The music video for “The Way You Used To Do” is officially out worldwide today. This might be old news to you if you have an Apple Music account or are some kind of hacker where no paywalls can stop you.
When the Jonas Akerlund-directed (and Josh Homme-dancedhisassoff) video was first released back in August, Villians had yet to be released. At this point the band has been around the world touring nonstop, and they don’t have any plans to slow down. (I broke a sweat typing all the tour dates below, just imagine how they feel.)
In other news, Queens of the Stone Age will be back on television, this time appearing on Ellen on December 14th. Check your local listings for specific air times and get it on your calendar.
TOUR DATES (visit qotsa.com for ticket links – all dates below are currently on sale EXCEPT for Austin. Onsale for that date begins today at 10am local time.)
11/18/17 SSE Arena Wembley, London UK ~
11/19/17 Manchester Arena, Manchester UK (SOLD OUT) ~
11/21/17 The O2 Arena, London UK ~
11/23/17 Usher Hall, Edinburgh UK (SOLD OUT) ~
11/24/17 3Arena Dublin, IE (SOLD OUT) ~
12/02/17 WKQX The Nights We Stole XMAS, Chicago, IL (SOLD OUT)
12/03/17 93X Nutcracker, St. Paul, MN (SOLD OUT)
12/09/17 KROQ Almost Acoustic Christmas, Los Angeles, CA (SOLD OUT) 1/22/18 Save On Foods Memorial Centre, Victoria BC #
1/24/18 Pacific Coliseum, Vancouver, BC #
1/25/18 KeyArena at Seattle Center, Seattle, WA #
1/26/18 Rose Quarter – Veterans Memorial Coliseum, Portland, OR #
1/27/18 Hult Center For the Performing Arts – Silva Concert Hall, Eugene, OR #
1/29/18 Selland Arena at Fresno Convention Center, Fresno, CA #
1/30/18 Sacramento Memorial Auditorium, Sacramento, CA #
2/1/18 Bill Graham Civic Auditorium, San Francisco, CA *
2/16/18 The Cosmopolitan of Las Vegas – The Chelsea, Las Vegas, NV
2/17/18 The Forum, Los Angeles, CA +
2/21/18 Movistar Arena, Santiago, Chile
2/25/18 Maracana, Rio De Janeiro, Brasil ^
2/27/18 Allianz Parque, Sao Paulo, Brasil ^
3/02/18 Pedreira Paulo Leminski, Curitiba, Brasil ^
3/04/18 Estadio Beira-Rio, Porto Alegre, Brasil ^
3/07/18 Velez, Buenos Aires, Argentina ^
3/10/18 Palacio de Los Deportes, Bogota, Colombia
3/17-18/18 Vive Latino, Mexico City, Mexico
3/21/18 The Observatory North Park, San Diego, CA (SOLD OUT)
3/22/18 The Observatory North Park, San Diego, CA (SOLD OUT)
3/28/18 The Republik, Honolulu, HI
4/24/18 Austin360 Amphitheater, Austin, TX ** on sale 11/17 at 10am local
4/25/18 The Pavilion at the Irving Music Factory, Irving, TX **
4/26/18 Municipal Auditorium, Shreveport, LA **
4/27/18 Saenger Theatre, New Orleans, LA **
4/27-29/18 Welcome to Rockville, Jacksonville, FL
5/1/18 Bayfront Park Amphitheater, Miami, FL **
5/2/18 Mahaffey Theater, Saint Petersburg, FL **
5/17/18 Scotiabank Saddledome, Calgary, AB +
5/18/18 Rogers Place, Edmonton, AB +
5/20/18 MTS Centre, Winnipeg, MB +
5/22/18 Breese Stevens Field, Madison, WI +
5/24/18 Budweiser Gardens, London, ON +
5/25/18 Rochester Dome Arena, Rochester, NY +
6/7-9/18 Northside Festival, Aarhus, Denmark
6/12/18 Bergenfest, Bergen, Norway
6/25/18 InMusic Festival, Zagreb, Croatia
7/12-14/18 Mad Cool Festival, Madrid, Spain
7/13/18 Nos Alive, Lisbon, Portual
^ w/ Foo Fighters ~
+ w/ Royal Blood
* w/ Ty Segall
** w/ Wolf Alice
# w/ Eagles of Death Metal
Earlier this morning, Gizmodo premiered the latest video from Spoon’s phenomenal ‘Hot Thoughts’, “Do I Have To Talk You Into It”, directed by Brook Linder. On the heels of last Friday’s ‘Ga Ga Ga Ga Ga’ 10th Anniversary reissue, Spoon return to Europe in early November (dates below), with their North American run recommencing with a pair of sold out shows at Brooklyn Steel at the end of the month.
‘Turn Out The Lights’ is out October 27, with Baker’s US tour starting tomorrow night in Atlanta. YUou can hear her appearance on last Saturday night’s season premiere edition of “Prairie Home Companion” here.
In addition to announcing Western US and Canada dates in January (see below), this morning Spoon release the latest video from album-of-the-year candidate ‘Hot Thoughts’, the brooding “I Ain’t The One”, directed & shot in London earlier this year by the directorial team of Iain Forsyth and Jane Pollard
This morning, we’re happy to share the next take from the upcoming album from Courtney Barnett & Kurt Vile, Lotta Sea Lice. The video for “Continental Breakfast” was directed by Danny Cohen (@DannyZCohen), who was also behind the lens for the “Over Everything” video released last month. This new video also spans a great distance (does not get much further than Melbourne and Philly. It’s a really special video and we don’t throw that world around too much. Watch and you’ll see why.
Director Danny Cohen says:
‘Continental Breakfast’ was made while spending time with Courtney and Kurt in Melbourne and Philadelphia, it’s an intimate home movie into their lives and the time spent with family and friends between recording /touring. Shot on 16mm, the mini-documentary captures honest moments that show the loving and playful nature of both Courtney and Kurt. It was such a treat to experience life with Courtney and Kurt in their natural habitats. It really left me feeling like part of the family and hopefully fans can feel that too.
More Courtney and Kurt news comes from Amoeba Hollywood, where they just announced an in-store on Thursday, October 12th. Fans can attend the in-store by picking up Lotta Sea Lice a day early at Amoeba Hollywood starting on Thursday October 12. More details can be found on the flyer below or head to Amoeba.com.
Filmed in Glasgow and directed by Blair Young of The Forest of Black, the new video for the latest Belle & Sebastian single – ‘We Were Beautiful’ – puts glorious Glasgow on a palette and mixes together the peaks and lulls of emotion & colour felt through ordinary city living.
Alongside the video accompaniment to the already released single is a slate of new European dates across February and March of next year.
The wake of a new single and now a new video would suggest a gearing-up of sorts from Glasgow’s treasured sons & daughters. What next?
“Making the ‘Appointments’ video was an incredibly special experience because I got the pleasure of collaborating with artists I admire and to see them apply their creativity and talent to something I made,” says Baker. “I’ve known Christina McKinney (choreographer), as well as a few of the dancers, since I was a kid. I’ve always been fascinated with how that art form works in tandem with music; it was amazing to see the vision that Christina had for the song, how she interpreted the sounds as movement, and then to see how Sophia chose to portray and capture it all.
“It felt very full circle to return to Memphis to work on this, I’m so proud of Memphis and wanted to show off the immense artistry that I see there. Not only were Christina and many of the characters in the video friends, but the crew also included many people I have known and worked with for years. All the scenes and locations are also central to Memphis, I think Sophia did such a good job of preserving the intimate feel of the video by shooting it with people/in locations that had significance to me, and I’m so thankful. The most gratifying part of making music is its ability to be shared and belong to more people than myself, and it was very meaningful to make something with and for other people, to take something as personal as this song and invite others in, allow them to contribute their ‘thing,’ whatever it may be.” – Julien Baker
09/20 Chicago, IL @ Amnesty International & Sofar Sounds Give A Home show
09/21 Champaign, IL @ The Pygmalion Festival 2017
10/10 Nashville, TN @ Ryman Auditorium #
10/12 – Atlanta, GA – Masquerade +
10/13 – Saxapahaw, NC – Haw River Ballroom +
10/14 – Asheville, NC – The Grey Eagle +
10/15 – Charlottesville, VA – Jefferson Theater +
10/17 – Washington, DC – 9:30 Club +
10/18 – Millvale, PA – Mr. Smalls Theatre +
10/20 – Madison, WI – Majestic Theatre +
10/25 – Montreal, QC – Theatre Fairmount +
10/27 – New York, NY – Town Hall +
10/28 – Somerville, MA – Somerville Theatre +
10/29 – Philadelphia, PA – Union Transfer +
11/03 – The Hague, NL – Crossing Border Festival
11/04 – Utrecht, NL – Ekko
11/06 – Bristol, UK – The Lantern
11/07 – Leeds, UK – Brudenell Social Club
11/08 – Glasgow, UK – CCA
11/09 – Dublin, IE – Whelans
11/10 – London, UK – Union Chapel *SOLD OUT*
11/12 – Brussels, BE – Autumn Falls
11/13 – Paris, FR – Les Etoiles
11/14 – Berlin, DE – Heimathafen Neukolln
11/15 – Hamburg, DE – Uebel & Gefahrlich
11/16 – Düsseldorf, DE – New Fall Festival
11/17 – Madrid, ES – El Sol
11/18 – Braga, PT – Theatro Circo
11/19 – Barcelona, ES – La De Apolo
11/29 – Knoxville, TN – Bijou Theatre*
11/30 – Nashville, TN – Marathon Music Works*
12/01 – Memphis, TN – 1884 Lounge*
12/02 – St. Louis, MO – Delmar Hall +
12/04 – Boulder, CO – Fox Theatre +
12/07 – Spokane, WA – The Bartlett +
12/08 – Seattle, WA – Neptune Theatre +
12/09 – Vancouver, BC – Rickshaw Theatre +
12/10 – Portland, OR – Aladdin Theater +
12/12 – San Francisco, CA – The Fillmore +
12/14 – Los Angeles, CA – Palace Theatre +
12/15 – San Diego, CA – The Irenic +
12/16 – Phoenix, AZ – The Crescent Ballroom +
12/18 – Austin, TX – Emo’s +
12/19 – Houston, TX – The Heights Theater +
12/20 – Dallas, TX – The Kessler Theater +
# – with Jason Isbell
+ Half Waif supports
* – David Bazan supports
“The Way You Used To Do” can be found on Queens of the Stone Age’s new album, ‘Villains’. The above glimpse behind the scenes of Jonas Akerlund’s insane video for said song is directed by Andreas Neumann with camera work by Jason Adler. The official video for “The Way You Used To Do” is exclusively available via Apple Music.
There’s some extremely exciting news from True Panther out and around the internet today. King Krule is back with an incredible video (directed by Frank Lebon) as well as a huge run of North American tour dates this fall. Bask in the undeniable glow of Czech One… below. (Or should I say above?)
NORTH AMERICAN TOUR DATES
10/21 – Washington, DC – Black Cat
10/22 – Philadelphia, PA – Union Transfer
10/24 – Brooklyn, NY – Warsaw
10/25 – Brooklyn, NY – Warsaw
10/26 – Boston, MA – Paradise
10/28 – Montreal, CAN – Corona Theatre
10/29 – Toronto, CAN – Danforth Music Hall
10/30 – Chicago, IL – Metro
10/31 – Minneapolis, MN – First Line Music Cafe
11/3 – Seattle, WA – The Showbox
11/4 – Portland, OR – Wonder Ballroom
11/5 – Vancouver, CAN – Vogue Theatre
11/7 – San Francisco, CA – The Fillmore
11/8 – Los Angeles, CA – Teragram Ballroom
11/9 – Los Angeles, CA – El Rey Theatre
11/11 – Long Beach, CA – Tropicalia Festival
QUEENS OF THE STONE AGE – “THE WAY YOU USED TO DO” VIDEO
ALL HELLZAPOPPIN’ BREAKS LOOSE IN SATANIC DANCE PRODUCTION
WRITTEN BY JOSHUA HOMME & DIRECTED BY JONAS AKERLUND
AVAILABLE EXCLUSIVELY AT APPLE MUSIC
“Dancing and headbanging are truly individualistic expressions of losing oneself fully in appreciation of music—who better to combine these things into a singular vision than someone who’s directed Madonna and Lady Gaga videos–and also happens to have been a member of Bathory?”—Joshua Homme
“The Way You Used To Do,” the recently released first single from Queens Of The Stone Age’s ominously approaching seventh album ‘Villains’, has been realized as a fever dream Satanic dance ritual extravaganza—featuring QOTSA founder and frontman Joshua Homme lighter on his feet and darker in his soul than ever before.
Conceived by Homme, directed by Jonas Akerlund and produced by Serial Pictures, “The Way You Used To Do,” somehow fit its multiple sets, wardrobe changes and intricate dance routines into one day of shooting August 8th in Los Angeles. Considering potential reactions to the sinister shuffle of “The Way We Used To Do” being translated into a panoramic soul-selling dance trip, Homme says “It’s our way of paying tribute to Cab Calloway and the film Hellzapoppin’. I fully realize that may be a little more than some are open to, and that’s perfectly fine with me. There’s the door. If some of the more close-minded are gently pruned, that just leaves more room on the dance floor for the open-minded ones to get loose. That’s been the spirit of Queens Of The Stone Age and the space we’ve worked to create from day one.”
‘Villains’ is co-produced by Mark Ronson and will be released worldwide on August 25th.
This morning band have just released the official video for album centerpiece “Cleveland” which features the principles of the Black Panthers and was filmed in Staten Island and East new York where Eric Garner and Akai Gurley were murdered by police.
Interlaced with the principles of the Black Panthers’ Ten-Point Program, the video sees frontman and lyricist Franklin James Fisher, who self-directed the video with Marisa Gesualdi and Sam Campbell, between Staten Island and the Pink Houses project in East New York, where Eric Garner and Akai Gurley were killed at the hands of New York City Police Department. The lyrics and title summon Kindra Chapman, Andre Jones, Lennon Lacy, Sandra Bland, Roosevelt Pernell, Keith Warren, Alfred Wright and Tamir Rice, similarly victims of state sanctioned violence, making for a powerful and uncompromising message of resistance and defiance as well as a life-affirming tribute. Fisher also met the family of Eric Garner (photo below) to open a conversation on future support for the community:
“A recurring theme in our music is the idea of injustice and the bitter understanding that obtaining justice in this world is all but impossible–particularly for black and brown people.”
-frontman and lyricist Franklin James Fisher
Please follow the links below for more information and to see how you can help:
7/13 – Vancouver, BC – Cobalt
7/14 – Portland, OR – Mississippi Studios
7/15 – Seattle, WA – The Crocodile
7/17 – Oakland, CA – Starline Social Club
7/18 – Los Angeles, CA – The Echo
7/21 – Brooklyn, NY – Brooklyn Steel &
7/22 – Brooklyn, NY – Baby’s All Right
7/23 – Philadelphia, PA – Johnny Brenda’s
7/24 – Washington, DC – Black Cat
9/13 – Albany, NY – The Hollow ^
9/14 – Buffalo, NY – Waiting Room ^
9/15 – Pittsburgh, PA – Spirit Hall ^
9/16 – Cleveland, OH – Grog Shop ^
9/18 – Nashville, TN – Mercury Ballroom ^
9/21 – Birmingham, AL – Saturn ^
9/22 – New Orleans, LA – Hi-Ho Lounge ^
9/23 – Houston, TX – White Oak Music Hall ^
9/24 – Dallas, TX – Three Links
9/25 – Austin, TX – Empire Garage ^
9/26 – San Antonio, TX – Paper Tiger ^
9/28 – Santa Fe, NM – Meow Wolf ^
9/29 – Phoenix, AZ – Crescent Ballroom ^
9/30 – Santa Barbara, CA – SoHo Club ^
10/1 – San Diego, CA – Soda Bar
10/15 – Atlanta, GA – Afropunk Festival
11/1 – Eindhoven, NL – Lichting @ Alstadt
11/2 – Amsterdam, NL – Paradiso
11/3 – Bielefeld, DE – NR. Z. P.
11/5 – Dresden, DE – Beatpol
11/6 – Berlin, DE – Lido
11/8 – Poznan, PL – Meskalina
11/9 – Warsaw, PL – NIEBO
11/10 – Wroclaw, PL – Firlej
11/11 – Prague, CZ – Klub 007
11/13 – Turin, IT – Astoria Club
11/14 – Nimes, FR – Paloma
11/15 – Barcelona, ES – Razzmatazz 2
11/16 – Lyon, FR – La Marche Gare
11/17 – Bern, CH – Saint Ghetto Festival
11/18 – Zurich, CH – Bogen F
11/19 – Brussels, BE – Botanique/Witloof Bar
11/20 – Paris, FR – La Maroquinerie
11/22 – Manchester, UK – Soup Kitchen
11/23 – Liverpool, UK – Magnet
11/24 – Glasgow, UK – Fred Paton Daycare
11/27 – Leeds, UK – Brudenell Community Room
11/29 – London, UK – Moth Club
11/30 – Brighton, UK – The Haunt
12/2 – Dublin, IE – Grand Social
“A recurring theme in our music is the idea of injustice and the bitter understanding that obtaining justice in this world is all but impossible–particularly for black and brown people. I wanted the song to sound like the Final Judgement in the Bible, wherein the wicked are judged and condemned by the righteous with all the ‘weeping and gnashing of teeth,’ of the damned when justice is finally realized. This translates in the ‘solo’ section of the song. It consists of various recordings of people inconsolably crying and weeping while the guitar and lead vocal mirror their contortions. If you’ve ever witnessed something like that in real life, sound of a person’s sorrow is equal parts frightening and musical.” – Franklin James Fisher
We’re 10 days away from the global release of Algiers’ hotly anticipated 2nd album, the Adrian Utely-produced ‘The Underside Of Power’, and with that in mind, here’s the premiere of another track from this crucial work, “Cleveland”. Algiers’ updated tour itinerary, with headlining North American dates starting July 13 following European stadium shows supporting Depeche Mode, can be found below.
Following last Friday’s appearance on “The Late Show With Stephen Colbert” and the release of the 4th Perfume Genius album, ‘No Shape’ to nearly universal acclaim, we’re pleased to present the album’s 2nd music video, “Die For You”, directed by Floria Sigismondi and featuring sculpture from Rosa Verloop. A massive worldwide tour itinerary (as shown below) commences tomorrow night (Wednesday) at Detroit’s Magic Stick.
Below, you can hear Mike Hadreas interviewed by NPR’s Barton Girdwood, from Tuesday’s broadcast of “Morning Edition”
(directed, produced and edited by Henry Busby and Marcus Tortorici)
Hot on the heels of NPR premiering the album’s title track earlier this morning, we’re very proud to announce the release of Algiers‘ long-awaited 2nd album, ‘The Underside Of Power’ (June 23). LP preorders (starting today) will include the limited edition “Walk Like A Panther” 7″ and 16 page ‘zine created by Algiers.
Produced by Adrian Utley (Portishead) and Ali Chant, mixed by Randall Dunn (Sunn O)))), with post-production by Ben Greenberg (Uniform, Hubble), ‘The Underside Of Power’ zooms across a musical landscape including but not limited to Southern rap to British grime to horror movie soundtracks to late-70s English industrial to Northern Soul. In the wake of our current political climate, Algiers cast a withering gaze on subject matter ranging from oppression, whiteness, police brutality, dystopia, and hegemonic power structures.
Now a four-piece, with the addition of Bloc Party’s Matt Tong on drums, the Atlanta-London-NYC band will bring their intense live show to major East and West Coast markets this summer, following an previously announced arena & stadium tour with Depeche Mode in Europe.
1. Walk Like A Panther
2. Cry Of The Martyrs
3. The Underside Of Power
4. Death March
5. A Murmur. A Sign.
6. Mme Rieux
9. Plague Years
10. A Hymn For An Average Man
11. Bury Me Standing
12. The Cycle/The Spiral: Time to Go Down Slowly
This is the musical response that dark times demand, one that not only shakes its fist but deploys it. Locally-informed global citizens, Algiers refuse to sit idly by while most contemporary artists appear perfectly content to sit out the revolution. Not only do Algiers harbor a purposeful sense of obligation in what they do on their latest resistance record The Underside Of Power, but they recognize the roots and thorns of precedent in said resistance.
“This album was recorded in a political environment that collapses the late 70s economic crisis and the looming onslaught of arch-conservative neoliberalism, via Thatcher and Reagan, into the late 1930s, a world riven by fascist nationalism and white power fantasies in the US and abroad,” says bassist Ryan Mahan. Their shared experiences and collective understanding of this rising tide of sinister politics compels them to make music together, to combat the potentially crippling waves of frustration and despair to let out a soulful roar, a call-to-action set to an eclectic, positively electric beat.
The inclination to do otherwise is one worth fighting. Take Algiers frontman Franklin James Fisher, for example. Writing incendiary and even beauteous lyrics from inside a Manhattan nightclub’s coat check room, enduring the same damn songs thumping away nightly in the next room for the pleasures of a predominantly white audience, he tends to see the bigger picture as well as its pointillistic details.
“This nightclub is every nightclub in the world, basically. Whatever is being played there, whatever is happening there is happening everywhere else in the world,” he says. “It’s as if the entire history of music is boiled down to these fifteen artists–and I use the term loosely,” he says with an exasperated, dismissive sneer. With the world burning outside, a generation’s obliviously privileged dances to a carbon copied soundtrack.
It speaks volumes that a black man in America with an expensive Master’s degree–and all its overwhelming personal debt–finds himself picking up shifts at such a place that literally manifests the culture industry’s exploitation and commodification of black experience. An aptly unjust fate, Fisher is confined to an enclosed space while others move their feet freely mere steps away from him. “You have to find ways of getting through it without completely losing your mind. Luckily I’m able to escape inside my own head.”
Fortunately, the multiracial quartet Algiers provides more than mere distraction, but rather a revelatory creative release and wholesale rejection of the globally normative corporate playlist culture. Poke at the seasoned members’ bruised flesh, and out come wafting touchpoints as disparate and intriguing as Big Black, Wendy Carlos, John Carpenter, Cybotron, The Four Tops, Portishead, Public Image Limited, Steve Reich, and Nina Simone, to name but a few. Deep echoes of Black Lives Matter and its 20th century forbears gather, surge, and subside in their often soulful work, a form of principled, acute dissent more interested in learning from the past than in evoking nostalgia.
And while many artists seem uninterested or even afraid to fully engage with these potent topics in song, Algiers has zero qualms about taking a direct approach. “We’re fortunate enough now where we’re able to openly talk about racist, violent police and murderous state structures,” says Mahan. “When we were growing up in the South, these critiques of class and race oppression were largely and sometimes violently suppressed. It’s why we take inspiration from the Panthers or the Chicano movement, to name two.”
Adding to this Casbah rocking mix of ideas is the relatively recent inclusion of drummer Matt Tong, formerly of Bloc Party. Joining the group for the touring cycle following their prior album, he’d spent time gelling with the original trio as a core component of their simply ferocious live sets to understand and help shape the dynamic. For a band that seems to revel and thrive in flux, Tong’s substantial role in the making of The Underside Of Power worked out well.
Beyond the technical necessities living their respective lives both in and outside of music, Algiers’ continued deviation from a more traditional band approach created a more versatile sound, one that better incorporates a collective and respective panoply of influences and styles.
Some of this is informed by their choice of collaborators in this process, a crew that includes Adrian Utley [Portishead], Ben Greenberg [Uniform, The Men], Randall Dunn [Sunn 0)))], among others. Pick any track off The Underside of Power and the reference points expand exponentially, a dizzying and thrilling Recommended-If-You-Like list that would consume a series of afternoons.
Featuring a fully-sanctioned sample of slain Black Panther Fred Hampton, the revolutionary “Walk Like A Panther” presents an alternate reality where Adrian Sherwood produced Yeezus instead of Rick Rubin, with Fisher bellowing justifiable threats over a storm of formidable sonics. “Death March” fuses post-punk primacy to the Italo-horror tradition, in an effort to mirror a looming and perpetual sense of modern dread. Elsewhere, the raucous “Cleveland” turns into a full-on demonstration, with names of victims of institutionally sanctioned racial violence like Sandra Bland and Tamir Rice invoked over a neck-snapping electro beat.
The dangerously poppy title track finds a glorious midpoint between Suicide and The Temptations, making for the catchiest expression of outrage this side of the ‘70s. A molotov cocktail of a single, that particular song represents a potential paradox for Algiers, the maintaining of a renegade righteousness in the midst of a peppy soul tune. “It’s more important than ever in this particular time, but it’s something we’ve never shied away from,” says Tesche.
The band doesn’t concern themselves with that risk. “No matter what your messaging is, you can’t control what people will or won’t take away from it,” says Mahan. “The only thing you can do is put stuff of substance out there.” – Gary Suarez
Via director Matt Muir, Spoon have released a video for ‘Hot Thoughts’ titular track (see above) a week prior to 3 dates in Mexico City (in bold below). In addition, there’s 4 shows of the enormodome (well, amphitheatre) variety happening in September & October alongside The Shins in Berkeley, San Diego, Phoenix and Denver (tickets on sale this Friday, 10am local time)
Earlier today, Apple Music’s Beats 1 and Zane Lowe premiered the second track from Spoon’s forthcoming album, ‘Hot Thoughts’, “Can I Sit Next To You” . The accompanying video, directed by directed by Marcel Dzama, can be viewed above.
Riding a crest of worldwide critical acclaim, Car Seat Headrest’s ‘Teens Of Denial’ was deemed BBC6’s ‘Album Of The Day’ earlier Tuesday, but as you’ve probably noticed, THE DAY IS ALMOST OVER. As the old saying goes, those who ignore the future are condemned to drink the Pabst, but the Matablog (recent) nostalgia fest continues with a fond look back at those glorious moments on the evening of May 23, 2016 when Car Seat Headrest’s show at Washington DC’s 9:30 Club was made available online via the auspices of NPR. The show will be archived for the next two weeks.
Finally, please follow us on snapchat tomorrow if your turn-ons include seeing things destroyed :