Tag: Elsewhere

With the release of 2017’s breakthrough album Nightmare Logic, the Dallas, TX-based metal act Power Trip — Riley Gale (vocals), Blake Ibanez (guitar), Chris Ulsh (drums), Nick Stewart (guitar) and Chris Whetzel (bass) — exploded into the national scene the album received breathless praise from The New Yorker and Pitchfork‘s Best New Music and NPR and landed number 1s on the best of/year-end lists of Rolling StoneBillboard, Stereogum, AV Club, BandcampLA WeeklySpin, Vinyl Me PleaseDallas Observer and countless others. Adding to a huge year for the band, they were featured on the cover of Revolver and Decibelreceived Best Metal Album of the Year from Loudwire and received song placement with the WWE.

Since the release of Nightmare Logic, the Dallas-based metal quintet have been touring relentlessly, headlining shows across North America, the European Union and Japan. The band recently announced the date and lineup for their second annual metal festival, Evil Beat and the festival, which will be held at South Side Ballroom on January 11, 2020 will feature Carcass, Vio-lence, Razor, Deafheaven, Sheer Mag, Drab Majesty, Prurient, Warthog, Torche, Wiccans, Red Death, True Widow, Special Interest, Mil Spec, Dress Code  — and of course, the night’s local heroes, the aforementioned Power Trip. This year will also a feature a kick-off the night before (details to come). Along with that “Hornet’s Nest,” which originally debuted as part of Adult Swim’s Single Series and has since become a fan favorite will finally see a digital and vinyl release. As for the single, it’s a headbanger’s delight — furiously howled vocals, scorching guitar riffs, thunderous drumming and mosh pit friendly hooks. And while sonically being indebted to Slayer and Metallica, Power Trip’s latest single catches them at their most ornery and explosive.

The members of Power Trip will be embarking on a fall co-headlining tour with High on Fire that includes a two night stay at Elsewhere — November 21, 2019 and November 2019. After their Evil Beat festival, the band will go on a lengthy spring UK and European run with Lamb of God and Kreator. Check out the tour dates below.

Tour  Dates: 

2019

10/12: Manchester, TN – Exit 111

11/03: Yogyakarta, ID – Jogjarockarta Festival

11/07: Austin, TX – Levitation at Mohawk #

11/09: San Antonio, TX – Paper Tiger #

11/10: Houston, TX – Foamhenge #

11/11: Pensacola, FL – Vinyl Music Hall

11/12: Tampa, FL – The Orpheum #

11/14: Atlanta, GA – The Masquerade #

11/15: Charlotte, NC – Amos’ Southend #

11/16: Richmond, VA – The Broadberry #

11/17: Baltimore, MD – Baltimore Sound Stage #

11/19: Philadelphia, PA – Union Transfer #

11/20: Asbury Park, NJ – Asbury Lanes #

11/21: Brooklyn, NY – Elsewhere #

11/22: Brooklyn, NY – Elsewhere #

11/23: Hartford, CT – Webster Theatre #

11/24: Montreal, QC – Club Soda #

11/25: Toronto, ON – Danforth Music Hall #

11/26: Detroit, MI – Majestic Theatre #

11/27: Chicago, IL – Metro #

11/29: Denver, CO – The Oriental Theater #

11/30: Salt Lake City, UT – Metro Music Hall #

12/02: Vancouver, BC – Rickshaw Theatre #

120/3: Seattle, WA – Neumos #

12/04: Portland, OR – Wonder Ballroom #

12/06: Berkeley, CA – The UC Theatre #

12/07: Los Angeles, CA – The Regent Theater #

12/08: Santa Ana, CA – The Observatory #
# w/ High on Fire, Devil Master, Creeping Death

2020

01/11: Dallas, TX – Evil Beat Vol 2 at South Side Ballroom

02/02: Tokyo, JP – Liquid Room

03/27: Stockholm, SE – Fryshuset Arenan ^

03/28: Copenhagen, DK – Forum Black Box ^

03/30: Oulu, FI – Teatria ^

03/31: Helsinki, FI – Ice Hall Black Box ^

04/02: Kraków, PL – Tauron Arena ^

04/03: Berlin, DE – Columbiahalle ^

04/04: Oberhausen, DE – Turbinenhalle ^

04/05: Wiesbaden, DE – Schlachthof ^

04/07: Zurich, CH – Samsung Hall ^

04/08: Munich, DE – Zenith ^

04/09: Ludwigsburg, DE – MHP Arena ^

04/11: Hamburg, DE – Sporthalle ^

04/14: Barcelona, ES – Razzmatazz ^

04/15: Madrid, ES – La Riviera ^

04/17: Paris, FR – L’Olympia ^

04/18: Saarbrücken, DE – Saarlandhalle ^

04/19: Brussels, BE – Ancienne Belgique ^

04/21: Bristol, UK – O2 Academy Bristol ^

04/22: Manchester, UK- Manchester Academy ^

04/23: Glasgow, UK – O2 Academy Glasgow ^

04/24: Birmingham, UK – O2 Academy Birmingham ^

^ w/ Lamb of God and Kreator

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New Audio: Nashville’s Twen Releases an Anthemic New Single

Earlier this year, I wrote about the Nashville-based indie rock act Twen.  The act, which is led by founding members Jane Fitzsimmons (vocals) and Ian Jones (guitar) can trace their origins to their involvement in Boston’s DIY scene, and as you may recall, the duo since their formation have been actively been redefining what a touring band should be and should be in the streaming age. Initially releasing only a live EP recorded from the band’s live debut in a Boston basement, the band has toured non-stop, honing and perfecting a live show that’s been described by critics and fans alike as raw and mesmerizing. 

Continuing to proudly ascribe to the DIY ethos that has influenced and sustained them, Twen’s core duo have run AirBNBs while touring, played in exchange for skydiving, screen printed self-designed merch items by hand and book their own tours. The duo emerged into the national scene with the release of their attention-grabbing single “Waste,” which received praise from the likes of NPR, Stereogum, Paste Magazine, BrooklynVegan, Uproxx, Under The Radar and others. Earlier this year, the duo opened for the acclaimed Louisville-based JOVM mainstays White Reaper — and they released the slow-burning and shoegazer-like “Holy River,” a track that to my ears would likely draw comparisons to classic 4AD Records, Cocteau Twins, Slowdive, A Storm in Heaven-era The Verve and Beach House — but with a yearning, dream-like quality that gives the ethereal track a subtle bit of emotional weight.

 Building upon a growing profile, the buzz-worthy, Nashville-based duo will be releasing their full-length debut Awestruck through Frenchkiss Records on September 20, 2019. I also wrote about the album’s first official single “Baptism,” an atmospheric and shoegazer-like track centered around shimmering guitars, propulsive drumming, Jane Fitzsimmons’ enormous, room-filling vocals singing impressionistic lyrics full of a yearning desire to be born, becoming and re-born. The album’s latest single “Make Hard” is centered around jangling, reverb-soaked guitars, propulsive drumming and rousingly anthemic hook — and while bearing a bit of a resemblance to Fleetwood Mac, the song is rooted in lived-in, personal experience that gives the song an emotional weight. 

“The song was rewritten and arranged very late in the recording process,” the band explained to DIY. “Another one of our earliest tunes, the second verse was a response to the growing pains we were going through at the time, transitioning from part-time rockers to full-time road warriors. The lyrics have come to symbolize the dynamics and relationships within a band as it grows, through the transformation of defined roles and how they change over time.” 

New Video: JOVM Mainstay Lola Kirke Releases a Cinematic Yet Intimate Visual for New Single “Mama”

Over the past year couple of years, I’ve written quite a bit about the London-born, New York-based singer/songwriter, musician and actress Lola Kirke. Perhaps best known for her roles in Noah Bambauch’s Mistress America and the Amazon series Mozart in the Jungle, and David Fincher’s Gone Girl, the London-born, New York-based JOVM mainstay is the daughter of drummer  Simon Kirke, who was a member of the 70s hit-making rock bands Bad Company and Free and Lorraine Kirke, the owner of Geminola, a New York-based vintage boutique known for supplying outfits for Sex and the City.  She’s also the sister of singer/songwriter Domino Kirke.

During that same period of time, Kirke has developed a reputation as singer/songwriter and solo artist, releasing last year’s Wyndham Garnett-produced full-length debut Heart Head West, a deeply personal effect that Kirke said at the time was “about basically everything I thought about in 2017 — time, loss, social injustice, sex, drinking, longing — essentially everything I’d talk about with a close friend for 40 minutes.” Building upon a rapidly growing profile, Kirke will be releasing an EP of country duets, Friends and Foes and Friends Again through Downtown Records on September 13, 2019. The EP reportedly finds Kirke further developing the honky tonk country sound that has her won her attention across the blogosphere — while subtly updating it, a smidge. 

The EP’s first single is the gorgeous and achingly mournful “Mama.” Penned by Kirke herself and featuring Wet’s Kelly Zutrau, the  song about the painful complexities of the mother/daughter relationship, written from lived-in, deeply personal experience. And as a result, the song’s narrator expresses remorse, regret and longing for a relationship that’s been tainted by the pride, idiosyncrasies, misunderstandings, different perspectives of two stubborn, hurting, foolish and very human adults, who love each other — but also know how to wound each other. 

Lola’s older sister, Jemina Kirke offered to direct the video. And originally, Jemina and Lola intended to have their mother star in the video. But when their mom politely declined, they decided to age Lola to create their own mother figure. The cinematically shot yet intimate visual follows our mother figure in her some of her deepest, most private moments — getting dressed and going through her daily beauty routine, fussing about through an enormous mansion before eating a cheeseburger and washing it down with a beer. Is she preparing for some sort of gathering? We don’t know. But what’s obvious is that the mother figure in the video is painfully lonely — and the video suggests that she is going through some sort of emotional breakdown. 

“It’s a perverse not mine to want to see people in their private moment,” Jemina Kirke says of the video. “I would’ve loved to her be defecating on the toilet but decided ravenous eating was just as good, just as grotesquely human. This story is about a character of stature and prestige, whose live is all about appearances, engaging in an act that puts her on the level with everyone else. And then the relief (and the horror) that comes from that.” 

New Audio: Acclaimed Punk Act Ceremony Releases a Shimmering Post-Punk Inspired Single

Currently featuring Ross Farrar (vocals), Anthony Anzaldo (guitar), Justin Davis (bass), Andy Nelson (guitar) and Jake Casarotti (drums), the Rohnert Park, CA-based punk act Ceremony can trace their origins to 2005, when they formed as a sextet with Farrar, Anzaldo, Davis, Nelson, Casarotti and Ryan Mattos (guitar) under the name Violent World before eventually changing their name. 

With the release of their earliest work — in particular, 2005’s Ruined EP and Violence Violence, 2008’s Still Nothing Move You, the band quickly developed a reputation for a relentlessly brutal and bruising hardcore punk sound compared to the likes of Infest and others. Building upon a growing profile, the Rohnert Park, CA-based punk act toured across the world with bands like Blacklisted, Converge, and AFI before releasing 2010’s Rohnert Park. 

Shortly before they signed to Matador Records in 2011, the band went through a lineup change with the departure of Ryan Mattos. The following year saw the release of the band’s fourth album Zoo, an album that was a radical sonic departure from the band, as it saw them moving from the bruising hardcore sound of their earliest efforts towards a pre-hardcore, post-punk inspired sound much like Pink Flag-era Wire. 2015’s The L-Shaped Man found the band sonically moving further towards post-punk with a sound that was compared to the likes of Joy Division and others. 

The band’s soon-to-be released sixth album In The Spirit World Now is slated for an August 23, 2019 release through Relapse Records and the album reportedly finds the band’s sound further pulling from the post punk influences that’s driven their last couple of albums — but there’s also a bit of a rock influence. And unsurprisingly, the band has managed to evolve their sound while remaining true to themselves as songwriters and artists.  Interestingly, the album’s latest single, the hook-driven “Presaging the End” is centered around shimmering and slashing guitars and a motorik-like groove, the song finds the acclaimed punk act sounding much more like The Fixx — in particular “The Sign of Fire” and “Red Skies” but while retaining a punk rock intensity and earnestness. 

New Video: Rituals of Mine’s Queer “Space Jam” Themed Visuals for Sultry “Burst”

Initially formed in 2009 as Sister Crayon, the acclaimed Los Angeles, CA-based electro pop duo  Rituals of Mine, currently comprised of singer/songwriter Terra Lopez and percussionist Adam Pierce have received attention for a sound that draws from 90s trip hop, footwork and  downtempo R&B — and for years of relentless touring up and down the West Coast, playing house shows, DIY venues and basements with the likes of The Album Leaf, Built to Spill, Antemasque, Le Butcherettes, Maps & Atlases, Doomtree and others. Adding to a quickly growing profile, the Los Angeles-based duo’s first two albums — 2011’s Bellow and 2013’s Cynic — were released to critical acclaim. 

2015 was a profoundly harrowing and difficult year for Lopez: her father committed suicide and several moths later, her best friend Lucas Johnson tragically died in an accident. Reeling from the grief of inconsolable and unexpected loss, Lopez in a period of deep reflection felt the need to reassess her life and her work in Sister Crayon. She decided to put the Sister Crayon name to rest, moving forward with a new moniker  — Rituals of Mine. As Terra Lopez wrote at the time, “It was a mantra that I repeated under my breath on a daily basis when the loss I was experiencing felt too heavy at times. Music, the act of creating, performing, touring, writing, singing, experimenting – all the rituals we have created to get through life.”

After years of obscuring her own story and emotions through metaphorical lyrics, Lopez felt a sudden confidence to write much more directly about her experiences and life as a queer woman of color. Lopez began fleshing out the material on what would become her Rituals of Mine debut Devoted with her longtime collaborator and producer Wes Jones, who helped turn her heartfelt writing on her trauma and personal growth into urgent and pulsating electronic tracks. Lopez then enlisted Adam Pierce to play drums, knowing that their background in metal percussion would provide an intensity that could match her own.

Now, if you’ve been frequenting this site for some time, you might recall that last year was a very busy year for Lopez and Pierce. They opened for a handful of dates for The Afghan Whigs and Built to Spill’s co-headliing tour, including a Chicago area stop last April. They also opened for Garbage during the multi-plantium Grammy Award-winning band’s US tour. They also went on their first UK tour with JOVM mainstay Geographer and The Seshen. 

Interestingly, the duo’s highly anticipated Wes jones and Neal Pogue co-produced follow-up to Devoted, Sleeper Hold EP is slated for an October 4, 2019 release through Carpark Records — and the EP will include the urgent anti-Trump anthem “No Time To Go Numb,” a track that forcefully reminded the listener that now isn’t the time to slink back from the horrors of a power mad, greedy and hateful administration; that we have to be fueled by righteous anger and fight like hell for the things that truly matter.  “Burst,” Sleeper Hold’s second and latest single is a glitchy and hyper-modern bit of electro R&B that’s centered around stuttering beats, tweeter and woofer rocking low end and Lopez’s sultry, self-assured vocals. And while the track may recall Timbaland’s forward-thinking work with Aaliyah and Missy Elliott, Rituals of Mine’s latest single is driven by Lopez’s commitment to unvarnished emotional honesty.  “I made a promise to myself that I’m no longer going to play small or hide behind metaphors, that I’m going to really lean into self-confidence, self-reliance and take up space,” Lopez says in a statement to Billboard. “‘Burst is the beginning of that.” 

Co-directed by Kris Esfandiari and Colette Levesque, the recently released video for “Burst” features Rituals of Mine’s Terra Lopez playing basketball against a team of evil and monstrous figures. At one point, her younger self appears and helps Lopez win the game. According to the statement Lopez wrote to Billboard, the recently released video represents overcoming past trauma to effectively move on in your life, with the young protagonist representing a younger version of herself. “The opponents all represent obstacles I’ve had to face being a queer woman of color in this industry … this video was a way for me to confront both my childhood traumas and adulthood obstacles through the activity that has always grounded me,” she says. “Also, I just really wanted to create our version of a Queer Space Jam for 2019.”

Live Footage: the bird and the bee Cover Van Halen’s “Ain’t Talkin’ ‘Bout Love” with Dave Grohl on “The Late Late Show with James Corden”

Comprised of singer/songwriter Inara George and seven time Grammy Award-winning producer and multi-instrumentalist Greg Kurstin, who has worked with the likes of Sia,Adele, Beck, Kendrick Lamar, Foo Fighters and Paul McCartney, the Los Angeles-based indie pop act the bird and the bee can trace their origins to when they met  while working on George’s 2005 solo debut All Rise. Bonding over a mutual love of 80s pop and rock, the duo decided to continue to work together in a jazz-influenced electro pop project.

The Los Angeles indie pop duo’s debut EP Again and Again and Again and Again was released in late 2006. They quickly followed that up with their self-titled full-length debut in early 2007 — and with their earliest releases George and Kurstin quickly developed a reputation for bringing a breezy elegance to their work, which finds them putting their own idiosyncratic twist on time-bending indie pop.

Although serving as the long-awaited follow up to 2015’s Recreational Love, the bird and the bee’s fifth album, Interpreting the Masters, Vol. 2: A Tribute to Van Halen actually closely follows 2010’s critically applauded Interpreting the Masters, Vol. 1: A Tribute to Hall & Oates. And while Van Halen‘s most anthemic and beloved work may initially seem like an unlikely vessel for the Los Angeles-based duo’s sound and approach, George and Kurstin are both lifelong fans of David Lee Roth-era Van Halen. As the story goes back in 2007, George caught her first-ever Van Halen show, during the first tour to feature David Lee Roth as the band’s frontman since 1985. George was so charmed by Roth’s presence, that after that show, she approached Kurstin about writing a song for Roth. The end result was the swooning serenade “Diamond Dave,” which appeared on their 2008 sophomore album Ray Guns Are Not Just the Future. “We asked him to be in the video, but instead he signed a picture and gave me the yellow top hat he’d worn at the show I saw, which I thought was very sweet,” George says in press notes. “When we were trying to figure out who to cover for the second volume of Interpreting the Masters, we were both a little bit like, ‘Oh my god, can we really do it?’ But then we just went for it.”

Slated for an August 2, 2019 release through No Expectations/Release Me Records, the duo’s fifth album features an impressive backing band of guest musicians including Justin Meldal Johnsen (bass), who has worked with Beck and Nine Inch Nails; Joey Waronker (drums), who has worked with R.E.M and Elliott Smith; and Omar Hakim(drums), who has worked with the David Bowie and Miles Davis assisting the duo in making familiar David Lee Roth-era Van Halen anthems completely their own, imbuing even the most over-the-top tracks with a slinky intimacy.

Interestingly, for Kurstin, an accomplished jazz pianist, who once studied with Jaki Byard, a pianist that once played in Charles Mingus‘ band, one of the greatest challenges he had translating Eddie Van Halen’s virtuoso guitar work into piano arrangements that kept some of the spirit and vibe of the original. “I know there’s a jazz influence with the Van Halen brothers, so I tried to channel some of the things that I felt might’ve influenced Eddie,” Kurstin notes. “In a way ‘Eruption’ is almost like a piece of classical music, so I mostly treated it that way as I interpreted it for piano,” he adds, referring to the iconic instrumental guitar solo from Van Halen’s self-titled debut. 

While creating arrangements around Eddie Van Halen’s guitar work will reveal the duo’s ingenuity and playfulness as interpreters and arrangers paired with a deeply nuanced reading of the material, which is influenced by their deep and profound emotional connection to the band.“I remember being 10-years-old and seeing their videos and feeling both excited and totally terrified—I responded to them in this very visceral way,” George says in press notes. Kurstin, who also is a lifelong fan, actually got a chance to work with Eddie Van Halen in the early 80s when the Grammy Award-winning producer and multi-instrumentalist was a 12 year-old member of Dweezil Zappa’s band. “I got to hang out with him in the studio and go backstage when Van Halen played The Forum, which was a really big moment for my younger self,” Kurstin recalls.

Interpreting the Masters, Vol. 2: A Tribute to Van Halen‘s album’s second single “Ain’t Talkin’ Bout Love” is a slinky New Wave-like take on the original, centered around an angular and propulsive bass line, atmospheric electronics, shimmering and arpeggiated synths and while bearing an uncanny resemblance to New Order and It’s Blitz!-era Yeah Yeah Yeahs, the track is imbued with a feverish quality.

While much of Van Halen’s material, whether it was David Lee Roth-era or Sammy Hagar-era is seemingly familiar to the point of well-worn, the first two singles off Interpreting the Masters, Vol. 2: A Tribute to Van Halen finds the duo crafting a loving and thoughtful take on beloved material. And they manage to do so in a way that retains familiar elements but within a playful, post-modern, decidedly feminist fashion. 

The duo were recently on The Late Late Show with James Corden, where they performed their sultry rendition of “Ain’t Talkin’ ‘Bout Love” with a special guest — Dave Grohl, who played drums. 

Comprised of singer/songwriter Inara George and seven time Grammy Award-winning producer and multi-instrumentalist Greg Kurstin, who has worked with the likes of Sia, Adele, Beck, Kendrick Lamar, Foo Fighters and Paul McCartney, the Los Angeles-based indie pop act the bird and the bee can trace their origins to when they met  while working on George’s 2005 solo debut All Rise. Bonding over a mutual love of 80s pop and rock, the duo decided to continue to work together in a jazz-influenced electro pop project.

The Los Angeles indie pop duo’s debut EP Again and Again and Again and Again was released in late 2006. They quickly followed that up with their self-titled full-length debut in early 2007 — and with their earliest releases George and Kurstin quickly developed a reputation for bringing a breezy elegance to their work, which finds them putting their own idiosyncratic twist on time-bending indie pop.

Although serving as the long-awaited follow up to 2015’s Recreational Love, the bird and the bee’s fifth album, Interpreting the Masters, Vol. 2: A Tribute to Van Halen actually closely follows 2010’s critically applauded Interpreting the Masters, Vol. 1: A Tribute to Hall & Oates. And while Van Halen‘s most anthemic and beloved work may initially seem like an unlikely vessel for the Los Angeles-based duo’s sound and approach, George and Kurstin are both lifelong fans of David Lee Roth-era Van Halen. As the story goes back in 2007, George caught her first-ever Van Halen show, during the first tour to feature David Lee Roth as the band’s frontman since 1985. George was so charmed by Roth’s presence, that after that show, she approached Kurstin about writing a song for Roth. The end result was the swooning serenade “Diamond Dave,” which appeared on their 2008 sophomore album Ray Guns Are Not Just the Future“We asked him to be in the video, but instead he signed a picture and gave me the yellow top hat he’d worn at the show I saw, which I thought was very sweet,” George says in press notes. “When we were trying to figure out who to cover for the second volume of Interpreting the Masters, we were both a little bit like, ‘Oh my god, can we really do it?’ But then we just went for it.”

Slated for an August 2, 2019 release through No Expectations/Release Me Records, the duo’s fifth album features an impressive backing band of guest musicians including Justin Meldal Johnsen (bass), who has worked with Beck and Nine Inch Nails; Joey Waronker (drums), who has worked with R.E.M and Elliott Smith; and Omar Hakim (drums), who has worked with the David Bowie and Miles Davis assisting the duo in making familiar David Lee Roth-era Van Halen anthems completely their own, imbuing even the most over-the-top tracks with a slinky intimacy.

Interestingly, for Kurstin, an accomplished jazz pianist, who once studied with Jaki Byard, a pianist that once played in Charles Mingus‘ band, one of the greatest challenges he had translating Eddie Van Halen’s virtuoso guitar work into piano arrangements that kept some of the spirit and vibe of the original. “I know there’s a jazz influence with the Van Halen brothers, so I tried to channel some of the things that I felt might’ve influenced Eddie,” Kurstin notes. “In a way ‘Eruption’ is almost like a piece of classical music, so I mostly treated it that way as I interpreted it for piano,” he adds, referring to the iconic instrumental guitar solo from Van Halen’s self-titled debut. 

While creating arrangements around Eddie Van Halen’s guitar work will reveal the duo’s ingenuity and playfulness as interpreters and arrangers paired with a deeply nuanced reading of the material, which is influenced by their deep and profound emotional connection to the band.“I remember being 10-years-old and seeing their videos and feeling both excited and totally terrified—I responded to them in this very visceral way,” George says in press notes. Kurstin, who also is a lifelong fan, actually got a chance to work with Eddie Van Halen in the early 80s when the Grammy Award-winning producer and multi-instrumentalist was a 12 year-old member of Dweezil Zappa’s band. “I got to hang out with him in the studio and go backstage when Van Halen played The Forum, which was a really big moment for my younger self,” Kurstin recalls.

Interpreting the Masters, Vol. 2: A Tribute to Van Halen‘s first single is the duo’s  “Panama,” which finds the them turning the beloved, power chord-based arena rock anthem into a sultry club banger, centered around shimmering and arpeggiated synths, bright blasts of twinkling piano and cowbell, a wobbling Bootsy Collins-like bass line and George’s sensual vocal delivery. The album’s second single “Ain’t Talkin’ Bout Love” is a slinky New Wave-like take on the original, centered around an angular and propulsive bass line, atmospheric electronics, shimmering and arpeggiated synths and while bearing an uncanny resemblance to New Order and Yeah Yeah Yeahs, the track is imbued with a feverish quality.

While much of Van Halen’s material, whether it was David Lee Roth-era or Sammy Hagar-era is seemingly familiar to the point of well-worn, the first two singles off Interpreting the Masters, Vol. 2: A Tribute to Van Halen finds the duo crafting a loving and thoughtful take on beloved material. And they manage to do so in a way that retains familiar elements but within a playful, post-modern, decidedly feminist fashion.

 

 

The bird and the bee will be embarking on a 15 date North American tour throughout the summer, and the tour will include an August 17, 2019 stop at Elsewhere. Check out the rest of the tour dates below.

Tour Dates
08/02/19 – Los Angeles, CA @ John Anson Ford Theater # – TICKETS
08/11/19 – St. Paul, MN @ Turf Club * – TICKETS
08/12/19 – Chicago, IL @ Sleeping Village * – TICKETS
08/14/19 – Pittsburgh, PA @ Mr. Smalls Theatre * – TICKETS
08/15/19 – Providence, RI @ Columbus Theatre * – TICKETS
08/16/19 – Philadelphia, PA @ World Cafe Live * – TICKETS
08/17/19 – Brooklyn, NY @ Elsewhere * –TICKETS
08/20/19 – Carrboro, NC @ Cat’s Cradle * – TICKETS
08/21/19 – Atlanta, GA @ Aisle 5 * – TICKETS
08/22/19 – Birmingham, AL @ The Saturn * – TICKETS
08/24/19 – Dallas, TX @ Trees * – TICKETS
08/25/19 – Austin, TX @ Parish * – TICKETS
08/28/19 – Phoenix, AZ @ Crescent Ballroom * – TICKETS
08/29/19 – San Diego, CA  @ Casbah * – TICKETS
08/30/19 – San Francisco, CA @ Rickshaw Stop * ^ – TICKETS
# = featuring Dave Grohl on drums and Justin Meldel-Johnsen on bass
* = support from Samantha Sidley and Alex Lilly
^ = additional support from DJ Aaron Exelson