Posted in Bootleg Theater on October 28th, 2013 by JJ Koczan
Whoever you are and whatever you’re doing, chances are Groan are having a better time. The UK-based chicanery rockers are at it again on “Women of Doom,” the lead track from the forthcoming Ride the SnakeEP, which is due out Dec. 10 on Superhot Records, pumping out a thick groove and ’80s metal gang shout hook and every bit living up to their stated “67% true doom” ethic. The clip itself follows a long-standing tradition from what’s evolved over the last couple years into a double-guitar five-piece — the photo above is already outdated; guitarist Chris West (who also recorded Ride the Snake) having been recently replaced by Jimmy Beedham — of snagging clips from cult ’70s horror flicks and putting them to songs. Video done.
And while I’m not sure I’ve ever thought of Elizabeth Taylor as a “woman of doom,” I’m no one to question Groan — vocalist Mazzereth, bassist Leigh Jones, guitarists Beedham and Mike Pilat and drummer Zel Kaute — on the subject, since they seem to have a clear idea what they’re going for. I doubt they’ll enter the canon of great feminist texts of our age with the chorus of, “Make room for the women of doom,” but given the context of what the band does, it’s encouraging to hear them continuing to have a good time amid all these Hammer Horror film pieces, for which I’m sure all the proper rights were secured. It must’ve been quite a legal process.
Keep an eye out for more on Groan‘s Ride the SnakeEP as we get closer to the Dec. 10 release, but until then, “Women of Doom” gives a decent idea of where the band are headed coming off of their last full-length, The Divine Right of Kings(review here), which saw them depart their earlier, more stonerly fare in favor of the metal-rooted take they’re continuing to develop here.
There was a point during the making of this podcast when I stepped back for a second realized, “This is getting really heavy.” It kind of happened out of the blue, but it definitely happened, and though the thought occurred to me to maybe pull it back and get into some more rocking stuff in the second hour again, I decided instead to just run with it and have fun and go as all-out ridiculously heavy as I could think of. That’s when we get to Beast in the Field‘s 22-minute “Oncoming Avalanche.” I know I’ve had them in before, but if you’re going all out in 2013 releases, that’s where you’re gonna end up.
Plus, I figured there’s plenty of rocking stuff up front, starting with At Devil Dirt and the subsequent riff pushers in the first hour, and the whole thing rounds out with the psych-hypnosis of The Cosmic Dead, so though it’s far out by the conclusion, it does manage to come back from the ultra-weighted tones somewhat. Screw it. I was having a good time stringing together heavy songs. The bottom line of this whole thing is for it to be fun, and I was having fun, so there you go.
I hope you have fun with it too. Once again, we come in just under two hours with a slew of newer cuts and some stuff from earlier this year that maybe got missed along the way. Considering there’s so much pummel, it flows pretty well.
First Hour:
At Devil Dirt, “Don’t See You Around” from Plan B: Sin Revolucion No Hay Evolucion (2013)
Pigs, “Elo Kiddies” from Gaffe (2013)
Mutoid Man, “Scavengers” from Helium Head (2013)
Viper Fever, “Summer Time” from Super Heavy Garage EP (2013)
Sons of Huns, “I’m Your Dad” from Banishment Ritual (2013)
Blackout, “Seven” from We Are Here (2013)
Horisont, “Backstreet” from Time Warriors (2013)
Old Man Wizard, “If Only” from Unfavorable (2013)
Mother Susurrus, “Anagnorisis” from Maahaavaa (2013)
Coma Wall, “You are My Death” from Wood and Wire Split (2013)
Mollusk, “Hollowed” from Colony of Machines (2013)
Sea of Bones, “Failure of Light” from The Earth Wants us Dead (2013)
Second Hour:
Corrections House, “Dirt Poor and Mentally Ill” from Last City Zero (2013)
Rosetta, “Myo/The Miraculous” from The Anasthete (2013)
Beast in the Field, “Oncoming Avalanche” from The Sacred Above, the Sacred Below (2013)
The Cosmic Dead, “Djamba” from The Cosmic Dead/Pigs Pigs Pigs Pigs Pigs Pigs Pigs Split (2013)
Posted in Bootleg Theater on October 25th, 2013 by JJ Koczan
Kyuss & Queens of the Stone Age, Split CD (1997)
If Man’s Ruin Records had never put anything else out, the 1997 Kyuss and Queens of the Stone Age split would still make them legendary. The end of one era and the beginning of another. Of course, Man’s Ruin did put out a ton of other landmark albums from the likes of Acid King, Dozer, Alabama Thunderpussy and on and on, but to have the last Kyuss tracks and the first Queens of the Stone Age tracks on the same disc gives the split a momentous feel in hindsight. Josh Homme had put out the Gamma Ray 7″ in ’96, and Queens would go on to include the track “18 A.D.” on Roadrunner Records‘ Burn One Up: Music for Stoners compilation (discussed here) in 1998, but the three tracks on this split — “If Only Everything,” “Born to Hula” and “Spiders and Vinegaroons” — were the first to surface under the moniker.
And until John Garcia and Brant Bjork picked back up with Kyuss Lives! and continued into Vista Chino, the jamming cover of Black Sabbath‘s “Into the Void” and the two “Fatso Forgotso” tracks (both of which were included on 2000’s Muchas Gracias: The Best of Kyuss, the second under the title “Flip the Phase”) were the last of Kyuss‘ studio output. So yeah, something of a landmark. It was more the grooves of the thing itself than the historical aspect that made me want to round out the week with it, but I figured if the thing can be appreciated on multiple levels, that rarely hurts the actual listening experience.
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Kind of an odd bit of symmetry to the week by the end of it, right? One day, there’s an interview with Mike Scheidt about the Lumbar record, and the next, a live review of Scheidt playing in Providence. Then today, there’s a Black Thai track premiere and a live review of a Jim Healey set. Just a bit ago today, too, some Clutch news about a new live album, and tonight I’m going to see Clutch in New Hampshire as well, so there’s that to add to it. Strange but kind of cool. I wish I could say I planned any of it out, but I couldn’t be that coordinated even if I had mild interest in trying. Which I honestly don’t.
Next week, look out for a new podcast, a review of that Clutch show and hopefully one for It’s Not Night: It’s Space, Olde Growth and company on Sunday night in Boston — I’m going to Connecticut during the day, but provided I get back in time will hit up the show — and then a look at the new Horisont and Sandrider albums, as well as more in the “10 Days of Stoner Hands of Doom XIII” coverage, including a video premiere provided it comes together as scheduled and some words about the new Druglord tape, which is duly fucked up-sounding. I also took a poll today on Thee Facebooks to name a new vinyl column, so On Wax will start next week too.
Much to come, in other words.
Hope you have a great and safe weekend. See you back here Monday and in the meantime, please check out the forum and radio stream.
Posted in Whathaveyou on October 25th, 2013 by JJ Koczan
While I’m not sure to whom I’d give the title of “Germany’s finest fuzz rockers” — where do you even start? — Bilocation Records‘ passion for Dortmund upstarts Daily Thompson seems well enough earned by the significant promise the trio showed on their debut demo. That promise, also on display in the warm tones of “Attract Me,” the video for which you can see below, will hopefully begin to pay off for the band as they enter the studio to record their first album for release in 2014. Thus far, their sound seems more desert than retro-minded, which is kind of refreshing at this point. One to keep an ear out for, maybe.
The PR wire has the goods, and by goods, I mean details. Since details are good. Ah hell, here’s the press release:
Germanys finest Fuzzrockers Daily Thompson sign to Bilocation Records
The band will go into studio in the next weeks and record their first full length after the huge success of their 3 track demo, featuring their version of superfuzzy heavyrock! The debut album will be available in 2014.
The three soundvisionaries of Daily Thompson mix their personal influences from early Grunge & best Stonerrock combined with their special groove to a massive overridden, extremly fudgy Superfuzz-Bigmuff! Guitar, bass, drums. Rehearsals – Recordings – playing shows!
Out of this mentality, musical playfulness and the associated enthusiasm for absolute lunacy the band “Daily Thompson” was formed in late 2012. The listeners can hear from the live in the studio recording sessions the usual Fuzz-, WahWah- and distortion attacks of Daily Thompson in such a raw and honest manner that everybody will notice: this band from Dortmund/Germany takes no prisoners!
Posted in Reviews on October 25th, 2013 by JJ Koczan
It was my first time seeing a show downstairs at Radio in Somerville, though if one has been to the place at all, chances are the small basement stage has at least been walked past en route to the bathrooms, which are also down there. Decor is some string lights, a New England Patriots throw rug and a Futurama poster on the wall, a small P.A., a table and a couple chairs, and the vibe is low-key, perfect for a mostly-acoustic night like this one, though Nature Films, who were about to get started when I arrived, were plugged in. An indie trio from Upstate New York, they were joined in the evening’s lineup by Tastefulnudes, which is Keith Pierce and Jess Collins of Mellow Bravo, Mike Cummings of Backwoods Payback on his first solo tour, and Black Thai frontman Jim Healey performing his own solo material with Joe McMahon on bass, who has worked with Healey for his studio output as well as played with his own jazz trio and numerous others.
Still, a mostly subdued night, and plugged though Nature Films were, earplugs were not required to get a sampling of their semi-jangly and unpretentious tongue-in-cheekery. They probably could’ve easily fallen into hip pretense, but nothing’s going to help steer clear of that trap quite like a song about getting a bad blowjob. Pierce, whose own very-much-on-display sense of humor worked in a similar vein, would make for a fitting follow-up as Tastefulnudes (also written stylized in all caps, as if to underscore their intent to grab attention) found him and Collins teamed with Dana Fisher as a guitar/vocals, piano/vocals and cello three-piece. For his part, the charismatic Mellow Bravo frontman could hardly wait for the set to start, and he strapped on his acoustic guitar and walked around the room more or less singing what he saw before actually plugging into the P.A. and belting out somewhat less riotous takes on Mellow Bravo tunes like “Just Like Water Would” and “Prairie Dog,” starting off with the especially memorable “Señorita” from Mellow Bravo‘s self-titled debut (review here), the melody of which proved all the more resonant with the sparser arrangement.
And maybe that was part of it, but throughout the Tastefulnudes, Mike Cummings and Jim Healey sets, there were a couple times where I had to kind of pull back and say, “Holy shit these people are talented.” Watching Pierce hold an acoustic guitar and burp into the mic, it was hard not to think of Jack Black‘s glory days in Tenacious D, but let that also stand for his vocal range. He and Collins make an exceptional pairing vocally, her piano adding depth all the while and her stage presence an anchor all the more alongside his with just Fisher‘s cello filling out the sound as opposed to the two guitars, bass and drums of Mellow Bravo. It was a loose kind of night, mostly laughs among the friends in the crowd, but on a sheer performance level, they not only showed the chemistry at the root of their louder outfit, but explored a range that a full band simply couldn’t while keeping to an intimate feel suited to the course of the evening. They made it easy to get on board, burps and all.
With few amps and no drums to move once Nature Films had finished, the show moved pretty quickly along. Once Cummings was plugged into the P.A. and had a chair on stage, he was more or less ready to go. People were chatting in the back, and others coming and going, and where Tastefulnudes were quieter than Mellow Bravo, they were still fairly raucous in comparison to Cummings, who was up there alone with his guitar, minimal in his arrangements and playing more generally subdued songs. No cover, to think of it another way, and though he’s new to the style of performing and he said as much from the stage — somewhat strange to think of him as being “sheepish” after seeing Backwoods Payback the several times I have, but he was closer to it than not, and I suppose Backwoods has a certain humility underlying the volume — he did well with the rawer context and made it plain to see that he’s genuine in wanting to try his hand as a troubadour. Hell, the fact that he’s touring by himself speaks volumes in that regard.
I’d checked out Healey‘s 2010 solo outing, Dreams ofOdessa,before and 2012’s Live at O’Brien’sPub, but neither really does justice to the richness of his voice live, though the quality of his songcraft shines through and songs like “Something from Nothing,” “The Sky is Falling” and “No Place to Be,” which closed here as it did at the recoded O’Brien’s gig were only bolstered by the complementary performance of McMahon, who was not only incredibly smooth on bass, adding a bit of funk to the more upbeat “The Sky is Falling,” but harmonized on vocals as well, making the gorgeous melody of “Some of Me” all the more potent. The recent “Tomorrow’s Gone” Healey noted was written in the wake of his father’s passing, and the freshness of the wound was clear in his playing the song, which preceded “Whole Lot of Nothing” and “World War Eight,” both of which shared a kind of reflective downerism, once again made all the more palpable through the chemistry between Healey and McMahon on stage.
Earlier I said that I hadn’t needed earplugs, and that’s true, but the only time I even considered I might was listening to Healey move air with his voice. It’s not that he was too loud through the speakers. I don’t think the situation would’ve been any different had the P.A. been shut off. The guy has lungs for weeks and the more I see him play, the more evident the depth of his talent becomes. There was still about half an hour of show time left when they were done, and though a 29-minute bass solo was teased — and with the tone McMahon was able to get out of his instrument, I probably wouldn’t have complained in sitting through it — but instead the extra time was passed sitting around the table in the basement, shooting the shit on a range of subjects from George Clinton doing drugs on stage to dudes making a living on retainer for Miley Cyrus.
I guess music was the center of it, so fair enough, but it was a cool sit and laugh with Healey, McMahon, Cummings, Pierce, Collins, Black Thai guitarist Scott O’Dowd who’d come out for the show, Fisher and one or two others who checked in en route to or from the bar, and it made a fitting end to a mellow night, preceding a drive home in the increasingly chilly New England autumn air.
You’ll find a couple extra pics after the jump, and a video of Cummings doing “Maybe Time.” Thanks for reading.
Posted in Whathaveyou on October 25th, 2013 by JJ Koczan
Clutch start their round of rescheduled tour dates tonight in New Hampshire. You might recall vocalist Neil Fallon had back surgery and the band took a rare break from the road as a result. Well, after an absurdly short amount of recovery time (what’s it been, like five weeks?), Clutch are headed out once again, bringing The Sword and American Sharks along for the latest trek, and they’ve announced a new Earth Rocker Live vinyl to come on Nov. 26 through their ownWeathermaker Music imprint.
Captured earlier this year in the Midwest, Earth Rocker Live is set to be a double-picture-disc release with all the songs from 2013’s Earth Rocker(review here) presented in the same running order as on the album itself. A classic idea given a new twist — I’d expect nothing less from Clutch.
The PR wire has details:
CLUTCH to Release Earth Rocker Live Double Vinyl Picture Disc November 26th
CLUTCH has set a November 26th release date for Earth Rocker Live via Weathermaker Music. Earth Rocker Live is a double vinyl picture disc set. The first LP is the studio version of Earth Rocker. The second LP consists of live versions of the same tracks in the same sequence as the original. This is not a live recording of one show. The individual tracks of the live version were recorded at different shows throughout the band’s May 2013 US tour: Houston and San Antonio (TX), Lincoln (NE), Indianapolis (IN) and Fargo (ND). The stunning artwork displays the four Indian heads from the original package in all their colorful beauty: one for each side. This special collectors’ item will be limited to the initial print run and is expected to sell out quickly.
CLUTCH will kick off the next leg of the “Earth Rocker” World Tour tonight in Hampton Beach, NH, immediately followed by a festival appearance in Virginia Beach, VA at “Localpalooza”. These tour dates run through November 23rd in Detroit, MI. CLUTCH will then hit the road for their annual holiday shows and continue on tour through January 18th in Huntington, WV. All dates and links to purchase tickets can be found below.
North American Fall Tour Dates: With The Sword and American Sharks 10/25: Hampton Beach, NH @ Hampton Beach Casino Ballroom** 10/26: Virginia Beach, VA @ Motorworld – “Localpalooza” 10/27: Charleston, SC @ The Music Farm 10/28: Athens, GA @ Georgia Theatre 10/29: Chattanooga, TN @ Track 29 10/31: Louisville, KY @ Expo Five 11/01: Memphis, TN @ Minglewood Hall 11/02: Oklahoma City, OK @ Diamond Ballroom 11/04: Corpus Christi, TX @ House of Rock 11/05: Austin, TX @ Emo’s 11/07: Albuquerque, NM @ Sunshine Theater 11/08: Tucson, AZ @ Rialto Theatre 11/09: West Hollywood, CA @ House of Blues 11/10: San Diego, CA @ House of Blues 11/11: Sacramento, CA @ Ace of Spades 11/13: Grand Junction, CO @ Mesa Theater & Club 11/14: Denver, CO @ Ogden Theatre** 11/15: Wichita, KS @ The Cotillion 11/16: Columbia, MO @ The Blue Note 11/17: Bloomington, IL @ The Castle Theatre 11/19: Joliet, IL @ Mojoes 11/20: Madison, WI @ Orpheum Theatre 11/21: Ft. Wayne, IN @ Piere’s 11/22: Columbus, OH @ The LC Pavilion 11/23: Detroit, MI @ The Fillmore Detroit ** The Sword not on this date **
Holiday Tour Dates: With Into Another and The Mike Dillon Band 12/26: Washington, DC @ 9:30 Club 12/27: Sayreville, NJ @ Starland Ballroom 12/28: Stroudsburg, PA @ Sherman Theater With Into Another and Lionize 12/29: Rochester, NY @ Montage Music Hall 12/30: Cleveland, OH @ House of Blues 12/31: Brooklyn, NY @ Music Hall of Williamsburg
2014 Dates: With The Sword and Crobot 1/2/14: Ashville, NC @ The Orange Peel 1/3/14: Raleigh, NC @ Lincoln Theater 1/4/14: Raleigh, NC @ Lincoln Theater 1/5/14: Jacksonville, FL @ Freebird Live 1/7/14: Birmingham, AL @ Iron City 1/9/14: South Bend, IN @ Club Fever 1/10/14: Buffalo. NY @ Town Ballroom 1/11/14: Port Chester, NY @ Capital Theater 1/12/14: So. Burlington, VT @ Higher Ground 1/13/14: Northampton, MA @ Pearl Street 1/15/14: Stage College, PA @ Levels 1/16/14: Charlottesville, VA @ The Jefferson Theater 1/17/14: Wilmington, DE @ World Café Live** 1/18/14: Huntington, WV @ V Club ** The Sword not on this date **
SOUNDWAVE FESTIVAL 2014 2/22/14: Soundwave Festival Brisbane 2/23/14: Soundwave Festival Sydney 2/28/14: Soundwave Festival Melbourne 3/1/14: Soundwave Festival Adelaide 3/3/14: Soundwave Festival Perth
We continue the “10 Days of Stoner Hands of Doom XIII” special with a brand new track from Boston four-piece Black Thai, who will release their brand new 12″ EP, Seasons of Might, on mystery-colored 45rpm vinyl in time to tour their way south to SHoD and then make a leisurely loop through the Midwest en route back north. The four-song, 22-minute collection arrives with golly-that’s-pretty artwork from Alexander von Wieding, and in a limited edition of 300 as the Black Thai’s first release since 2010’s Blood from on HighEP (review here) gave a more metallic edge to the heavy rock styling of their initial 2010 demo (review here), guitarist/vocalist Jim Healey bringing an aggressive but still accessible vibe to the tracks.
Seasons of Mightworks in a similar vein, but sets a more accomplished balance within each song itself. The band — Healey (formerly of We’re all Gonna Die), guitarist Scott O’Dowd (also Cortez), bassist Cory Cocomazzi and drummer Jeremy Hemond (also Cortez and Roadsaw) — make a decision to ignore that balance and go full-on metal with the near-blasting third track, “Doors to Nowhere,” but on opening duo “Blood Dust” and “Start a War” especially, they’ve found a sonic niche for themselves that isn’t quite as angry as modern metal but neither is it entirely indebted to doom or heavy rock. Most of all, it sounds like Black Thai, which after three years since their last EP is a welcome way for it to turn out.
They round out with the eight-minute “Reasons to Burn,” which tips more toward the doomed, albeit while holding firm to the melodic sensibility shown on the earlier cuts. Seasons of Mightwas recorded at Mad Oak with Joe Saliba and mixed by Benny Grotto, and the production is as crisp and professional as the songs are engaging, whether it’s O’Dowd tearing into a mournful lead late into “Reasons to Burn” or the full band locking into the thrust of the still-catchy “Start a War,” the burly call-and-response hook of which winds up being one of the highlight moments of the whole release as Healey‘s shouts echo amid the quick turns that almost dare you to keep up.
Black Thai play Stoner Hands of Doom on Sunday, Nov. 10, with Wizard Eye, Kin of Ettins, Lord and many more at Strange Matter in Richmond, Virginia. Their tour dates, a quote from the band about the EP, and links can be found under “Start a War” on the player below.
We recorded with Joe Saliba at Mad Oak Studios and he did an absolutely amazing job tracking. Benny Grotto mixed the session and it sounds absolutely pummeling. We couldn’t be happier with the results.
Black Thai on Tour: 11/6 Middle East Upstairs – Cambridge, MA with: Cocked N’ Loaded, Goddamn Draculas, Second Grave (Release show / tour kickoff) 11/7 St. Vitus Bar – Brooklyn, NY with: Gozu, Kings Destroy, Second Grave 11/8 JR’s Bar – South Philadelphia. PA with: Backwoods Payback, Hang-Up to Flat, Skeleton Hands 11/9 The Pinch – Washington DC with: Iron Man, Gozu, Freedom Hawk 11/10 Strange Matter – Richmond, VA Stoner Hands Of Doom 11/11 The Maywood – Raleigh, NC with: Bedowyn, Devil To Pay 11/12 The Masquerade – Atlanta, GA with: Volume IV 11/13 TN (TBA) 11/14 Cusumano’s Pizza – St. Louis, MO with: Rowsdower, Heavy Horse, White Fire 11/15 The Melody Inn – Indianapolis, IN with: So Sayeth, Devils Of Belgrade 11/16 The Tree Bar – Columbus, OH with Old City, +2 TBA 11/17 Duke’s Bohemian Grove Bar – Buffalo, NY with: Second Trip 11/18 Nectar’s – Burlington, VT (Metal Monday) with: Toxic Holocaust, Ramming Speed, In Defence
Posted in Whathaveyou on October 24th, 2013 by JJ Koczan
Yeah, I guess it’s cool that Arizona-based TOAD — an acronym for Take Over and Destroy — are sharing the stage tomorrow with Ghost as that band comes through on their latest tour, but the real news here is that the band (who I believe have a new bass player since the picture above was taken), are heading out on a full US tour with Agrimonia, playing in the West, in the East and in the Middle over the course of November into December in support of their Endless Nightvinyl, which was released this summer. Pretty badass. Go get ’em, dudes.
The PR wire tells it like it is:
TOAD: Arizona Blackened Death Rock Ringleaders Announce Tour With Agrimonia; Band To Open For Ghost B.C. Tomorrow
Arizona blackened death rock ringleaders will join forces with post-crust horde Agrimonia next month for a US run of live assaults. Set to commence November 12th in Glendale, California, The Nights Of Rites Tour will trample its way clockwise through the entire country until their final riff crushes Phoenix, Arizona on December 4th. As precursor to the expedition, team TOAD will be opening for occult rockers, Ghost B.C. in Phoenix tomorrow. The performance marks the band’s first show with new bassist, Dylan Thomas.
Comments TOAD, “We’re stoked to be playing our first show with our good buddy Dylan on bass. We’re equally as excited that this is happening on the night we share the stage with Ghost B.C.! This is their first time playing Phoenix and we’re happy to be a part of it. As if that wasn’t enough, we’re thrilled to be touring with Agrimonia, at a point when our lineup is stronger and tighter than it’s ever been. We really dig their new record and can already tell we’re gonna have a blast together. This tour came together so naturally and we know it will be unforgettable. See all of you very soon…”
TOAD w/ Ghost B.C.: 10/25/2013 The Press Room – Phoenix, AZ w/ Agrimonia: 11/12/2013 The Complex – Glendale, CA w/ Ancestors 11/13/2013 Oakland Metro – Oakland, CA w/ Embers, Femacoffin 11/14/2013 Alibi – Arcata, CA 11/15/2013 Branx – Portland, OR w/ Eight Bells 11/16/2013 Highline – Seattle, WA w/ Tragedy, Death Raid 11/17/2013 Shredder – Boise, ID w/ Exmortus, Hatchet 11/18/2013 Bar Deluxe – Salt Lake City, UT w/ SubRosa 11/19/2013 3 Kings – Denver, CO w/ Wayfarer, Weaponizer 11/20/2013 Duffy’s – Lincoln, NE 11/21/2013 Fubar – St. Louis, MO w/ Enabler 11/22/2013 Cobra Lounge – Chicago, IL w/ Enabler 11/23/2013 Now That’s Class – Cleveland, OH 11/24/2013 Howler’s – Pittsburgh, PA 11/25/2013 Saint Vitus Bar – Brooklyn, NY w/ Sannhet 11/26/2013 Black Cat – Washington DC 11/27/2013 Pinhook – Durham, NC 11/29/2013 Siberia – New Orleans, LA 11/30/2013 Mango’s – Houston, TX 12/01/2013 Red 7 – Austin, TX 12/03/2013 Launch Pad – Albuquerque, NM 12/04/2013 Rhythm Room – Phoenix, AZ w/ True Cross, Cave Dweller
