Posted in Whathaveyou on November 12th, 2019 by JJ Koczan
Sleep‘s Nostromo-software social media check-in method has provided the update that after their coming three-night stint at Thalia Hall in Chicago, they’ll go into an indefinite ‘hypersleep,’ which is basically being interpreted as a hiatus. Hey, fair enough. I mean, it’s been a decade, and for a band who were done, who lost their original drummer and whose bassist and guitarist had moved on to other, interesting, groundbreaking projects, to ask Sleep to get back together to even do a couple gigs a year was a lot, let alone the kind of touring they wound up doing over the course of the 2010s, headlining festivals and eventually releasing new material, first in the 2014 single “The Clarity” (review here) and then in last year’s holy-shit-there’s-a-new-Sleep-album The Sciences (review here) as well as its companion single “Leagues Beneath” (discussed here) and the follow-up 2019 3LP live album, Live at Third Man Records (review here), so it doesn’t seem unreasonable if they want to step away from it all for a bit. Matt Pike has continued with High on Fire and Al Cisneros has kept Om kind of in his pocket for a while now. Maybe they’ll get those revved up to full-time status — High on Fire kind of already are (they’re about to tour again), but still — while Jason Roeder works on other stuff, including Neurosis, who’ve also been touring more over the last several years.
The point is that listeners were lucky to get as much as they got from Sleep over the last 10 years, because it was never supposed to be like that. And to listeners’ credit, I think it was audience that kept the band going. People kept showing up, and that kept the material vital. Few and far between are the acts who’ve had as much of an influence on the heavy underground worldwide, from the crustiest doom to the stonedest of the stoned, and though they’ll be missed while they’re gone, it seems worth it to appreciate the fact that they came back at all rather than be like, “Oh this is bullshit because Sleep aren’t playing my house,” or whatever. These guys don’t owe anyone anything. Just the opposite.
Hey Sleep — thanks for everything. Hope to see you again soon.
Here’s their post and dates:
Sleep live: Dec. 29 Thalia Hall Chicago IL Dec. 30 Thalia Hall Chicago IL Dec. 31 Thalia Hall Chicago IL
Posted in Whathaveyou on November 11th, 2019 by JJ Koczan
Yup, called it. Pardon the moment of self-congratulations, but when Heavy Psych Soundsannounced its latest sampler last week, I couldn’t help but notice the tracklisting contained a seemingly new cut from San Fran three-piece Disastroid. That led to speculation they’d signed to the venerable Italian imprint, and indeed, that has turned out to be the case. They’ll release a new album, titled Mortal Fools, on Valentine’s Day. So yes, called it. Look at me, paying attention. What’s the prize again?
To mark the occasion of preorders going live, they’re streaming a new song that you can find at the bottom of the post here, following word from the PR wire making the whole thing official. These guys might seem like an odd fit for the label, being more punkish than a lot of the desert rock or SoCal boogie HPS has picked up of late, but they had a split with Fatso Jetson a few years back and there are some behind the scenes links to the desert scene that might’ve come into play as well.
Cool news either way. From the PR wire:
Heavy Psych Sounds Records & Booking is really proud to start the presale of the album DISASTROID – Mortal Fools
HPS 119
Today we are extremly proud to welcome the Bay Area’s noise metal trio DISASTROID in our roster.
San Francisco veterans Disastroid have been serving up sludgy, grunge-infused stoner rock for the better part of a decade now, refining a sound that weaves heavy riffs together with angular guitar lines, odd time signatures, and hazy walls of fuzz. As influenced by 90’s noise rock as they are by modern psych, doom, and post-metal, Disastroid delivers thick, satisfying stoner rock stomp while also embracing layers of noise, tripped-out feedback, and some unpredictable song structures.
Their original approach, captured on their 2014 record “Missiles” and the 2017 follow-up “Screen”, has made them one of the most essential bands in the Bay Area music scene. Their latest, “Mortal Fools” is their heaviest and most expansive-sounding album to date. Produced by Tim Green (Nation of Ulysses, The Fucking Champs), it’s sonically focused on what Disastroid does best, laying singer/guitarist Enver Koneya’s deep vocals and fuzzed-out riffs on top of a relentless, pummeling rhythm section. At the same time, it’s loose enough that it takes some unpredictable twists and turns, conveying the band’s rough edges, sense of humor, and noisy, experimental streak.
DISASTROID is: Enver Koneya – Vox/Guitar Travis Williams – Bass Guitar Braden McGraw – Drums
[Click play above to stream ‘Scurry’ by Brume. Rabbits is out Nov. 22 on Magnetic Eye Records.]
There are few if any moments in the lifespan of a band more exciting than when the potential they’ve shown early on comes to its moment of realization, and that is precisely where Rabbits finds San Francisco three-piece Brume. The five-track/43-minute label debut for Magnetic Eye Records follows their earlier-2019 split with Witch Ripper (review here) and answers the call put out by their 2017 full-length debut, Rooster (review here), as well as the 2015 12″ EP, Donkey (discussed here). It reaches toward new levels of atmospheric accomplishment, taking lessons from SubRosa on the quiet unfolding of opener “Despondence,” Uzala on the piano-and-string-laden centerpiece “Blue Jay,” mid-period Kylesa in the duet vocals of the penultimate “Lament” and Neurosis‘ landmark “Stones From the Sky” in the ending of closer “Autocrat’s Fool” without ever losing its sense of self. The three-piece of vocalist/bassist Susie McMullan, guitarist/vocalist Jamie McCathie and drummer Jordan Perkins-Lewis recorded with Billy Anderson (Acid King, Sleep, Neurosis, so many others), and their mission seems to have been to capture a sound somewhere between consciousness and a dream-state, to find that place that is aware enough to understand that it is not awake but still doesn’t completely wake up. I’m tempted to call it lucid dreaming, if only for how in control Brume seem to be of their approach within this ambient sprawl, but that shouldn’t be taken as saying that what they’re doing comes across as some kind of sham, because it doesn’t. Rather, whatever familiar aspects one might stumble upon in the nuance of Rabbits or in a given riff, the primary impression the trio make is individualized and clearly only growing more so.
Of course, this is an ideal, but as one listens to McMullan‘s commanding voice in the YOBby melodic triumph of the chorus to second cut “Scurry” with McCathie in a backing role only to come to prominence himself in a quieter post-solo midsection, Rabbits makes a clear argument for the difference between internalizing an influence and acting off it and simply aping the work of others. They do the former, if I haven’t made that plain, following a linear path across two pairs of longer tracks split by the shorter “Blue Jay,” that only grows more hypnotic as it progresses from one section to the other. This too is a classic notion, that a full-length should unfurl itself like a journey and become more immersive as it takes its outward course from song to song, but saying that does little to convey the work that “Despondence” and “Scurry” — and I suppose “Blue Jay” as well — do in setting up the complementary trance-induction that comes with “Lament” and “Autocrat’s Fool.” And it’s not a radical change in running time, either. The first two cuts are a little over eight minutes apiece and the final two are just under 11 and 10, respectively. It’s not like they’re going from three-minute songs to 20-minute songs. But there’s a definite shift that takes place from one movement to the other nonetheless. It may just be a question of the patience and tempo of delivery, but it makes the overarching progression of Rabbits all the more engaging.
That setup begins with the sparse guitar that opens “Despondence,” a soothing melancholy drift greeted by ethereal echoes as a bed for McMullan‘s voice, and it’s not until after three minutes in that the heavier push kicks in with drums, bass and a burst of volume that then plays through a series of back-and-forths, resolving itself in a weighted melodic wash as the vocals move to the front of the mix heading into the chorus at the song’s midpoint. This progression is fluid in itself and in the whole-LP groove it sets forth, and the effect that quiet beginning has is ongoing, both as a showcase of Brume‘s dynamic sound and as a direct lead-in for the rolling “Scurry,” which gets underway with more immediacy but still keeps some sense of the ambience of its predecessor as it does so, its hook more prevalent and a highlight of the album and the band’s career to-date. Specifically it seems to take influence from YOB‘s “Marrow,” but the sweep of McMullan‘s singing and McCathie‘s guitar is more than enough to pull that off in style and substance alike, and the emotion behind it feels nothing if not sincere. With McCathie‘s backing vocals positioned deeper in the mix, there’s all the more a sense of breadth to what’s still a prevalent forward push thanks to Perkins-Lewis‘ drumming, building through the verses only to open wider during the two choruses before guitar, bass and drums drop out to what would seem to be piano/keyboard with McCathie‘s voice in standalone fashion for a moment before the soaring lead takes hold en route to a more direct McMullan/McCathie duet that is a suitable payoff and then some.
With “Blue Jay” as the key moment of transition, there’s the threat that its own substance might be lost in the proceedings, especially as it’s shorter at just 5:46, but the arrangement takes care of that handily. It is, instead, another high point for Brume and, one hopes, something they continue to build on as they go forward from here — one could easily say the same of Rabbits as a whole. “Lament,” by contrast as the longest track, echoes the beginning of “Despondence” but is less stark in its own turns of volume and instead holds its swaying motion for seven of its 11 minutes before its full heft takes shape, again around a well-wielded vocal duet. If this is the direction Brume intend to follow, it is only to the fortune of anyone who might do likewise and will only see their personality as a band come further forward. The closing statement of “Autocrat’s Fool” plays severity off ambience off harmonies on the way to what seems to be a quiet finish until the aforementioned “Stones From the Sky” moment — all the more interesting since I wouldn’t necessarily call Brume post-metal, which is where one usually finds such things — kicks in to cap off, indeed cutting itself short mid-measure at the end. It’s a moment that underscores the message of the album as an entire work in that it sees Brume recast a familiar element or stylistic aspect toward their own purposes. Make no mistake, whatever Brume have done or will do, this is a special moment for this band. It sets up some lofty expectations for their next outing, to be sure, but most importantly, it establishes them as more than up to the challenge of creative evolution and expression.
Posted in audiObelisk on November 6th, 2019 by JJ Koczan
San Francisco classic hard punkers Very Paranoia officially released their debut seven-inch single Make Me / Out of Touch earlier this week through Who Can You Trust? Records, but the small-plate will make its first appearance on the merch table this weekend at a gig at the Ivy Room in Albany, CA. I didn’t even know there was an Albany, CA. It’s north of Berkeley, and Very Paranoia will share the stage there with Public Enema and Clean Room. Tickets are $8, so yeah, you can probably hack it if you’re in the area.
The concept behind the single, which follows a four-song demo posted last November ahead of the band’s first live show this past January. A four-piece comprising dudes from Lecherous Gaze, Annihilation Time and Assemble Head in Sunburst Sound, their demo wasn’t much lower-fi than the new two-songer, but the point is to get the point across either way and they do that plainly enough, tapping into the California early punk tradition. “Make Me” reminds of Keith Morris singing about his nervous breakdown to the point that one only hopes Very Paranoia eventually put out a collection of material from their “first four years.” They may or may not get there — they could always just put out a 19-minute album and be just fine instead — but in “Make Me” and “Out of Touch” alike, they ride a direct line to their roots. Frankly, given what those roots are, they wouldn’t be able to get there any other way.
“Out of Touch” isn’t streaming anywhere else, so you can check it out here exclusively if you can spare a whopping two-friggin’-minutes out of your otherwise busy day. I think you can.
More live dates, pedigree confirmation, the video they did for “Make Me” and links and other whatnot follow, courtesy of Who Can You Trust? Records, whose trustworthiness continues to prove consistent.
Enjoy:
Taken from the VERY PARANOIA – “Make Me / Out Of Touch” 7-inch | WHO-41
Edition of 200 copies on black vinyl.
Very Paranoia is a crude San Francisco unit operated by four veterans of the Psychic Wars. Founded by members of Lecherous Gaze, Annihilation Time, Hot Lunch, and Assemble Head, the band spews raw mechanical violence alternately described as “aggro-hooch metal,” “amphetamine pub rock,” and “scuzz-crud boogie.” Classifications aside, Very Paranoia’s sound is shaped by the cult-artists and underground characters found in multiple sub-genres throughout the twisted history of rock ‘n’ roll.
Very Paranoia live: Nov 08 Ivy Room Albany, CA Nov 23 Che’s Lounge Tucson, AZ Nov 24 The Lunchbox Phoenix, AZ Dec 14 Bender’s San Francisco, CA
Posted in Whathaveyou on October 29th, 2019 by JJ Koczan
I don’t know if I’m going to do a 2020 Most Anticipated Albums list. I didn’t for 2019 and it felt like a huge weight off my shoulders. And those things, honestly, are usually at least 89 percent bullshit anyway, because there are like three albums announced for past March when they’re being written and the rest of the post is like, “Duh, maybe we’ll get a new Tool album,” or whatever it is that people are waiting for and will click on. Wow. I think I might’ve just talked myself out of it (again). Sweet.
But anyway, if I was going to do that kind of list, the Feb. 21 release of Six Organs of Admittance‘s upcoming long-player, Companion Rises, would most certainly be on it. True, I’m a nerd for the long-running Ben Chasny-led project generally, but adding interest here is the fact that Chasny made the whole thing on his own, where other recent outings have involved a variety of players to the degree that at one point Six Organs was touring as a full band. A more purely solo vibe, even with arrangements done in layers, recalls earlier albums, and well, I like those albums, so mark me down as on board for this one when it comes down the line.
That’s all. Don’t expect that list, but expect me to write a silly gushing review just the same for this album sometime after I’m fortunate enough to hear it.
From the PR wire:
SIX ORGANS OF ADMITTANCE ANNOUNCE NEW ALBUM COMPANION RISES OUT VIA DRAG CITY, FEBRUARY 21ST 2020
Six Organs of Admittance is back with a new record, new techniques in sound generation, and a new energy. Arriving three years after Burning the Threshold, Companion Rises has a driving force only hinted at previously. Due out on Drag City on February 21st 2020.
Methodologically, Companion Rises sometimes recalls the early-mid lo-fi Six Organs records, with digital processes substituting for the analog techniques of yore and, instead of Ben Chasny’s hand percussion overdubs, algorithmic programs generating rhythms. Ben Chasny created all sounds and programs, all the recording and mixed the entire record, also like some earlier ones – but don’t mistake this for a simplistic return to an older sound. Just one listen makes it clear that this new Six Organs of Admittance release is entirely in the present.
Sonically, the songs are bursting with ideas, harmonically rich, gorgeously arranged; utilising synthesizer and guitar distortion for unique colouring effects while crafting contrasting versions of the song within itself, overlaying electric and acoustic treatments that interlock like two shards to form a single key. The rush of excitement is palpable, track after track.
Thematically, Companion Rises navigates a similar Stellar-Gnosticism as 2012’s Ascent, while exploring a completely different set of stories. Whereas Ascent was locked into a narrative concerning a sentient Jupiter, Companion Rises presents a handful of folk-tales whose topics span in scope from panspermia to specific constellations, all written in a way that eschews old new age presentation tropes and embraces the now. One thinks of Octavio Paz’s oft-used metaphor of the concentric circle, as Companion Rises returns to a similar place but much farther out from the center.
With Companion Rises, Ben Chasny has created a Sci-Folk record that feels very much right-place, right-time as we welcome in the new decade. Listen to the first single “Two Forms Moving” above and preorder the new album for February 21st.
Posted in audiObelisk on October 17th, 2019 by JJ Koczan
Nothing says ‘love’ like a little Mondo Generator on Valentine’s Day. The Nick Oliveri-fronted bringers of desert chaos — with Mike Amster (Nebula, Abrams) on drums and Mike Pygmie (You Know Who, John Garcia and the Band of Gold) on guitar — will release their new album, As Good as it Gets (Fuck It), through Heavy Psych Sounds on Feb. 14, just as they’re digging into the midst of a massive European tour. The announcement of the concurrent release date wasn’t unexpected, but is certainly welcome just the same, as is the opening of preorders which by astounding coincidence also starts today for the record. Sometimes these things just work out.
As one would dare to hope, Oliveri, Pygmie and Amster conjure due madness with “When Death Comes,” the first audio to make its way to the public from As Good as it Gets (Fuck It), and in well under three minutes’ time, they reconfirm the sense of punk rock danger that’s been at heart in Mondo Generator since their debut, Cocaine Rodeo, in 2000, and in Oliveri‘s work even before that in Queens of the Stone Age and Kyuss. As that first full-length turns 20, it’s only fair that Mondo Generator should remain so unpredictable, and while “When Death Comes” might find Oliveri tempering his trademark vicious scream to a degree, there’s simply no telling at this point what the rest of As Good as it Gets (Fuck It) might hold in nodule-inducing abrasion.
Or, you know, not. Again, you can never really be sure what’s coming.
Obviously I haven’t heard the entirety of As Good as it Gets (Fuck It) yet, or I suppose I would, but it’s early days yet with preorders just launched and the artwork newly posted and all that kind of stuff. Plenty of time for these things as we get closer to next Feb. 14, but of course if you’re the type who likes to get your roses in advance, this would be an entirely different kind of gift to consider.
Enjoy “When Death Comes” below:
When Death Comes is the first single taken from the brand new Mondo Generator album As Good As It Gets (Fuck It).
The band is coming back after 8 years with a new line up: Nick Oliveri (ex Kyuss, Queens of the Stone Age), Mike Pygmie and Mike Amster. The album will see the light February 14th via Heavy Psych Sounds.
The pre-order for this album (as well as a “lost” record from 2010 as well as the new Nick Oliveri N.O Hits At All Vol. 666) start today: www.heavypsychsounds.com
The band will be also touring Europe during February and March 2020, including HPS Fests in Paris, Antwerp, London and Deventer.
*** MONDO GENERATOR EUROPEAN TOUR 2020 *** 05.02.2020 IT Roma-Traffic 06.02.2020 IT Pescara-Scumm 07.02.2020 IT North East Tba 08.02.2020 CH Winterthur-Gaswerk 13.02.2020 IT Ravenna-Bronson 14.02.2020 IT Cagliari-La Cueva Rock 15.02.2020 IT Parma-Splinter 16.02.2020 IT Cecina-Spazio Live Ritmi 17.02.2020 IT Torino-Blah Blah 18.02.2020 IT Erba-Centrale Rock 19.02.2020 FR Chambery-Le Brin Du Zinc 20.02.2020 CH Olten-Coq D’Or 21.02.2020 DE Siegen-Vortex 22.02.2020 DE Oldenburg-MTS Record Shop 23.02.2020 DE Hamburg-tba 24.02.2020 DE Berlin-Zukunft** 25.02.2020 DE Dresden-Chemiefabrik** 26.02.2020 AT Salzburg-Rockhouse 27.02.2020 AT Innsbruck-PMK 28.02.2020 IT Bozen-Pippo Stage 29.02.2020 DE Wiesbaden-Kreativefabrik 01.03.2020 DE Karlsrhue-Jubez 02.03.2020 DE Augsburg 03.03.2020 LU Luxembourg-tba 04.03.2020 FR Nantes-Le Ferraieur 05.03.2020 FR Paris-Glazart “Heavy Psych Sounds Fest” 06.03.2020 BE Antwerp-Trix “Heavy Psych Sounds Fest” 07.03.2020 UK London-Underworld “Heavy Psych Sounds Fest” 08.03.2020 NL Deventer-Burgerweeshuis “Heavy Psych Sounds Fest” 09.03.2020 UK Nottingham-Albert’s* 10.03.2020 UK Bristol-Exchange * 11.03.2020 UK Manchester-Star&Garter* 12.03.2020 UK Glasgow-Nice n’ Sleazy* 13.03.2020 BE Diksmuide-Music Club 4AD 14.03.2020 NL Rotterdam-Baroeg w/t ALUNAH* w/t DUEL**
Posted in Whathaveyou on October 11th, 2019 by JJ Koczan
So it’s multi-pronged Nick Oliveri news from Heavy Psych Sounds. All album-related. First and foremost, a new Mondo Generator album. That’s cool. New lineup, same Nick. I’d expect it to be totally off the rails and you should too. Dude has a whole career demonstrating his love of screamy punk, so no reason to think that’s abated. Cool beans, daddy-o.
Second, a lost Mondo Generator album from 2010. Wondering why it’s been lost. His whole SWAT-standoff was 2011, so that timing doesn’t really fit. Maybe we’ll find out, maybe not, but right on either way. That might be even rawer than the new record.
Third, a new installment of the apparently ongoing series of N.O. Hits at All compilation releases that Heavy Psych Sounds has been doing over the last couple years. What on earth could be left? I’m sure plenty.
And if you’re wondering as to the timing on any of this, Mondo Generator are rolling out on a massive European tour next February, so it doesn’t seem unreasonable to think something will show up around then, though we won’t find out for sure until next week when the presales go up.
Till then, the PR wire:
Heavy Psych Sounds to announce a band signing: MONDO GENERATOR – coming back with a brand new album !!!
We are so stoked to welcome in our roster one of the most crazy bands in the world.
Ladies and gentlemen please welcome MONDO GENERATOR !!!
The band is coming back with a new line up: Nick Oliveri (ex Kyuss, QOTSA), Mike Pygmie and Mike Amster will release a brand new album after 8 years via Heavy Psych Sounds.
An “unreleased” album, lost in 2010 will also be released in 2020, last but not least the new Nick Oliveri N.O Hits At All Vol. 666 will also see the light next year !!!
PRESALE FOR ALL 3 ALBUMS STARTS: OCTOBER 17th
The band will be also touring Europe during February and March 2020, including HPS Fests in Paris, Antwerp, London and Deventer.
*** MONDO GENERATOR EUROPEAN TOUR 2020 *** 05.02.2020 IT Roma-Traffic 06.02.2020 IT Pescara-Scumm 07.02.2020 IT North East Tba 08.02.2020 CH Winterthur-Gaswerk 13.02.2020 IT Ravenna-Bronson 14.02.2020 IT Cagliari-La Cueva Rock 15.02.2020 IT Parma-Splinter 16.02.2020 IT Cecina-Spazio Live Ritmi 17.02.2020 IT Torino-Blah Blah 18.02.2020 IT Erba-Centrale Rock 19.02.2020 FR Chambery-Le Brin Du Zinc 20.02.2020 CH Olten-Coq D’Or 21.02.2020 DE Siegen-Vortex 22.02.2020 DE Oldenburg-MTS Record Shop 23.02.2020 DE Hamburg-tba 24.02.2020 DE Berlin-Zukunft** 25.02.2020 DE Dresden-Chemiefabrik** 26.02.2020 AT Salzburg-Rockhouse 27.02.2020 AT Innsbruck-PMK 28.02.2020 IT Bozen-Pippo Stage 29.02.2020 DE Wiesbaden-Kreativefabrik 01.03.2020 DE Karlsrhue-Jubez 02.03.2020 DE Augsburg 03.03.2020 LU Luxembourg-tba 04.03.2020 FR Nantes-Le Ferraieur 05.03.2020 FR Paris-Glazart “Heavy Psych Sounds Fest” 06.03.2020 BE Antwerp-Trix “Heavy Psych Sounds Fest” 07.03.2020 UK London-Underworld “Heavy Psych Sounds Fest” 08.03.2020 NL Deventer-Burgerweeshuis “Heavy Psych Sounds Fest” 09.03.2020 UK Nottingham-Albert’s* 10.03.2020 UK Bristol-Exchange * 11.03.2020 UK Manchester-Star&Garter* 12.03.2020 UK Glasgow-Nice n’ Sleazy* 13.03.2020 BE Diksmuide-Music Club 4AD 14.03.2020 NL Rotterdam-Baroeg w/t ALUNAH* w/t DUEL**
Posted in Whathaveyou on October 10th, 2019 by JJ Koczan
Hey, remember back in August when Mondo Drag said they were working on their fourth album and the follow-up to 2016’s The Occultation of Light (review here)? Yeah, that was pretty sweet. I was into it. They were playing a show then too, and it seems that the return to live activity will continue throughout this Fall as they make their way inevitably toward a 2020 recording/hopeful release of that new record. Perhaps the tour will allow them to road-test some new songs? I don’t know how they’d want to do it, but they’re playing with Witch a couple times over the course of the next week-plus and that’s a winning combination, and then they’ll hit the road out to Texas before turning band west and north for stops in Portland, Bellingham — where they’ll play with RidingEasy labelmates Blackwater Holylight — and Seattle.
True, I wouldn’t mind seeing them again, but at least for now, I’m just happy they’re doing anything. Hell, maybe the record’s done and in the can and this is their way of celebrating. Or maybe it’s not written yet. Whatever the status, more Mondo Drag shows isn’t going to make life worse for anyone.
And that’s my hard-hitting analysis. Stay tuned for more crucial perspective.
From the PR wire:
Mondo Drag announce U.S. tour dates for October-November 2019
San Francisco’s heavy-Krautrock-psych band returns
Bay Area heavy-Krautrock-psych band Mondo Drag hit the road later this month for tour dates around the Western U.S. in October and November, including a performance at Levitation Fest in Austin. Please see all dates below.
The band will have more to announce regarding new music soon.
MONDO DRAG LIVE 2019: 10/13 San Francisco, CA @ The Chapel w/ Witch 10/16 Felton, CA @ Felton Music Hall w/ Witch 10/18 Sonoma, CA @ Sonoma Redwood Barn w/ Witch 11/01 Los Angeles, CA @ House of Machines 11/02 Oceanside, CA @ Moose Lodge 11/04 Denver, CO @ Hi-Dive 11/06 Taos, NM @ Monolith Brewing 11/07 San Antonio, CA @ Hi-Tones 11/08 Austin, TX @ Volcom House – Levitation Party 11/09 Dallas, TX @ Armoury DE 11/10 Albuquerque, NM @ Sister Bar 11/29 Portland, OR @ Kenton Club 11/30 Bellingham, WA @ The Shakedown w/ Blackwater Holylight 12/01 Seattle, WA @ Substation
Mondo Drag are: John Gamino – Keyboards & Vocals Nolan Girard – Guitar & Synthesizer Jake Sheley – Guitar Ventura Garcia – Drums Conor Riley – Bass
