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Creed Bratton on the Future of Rock ‘n’ Roll and The Office

There’s more to Creed Bratton than strangler jokes. Admittedly, it’s hard to separate the man from the myth — or rather, Creed Bratton in real life versus Creed Bratton on NBC’s The Office — but we’d be remiss to not mention, you know, the hundreds of other credits to his name. Like, for instance, did you know he’s been playing music for over 50 years?

A former member of The Grass Roots, Bratton has had an incredible history in the music industry, having worked with The Wrecking Crew and performed at iconic events such as the Fantasy Fair and Magic Mountain Music Festival and the San Francisco Pop Festival. Since leaving the outfit in the late ’60s, he’s never stopped writing music.

Creed Bratton - While the Young Punks Dance

He also gets around. Name a country or toss out a city name and odds are he’s been there. He’s a globetrotter, a cosmopolitan, who has too many stories to tell, which is likely why he keeps writing songs. His latest album, While the Young Punks Dance, is his seventh solo record to date, and finds Bratton under the guidance of producer Dave Way and Dillon O’Brian.

In support of the album, which is now available, Bratton spoke to Consequence of Sound about a range of oddities. From his admiration for The Clash to his favorite far-reaching locales to his time working on The Office, Bratton was quite candid with Editor-in-Chief Michael Roffman, and he even managed to pull the rug from underneath him.

Your entire life has involved music. When I saw the title of your new album, While the Young Punks Dance, I wondered if you got to experience the earliest punk movements in the ’60s and ’70s.

All my parents and grandparents all played music. My grandparents on my mother’s side had a semi-professional band. I played through college and had started making money at 17. I played trumpet for years and years. I don’t know if you knew that, but I was first chair from my freshman year on on classical trumpet. And I could play piano by ear at 14 or 15, not that I’m a really great piano player; I write a little by it now, but mostly guitar.

To answer your question, I had a friend named David Jove, and he had a thing called New Wave Theatre at the period of time I was starting to listen to the punk. And I knew it was very simplistic, but there was something about that raw energy … I loved The Clash. Yeah, of course. And there’s a song I tried on The 80’s called “Hostile Gospel” that is my punk homage, and in it there’s a line at the end that goes, “All you punks are dead … Nuke the punks.” But it’s actually a cool track.

Did you ever get to see The Clash live?

No, no, but my friend Azazel Jacobs, who directed me in Terri, he’s a huge Clash fan. He rekindled my love for that band over just the last few years. I just realized how much I really dug those guys, you know?

Where does the title While the Young Punks Dance come from?

It’s a line … And actually by my producer, Dave Way, the multi-Grammy Award-winning Dave Way. We had recorded six songs, maybe five songs, and then we were going to put on “All the Faces”, the song I did for the finale of The Office. All the songs fit into that genre, that style of me just playing my acoustic guitar and singing. Doing it the old-fashioned way, just standing in front of a mic with a guitar and doing it all at the same time and not on different tracks. And then some friends of mine came in and did a little sweetening over it.

One of my songs, “Boxer in a Club”, there’s a line that says, “While all the young punks dance.” It’s actually a song about a dealer I knew back in my LA days, back in my crazy, crazy days, who died a while back. And when I sung the song at my shows, people started laughing thinking it’s one of my funny bits, and I’m thinking, “No, no, it’s not.” There’s a line from the movie Lonesome Dove: “Even whores have hearts.” And it’s true. Drug dealers, too. He was a good guy. That was just his job. Nobody thought he was a bad person. He just fulfilled a part of society … which made America great. But he passed on, and I was moved by the man and what he had to go through, so I wrote this song called “Boxer in a Club”. So that’s where that title’s from.

You’ve always been quite the traveler. Have there ever been places over the years you felt spiritually connected to and maybe wanted to stay there?

Just a few months ago, I flew over Romania to do this thing called The Sisters Brothers, this western noire outside of Bucharest. I went to visit some friends in Switzerland, and I went to Paris to hang out for a bit. I’d been to Paris a few times before, but this time I just walked around those streets and sat in those cafes, and the city was just saying, “You know, you could just come here for a while and be very comfortable.” I used to feel the same way about London, but this time Paris was really calling to me.

I love being at Lake Tahoe. I feel there’s a great energy there. People keep telling me I need to go to Santa Fe, those desert mountains. I’m actually going to Joshua Tree this weekend, driving out, to find a place to meditate. I’m kinda looking for a cabin to rent and write at.

Do you prefer more rustic places?

Yeah, I love cool cities, and I’m generally there when I’m working. But, for myself, I’m from the mountains, that bucolic upbringing in a small town near Yosemite. I like being around water, and I’d be very happy just running around in my boots and going fishing. I go fishing a lot. I’ve been to Alaska about three times. I went up there with my son recently. I go trout fishing a lot. So, I do like getting up by myself in the wilderness. It recharges me. And as a writer, as a songwriter, and as an actor, you don’t have to be working all the time. You’re getting a lot of great work done when you’re just out there in nature recharging. It’s important. People think you need to be working all the time. No, you really need to get away and recharge your batteries. It’s important.

Rock and roll was king when you started out. Now, a lot of people claim it’s dying out. What’s your take on the state of rock and roll?

Well, when I started out as a young child … As I said, I was playing trumpet already, and then my grandfather taught me some chords on guitar as a young kid. I had a little crystal set [radio receiver] in my room, and sometimes, if the climate was right, on some days you could get KFWB. B. Mitchel Reed from Los Angeles would come bouncing over the hills there from LA. And I started hearing Fats Domino and Chuck Berry, Little Richard, Everly Brothers. One time somebody played Link Wray’s “Rumble”, and that guitar came over [mimics chord sound], and that was it. I was hooked. I got my Silvertone guitar.

There’s something about music. Music has saved me. There have been times when I was emotionally distraught, broken up with girlfriends and thought my life was over. And then I’d hear one song and have my fist pounding on the dashboard, and I’d get all excited. That was my passion. There’s something about a great rock and roll song, whether it’s the Stones or The Kinks or Arc Angels or somebody, to me, who just got it and are connected to the fiber of rock. It’s always going to be there. And sure, other stuff can come in. I used to like country, but I just gotta be very honest. I think what’s going on in country now is just rehashed, anemic rock riffs. I can’t say anything about rap because it’s not that I like it or dislike it. I’m just ignorant of the genre. I can understand the political significance of it, but it’s past me. It came up too fast.

But I don’t think you’re ever going to get away from a really interesting melody and a great four on the floor, lean on the one, as part of human nature. I don’t think that sort of thing can go away. I hope not. As soon as I get back from my March tour, then I’ll go back in the studio and start my eighth album. And I’m going to go in with a couple of friends of mine that I’ve met through Dave and people on my own, and we’re going to put together a nice, little, raw, raw … I don’t know how I say it. Who’s doing stuff like that? Jack White, you know. Kind of that Austin thing. I heard some young bands there, and I can get really excited over hearing a clean, little combo. It gets me turned on. It makes me think there’s hope for rock and roll. Boy, I sure hope so. I do love it so.

You took about three decades off from releasing music while you pursued acting. Were you writing and playing music during this time?

Sure, absolutely. I was always playing. Those records you hear that came out — The 80’s, Creed Bratton, Chasin’ the Ball, those first few albums that came out that I worked on with Henry Lewy, Joni Mitchell’s producer. I had several bands. Nobody heard about it. I wasn’t out promoting, but I was still playing local clubs and recording, but I had to make a living. And I couldn’t make a living by music. Now, I can … Thank god for The Office. It put me back in the public eye. But all that time I was working in film to stay alive, and then 25 or 30 years later The Office comes along, and it’s this whole new paradigm shift, isn’t it?

Obviously, you’re Creed Bratton, and the name of your character in The Office is also Creed Bratton. Are there similarities between the two? How much of you went into that character? Did you have any input on where the character would go, because it got really dark.

[Laughs] …which I loved. In a nutshell, I was working on the show Bernie Mac, and the director Ken Kwapis directed an episode, and he was a big Grass Roots fan, and we started talking. And I found out that he was going on to do The Office. Now, I was a big fan of the Ricky Gervais show. So, I lobbied through Ken to get on that show. I wanted to find a way to work on the show because my gut said, “Do it, do it, do it. Take a chance.” I left Bernie Mac just to go and sit at a desk. But they liked me and told me they’d try to work me into the mix. Well, right away I went out and shot an hour’s worth of stuff based loosely on what I thought Creed would’ve done if he had continued on doing drugs, and it got really insane. So, I basically really amped up. I’m a lot calmer in real life, a lot more thoughtful.

So, they took the character that I’d given them and gave me a shot at the Halloween episode with Steve Carell. We did six pages of dialogue in one day. And that was it. I pulled it off, luckily, and got on the show. And every once in a while, they’d let me do music on the show. You saw on the show that I had a guitar at my desk behind my character. Only in deleted scenes would you see me playing with a band or talking about The Grass Roots days until the finale where it came out in prime time that I was actually in that band. But all that time, it was part of the B story. They were going to do it a lot, but it just didn’t seem to work out. But it worked out great in the long run, of course. It kept that mystique going.

So, you were able to embellish the character, too.

Once I gave them what I had and they knew I could do the stuff, they took it from there. I don’t know if I would’ve come upon that I was killing people and sticking them in the trunk of my car, but the stuff that they came up with was so funny. I laughed as hard as anybody at the table reads. I just loved the writers so much.

They were such great jokes. One of my favorite bits was when you walked in while they were acting out the murder mystery, and you just walk right back out the door.

I was doing a radio interview, and they referred to my character as “The Sniper.” I said, “What?” It’s a radio term for someone who comes in and goes zap, bam, and kills with one shot. And I said, “Yeah, that’s kinda like the Creed character.” He gets one good shot. It’s liable that it’s the writing. It’s not like they’re playing hardball. They throw me this beach ball, and I got a bat to knock this thing out of the park. It’s pretty easy if you had writers like you had on The Office.

And the show gets so crazy in the later seasons that it really feeds into the Creed mythos. 

Oh, yeah. I had some fun stuff toward the end.

Do you ever get bothered by, even as a performer onstage, fans wanting to see the other Creed when they come out to see you?

No, no, no. I know there are some people who think that actors who come on to talk about music when others want to talk about the movie they did get all miffed out. Nuh-huh. Nuh-huh. Boy, I wouldn’t be getting to sing my songs for people now if it wasn’t for that show. So, I am very, very indebted and thankful for Greg Daniels and all those people, Ken Kwapis, for giving me that break. And I tell people right away, “I’ll do some funny stuff. I’ll talk about The Office in between because I know that’s why you’re here, but some of these songs are going to be downers.” I’m a far more serious person than that character would ever lead you to believe I would be. But you’ll hear that in this album. This is definitely the closest to who I am — these songs. I’m really proud of this album.

How did you come to sing “All the Faces” in the show’s finale?

PA comes to my trailer and says that Greg Daniels wants to talk with me. He’s back for the last season because he left to do Parks and Recreation. He talked to all the cast and asked their input on how they thought their characters should leave the show. And I thought, “Wow, this is amazing.” It’s not the typical show where they tell you to stand over there and do what they say. So, I told them that I had written a song and wrote it right after I left The Grass Roots; I was sitting there in front of the fire, and my wife was getting my dinner ready, and I was playing guitar, and my baby was in her bassinet. And I heard my wife say, “That’s a beautiful song. Who wrote it?” And I said, “I think I just did.” So, I told them the story, sang the song for him, and saw that he enjoyed it.

A couple months later, we were sitting at the table read. He had asked me how I thought the song should work, and I had told him that I thought it should be at Poor Richard’s bar on a small stage setup with maybe a couple people, and everyone walks in from the show to get a drink, and we see their faces while I’m singing this song. So, then, at the table read the script says, “Creed sings his song ‘All the Faces’.” I have to tell you I was moved. I got emotional. What a gift to give me. And, by the way, when I play that song, you can hear a pin drop. And people get very, very personal with it. And that always moves them and moves me. I still get that reaction to that song. It really hit a heart string, didn’t it?

It was overwhelming to think everything had finally come to an end.

Or did it? [Laughs] I think they should probably let it go, but, of course, if they asked me to go back and work with those people again … come on! I loved my time there. I would definitely do it. It would be so much fun.

Have you heard anything about the reboot?

So far nobody has talked to any of the actors yet. Greg sent me an email because I inquired, but they’re still just talking about it. I don’t know what to say other than I don’t know.

Well, we know that Creed got picked up by the authorities in the end. What do you think he’s been doing for the last five years? Where would you take the character at this point?

I think he’d right away get out of jail and be out in Wilkes-Barre, and Wilkes-Barre calls back to the Scranton jail and says, “We got him here.” And the Scranton jail says, “We don’t want him.” And I just con my way out of it, you know. I’d probably end up running arms, selling munitions to both sides of a war — something like that, blatantly out in front of everybody. Or developing a new designer drug. Just scammin’. And then he’d have to run from that, so he’d go back and hide at The Office again … under an assumed name.

Who do you think would be the ideal boss this time around?

Oh, come on. It’s gotta be Steve Carell, but he won’t do it. His career is going too well. It was hard. We had some amazing people: Idris Elba, James Spader, Kathy Bates. But, still, as good as all those people are in their own way, that Michael Scott character, man, you can’t beat him. That was the synergy, the glue that kept all that stuff together. And it was still funny because we had some great actors: John [Krasinski] and Jenna [Fisher] and Rainn [Wilson] and Ed [Helms]. My god, what a cast we had.

Do you stay in touch with anyone?

Well, everyone’s off doing stuff. For a while, Ed and I would get together and play music. He played on my Bounce Back album on two tracks. I see Rainn. I get together with Rainn. I just did a charity show. They had asked me to play a show in LA, which I hardly do, but I thought it was a good chance to do something for Rainn’s LIDÈ Haiti Foundation; they help young women in Haiti to get on their feet. So, I called him and said I got a chance to do the show. Why don’t we do it and donate it all to charity? I’ll do my show, and you guys can come in and do some stuff with me. So Angela, Kate, Craig Robinson, and Rainn all showed up. Rainn was the MC, and he and I did The Office theme. He played drums, and I played guitar a la The White Stripes.

I was playing this one song, “Rubber Tree”, and I hear this “peep peep.” I turn around and people are laughing, and Angela Kinsey is sitting behind me with this little Leprechaun-y smile on her face, just hitting this one off-note and grinning at me. It was so good. Nobody told her to do that. I started laughing. I could barely get through the song. She’s still a scene-stealer. Probably getting even.

Your new film, The Sisters Brothers, is a western and different from something like The Office. What about it appealed to you?

It’s not a very big part, by the way. Just two scenes — one with Joaquin Phoenix and one with John C. Reilly. But the reason I did it was because I worked on this movie that went to Sundance a few years ago, and it was called Terri … with John C. Reilly and Jacob Wysocki. And my friend Azazel Jacobs directed it. Patrick Dewitt, another friend of mine, who wrote Terri, he had written this book, which he gave me, The Sisters Brothers, and I read it. The character in there, this prospector, when the two Sisters brothers come to his camp, he makes them coffee, but he makes it out of dirt. He’s crazy, a lunatic.

So, I called up John and Allison, his wife and producer, and said if you make the movie, I need to play this character. So, years later, when it got made, I got a-hold of them again, and they said they weren’t going to do that character, but there were a couple others. So, I caught up with the casting director, Mathilde Snodgrass, in Paris, and she gave me the two other characters. And the director, Jacques Audiard, liked what I did, and he eventually found something for me to do. And by that time, I’d spent so much time invested in this project that, no matter what it was, I was going to fly over there. And I used it as an excuse to take a month vacation and run around Europe.

But doing a western with the gun and the boots and the whole thing … and I was out in this city in the middle of nowhere that they built, this western town, I should say, and you walk around town at night and go into these places, and you really feel like you’re in the 1850s. You really do. It’s crazy and wonderful.

Do you get the same sort of reward out of both acting and playing music?

I’ve been asked that before, and it’s basically the question of why didn’t I just pick one or the other. Am I spreading myself out to thin? I was a drama major in college. And music had always been something I just did. So, I always loved acting, and I started originally because I stuttered so badly. It was part of my therapy to get up and speak in front of people, and I found I was actually pretty good at it.

To answer your question, when you act, you are taking the writer’s lines and delivering them, hopefully, artfully into the camera and making them believable and eliciting an intellectually positive or negative response, depending on whatever the character is doing. So, in music the same thing except these are songs that I write. I have the stories, and I think I know what they’re about, sometimes not until much later. And I’m doing the same thing — singing the lines to the audience and making them as believable and honest as I can and trying to get a reaction from them. But I believe, in essence, it’s a very similar process. It’s words evoking a reaction in a positive or negative manner.

What’s the craziest reaction you’ve ever gotten onstage?

I had this moment one time in music where the whites of the audience’s eyes all fluttered upward, and they all passed out. I had said something just so profound, and they were all given smelling salts afterwards.

Oh, wow…

I had to walk off the stage for 15 minutes while the nurses revived the crowd. I never played that song again.

What song was it?

[Pauses and eventually breaks into laughter] Oh, I got you good. That was good. Make sure you write down that you were going for it.

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Top 10 Songs of the Month: Rae Sremmurd, Pearl Jam, and Lucy Dacus

After a winter-long hibernation, Top Songs of the Month returns on the final Friday of each month to share the songs that we just haven’t been able to shake over the last 30 days. And trust us, March kept our earbuds swamped. Legends returned, the biggest names in rock and roll had something new to say, fresh faces further carved out space for themselves, and hot acts dropped tracks that’ll no doubt still be bumping in our heads come warmer weather.

So, go on. Have a listen.

–Matt Melis
Editorial Director


10. Judas Priest – “Lightning Strike”

Release: From Firepower, available now on Epic

With the release of Firepower bringing Judas Priest’s album count up to a whopping 18, the English heavy metal titans prove that they never lost their grip on their grit, and “Lightning Strike” makes for strong evidence. Brimming with a delectable darkness and raw power, the lead single hits the ear hard and heavy. This results in the track taking on an effortlessly epic life of its own, which is exactly what makes it the ultimate rock and roll cocktail that will keep listeners coming back for round after round. –Lindsay Teske


09. Snail Mail – “Pristine”

Release: From Lush, available 6/8 on Matador

The first single off of upcoming June album Lush, Snail Mail’s Lindsey Jordan tells an insightful, honest story of teen isolation and angst in lilting ballad “Pristine” with straightforward yet poetic lyrics. Jordan’s youthful voice is supported by her trademark punk-inflected yet soft guitar, questioning those who keep her down with queries like “Don’t you like me for me?” and discovering that she loves herself and “Won’t love anyone else”. –Clara Scott


08. Soccer Mommy – “Cool”

Release: From Clean, available now on Fat Possum

Soccer Mommy has proved a smash hit on the indie circuit with her debut album, Clean, a collection of rock ballads and jams that weave interesting stories between catchy guitar-based hooks. “Cool”, the second single from the record, carries its power in the narrative of female badassery sung dreamily by the outfit’s creator, Sophie Allison, telling the story of a man-eating cool-girl while maintaining a danceable chorus. –Clara Scott


07. Jack White – “Over and Over and Over”

Release: From Boarding House Reach, available now on Third Man

Jack White has successfully concocted a masterful melting pot of scuzz and style in “Over and Over and Over”. The standout track from his third solo album, Boarding House Reach, finds its strength in its exploratory nature. The cool and cohesive mashup of textures and tones boldly diversifies White’s existing body of work, yet still makes way for his signature sonic flair to shine through. “Over and Over and Over” was a creative gamble, and White rolled his dice and won big. –Lindsay Teske


06. DJ Khaled – “Top Off” ft. Jay-Z, Future, and Beyoncé

Release: From Father of Asahd, available April 2018 on We the Best

Features are a catch-22 proposition in hip-hop. Going it alone isn’t in the genre’s DNA, but roll with too many others and those guests can be seen as crutches. And then you have former Terror Squad member DJ Khaled, the anomalous hit-maker whose success stems from knowing exactly who to write with, tap as producer, and pass the mic to, and rarely, if ever, has the hip-hop chess master had better pieces to maneuver than on “Top Off”. With features from Jay-Z, Future, and Beyoncé, the top may just stay off that Maybach for the rest of 2018. –Matt Melis


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Dashboard Confessional unveil new album, Crooked Shadows: Stream

Dashboard Confessional have returned with their first album in over eight years, Crooked Shadows. Apple Music and Spotify users can stream it in full below.

The nine-track collection is Dashboard Confessional’s debut release on Fueled By Ramen. It was produced by frontman Chris Carrabba with Jonathan Clark and co-producer Colin Brittain.

(Read: The 30 Most Anticipated Albums of 2018)

“One day off tour I woke up one morning and I walked downstairs and I wrote a song,” Carrabba told The New York Times about the genesis of the album. “It was evident from the first melodic idea that this was a Dashboard song… After all that time I’d begun to wonder if they’d ever come back, and when they came back they came back in rapid succession. The whole thing was a cavalcade and I just surrendered to it.”

During the lead-up to Crooked Shadows, Dashboard Confessional shared two singles, “We Fight” and “Heart Beat Here”.

Crooked Shadows Artwork:

dc crooked shadows 1 Dashboard Confessional unveil new album, Crooked Shadows: Stream

Crooked Shadows Tracklist:
01. We Fight
02. Catch You
03. About Us
04. Heart Beat Here
05. Belong
06. Crooked Shadows
07. Open My Eyes
08. Be Alright
09. Just What To Say

Crooked Shadows is the follow-up to 2009’s Alter the Ending. Dashboard Confessional will commence their North American trek behind the release on February 21st in Vancouver. They’ll be joined by Philly punk outfit Beach Slang during the US leg of the tour. Check out the complete schedule here, and grab tickets here.

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40 Years Later, Warren Zevon’s Legacy Is Still Haunted by Werewolves

Anyone who knew Warren Zevon prior to 1978, the year his breakthrough third album, Excitable Boy, was released, could tell that he was bound to put out a record like it. The record, Zevon’s lone unqualified public smash, most famously featured a headless Thompson gunner and a werewolf with a taste for chow mein. Some of these eccentric creations can be chalked up to late nights afloat in alcohol: Zevon’s good friend Billy Bob Thornton describes “Werewolves of London” as being written on “a sea of vodka” in the VH1 documentary on the making of Zevon’s final album, 2003’s The Wind. But Zevon’s taste for the macabre predated Excitable Boy. One choice quotation, featured in the oral biography of Zevon compiled by his first wife, Crystal, entitled I’ll Sleep When I’m Dead, serves as an early sign of where he would go as a songwriter. After hearing the news of JFK’s assassination over his high school loudspeakers, Zevon looked to his friends and said in a JFK accent, “Jackie, I’ve got this real bad pain in my head.” The headless ghost mercenaries, werewolves, and criminals of Excitable Boy sprung forth from that quip.

Excitable Boy remains the primary gateway into Zevon’s music for new listeners, due primarily to “Werewolves of London”, a charming novelty song that wouldn’t rank among his 20 best tunes. Sure, it’s got a catchy chord progression, and the deliciously dark line “Little old lady got mutilated late last night” might be the best use of consonance in a pop song ever put to tape. Zevon, however, was much more than death’s jester. At his very best, he contends with the greats in the singer-songwriter mold, a fact acknowledged by the wide range of tributes to him after his passing in 2003, with the likes of Bruce Springsteen, Jackson Browne, and Bob Dylan playing his songs in their live shows. For all of the genius in Excitable Boy, the album also distorts the rich trove of songs in Zevon’s discography. It’s an understandable place to begin one’s experience with him, but in many ways it’s also the wrong one.

To this day, Zevon is primarily regarded as a cult songwriter who had one major hit (“Werewolves of London”) and a couple of still-popular tunes (“Lawyers, Guns, and Money”, “Keep Me in Your Heart”). The uninitiated might look at the tracklist of Excitable Boy and conclude from its stack of classics that it represents a unique distillation of Zevon’s style. But for every “Werewolves of London”, there’s an oddity like “Nighttime in the Switching Yard”, a catchy but insubstantial disco number that achieved what Daft Punk’s 2013 act of retroism Random Access Memories attempted nearly four decades later. The cynicism of “Lawyers, Guns, and Money” remains quintessential Zevon, but its bookend at the beginning of the album is the peppy “Johnny Strikes Up the Band”, which might as well be a Billy Joel song.

Excitable Boy isn’t the only Zevon album to contain its share of oddball moments. Bad Luck Streak in Dancing School (1980) has the goofy “Gorilla, You’re a Desperado”. My Ride’s Here features an earnest but silly Dave Letterman cameo on the hockey tune “Hit Somebody!”. But Excitable Boy contains the sharpest contrasts between peak and weird Zevon. “Johnny Strikes Up the Band” opens up the album pleasantly but inoffensively and is then followed by the black comedy of the dazzling “Roland the Headless Thompson Gunner”. The tender “Accidentally Like a Martyr” joins “Hasten Down the Wind” and “Empty-Handed Heart” in the surprisingly deep list of sentimental Zevon songs, yet it rather abruptly segues into the throwaway disco of “Nighttime in the Switching Yard”. Like Zevon himself, Excitable Boy has a tempestuous personality, veering from brilliance to material that is more a product of its time than it is of Zevon’s creativity.

Still, Zevon’s fluff songs have their merits. He called “Werewolves of London” a “dumb song for smart people,” a fair label given that most novelty songs don’t contain such a profundity of cultural references. The surreal image of a werewolf drinking a pina colada at Trader Vic’s may be the product of an endless fount of vodka, but it’s nonetheless brilliant and endlessly quotable in its own right. Still, the ups and downs of Excitable Boy are a marked departure from the near-flawless Warren Zevon two years before it. The self-titled album may lack the sensational subject matter of “Roland the Headless Thompson Gunner” or the comic novelty of “Werewolves of London”, but it has to its credit the baroque piano figure in opener “The French Inhaler” and the masterful “Desperadoes Under the Eaves”, arguably Zevon’s crowning achievement in songwriting. Excitable Boy’s successor, Bad Luck Streak in Dancing School, has its own bumpy moments, but it also showcases Zevon’s desire to merge his singer-songwriter style with the classical composition he grew up studying.

As is the case with many artists, the biggest public appreciation of Zevon’s career did not coincide with his strongest material. His final three albums, which scholar George Plasketes groups together with the title “Deteriorata” in his monograph Warren Zevon: Desperado of Los Angeles, culminated in the release of The Wind and his passing and finally led to a long overdue critical re-evaluation of his work. (In my humble opinion, too many people continue to sleep on 1991’s Mr. Bad Example, a top-five Zevon effort.) But still today, the entry point into Zevon’s career is “Werewolves of London”, which will cause misleading expectations for anyone looking to get into his body of work. Zevon may have written the best dumb song for smart people, but his smart songs are where his greatest treasures lie.

If any song on Excitable Boy functions as a microcosm of Zevon’s brilliance, it’s the title track, which superficially sounds more like a genre experiment like “Nighttime at the Switching Yard” than a Zevon essential. He utilizes a sprightly piano chord progression that’s accented by doo-wop female backup singers, who echo the main refrain of the song: “‘Excitable boy,’ they all said,” he sings, to which the singers assent, “Excitable boy!” At a quick 2:43, “Excitable Boy” would be a trifle in the hands of a lesser lyricist, but Zevon uses the upbeat music as a bleak juxtaposition with his lyrics, which remain one of the best depictions of how male psychosis is facilitated by a permissive, patriarchal society.

The song begins, like so many Zevon songs do, with a strange character study. “Well, he went down to dinner in his Sunday best/ ‘Excitable boy,’ they all said/ Then he rubbed the pot roast all over his chest/ ‘Excitable boy,’ they all said,” he sings. The boy then comes to harm others, biting “an usherette’s leg in the dark” at a movie theatre. Up to this point in the song, however, the boy appears to be an unruly kid in need of some guidance and discipline, not a criminal. A saxophone then joins the female vocalists as the track seems to segue into a jubilant instrumental section, only then to have Zevon take the song in the darkest possible direction. A boy who just seemed odd then becomes pure evil: “He took little Suzie to the junior prom/ ‘Excitable boy,’ they all said/ Then he raped her and killed her, then he took her home/ ‘Excitable boy,’ they all said.” In this turn, Zevon’s song can come across as rape apologia, taking the suffering of a young girl and using it for blackly comedic effect. But the true terror of the song culminates not in the description of the excitable boy’s heinous act, but in the continued repetition of the refrain: “‘Excitable boy,’ they all said.” Nothing is said about the “they” on “Excitable Boy”: is it the boy’s family? His teachers? His community?

Zevon chooses a nameless, faceless “they” because society as a whole enables the excitable boy. By utilizing a harsh contrast between the cheery music and the grave lyrical matter, he highlights the ways in which society not just allows but even facilitates “excitable” behavior. Had those in the boy’s life done something other than mutter, “Boys will be boys” after he bit the usherette, Little Suzie – to say nothing of all the other women in the boy’s life – they could have avoided becoming victims of the violent misogyny in which the boy and those who enabled him participate. In the final stanza of the song, the music quiets down just a bit as Zevon narrates: “After 10 long years, they let him out of the home/ ‘Excitable boy,’ they all said/ Then he dug up her grave and built a cage with her bones/ ‘Excitable boy,’ they all said / Well, he’s just an excitable boy.” The extremity of that action could connote mental illness, but as disturbing as the excitable boy’s actions are, Zevon’s attention centers on the “they” who let him out of the first place, the “they” who can’t see that “excitable” euphemizes the boy’s atrocities and the wider cultural standards of masculinity in which he participates.

Listening to “Excitable Boy” in 2018, Zevon’s diagnosis of toxic masculinity feels all the more relevant. The unrelenting dark humor of the song disqualifies it from being crowned a #MeToo anthem, but that very humor is what makes it an effective depiction of how a patriarchal culture attempts to bury its worst criminal excesses. Zevon himself was a participant in that culture; one of the important revelations of the I’ll Sleep When I’m Dead oral biography is the extensive detailing of his abusive and aggressive personality during the years in which his alcoholism went largely unchecked. He was far from a blameless criticism of masculinity. Some of Zevon’s wrongs documented in I’ll Sleep When I’m Dead are serious, and even those closest to him don’t try to write him a free pass. In that way, “Excitable Boy” distills not just the injustices of patriarchy more broadly, but also certain dynamics in Zevon’s own life that he spent the latter half of it rectifying. “In the songwriting business,” Zevon told Jody Denberg, “There isn’t a section for fiction and nonfiction. It’s all mixed together.”

The major-chord piano music and uptempo quality of “Excitable Boy” make it somewhat natural that “Werewolves of London” follows it, but lyrically “Werewolves” is a sharp deviation from the cultural commentary of the track before it. The distinction between “Excitable Boy” and “Werewolves of London” represents a miniaturized version of the Zevon most people experience and the authentic Zevon that to this day continues to receive little attention.

The mish-mash of high and lowbrow on Excitable Boy lives up to a particularly sharp quotation of Zevon’s given to Newsweek in the late ’70s: “Whereas one of my songs may come off sounding like a satire on The Eagles,” Zevon mused, “It may actually be homage to Bartók.” Zevon, of course, found ways to simultaneously achieve ostensibly contradictory directives. “Excitable Boy” itself shows that Zevon’s music isn’t just fodder for Halloween standards (“Werewolves of London”) or elegiac piano numbers (“Accidentally Like a Martyr”). He wrote songs in the vein of the Laurel Canyon music scene in which he participated (“Mohammed’s Radio”), hard rockers (“Jungle Work”), folk tunes (“Backs Turned Looking Down the Path”), and even hymns (“Don’t Let Us Get Sick”). In that way, Excitable Boy does capture something about Zevon’s entire career: like the man itself, it contains multitudes, and at the level of songwriting it spans the forgettable and the undeniable.

Yet, in revisiting Excitable Boy, a crucial question arises: what if Zevon’s commercial breakthrough had happened with a different album? If the album sales were as effusive as the critical praise for Warren Zevon, would he easily be included on shortlists of the 20th century’s greatest songwriters? Had the proto-cyberpunk of 1989’s Transverse City hit it big, would Zevon have primarily been understood as a literary songwriter and chronicler of the impending technological age? Counterfactuals, those ever-slippery things, are difficult to imagine, and we’ll never know what could have been with certainty. But one thing is for sure: if the common cultural entry point for Zevon wasn’t “Werewolves of London”, requiring people to say, “Hey, you know the guy who wrote ‘Werewolves of London’? He actually wrote some really brilliant stuff,” the sophistication of Zevon’s lyricism would be much more likely to get a fair shake from both critics and listeners.

One of Zevon’s greatest lyrical feats is the song “Genius”, a track on My Ride’s Here co-written with his friend Larry Klein. The song sports some truly great comedic lines (notably, a line about Albert Einstein “making out like Charlie Sheen”), but is noteworthy for its final lines, which read like something Zevon would have wanted put on his gravestone: “If only I could get my record clean/ I’d be a genius.” The power of the line derives in large part from the recognition of his past misdeeds, but it also speaks to the experience of encountering his music as a new listener after his death. I, like many, discovered Zevon after hearing “Werewolves of London” on the radio one day, but after hearing the song, I did what I discovered too few people actually do: I delved into the rest of his discography. After making it through The Wind, I told my 13-year-old self, “I have to go see this guy live.” The year was 2005. In attempting to look up shows, I found he had died two years prior.

Part of my discovery is attributable to not having constant access to the internet, to say nothing of my extremely nascent knowledge of how to navigate it. Most of my friends and family only knew Zevon for “Werewolves of London” and some of the other Excitable Boy tunes, so when I listened through his albums I was only taking the music in and not much of his story. (The astounding and comprehensive I’ll Sleep When I’m Dead came out in 2007 to fill in the gaps). But I like to think that another reason why I believed I could go to a Warren Zevon concert in 2005 is that so much of his music, Excitable Boy included, exudes not just a familiarity but a comfort with death, so much so that I tacitly assumed the reaper would let Zevon die on his own terms. To an extent, he did: his goal was to record a definitive album in the final stretch of his terminal diagnosis, and The Wind is exactly that. When he’s firing on all cylinders, Zevon even now feels imminently, brilliantly alive.

Excitable Boy has some of those moments. Yet, when looking to Zevon’s numerous other achievements, particularly those that fell by the critical and commercial wayside, I can’t help but feel that the primacy of Excitable Boy in the cultural memory of Zevon distorts his artistic achievements. After all these years, we’re still trying to understand the record that Zevon wanted to make clean. But even through the prism of Excitable Boy, for all its ingenuity and imperfection, the genius is still there.

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Dashboard Confessional perform “We Fight” on Conan: Watch

Emo rock veterans Dashboard Confessional are returning on February 9th with their seventh studio album, Crooked Shadows, marking their first LP in eight years. The Chris Carrabba-led group will support the release with an extensive North American tour that kicks off later this month. Ahead of the trek, the band stopped by Conan on Tuesday to perform their Crooked single, “We Fight”. Check out the replay up above.

(Read: The 30 Most Anticipated Albums of 2018)

Dashboard Confessional will be playing a few radio station concerts to close out January before officially heading out on the road. On February 21st, the band will kick off a Canadian leg that will last through mid-March with a show in Vancouver. They’ll commence playing US dates with Philly punk outfit Beach Slang on March 20th in Houston, hitting cities including Boston, Brooklyn, Detroit, San Francisco, and Los Angeles as they continue on through April. Consult the full schedule below, and grab tickets here.

Dashboard Confessional 2018 Tour Dates:
01/19 – Inglewood, CA @ iHeartRadio Alter Ego
01/26 – Rochester, NY @ Marina Jeep Arena
01/27 – Philadelphia, PA @ 104.5 Winter Jawn
01/28 – Wilkes-Barre, PA @ Alt 92.1 Snow Show
02/21 – Vancouver, BC @ Commodore Ballroom
02/23 – Victoria, BC @ Capital Ballroom
02/25 – Kelowna, BC @ Community Theatre
02/27 – Calgary, AB @ Macewan Hall
02/28 – Edmonton, AB @ Union Hall
03/02 – Saskatoon, SK @ O’Brian’s Event Centre
03/03 – Winnipeg, MB @ Burton Cummings Theatre
03/06 – London, ON @ London Music Hall
03/07 – Ottawa, ON @ Bronson Centre
03/08 – Quebec, QC @ Imperial
03/09 – Montreal, QC @ Corona Theatre
03/10 – Toronto, ON @ Danforth Music Hall
03/11 – Toronto, ON @ Danforth Music Hall
03/13 – Oshawa, ON @ Oshawa Music Hall
03/20 – Houston, TX @ House of Blues #
03/21 – Dallas, TX @ House of Blues #
03/23 – Atlanta, GA @ Buckhead Theatre #
03/24 – St. Petersburg, FL @ House of Blues #
03/25 – Orlando, FL @ House of Blues #
03/26 – Raleigh, NC @ The Ritz #
03/27 – Charlotte, NC @ The Fillmore Charlotte #
03/29 – Brooklyn, NY @ Brooklyn Steel #
03/30 – Boston, MA @ House of Blues #
03/31 – Silver Spring, MD @ The Fillmore Silver Spring #
04/02 – Asbury Park, NJ @ Stone Pony #
04/03 – Cleveland, OH @ House of Blues #
04/04 – Cincinnati, OH @ Bogart’s #
04/05 – Detroit, MI @ St. Andrew’s Hall #
04/06 – Grand Rapids, MI @ 20 Monroe Live #
04/07 – Louisville, KY @ Mercury Ballroom #
04/08 – Lawrence, KS @ The Granada Theatre #
04/09 – Denver, CO @ The Summit Music Hall #
04/13 – Portland, OR @ Roseland Theatre #
04/14 – Seattle, WA @ The Showbox #
04/16 – Sacramento, CA @ Ace of Spades #
04/17 – San Francisco, CA @ The Fillmore #
04/18 – San Diego, CA @ House of Blues #
04/20 – Anaheim, CA @ House of Blues #
04/21 – Hollywood, CA @ Hollywood Palladium #

# = w/ Beach Slang

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Dashboard Confessional announce 2018 US headlining tour

Dashboard Confessional are set to drop their seventh studio album, Crooked Shadows, on February 9th. In support, the emo rock veterans have planned out a US headlining tour for early 2018.

(Read: Sad As Fuck: How Early 2000s Emo Became a Subject of Scorn and Salvation)

The trek commences on March 20th in Houston and runs through the end of April. Other cities expected to host the recent Fueled By Ramen signees: Atlanta, Orlando, Brooklyn, Cleveland, Detroit, Seattle, and San Francisco. Philly punk outfit Beach Slang have been tapped to open.

Consult the full itinerary below.

Dashboard Confessional 2017-2018 Tour Dates:
12/04 – Salt Lake City, UT @ X96 Toyota Nightmare Before Xmas
12/06 – Tulsa, OK @ The Edge Christmas Concert
12/07 – St. Louis, MO @ 105.7 The Point HoHo Show
01/27 – Philadelphia, PA @ 104.5 Winter Jawn
01/28 – Wilkes-Barre, PA @ Alt 92.1 Snow Show
03/20 – Houston, TX @ House of Blues #
03/21 – Dallas, TX @ House of Blues #
03/23 – Atlanta, GA @ Buckhead Theatre #
03/24 – St. Petersburg, FL @ House of Blues #
03/25 – Orlando, FL @ House of Blues #
03/26 – Raleigh, NC @ The Ritz #
03/27 – Charlotte, NC @ The Fillmore Charlotte #
03/29 – Brooklyn, NY @ Brooklyn Steel #
03/30 – Boston, MA @ House of Blues #
03/31 – Silver Spring, MD @ The Fillmore Silver Spring #
04/02 – Asbury Park, NJ @ Stone Pony #
04/03 – Cleveland, OH @ House of Blues #
04/04 – Cincinnati, OH @ Bogart’s #
04/05 – Detroit, MI @ St. Andrew’s Hall #
04/06 – Grand Rapids, MI @ 20 Monroe Live #
04/07 – Louisville, KY @ Mercury Ballroom #
04/08 – Lawrence, KS @ The Granada Theatre #
04/09 – Denver, CO @ The Summit Music Hall #
04/13 – Portland, OR @ Roseland Theatre #
04/14 – Seattle, WA @ The Showbox #
04/16 – Sacramento, CA @ Ace of Spades #
04/17 – San Francisco, CA @ The Fillmore #
04/18 – San Diego, CA @ House of Blues #
04/20 – Anaheim, CA @ House of Blues #
04/21 – Hollywood, CA @ Hollywood Palladium #

# = w/ Beach Slang

Revisit Crooked Shadows single “We Fight”:

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Hipster Bruce Springsteen has Lana Del Rey, Sufjan Stevens, and The National on iTunes playlist

Photo by Joshua Mellin

A career in politics may not be in the cards for Bruce Springsteen, but there’s a side gig I’d gladly hire him for ASAP: professional mixtape curator. In a recent interview with Variety, the rock legend revealed some of the artists and songs that make up his iTunes playlist, and it’s a mighty hip bunch. Mom, dad, I hope you’re reading this.

The Boss highlighted Sufjan Stevens, who he described as “great,” as well as The National and Iron & Wine. He also mentioned Steve Earle, commenting, “One of the greatest. I listen to him a lot — he’s always writing songs I wish I’d written.”

(Read: The Top 50 Albums of 1987)

Lin-Manuel Miranda and his Hamilton soundtrack made it onto his digital mix, with Springsteen noting, “An incredible creation, the show was fantastic. High on the list, too, was Lana Del Rey, as the New Jersey native gushed over the extended “Paradise” version of Born to Die (“I love her”).

Springsteen also had some special remarks for Kanye West’s The Life of Pablo album, saying, “I thought that was an amazing creation, especially the arrangements.”

Elsewhere in his chat with Variety’s Jem Aswad, The Boss talked about meeting with renowned producer Rick Rubin, seeing Taylor Swift live with his daughter and her friends, and learning about Rage Against the Machine (“Tom [Morello] can really write”) and Against Me! through his “political/punk” son.

When asked about the surprisingly contemporary nature of his playlist (let’s just say “hipster”), he replied graciously:

“I go back and forth, but I’m always looking for something new that’s inspiring. I’m so well versed in all my old standards — you can always find something new in them — but I’ve mined them pretty well over the years. There’s a lotta good songwriting and tons of good music being made. Music still excites me and it’s an exciting time, but the trick today is you really have to search for it to find it. But I listen quite a bit and it still holds that sacred place in my life. A great song is always inspirational — it makes you want to be great. So I’m always on the lookout.”

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Against Me!’s Laura Jane Grace covers The Mountain Goats’ “The Best Ever Death Metal Band in Denton”: Stream

Photo by David Brendan Hall

On April 6th, Merge Records will release I Only Listen to the Mountain Goats: All Hail West Texas, an album featuring covers of each track off The Mountain Goats‘ 2002 album, All Hail West Texas. Set to participate in the project are Andrew Bird, Craig Finn of The Hold Steady, Against Me! singer Laura Jane Grace, and Holy Sons, among others.

Ahead of the LP’s official drop date, each cover will be revealed during a season one episode of I Only Listen to the Mountain Goats, a Mountain Goats-centric podcast featuring frontman John Darnielle. The first episode premiered today and boasted a cover of “The Best Ever Death Metal Band in Denton” by Grace.

(Read: The 50 Most Outrageous Album Covers)

Though the punk rocker debuted her rendition live back in May, this marks its first studio release. “As a songwriter, no other artist has influenced my own work as much,” Grace said of the covers project in a statement. “Darnielle’s ability with words to paint a couple scenes from a story and let your mind imagine the rest of the details is unparalleled and something I’ve always strived to learn from.”

Hear it below.

The Mountain Goats’ 16th studio effort, Goths, came out in May.

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Ted Leo returns with new solo album, The Hanged Man: Stream/download

Photo by Mindy Tucker

Ted Leo celebrates the release of his new solo album, The Hanged Man, today. Apple Music and Spotify users can hear it in full down below.

Self-released and funded through Kickstarter, The Hanged Man marks the singer-songwriter’s 13th studio effort overall. It follows 2010’s The Brutalist Bricks, but is technically Leo’s first album under his own name.

Spanning 14 tracks, the LP was recorded at a home studio in Wakefield, Rhode Island. With the power pop songwriter manning almost all the instruments, it features “familiar sharp bursts of skinny-tie pop-punk — and even these feel streamlined like never before — but they’re offset with an adventurousness in both tone and structure,” according to a press release.

Leo described the time spent working on the record as one of “personal desolation that felt fallow but was actually very fertile.” He elaborated further on his Kickstarter page:

“I probably had enough songs to complete an album a good five years ago, but a number of things – personal and financial – prevented me from doing it. And though it’s always been a constant source of low-level anxiety that so much time continues to pass by, I’ve also come to see that time as a boon. When I missed that first hurdle, that first deadline to PRODUCE SOMETHING, the world didn’t end. Time kept moving, and all of the expectations that I had for MYSELF morphed into a more compassionate and contemplative group of feelings that were more about incubating, honing, experimenting, learning, and rebuilding a certain amount of confidence that I think I’d lost in my stymied relationship with the cycles of releases and promotion and needing support (not just financial) from the label I was working for; and so I started to actually just allow myself that time. It hasn’t always been easy, and I’ve grown and changed some over the long course of working on this. But having the eventual freedom to work on it at my own pace, and in my own space, has allowed this body of songs to change and grow with me. And now we find ourselves in a new political reality, and I find myself compelled to keep writing. We’re close enough, though, that I feel like I can set the stage to finally offer this work to you.”

Although The Hanged Man is the first-ever LP credited solely to Leo, he didn’t go it entirely alone. Chris Wilson of the Pharmacists played drums throughout and longtime collaborator Aimee Mann (whom Leo plays with in The Both) contributed her talents; Jean Grae and Jonathan Coulton also make appearances.

The Hanged Man Artwork: 

ted leo the hanged man stream album new download Ted Leo returns with new solo album, The Hanged Man: Stream/download

The Hanged Man Tracklist: 
01. Moon Out of Phase
02. Used to Believe
03. Can’t Go Back
04. The Future
05. William Weld in the 21st Century
06. The Nazerene
07. Run to the City
08. Gray Havens
09. Make Me Feel Loved
10. The Little Smug Supper Club
11. Anthems of None
12. You’re Like Me
13. Lonsdale Avenue
14. Let’s Stay on the Moon

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Waxahatchee announces US tour dates, shares dreamy new “Recite Remorse” video: Watch

Katie Crutchfield celebrated the release of her impressive new Waxahatchee album, Out in the Storm, this month. Today, she returns with a batch of fall US tour dates in support and new a music video for LP highlight “Recite Remorse”.

The new shows take place in November and feature Canadian post-punk outfit Ought. They also follow a stint over in Europe and a summer run through North America.

Meanwhile, the Ricardo Rivera-directed clip stars Crutchfield as she wanders and slithers through an aquatic, dreamlike setting. The blurry line between reality and beyond suits the song, especially when the singer-songwriter confesses, “I was out of my body.” In a press statement, Rivera offered more details on the visual undertaking:

“I am a video installation artist first and foremost, and this was the perfect opportunity for me to create an interpretive installation. I created an immersive space with layered translucent fabric and video projections and filmed Katie Crutchfield reacting to those elements. Optical layering of imagery onto the fabric and onto Katie created a video effect similar to many music videos of the ’90s, but done in practical way. Dreamy vibes for a dreamy song.”

Watch the video up above and find Crutchfield’s complete tour schedule below.

Waxahatchee 2017 Tour Dates:
07/24 – Seattle, WA @ Neptune
07/25 – Vancouver, BC @ Imperial
07/26 – Portland, OR @ Wonder Ballroom
07/28 – San Francisco, CA @ The Fillmore
07/29 – Los Angeles, CA The Regent
08/01 – Phoenix, AZ @ Crescent Ballroom
08/02 – Santa Fe, NM @ Meow Wolf
08/04 – Dallas, TX @ Club Dada
08/05 – Austin, TX @ The Mohawk
08/06 – Houston, TX @ White Oak Music Hall
08/07 – New Orleans, LA @ One Eyed Jacks
08/09 – Birmingham, AL @ Saturn
08/10 – Athens, GA @ Athens Pop Fest
08/11 – Atlanta, GA @ Terminal West
08/12 – Raleigh, NC @ North Carolina Museum of Art $
08/13 – Asheville, NC @ Grey Eagle
08/14 – Nashville, TN @ Third Man Records
08/15 – Columbus, OH @ Park Street Saloon
08/16 – Detroit, MI @ El Club
08/17 – Toronto, ON @ Lee’s Palace
08/18 – Montreal, ON @ Fairmount Theater
08/19 – Boston, MA @ Royale
08/21 – Washington, DC @ 9:30 Club
09/01 – Gdansk, PL @ Soundrive Festival ^
09/03 – North Dorset, UK @ End of the Road Festival ^
09/04 – London, UK @ The Garage ^
09/05 – Manchester, UK @ The Deaf Institute ^
09/06 – Leeds, UK @ Brudenell Social Club ^
09/07 – Brighton, UK @ Komedia ^
09/08 – Heer, BE @ Deep in the Woods
09/09 – Leffinge, BE @ Leffingeleuren ^
09/11 – Paris, FR @ Le Batofar ^
09/12 – Lyon, FR @ Le Periscope ^
09/13 – Dudingen, CH @ Bad Bonn ^
09/14 – Zurich, CH @ Rote Fabrik ^
09/15 – Capri, IT @ Mattatoio ^
09/16 – Milano, IT @ Biko
09/17 – Munich, DE @ Milla
09/18 – Ljubljana, SI @ Gala Hana ^
09/19 – Vienna, AT @ Arena ^
09/20 – Prague, CZ @ Klub 007 ^
09/22 – Schorndorf, DE @ Manufaktur ^
09/23 – Hamburg, DE @ Reeperbahn Festival ^
09/24 – Lund, SE @ Mejerit ^
09/25 – Goteborg, SE @ Pusterik ^
09/26 – Stockholm, SE @ Obaren ^
09/27 – Copenhagen, DK @ Vega ^
09/28 – Berlin, DE @ Musik & Frieden ^
09/29 – Groningen, NL @ Vera ^
09/30 – Dortmund, DE @ FZW Club ^
10/01 – Amsterdam, NL @ Bitterzoet ^
11/03 – Baltimore, MD @ Ottobar &
11/04 – Rehoboth Beach, DE @ Dogfish Head Brewery
11/05 – Jersey City, NJ @ White Eagle Music Hall &
11/07 – Buffalo, NY @ Traif Music Hall
11/08 – Pittsburgh, PA @ Spirit &
11/09 – Bloomington, IN @ The Bishop
11/10 – Louisville, KY @ Zanzabar &
11/11 – Chattanooga, TN @ Sluggo’s &
11/12 – Tallahassee, FL @ The Wilbury &
11/13 – Gainesville, FL @ The Wooly &
11/14 – Miami, FL @ Gramps &
11/16 – Orlando, FL @ The Social &
11/17 – St. Petersburg, FL @ Et Cultura Festival &
11/18 – Charleston, SC @ The Royal American &
11/19 – Richmond, VA @ Capital Ale House &

$ = w/ Superchunk and Ex Hex
^ = w/ Allison Crutchfield & The Fizz
& = w/ Ought

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