Category: Synth Pop

Video by William Ruben Helms

New Video: High Waisted’s Jessica Louise Dye Steps Out as a Solo Artist with Dance Pop Project Hello Lightfoot

New York-based singer/songwriter and guitarist Jessica Louise Dye is best known for being the co-founder and frontwoman of acclaimed New York-based surf pop/surf rock outfit and JOVM mainstays High Waisted. Founded back in 2014 by Dye and her bandmate Jono Bernstein (drums), High Waisted has toured across the country both as an opener and as a headliner, with stops at SXSW and Riot Fest.

High Waisted contributed a song inspired by and written about the Eighth Amendment, which was featured on NPR’s More Perfect and 27: The Most Perfect Album alongside a who’s who list of indie artists. They were also featured on a Record Store Day compilation with Lenny Kaye, and fellow JOVM mainstays Atmosphere.

Besides being an acclaimed songwriter and musician, Dye has made a name for herself as a DJ, playing sold out rooms across the — and for throwing some of the city’s wildest themed parties in basements, rooftops and on boats. Just as a party organizer, she has received praise from the likes of NYLON, GQ, Noisey, BrooklynVegan, Consequence, Billboard, Paste and High Times. I’ve been to a couple of the High Waisted at Sea parties and they were they legendary.

2021 sees the High Waisted frontwoman stepping out into the spotlight as a solo artist with her brand new, solo recording project Hello Lightfoot. “I finally had the courage to finish the solo EP I stared nearly ten years ago, after the sudden death of my best friend,” Dye explained through email. “It was a heavy, cathartic process and I am really proud of myself for pushing through the pain to complete it.”

While we await details of the EP, Dye’s debut single as Hello Lightfoot “Twenty-Seven” is a slickly produced, hook-driven, club friendly confection featuring glistening synth arpeggios, thumping beats and a relentless motorik groove. While being a decided sonic departure from her acclaimed work with High Waisted, the song is centered around confessional lyrics delivered with an aching vulnerability informed by lived-in experience of heartbreak, self-doubt and uncertainty.

Directed by Zach Wright and Zack Bass, the accompanying video for “Twenty-Seven” is shot with hazy, candy colored hewed color palette and follows Dye as she navigates Las Vegas with an Elvis impersonator.

Video by William Ruben Helms

New Video: Absolutely Free Releases a Trippy and Mind-Bending Visual for “Epilogue”

Acclaimed Toronto-based psych pop act Absolutely Free — multi-instrumentalist and vocalist Matt King, Michael Claxton (bass, synths) and Moshe Fisher-Rozenberg (drums, synths) — is an offshoot of experimental rock outfit DD/MM/YYYY, an act whose multi-rhythmic, boundary pushing raison d’être provided a springboard for Absolutely Free’s sound and approach.

The Canadian psych trio’s full-length debut, 2014’s Absolutely Free. received a Polaris Prize nomination and widespread critical applause from the likes of Pitchfork, The FADER, Stereogum, BrooklynVegan,Exclaim!, Under the Radar, PopMatters, AllMusic and countless others. 

Over the past decade, the members of the Absolutely Free have cultivated and developed a long-held reputation for an unorthodox approach to both conceiving and performing music: Since the release of Absolutely Free., the Toronto-based psych pop act have released an array of multimedia projects and releases including 2019’s Geneva Freeport EP, which features U.S. Girls‘ Meg Remy. And adding to a growing profile they’ve toured alongside the likes of Alvvays, Youth Lagoon and JOVM mainstays Preoccupations, and they’ve shared bills with Beak>, Unknown Mortal Orchestra, U.S. Girls and Fucked Up. 

Absolutely Free’s highly-anticipated Jorge Elbrecht-produced sophomore album Aftertouch is slated for release tomorrow through Boiled Records. Deriving its name from a the name of a synthesizer function, the album is fueled by the trio’s desire to “. . . to create an album that wasn’t bound by a physical ability to perform it live, to not only expand our palette, but also to consider the live performance as something completely separate.” Culling from a myriad of influences including krautrock, New Wave, early electronic dance music, and an array of international psych and funk complications, the album sonically and aesthetically finds the trio shifting in, around and between analog and digital sounds, and real and fabricated images while simultaneously reveling in and refuting the loss of tactility. Thematically, the album explores narratives of hegemony, grief and exploitation in the present while sustaining curiosity for the unknown post-everything future. 

In the lead-up to the album’s release, I’ve written about two of Aftertouch‘s previously released singles:

  • “Interface,” a dreamily maximalist song featuring glistening synth arpeggios, percussive and angular guitar blasts, a chugging bass line and an insistent rhythm paired with plaintive vocals that reminded me of  Amoral-era Violens — in particular, “Trance Like Turn.”
  • “Remaining Light” is a sprawling track with two distinct parts — a cinematic and atmospheric instrumental introduction featuring twinkling keys, glistening synths and clinking marimba. At around the 2:20 mark, the song slowly morphs into a slow-burning and brooding bit of pop featuring King’s plaintive, reverb drenched vocals ethereally floating over the mix. The end result is a song that — to my ears, at least — sounded like a slick synthesis of The Fixx’s “Sign of Fire” and Amoral-era Violens. 

Album opening track “Epilogue” is Aftertouch‘s latest single. Beginning with a whirring to life, “Epilogue” is a slow-burning and reflective track that slowly builds into a maximalist crescendo towards its conclusion centered around a lush, New Wave inspired arrangement of glistening synth arpeggios, skittering beats paired with a motorik groove and King’s achingly plaintive vocals ethereally floating over the mix. But underneath the breezy and expansive arrangement, “Epilogue” manages to possess a wistful and melancholy air.

“‘Epilogue (After Touch)’ conjures an existence, where a linear progression of time no longer seems applicable. With reference to cinematic narrative, the lyrics touch upon living in a contemporary culture that seems to be referential and symbolic of what’s already in the past,” the members of Absolutely Free explain in press notes.

Directed by Rachelle Walkers, the recently released video for “Epilogue” is brooding and trippy as it features footage of a rollercoaster rendered through a fuzzy, neon-colored negative with prismatic figures superimposed over the proceedings.

Single Review by William Ruben Helms

During the course of this site’s 11-plus year history, I’ve managed to spill quite a bit of virtual ink covering the acclaimed indie synth pop act Yumi Zouma. Last year, the JOVM mainstay act, which features members residing in New Zealand, the States and the UK, signed to Polyvinyl Record Co, who released their critically applauded, self-produced, third album Truth or Consequences, an album that thematically focused on distant — both real and metaphorical; romantic and platonic heartbreak; disillusionment and feeling (and being) out of reach.

Touring is often the important — and necessary — part of the promotional campaign for an artist’s or band’s new release. Before the tour, the artist or band will begin to figure out how to re-contextualize their new material and previously released material for a live setting, imagining how a crowd will react to what — and how — they’ll play in a set on tour. Much like countless acts across the worlds, the members of the acclaimed JOVM mainstay act had to cut their tour short and put the rest of their plans on hold, leaving scores of their devoted fans without the opportunity to hear the new album in a live setting.

Last October, Yumi Zouma released Truth or Consequences (Alternate Versions). The album was conceived as the band’s response to the lost opportunity to re-contextualize and explore the boundaries of the original album’s material through engagement with fans live.

The JOVM mainstays’ latest single “Give It Hell” is essentially classic Yumi Zouma — wistful and melancholy lyrics paired with breezy, hook-driven synth pop. As always, Christie Simpson’s gorgeous vocals float over an equally ethereal arrangement of glistening synth arpeggios and a gentle yet forceful motorik groove. But just underneath the song’s bittersweet air is a subtle celebratory note, a reminder that in the most difficult of circumstances, we need to be grateful for being here right now. Perhaps more than ever, “Give It Hell” is fueled by deeply personal experience:

“Before we went on stage for the only show we would play on our sold-out 2020 US tour, we held each other tight,” Yumi Zouma’s Josh Burgess says in press notes. “Fighting back the tears, someone said, ‘let’s give it hell tonight’. The next day, Truth Or Consequences was released. We drove to New York, took some photos, and dispersed back to our homes in the US, UK, and New Zealand. We haven’t been in the same room since. “To ‘give it hell’ is one of the strongest ways to stay present. Throwing yourself entirely into something, knowing it’s all you can give – it can be equal parts rewarding and humbling. This song encapsulates us digging deep, pushing through self-doubt, and being grateful for the purpose and process of making music together. Especially when it’s hard and feels futile. In the spirit of staying present, we wanted to release this song NOW, and not wait for any other moment than this one.”

Video by William Ruben Helms

New Video: Mexico City’s Petite Aime Releases a Hilarious and Trippy Visual for Dance Floor Friendly “Elektro”

Mexico City-based psych pop act Petite Aime was founded by Little Jesus bassist Carlos Medina. Last year, Medina (guitar) was joined by Aline Terrein (vocals), Isabel Dosal (vocals), Santiago Fernández (bass) and Jacobo Velazquez (guitar) to write and record the project’s self-titled full-length debut.

Slated for an October 1, 2021 release through Park The Van/Devil In The Woods, the Mexican psych pop act’s self-titled debut reportedly finds the band crafting material that fluctuates between different genres and styles based on psych pop and psych rock while touching upon influences like The Beatles, Pink Floyd, Big Thief, Magic Potion, Unknown Mortal Orchestra and Crumb. Lyrically the album’s material is generally centered around an expression of the existential angst gendered by the search for the “self” in an increasingly impersonal world,. where the line between what’s real and what’s virtual crystallizes.

The album’s latest single “Elektro” is a dreamy yet club friendly bop centered around glistening synth arpeggios, a hypnotic motorik groove, and propulsive four-on-the-floor paired with ethereal French vocals, complete with a vocoder drenched coda. While sonically nodding at From Here To Eternity-era Giorgio Moroder and JOVM mainstay MUNYA, “Elektro,” was actually inspired by dreaming and dreams. “We tried to translate a dream where you don’t know exactly where you are going but you let yourself go,” the band explains. “Stars come down to Earth and transport you to another world and although you know you are enjoying it you’ll always miss the place where you come from.”

The recently released video begins with a Members Only jacket wearing man, listening to music on his Walkman and jamming out in an abandoned mall. Initially, the viewer may think our protagonist is hopefully alone in a post-apocalyptic world much like our own — but towards the vocoder-drenched coda, the protagonist is surprised when he sees a crew of friends, who invite him to join.

Video by William Ruben Helms

New Video: Jenny Stevens and The Empty Mirrors Release a HauntIng New Single and Visual

Jenny Stevens, a.k.a. The Ukelele Girl is a Welsh-born, Finnish-based singer/songwriter and musician, and the creative mastermind behind Jenny Stevens and The Empty Mirrors, a songwriting project that finds the Welsh-born, Finnish-based artist dark alt-pop paired with quirky visuals.

Stevens released her latest Jenny Stevens and The Empty Mirrors EP, The Distance Between Us last week. Interestingly, the EP’s latest single “The River Rolls On” is a slow-burning and atmospheric song centered around atmospheric synths, twinkling keys and e-bow’ed guitar paired with Stevens’ gorgeous and yearning vocals. Seemingly indebted to Siouxsie and the Banshees, The Cure, Cocteau Twins and the like, the song as Stevens explains is a “dark and slow reflection on death and the persistence of memory.”

The recently release video is fittingly haunting, fueled by nostalgia, longing and desire.

Single Review by William Ruben Helms

Andrew Oliver is a Toronto-based singer/songwriter, multi-instrumentalist, producer and creative mastermind behind the rising, solo electro pop project Nightshifts. And with Nightshifts, the rising Canadian singer/songwriter, multi-instrumentalist and producer has developed a reputation for crafting kaleidoscopic productions featuring vintage synths, groovy guitar lines and drum machines paired with soulful and lived-in songwriting. The rising Canadian artist aims to create a space where listeners can dance yet feel introspective while learning and feeling something new upon repeated listens.

Oliver’s work thematically focuses on imbalance and the challenge to stay present, with the Canadian artist confiding in press notes, “I very often get caught up thinking about past situations, and looking towards future ones. I write a lot about this imbalance. And ironically, the times I feel most in the moment are when I’m working on music.”

“Beach,” Oliver’s latest Nightshift single is features a warm and breezy production centered around alternating dreamy and fuzzy passages, complete with skittering boom bap beats, buzzing bass synths, looped strummed guitars, twinkling keys and Oliver’s plaintive vocal layered upon each other — with backing vocals being drenched with autotunes and other effects. While bearing an uncanny resemblance to the hazy nostalgia of M83 and Washed Out, the song as the rising Canadian artist explains is rooted in the idea of wondering what would have — or could have — happened if we took a different path in our lives. Yes, it’s the old adage of “if I had known then what I know you” but placed in a vivid and languorous daydream that feels lived-in yet somehow exaggerated. “I have a tendency to daydream, to second guess choices I’ve made in the past, and to think about what could have been,” Oliver says in press notes.

Video by William Ruben Helms

New Video: Mindy Releases an Immersive Visual for Dance Floor Friendly “Poolside”

Mindy Song is a Southern California-born, Korean-American., classically trained multi-instrumentalist and vocalist who first emerged into the national scene as a co-founder of Night Dreamer with Smashing Pumpkins’ Jeff Schroder. Song emerged as a solo artist earlier this year, after working with an eclectic and acclaimed collection of producers including Ryan Kim and Aris Maggiani, who have worked with BTS, Exo, and HyunA; Lior Goldenberg, who has worked with Alanis Morissette, Macy Gray and Allen Stone; Josiah Maccaschi, who has worked with Soko, The Jesus and Mary Chain and Warpaint’s Jenny Lee; and Tristan Calder, who has worked with Kill The Computer.

Performing under the mononym Mindy, Song’s solo work challenges the conservative ideology of her upbringing while displaying transcendence from loneliness and confusion. Song recently released her debut EP Version 1.27, which features “Am I Alive” and the EP’s latest single “Poolside,” a slickly produced number centered around glistening synth arpeggios, thumping beats and Song’s sultry delivery. And while being a dance floor friendly bop, the song thematically is about finding comfort within the smallest aspects of life.

Single Review by William Ruben Helms

Formed back in 2018, the emerging Bangalore, India-based synth pop duo Us and I — Bidisha Kesh (vocals) and Guarav Govilkar (production) — features members who come from very different backgrounds, who bonded over the fact that they share similar musical sensibilities: As the story goes, when they started to work together, Kesh and Govlikar quickly realized that they shared a unique way of crafting songs with deeply personal lyrics paired with the melancholia of the orange and yellow colors leaking from the sounds of their synthesizers.

The duo spent the next two years developing and honing a sound that they believe will act as a bridge between the synth-driven work of Chromatics and the slow-burning, dream pop of Beach House — with subtle nods to darkwave and post-punk. Thematically, the duo’s material generally draws from everyday life and the relationships around them.

As a result of the pandemic, the Bangalore-based duo played a few online, live-at-home livestream sessions. which helped the band gain attention for their debut EP Loveless, which is slated for release later this month. Thematically, the EP’s material focuses on love — in particular a past love and how the nostalgia and grief of that love hits us like waves.

Loveless‘ fist single, “Fragile” is a perfect example of what listeners should expect from the Indian duo’s debut EP: deliberately crafted, textured pop centered around glistening synth arpeggios, sinuous bass lines, thumping beats and Kesh’s gorgeous vocals paired with the duo’s uncanny ability to craft a razor sharp hook. And while the duo claim Beach House and Chromatics as influences, “Fragile” sonically — to my ears, at least — reminds me of a bit of Dead Blue-era Still Corners. That shouldn’t be surprising as the material possess a similar aching nostalgia.

“While searching for a notebook one  afternoon, you suddenly chanced upon  that piece of memory you once shared  with the love of your life. The  erstwhile bittersweet memory which  you had comfortably kept away all  these years rushed back like a huge surf  wave. Curled in a world of fragility,  you hold on to it, reliving what is gone,” the duo say of the song and themes in press notes.

 

Single Review by William Ruben Helms

New Audio: French Producer Flew Releases a Summery and Euphoric Club Banger

Flew is a rising Lyon, France-based musician and producer, who specializes in mixing organic instrumentation — namely guitar — with sleek, club friendly, electronic production. Over the past year or so, the rising French producer has released two attention grabbing singles “Ready For Tonight” and “Bad Lover,” featuring Julie Todd, which have amassed over 100,000 and 80,000 streams respectively.

Building upon a growing profile, the French producer recently released his latest single “Let Loose,” featuring J. Fitz. Centered around tweeter and woofer rocking beats, a New Order-inspired guitar solo, shimmering synth arpeggios, J. Fitz’s soulful vocals and an enormous hook, “Let Loose” is a summery and infectious, Ibiza-like take on house music that captures the swooning euphoria of new love — and dancing in a sweaty, strobe-lit club.

Video by William Ruben Helms

New Video: Philly’s Great Time Releases a Slickly Produced Banger

With the release of their self-produced, full-length debut, 2018’s Great Album, Philadelphia-based indie trio Great Time — vocalist and multi-instrumentalist Jill Ryan, Zack Hartmann (bass, synths) and Donnie Spackman (drums, synths) exploded into the local and national scenes: The album caught the attention of WXPN’s Bruce Warren with several album tracks receiving regular rotation. The album also received attention from NPR, Earmilk and Paste Magazine.

The band also quickly developed a reputation as a must-see live act, playing prominent local venues like World Cafe Live, TLA and Underground Arts before being asked to join nationally touring act Caroline Rose on her East Coast and Midwest tour dates. The Philadelphia-based trio began last year by being the house band for Winnfred Coombe’s The Violet Hour, which featured Saturday Night Live cast members Alex Moffat and Melissa Villaseñor and guests Kristin Chenoweth and Gina Gershon. And just before the pandemic, the members of Great Time were set to open for Lawrence.

Much like countless bands and artists across the globe, the pandemic threw a monkey wrench into their touring plans; however, the Philadelphia trio have managed to remain busy writing, recording and self-producing new material, including the Sounds Like ________EP series. “The idea behind this Sounds Like series of EPs is simple: We want to make what we want to make. We’re inspired by tons of different styles and sounds, and we feel most genuine when we’re creating music without any limitations or boundaries,” Great Time’s Jill Ryan explains in press notes. “The title is a response to the critiques we received on our first album.  Critics have suggested that we should pick a lane or a genre, and Sounds Like is our way of defying that while staying true to ourselves.”

Released yesterday, the second EP of the series, Sounds Like ______ [Vol. 2] further establishes Great Time’s genre-defying sound and approach with the EP’s material sonically focusing on the electro pop element of their overall sound. Thematically, the EP touches upon the frustrations of being a musician/artist, self-doubt, anxiety, obsessive thoughts — and the urge to keep creating despite all of that.

Sounds Like ______ [Vol. 2]’s latest single, “80z Slo Jam” is a sleek and slickly produced song centered around jagged synth arpeggios, tweeter and woofer rattling beats, chiming keys and Ryan’s sultry delivery paired with an infectious, club friendly hook. The song’s title strikes me as being rather ironic: First it ain’t exactly a slow jam. And secondly, the track sonically — to my ears, at least — is a mix of Nu Shooz-era synth pop and Lenses-era Soft Metals. Regardless of all of that, the track a finely crafted banger that captures day job frustration and ennui, longing and desire for more than working for the weekend.

The recently released video is a slick fever dream that follows the members of Great Time as bored and dissatisfied office drones with big dreams of escaping the rat race and making it.

With shows and tours actually being things again, the band will kick off at regional fall tour on September 18 with a set at WXPN’s Xponential Fest before a run of shows in their hometown, NYC, Boston and Vermont. More on that to come, I hope! Additionally, Great Time’s Jill Ryan will sit in on saxophone for Japanese Breakfast’s sold out, five night run at Union Transfer, which started yesterday and ends on August 11. She’ll also join Cassandra Jenkins and St. Vincent for several October dates including Pitchfork Festival and St. Vincent’s highly-anticipated October 12 stop at Radio City Music Hall.

Video by William Ruben Helms

New Video: Montreal’s LiYON Releases a Feverish Visual for Swooning “Starstruck”

LiYON is a Montreal-born and-based singer/songwriter and producer, who started his career in 2010 behind the scenes as a songwriter and producer, writing and producing material for other artists, and making music for films and ads. After stints in Toronto and Los Angeles working behind the scenes and winning a Gemini Award along the way, LiYON returned Montreal, where he had begun to write his own original music, as a way to release what had been building up in his heart and soul.

Fueled by a goal to “bring good vibes to the world, and connect with other humans in a genuine way,” LiYON pairs an ambitious sound with earnest, meaningful and thoughtful songwriting — in both English and French. Interestingly, the Montreal-baed artist plans to release two new singles in English and French and an EP.

The Montreal-based artist’s latest single “Starstruck” is a slickly produced, swooning pop banger centered around shimmering synth arpeggios, skittering and thumping beats paired with LiYON’s plaintive vocals and an infectious hook. Sonically, “Starstruck” manages to be a radio friendly, club banger — and in a way that reminds me quite a bit of JOVM mainstay Washed Out. “Starstruck’ is about an overwhelming feeling of lust and love,” LiYON explains in press notes. “It captures the feeling of being trapped within someone’s grasp – almost hypnotized by an attraction so perfect at that exact moment in time.”

The recently released video for “Starstruck” is a stylish fever dream full of decadence, guns, drugs and violence, while following a protagonist, who seems willing to do anything to keep that love in is life.

Video by William Ruben Helms

New Video: Sissysocks’ Yearning and Ethereal “Augsburg”

Sissysocks is a Melbourne-based singer/songwriter and producer, who crafts ambient and atmospheric synth pop. The Melbourne-based artist’s forthcoming James Cecil-produced album Slink Away is slated for a September 3, 2021 release.

Slink Away’s latest single “Augsburg,” continues a run of atmospheric synth pop centered around shimmering and reverb-drenched synth arpeggios, thumping and skittering beats serving as a silkly bed for the Melbourne-based artist’s achingly tender and yearning vocals. “The song is about looking for things in the wrong places, and making the game mistakes again,” Sissysocks explains. “It was written after spending a short time in Augsburg, outside of Munich.”

dream full of longing and nostalgia: we follow a presumably undead woman through a lonely few days in which she longs to see her favorite artist live again. Walking through town to the club, passerby look at the woman with disgust, loathing and disbelief — but when she gets to the club, she shares a deeply intimate connection with the artist.

Video by William Ruben Helms

New Video: Rising Post Punk Act Menthüll Release a Haunting Visual for Brooding and Cinematic “Profonde Tristesse”

Formed last year, the rising Gatineau, Québec-based indie electronic/goth duo Menthüll –Gabriel and Yseult — have quickly established a retro-futuristic sound that draws equally from New Wave and electro pop paired with lyrics written and sung exclusively in French.

The Hull-based duo’s releases have received praise and accolades globally. Building upon a growing profile in the Francophone music scene and in the global post-punk and goth scenes, Menthüll’s latest single “Profonde tristesse” continues a run of brooding and cinematic material that sounds — to my ears, at least — indebted to John Carpenter soundtracks and the early 4AD Records catalog paired with vocals delivered in a wispy and ethereal French.

Interestingly, the accompanying visual aesthetically reminds a bit of Jorge Elbrecht: the viewer sees a classically-inspired marble bust superimposed in the foreground of a misty forest that gradually burst into a explosive conflagration.

Single Review by William Ruben Helms

Emerging Dallas-based synth pop quartet Luna Luna initially began in 2007 as the solo recording project of its Colombian-born, Dallas-based frontperson and founding member Kavvi. The then-14 year old Kavvi began experimenting and tinkering with GarageBand on his iPhone, which lead to the project’s earliest material. After meeting Danny Bonilla at an open-mic night, where they shared the bill, Luna Luna quickly expanded into a duo. Kaylin Martinez (drums) and Ryan “Gordo” Gordon (drums) were recruited to join the band, after meeting and playing Texas’ house show scene.

The Dallas-based quartet recently announced the forthcoming release of their full-length debut Flower Moon, an effort that will feature, the attention grabbing and critically applauded single “One Thing,” which features a guest spot from The Undercover Dream Lovers‘ Matt Koenig. Building upon a growing profile, Luna Luna released Flower Moon‘s third and latest single “Early Morning.” Centered around glistening synth arpeggios, a propulsive yet sultry groove and Kavvi’s plaintive vocals the summery banger reminds me — to my ears, at least — of Currents-era Tame Impala. And while expressing a desperate, and lustful longing for that special someone, the song reveals an act that has quickly developed an unerring knack for crafting an infectious, dance floor friendly hook.

“‘Early Morning’ is about wanting to physically be with someone,” Luna Luna’s frontman Kavvi explains. “You know sometimes you can Facetime and text all day with someone but at some point that’s not enough and you need to be physically there with them. It’s definitely the most lustful song on the project. I’ve fallen in love with bass recently and that’s what started this song. I think this song is perfect for a night time drive on the highway. That’s when I listen to it the most.”

Along with the new single, the Dallas-based act announced a 19 date tour. Check out the tour dates below.

TOUR:

(W/ BOYO and Alex Sigel and Estereomance on selected dates)

Wednesday 11.10: Santa Ana, CA @ Locker Room +

Thursday 11.11: Los Angeles, CA @ Teregram +

Friday 11.12: San Diego, CA @ House of Blues (Voodoo) +

Saturday 11.13: Santa Cruz, CA @ The Catalyst (Atrium)

Sunday 11.14: San Francisco, CA Rickshaw Stop + localized 

Monday 11.15: Sacramento, CA @ The Starlet Room

Tuesday 11.16: Reno, NV @ Holland Project

Thursday 11.18: Portland, OR @ Honey Latte Cafe

Friday 11.19: Seattle, WA @ Crocodile 

Saturday 11.20: Boise, ID @ Shredder

Sunday 11.21: Salt Lake City, UT @ Kilby Court

Tuesday 11.23: Denver, CO @ Hi-Dive

Tuesday 12.7: Tucson, AZ @ Club Congress #

Wednesday 12.8: Phoenix, AZ @ The Rebel Lounge #

Friday 12.10: El Paso, TX @ Lowbrow Palace #

Saturday 12.11: San Antonio, TX @ Paper Tiger #

Sunday 12.12: Austin, TX @ The Parish #

Monday 12.13: Houston, TX @ Warehouse Live (Studio) #

Tuesday 12.14: Dallas, TX @ Trees #

+ Alex Siegel #Estereomance