record, Al Cisneros providing all the sounds, all his own. For many, this is the first solo Al listening experience, save for the lucky few who grabbed a self-released 7" on tour this past year. For us, it's pure pleasure.

Vibe along with us and dig the feelings yourself, by watching the video for Ark Procession at this link:

Released on Drag City in the UK/EU on 19 August.  

Letters From A Tapehead

Singles: Russian Circles, A Storm of Light, Weaves, Blouse, Gigan

Russian Circles: "Deficit" (via Sargent House/Pitchfork)

A Storm of Light: "Disintegrate" (via The Quietus)

Weaves: "Motorcycle" (via Ad Hoc)

Blouse:  "A Feeling Like This" (via NYLON)

Gigan: "Influence Through Ritualistic Projection" (via Revolver Magazine)

Letters From A Tapehead

Thursday, August 08, 2013

jesu: Trailer for the upcoming Everyday I Get Closer To The Light From Which I Came

An audio snippet in the form of a trailer for the upcoming jesu album, Everyday I Get Closer to the Light From Which I Came, has surfaced.  You can find the visual below as well as some info on the release, which were provided by Rarely Unable. 


Building up to the September 23rd release on Avalanche, jesu have released the first alluring details of forthcoming album Everyday I Get Closer To The Light From Which I Came and understandably, there is good reason to be excited. Today we can unveil the album artwork (shown above) and tracklisting:

1. Homesick
2. Comforter
3. Everyday
4. The Great Leveller
5. Grey Is The Colour

jesu have also revealed this audio sample from the album, which includes an edit for the powerful album opener, 'Homesick': (direct link:


Beginning with ‘Homesick', with its guitar hooks, shoegaze textures and familar jesu sound, one can be mislead into considering that this new album will follow a familar jesu trajectory, but instead the following tracks use jesu’s aeshetic and take in dub, post punk and electronica along the way, to create maybe the most dynamic jesu album to date.

The epic ‘The Great Leveller’, at over 17 minutes, is the boldest statement of the songs here -- featuring the album's only other player besides Justin, Nicola Manzan, who commands a one man orchestra of strings, a new and welcomed feature. The song also lyrically deals with the existential drain that is early parenthood, since Justin became a father for the first time just before beginning work on this LP, and this life changing experience is mostly what this album examines thematically.

Letters From A Tapehead

Wednesday, August 07, 2013

Public Guilt (2004-2013)

Another independent label goes defunct: Baltimore's Public Guilt, after a two-year run of silence, is shutting down. One of the more eclectic and strange labels I'd come across, Public Guilt rep'd an abundantly odd roster of experimental bands that I thought cultivated some of the more art-bred, "thinking" music I'd heard. I really got into Zu's The Way of the Animal Powers, (which I reviewed for No Ripcord in 2010) and Aluk Todolo's Finsternis (also reviewed). I picked up a couple Aluk Todolo releases from the label a few years ago, so I'm happy I was able to help support Public Guilt to some extent, both through coverage and patronage.

The good people at Public Guilt are, of course, cleaning house and offering some very good discounts on a lot of their merchandise, so I'd recommend hitting up their site as soon as you can. Items are being picked through quickly.

As is always the case when commercially antithetic entities like Public Guilt (or Touch & Go, or Hydra Head) can no longer sustain themselves in a marketplace that subsists on trends and attaches itself to products, there's an obvious bitterness that follows among those of us who rely on the independent artists and labels to deliver us from every "feeble." We're thankfully a long ways away from the complete extinction of independently run record labels, as the wish to keep art, music and culture apart from the diluted variety fed to us daily via mainstream channels will always be observed. These labels, old or new, active or retired, will continue to matter, but they'll always need support.

All info below comes courtesy of Earsplit PR.

Public Guilt: Baltimore-Based Eclectic Label Officially Closing Down

Massive Clearance Sale Happening Now

After seven active years, from 2004 through 2011, and the last two spent on hiatus, Baltimore-based independent label Public Guilt is officially closing its doors this year. Public Guilt had a great run, having disbursed thirty-five unique and eclectic releases from some incredible artists including Aluk Todolo, Aun, The Psychic Paramount, Zu, Strotter Inst., Cream Abdul Babar, Destructo Swarmbots, Terminal Lovers, Darsombra, and many others. 

While we’re sorry to see the label coming to an end, we’re also excited to announce that Public Guilt is selling off its back catalog and many distro items at super low prices, with CD's starting at $1, 7"s starting at $1 and LP's starting at $5. Help the label clear out some space and explore some unique artists while adding a few pieces to your collection now while the stock lasts! 

Check out the full Public Guilt label discography HERE and scan the substantial list of killer on-sale titles RIGHT HERE.

Letters From A Tapehead

Moderat: "Bad Kingdom" (Video)

Electro-pop trio, Moderat, has released its new album, II. "Bad Kingdom" is the first (and I think only) single from the album and it has a pop-melodic hook and soulful vocal strong enough to grab my attention. Check out the single and peruse the information below, which is courtesy of Mute.


Berlin based electronic music trio, Moderat have just released their meticulous and dynamic sophomore LP, II via Mute. Comprised of Sascha Ring (Apparat), Gernot Bronsert and Sebastian Szary (Modeselektor), Moderat represent the very best in innovative electronic music infused with infectious and poppy vocals. IIhas dialed in the aesthetics of Modeselektor’s throbbing bass and tricky beats while maintaining the delicate vocals we’ve come to love and expect from Apparat. II is the most diverse and complex piece of work released by Moderat to date - confidently and capriciously capturing a broad range of the emotional spectrum.

You can watch the video for the album’s first single, “Bad Kingdom” HERE. Moderat also recently sat down with Eastern Collective to discuss the dynamic and direction of their collaboration, which you can watch HERE.

Poised to change the concept of what a live performance can be, Moderat have teamed up with long-time friends and visual artists collective Pfadfinderei to create an engaging and immersive show which will be presented to audiences in select North American cities beginning August 28th. Please see below for more info and tour dates.

Watch Moderat’s video for “Bad Kingdom” (Directed by PFADFINDEREI)

Watch Moderat discuss their new album II

Read “The Moderat Compromise” via Interview Magazine

Read XLR8R’s “From Studio To Stage: Moderat” Interview

8.28.13 - Seattle, WA @ Neptune Theater
8.29.13 - Los Angeles, CA @ Club Nokia
8.31.13 -- New York, NY @ Electric Zoo
9.01.13 - Montreal, QC @ Société Des Arts Technologies

Moderat: Website | Facebook | Twitter | Interview | Experiment

Mute: Website | Facebook | Twitter

Letters From A Tapehead

Tuesday, August 06, 2013

George Duke (1946-2013)

We lost a giant today: jazz musician George Duke passed away at the age of 67.  For me, George Duke is a name I immediately associate with many of my favorite albums by Frank Zappa, The Grand Wazoo (1972), Apostrophe (') (1974) and Roxy & Elsewhere (1974) in particular, though his list as collaborator, leader and co-performer is extensive to say the least.  Duke worked with Cannonball Adderley, Stanley Clarke, Miles Davis, Billy Cobham, John McLaughlin and Jean-Luc Ponty (also Zappa alum) to name a few.  Duke had recently released what is now his final album, DreamWeaver, which was written in tribute to his late wife, Corine

A creative spirit is silenced and music suffers without him.  

R.I.P., George Duke.

Letters From A Tapehead

Monday, August 05, 2013

The Inbox Giveth: Stave

Released: 8.6.13

Un-sleek and minimal despite his attempts at weighted programming, Jonathan Krohn's Stave is about as Suicide as I've heard an electronic musician sound recently, though I'll admit that I may have missed an act or two.  With Reform, his first release as Stave, Krohn amasses percussive, electrified loops and deep, solitary drones to craft a very cold debut.  Not that it lacks character, but there's no warmth to be heard, its sounds bereft of humanity, though rhythmically dense.

As calculated as it is absorbing, Krohn assembles beat articulations that talk over each other, creating these very unsettling and automated environs that either rapidly pulsate ("The Feat") or crowd in a nervous or phobic manner ("Gun Control").  "Tower9," its streams of fuzz delivered like a dysfunctional flatline, synthesizes its beat combinations into a deluge of pounded depth that's almost danceable.  The album's title track gently toys with melody, its buried tones subtle against the overt rhythm. 

But, so as not to completely dispense with any true notion of melody, "Disc1" utilizes bowed instrumentation like some aural indication of distance, the catgut scrubbed erratically only to sing beneath a long, though rusty, stroke at points. 

The spinning cycle of "Minus3" is accented by incidental sounds and it ends the album with the ultimate paean to its automated persona.   


Letters From A Tapehead

Wolf Eyes: "Born Liar/"Lower Drools"

Because what's Monday without some erupting aural machinery to knock your head back into alignment after a couple days of late night, chemically imbalanced and adulterated mania instigated by the mere presence of 5PM on Friday night? No Answer: Lower Floors, the new album from Wolf Eyes is out and about, ready to push some heads into working gears and split them all like cantaloupes. NPR is hosting a new video for the single, "Born Liar," while The Fader is kind of enough to offer "Lower Drools," which is 17 rather cacophonous minutes of perpetual motion and ongoing expanse.


All this comes courtesy of Enabler PR.  Enjoy.


In April, Wolf Eyes released their latest offering of nuclear waste, No Answer: Lower Floors. The album showcased the Michigan's collective most concise & precise work to date, whereas previous efforts had bludgeoned the listener. No Answer: Lower Floors seeps into your pores, leaving no answer. NPR shared a video cut from the album, "Born Liar". It has Wolf Eyes skating like Bob Burnquist & Tony Hawk. Today, Wolf Eyes, have a released a brand new track for The Fader, entitled "Lower Drolls." John Olson describes the track:

If you dont have access to the “My Twin The Worm” segment of the masterpiece modern(isn) anthology of haunted hollywood sexual absurdness “Trapped Ashes”: then put on the headphones: go around one to the one of the 250 graves Dissection “insulted” at dusk: lay back on the damp grass: make sure no one is around: coat your skin in spoiled and unbaptised dollar store sun tan lotion- and let the 17 minutes of all the unholy drum “black holes” in the Wolf Eyes “Lower Floors” give your dark shaking brain nug jelly a firm “No Answer” to your assaulted nervous system. After you open your eyes it will be ALMOST night/dark out: and then you can meet with your woods/urban hermit friends at your secret terror basement in the outskirts of your lonely town and FINISH that nuclear warhead you are ALMOST done building with runs SOLEY on expired antisocial witchcraft. LOOK ALIVE DROLL SOUND VICTIMS!!!

8/24 - New York City, NY - Issue Project Room
9/3 - Philadelphia, PA - Johnny Brendas
9/4 - Baltimore, MD - Metro
9/5 - Raleigh, NC - Hopscotch
9/6 - Asheville, NC - Broadways
9/7 - Columbus, OH - TBA
9/18 - Pantin, FR - La Dynamo
9/19 - Cologne, DE - Baustelle Kalk
9/20 - Tilburg, NL - Incubate Festival
9/21 - Brussels, BE - Studio 58 Cafe
9/28 - Louisville, KY - Cropped Out
9/29 - Chicago, IL - The Owl

Letters From A Tapehead

New Selections — Emma Ruth Rundle, Tropical Fuck Storm, Primitive Man, Private Life, Uniform, Erika Wennerstrom, Djrum, Windhand

Starting August off with some new singles. Emma Ruth Rundle:  " Darkhorse " (via Rarely Unable /  Sargent House  / YouTub...