Posts Tagged ‘New Album’

“I Am The Song Stuck On Repeat… I Am The Fear” warns frontman Adam Houghton, his baritone oozing with its trademark ominousness.

But rest assured listeners, there’s nothing to worry about. Piled high with oscillating synth strokes, meteoric basslines, and stacked guitar tones, ‘I Am The Fear’ is a single from the Manchester band that more than bears repeating.

The track arrives with an artistic official video directed and edited by Black Rock Creative and produced by Tom White & Mat Peters. Captured amidst the crumbling surroundings of a Victorian theatre, it features a captivating performance from actor Oliver Marson, alongside on stage footage of IST IST.

Confident and catchy, ‘I Am The Fear’ arrives as the band’s first new recorded material since 2024’s Light A Bigger Fire. Produced by Joseph Cross and mastered by Robin Schmitt, it marks yet another bold step forward for a band who demand your attention more with everything they put their name to.

With the promise of a new album looming, standby for further news on that front very soon…

Watch ‘I Am The Fear’ here:

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Over the years, IST IST have forged a formidable reputation on word of mouth excitement, amassing a dedicated cult following in the process. Operating with a fierce northern DIY work ethic, the band have an ever-growing back catalogue of successful studio and live releases. Self-releasing their entire repertoire through their own Kind Violence Records label, the band’s output has been championed by BBC Radio 1 and BBC 6Music, Radio X, XS Manchester, KINK FM in the Netherlands, The Times and more.

Their acclaimed fourth record ‘Light A Bigger Fire’ reached 25th in the UK Official Album Charts in 2024, with John Robb praising the record as “glorious yet introspective 21st-century pop music” in a five star review on Louder Than War.

Taking the record out on the road last year, over 8,000 people across thirteen countries turned out in force at iconic venues such as the Paradiso in Amsterdam and New Century Hall in Manchester to support the band in what stands as one of their most successful European tours to date.

Riding this wave into 2025, IST IST returned to Europe for further dates including their SOLD OUT debut Italian shows, and subsequently released two live albums ‘ON FIRE’ and ‘Live In Italy’. The band are book-ending this year with a run of major shows back in the UK – in Leeds, Glasgow, London, and Birmingham across late November and December – as they celebrate their 10th year in business.

And in the last few weeks, IST IST announced their biggest hometown show to date. In 2026, the band will play the salubrious Albert Hall show; a show that presents both an unmissable opportunity to revel in the career high points of their decade long career, while getting a glimpse of their eagerly awaited new album.

Catch IST IST at the following UK shows:

IST IST – 2025/26 TOUR DATES

Friday 28th November – Leeds – Warehouse

Saturday 29th November – Glasgow – Oran Mor

Friday 5th December – London – 229

Saturday 6th December – Birmingham – O2 Academy2

Friday 1st May 2026 – Manchester – Albert Hall

w/ Support from DESPERATE JOURNALIST + THE YOUTH PLAY

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Ist Ist I Am The Fear

The forthcoming full-length from Los Angeles–based band Agriculture, The Spiritual Sound, traces a narrative arc through extremes.  The album is largely a fusing of the visions of its two principal songwriters: Dan Meyer and Leah Levinson.  Though distinct, their voices converge in a singular spiritual grammar—one that defines the totality of The Spiritual Sound, not as separate parts, but as one unified expression.

Dan writes like someone clawing toward the divine through noise, channeling Zen Buddhism, historical collapse, ecstatic grief. Leah’s songs move differently: grounded in queer history and AIDS-era literature, amid the suffocating fog of the present, they carry the weight of survival as daily ritual. Dan takes the lead on their next release, a quieter moment amongst the chaos. About the track, he says;

“This is a love song to a future child. It is so moving to me that even though this child does not exist in the form of a child yet, all of the matter that will one day make up their being is already in the world. And of course this is true of all things that have ever existed. So even though I’m talking about a kid that I want to have one day, I’m really talking about the principle that everything is totally connected.”

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Agriculture’s formation mirrors their duality. What began as a loose collaboration between Kern Haug and Dan Meyer in the Los Angeles noise scene evolved into a shared pursuit of the sublime through heavy music. With the additions of Richard Chowenhill and Leah Levinson, the project solidified into the band’s current form. The ecstatic black metal foundation that was laid on 2022’s The Circle Chant expanded into something more precise and far-reaching on their 2023 self-titled full-length, and deepened further with 2024’s Living Is Easy: a record that embraced devotional intensity and radiant heaviness in equal measure.

Agriculture’s writing process is built on dismantling and revision of self. Dan and Leah bring songs to the band and then allow them to be pulled apart and rebuilt communally: reshaped through conflict, repetition, and deep trust. Richard adds guitar melodies and solos, and Kern constructs rhythms which are sometimes familiar but often unconventional. Finally, with Richard producing, the final form of each song is realised through intense collaborative work in the studio. Although a time consuming and ego-frustrating process, this allows the band to find the spirit of the songs not through inspiration, but through persistence.

Yet, even in its most ambitious moments, The Spiritual Sound remains rooted in the ordinary and in the day-to-day relationships between the people who made it. Gas station snacks. Inside jokes. Sleeping on floors. Playing shows in rooms that smell like mildew. The spirit here isn’t abstract, it’s live. This is spiritual music that starts with imperfect gear and a long-in-the-tooth tour van.

Agriculture doesn’t offer salvation. The Spiritual Sound isn’t a map out of the fire. What it offers instead is presence: a confrontation with the moment, however unbearable, however divine. It insists that meaning is still possible, even in a world hell-bent on reducing everything to content, and where suffering itself can be conducive to recovery. As the Buddhist saying goes: “the only way out is in.”

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Photo credit: Milan Aguire

AGRICULTURE LIVE DATES 2025:

Sep 17  Kortrijk, BE — Wilde Westen
Sep 18  Haarlem, NL — Patronaat

Oct 8  Brooklyn, NY — Union Pool (Record Release Show)

Oct 27  San Antonio, TX — Paper Tiger $
Oct 28  Austin, TX — Mohawk $
Oct 30  Atlanta, GA — Masquerade $
Oct 31  Saxapahaw, NC — Haw River Ballroom $
Nov 01  Silver Spring, MD — The Fillmore $
Nov 02  Philadelphia, PA — Union Transfer $

Nov 04  Louisville, KY — Zanzabar
Nov 06  Oklahoma City, OK — 89th Street
Nov 08  Albuquerque, NM — Launchpad
Nov 09  Phoenix, AZ — Valley Bar
Nov 11  Denver, CO — Hi-Dive
Nov 13  Salt Lake City, UT — The State Room
Nov 14  Boise, ID — Neurolux
Nov 16  Seattle, WA — Madame Lou’s
Nov 18  Vancouver, BC — Fox Cabaret
Nov 19  Portland, OR — Mississippi Studios
Nov 21  Sacramento, CA — Cafe Colonial
Nov 22  San Francisco, CA — The Chapel
Dec 04  San Diego, CA — Soda Bar
Dec 05  Los Angeles, CA — Lodge Room

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Wounds is the band’s long-awaited fifth album – their first in six years. As heavy as it is haunting, the record masterfully blends doom, post-punk, and driving krautrock in a dynamic, hypnotic maelstrom – pushing London’s most exciting cult band into intoxicating new territory.

Wounds is a series of songs about the different ways people live with and process ‘the wounds’ of their lives,” explains vocalist Maya. “A strange celebration of that formative pain we have all experienced in some way. The loss and joy of survival – the celebration of finding others like us, the gift of knowing life comes after fire.”

First single ‘Hangman’s Daughter’ leads the charge and is available to stream and download from today. Opening with a hypnotic techno bassline, the song quickly gives way to post-punk guitars, huge choruses, and vocalist Maya’s magnetic storytelling.

“Hangman’s Daughter is an unrequited love song,” says Maya. “A woman was loved but could not love in return so she is drowned by the man who loves her. She is not lost though – she haunts the killer and he can’t escape her. The title hints at the past, but actually this is a very current issue for women today – how to literally survive when they can’t love a man who has decided he only wants her.”

Watch the video now:

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Wounds was recorded by Mike Bew, on location at Foel Studio. The band could be found working deep into the witching hours, experimenting with new sounds and filling the valleys with cantankerous wails of sound, bursting from amps borrowed from My Bloody Valentine.

"The Welsh countryside has a mystical quality to it," says guitarist Adam. "We recorded in a deep, dark valley; misty days and shooting stars at night. You could wander through nearby woods and stone circles during breaks. Foel Studios is woven into this setting with a transcendence of its own – its storied history includes sessions by Electric Wizard, Hawkwind and The Fall."

Synths on the album are arranged by Berlin-based Bow Church, an influential figure in the dark electronic scene and a long time collaborator of the band. His work weaves icy and atmospheric textures into the songs, layering complexity that demands repeat listens. The horns on 12 Crosses were recorded by a high profile jazz musician who appears anonymously due to label ties.

While meticulously crafted, Wounds captures the visceral energy of Cold In Berlin’s renowned live shows. The album’s arrangements and raucous sound remain true to the unrelenting intensity and atmosphere of their stage performances – every track retains the sweat, urgency, and immediacy of a band performing in the moment.

Wounds is the band’s first studio album since 2019’s Rituals Of Surrender, which Narc Magazine praised for its “crushing doom-laden riffs that assaulted the speakers with a steady pulse of noise”. It follows the 2024 EP The Body is The Wound, described by Metal Epidemic as featuring “hooky melodic songs” with a “swelling heavy intensity”.

Featuring free-jazz brass sections, off-beat structures, techno rhythms, and soaring synths, Wounds is the band’s most ambitious release yet.

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Photo: Rupert Hitchcox

American Dark Metal veterans NOVEMBERS DOOM have released a new video single for the song ‘Major Arcana’, the title track of their forthcoming new album.
The twelfth full-length from these purveyors of dark and brooding metal is scheduled to be released on September 19, 2025.

NOVEMBERS DOOM comment: “The title track ‘Major Arcana’ represents significant growth for us, exploring new ideas and taking ourselves out of our comfort zone – both musically and thematically”, vocalist Paul Kuhr states on behalf of the band. “Yet we are still staying true to who we are and the artistic legacy that we have created for so many years now. Each of us pushed hard to challenge ourselves as performers as well as songwriters, and we could hardly be any prouder of what we have accomplished with ‘Major Arcana’, both in terms of the song itself as well as the new album as a whole.”

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In further news, NOVEMBERS DOOM will also reissue a 20th Anniversary Edition of their cult album The Pale Haunt Departure (2005) on October 3, 2025. This collectors’ edition full-length will be released on vinyl for the first time and as a lavish artbook including 7 exclusive bonus track, rare images, and liner notes. Mailorder customers, who order both albums, will receive The Pale Haunt Departure early and together with Major Arcana on September 19.

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Constellation welcomes The Dwarfs Of East Agouza to the label and will release the Cairo-based trio’s new album Sasquatch Landslide in early October.

Maurice Louca, Alan Bishop, and Sam Shalabi expand on their telekinetic fusion of North African rhythm, heat-haze improvisation, shaabi rawness, free jazz, and psychedelic groove, following acclaimed albums on Sub Rosa, Akuphone, and Nawa Recordings.

Sasquatch Landslide overspills with the group’s signature trance-inducing explorative energies, anchored by Louca’s hypnotic beats and electronics, with Shalabi and Bishop deploying guitar and alto saxophone in a variety of signal-mashing modes. Comprised of seven febrile jams across 42 minutes, this is at once the most focused and twitchiest album in the DOEA discography to date. Recorded by Emanuele Baratto (King Khan, Elder) and mixed by Jace Lasek (Elephant Stone, Sunset Rubdown, The Besnard Lakes), the record will be issued in 180gram vinyl and CD editions, featuring artwork by Mark Sullo.

First single ‘Neptune Anteater’ is a signature example: Shalabi opens with a skittish repeating guitar groove (that draws from his parallel lifelong practice as an improviser on oud) as Louca progressively builds a widescreen 6/8 hand-drum rhythm while oozing bass notes support Shalabi’s excursions around the central riff. This is kinetic trance, East Agouza-style.

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Two years on from their sensational debut, Ukrainian ‘Riot Grrrls’ Mariana, Anastasiia and Nataliia, aka Death Pill recently announced that they are back. Locked and loaded with a mighty set of tunes on their highly anticipated second album SOLOGAMY, which is … as they put it. ‘A bold exploration of personal empowerment’.

SOLOGAMY is fierce, heavy and melodic, and is set to land on June 20th, 2025 (New Heavy Sounds). New single ‘Phone Call’ is probably the most accessible Death Pill track to date. Very catchy, with a terrific arrangement, cleverly put together, it’s a brilliant slice of … well … pop.  You might call it ‘pissed off pop’ something Green Day or Foo Fighters wished they’d written … a new genre if ever there was one. The band comment,

"This song is just a real sad love story when no one calls you back. 

When you are waiting for a call from someone you care about, time starts to drag. Every minute feels like an hour, every moment feels like an eternity, and every sound of the phone makes your heart freeze. You check it several times, even though you know the phone is on silent mode. Thoughts fill your mind, “What if he forgot?”, “What if he doesn’t want to talk?”, “What if he has someone else?”.  

These doubts and fears turn into a real game of mind, where you become your own harshest critic. The agony of waiting can be overwhelming. You begin to notice how it affects your daily life: you can’t concentrate at work, you get distracted when talking to your friends, and even simple pleasures seem less significant. Thoughts about the call become annoying, like a fly that won’t leave you alone.  

Every time the phone vibrates or the screen lights up, you hope to see his name, but disappointment comes again and again. Waiting for a phone call is a fragile emotional state that touches the deepest corners of the soul. It requires patience and humility, but it can also teach us to appreciate the moments when the connection does happen. When the long-awaited call finally rings, all the suffering seems worth it – if only for a moment. That moment can be so sweet that all previous agony is forgotten. Waiting for a call is not just an emotional roller coaster; it is a reflection of our vulnerability and desire to be understood. The desire to be needed by someone.

We are opening our hearts, hoping that someone else is also willing to share the journey with us."

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Korean-American singer-songwriter NoSo has today revealed details of their highly anticipated second album When Are You Leaving? (out 10 October via Partisan Records) along with its lead single ‘Sugar’. Listen to ‘Sugar’ here:

When Are You Leaving? is a record for anyone still figuring themselves out, and one that proves NoSo to be one of this generation’s most compelling songwriters. The album follows NoSo’s 2022 debut Stay Proud Of Me which earned rave reviews and praise from NPR’s All Songs Considered, Paste, The Guardian, The Times and Metro, and a stunning performance atTiny Desk. NoSo (real name: Baek Hwong, he/they) says: “My first album mostly comprised of daydreaming about what my life cobuld be like if I embraced my identity. This record is firmly rooted in reality and details my enlightening and tumultuous experiences head on.”

Largely self-produced, When Are You Leaving? sharpens NoSo’s artistry into something at once more expansive and more intimate. It’s an album about the subtle, slow-burning victories that come after walking away from what no longer serves you. Hwong’s music is rich with contrast: thorny lyrics nestled in shimmering arrangements, quiet moments of self-recognition delivered with the confidence of a born storyteller. Across disco grooves, jagged guitars, and spacious ballads, they reflect on fractured relationships, platonic heartbreak, and the complexity of perception.

‘Sugar’, (co-produced by Wild Nothing’s Jack Tatum), glides along a sleek, nostalgic disco groove, light on its feet but emotionally loaded. Beneath the gleaming surface, Hwong explores the quiet exhaustion of navigating interpersonal dynamics with volatile people, choosing compassion over conflict. Hwong elaborates: "‘Sugar’ is about the delicate dance of interacting with volatile, unwell individuals. It’s a reflection on those experiences, aiming to approach them with sympathy instead of anger. I’ve learned that this is the only way I can move forward—by not feeding those memories and giving them power.”

NoSo - Album announcement _ Sugar - Credit Driely Carter

Credit: Driely Carter

NoSo 2025/2026 tour dates:

15 August – Gunnersbury Park – London, UK (w/ Khruangbin, TV on the Radio)

23 October – The Atlantis – Washington, DC

24 October – Baby’s All Right – Brooklyn, NY

25 October – Johnny Brenda’s – Philadelphia, PA

27 October – L’Escogriffe – Montréal, QC

28 October – The Drake Underground – Toronto, ON

30 October – Lincoln Hall – Chicago, IL

1 November – 7th St Entry – Minneapolis, MN

3 November – Globe Hall – Denver, CO

4 November – Kilby Court – Salt Lake City, UT

6 November – Fox Cabaret – Vancouver, BC

7 November – Madame Lou’s – Seattle, WA

8 November – Mississippi Studios – Portland, OR

10 November – Cafe Du Nord – San Francisco, CA

12 November – Masonic Lodge, Hollywood Forever – Los Angeles, CA

4 February – EKKO – Utrecht, Netherlands

5 February – Rotown – Rotterdam, Netherlands

6 February – Turmzimmer – Hamburg, Germany

7 February – Ideal Bar – Copenhagen, Denmark

9 February – Silent Green – Berlin, Germany

10 February – YUCA – Cologne, Germany

11 February – Rotonde – Brussels, Belgium

12 February – La Bellevilloise – Paris, France

14 February – L’Aéronef – Lille, France

17 February – Islington Assembly Hall – London, UK

18 February – Strange Brew – Bristol, UK

19 February – Band on the Wall – Manchester, UK

20 February – King Tut’s Wah Wah Hut – Glasgow, UK

mclusky, masters of razor-sharp wit, jagged riffs and unrelenting energy, return with their first new album in 20 years: the world is still here and so are we (may 9, ipecac recordings).

today, mclusky previews the 13-song album with a two-song digital single: “way of the exploding dickhead” and “unpopular parts of a pig.” a cheeky video for “way of the exploding dickhead” directed by remy lamont, was released simultaneously. with a blistering mix of tightly wound aggression and wry humour, mclusky’s edge is as sharp as ever.

andrew falkous: "with a title modelled on/ripped off a formative video game (‘the way of the exploding fist’ on the zx spectrum), and lyrics inspired by the huge excitement caused by the surge pricing on tickets to see a band play well in the distance, ‘way of the exploding dickhead’ is a modern parable, without the parable bit.”

it’s important to state that the world is still here and so are we is the fourth mclusky album (no qualification being needed). they had an asterisk next to the name for a bit – out of respect for past band members and the precious memorial glue of teenage musical crushes – but fuck that, in for a penny, in for a pound. lyrically it touches on subjects as rich and as varied as work-it-out-yourself and impenetrable-inside-joke-for-the-band, but one thing is clear, all of the songs have different words. all hilarious joking aside, the best songs are about things without being precisely about them. mclusky endorse this sentiment. they positively insist on it.

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Photo credit: Damien Sayell

Divide And Dissolve have announced a new album, Insatiable, arriving via Bella Union April 18th.

Helmed by Black and Cherokee composer and multi-instrumentalist Takiaya Reed, Divide and Dissolve has announced her new album, Insatiable, due out April 18 via Bella Union. Already legends on the international doom metal scene, the new album is an evolution of sound and intricacy. Over the 10 tracks, it runs the gamut of doom metal, building upon the genre’s trademark sludgy guitars and thundering drums with Takaiya’s deft and wondrous saxophone.

Today Divide and Dissolve share lead single ‘Provenance’, a powerful and dynamic composition that evokes the spirit of hope and possibility. Takiaya shares, “Provenance is an examination of where things begin and how they can end.”

Watch the video here:

The album title Insatiable, came to Takiaya in a dream. She had a vision of a better world, one that gelled seamlessly with the optimism of her take on heavy music: “I saw and have felt the impact of people committing great acts of harm, causing pain in a never ending cycle. I have also seen and felt the strength and power of people committing great acts of love,” she says. For Takiaya, this is what it means to be “insatiable”; it’s the way we choose either a path of destruction or one of compassion, and experience it to its fullest. “It’s an album about love, and it feels important to experience this, now more than ever.”

Divide and Dissolve’s music is an acknowledgement of the dispossession that occurs due to colonial violence, it honours ancestors, opposes white supremacy and calls for indigenous sovereignty. Strapped with thunderstorms of crashing cymbals, crunchy feedback, stomach-churning riffs and neo-classical inflections, the new collection delves into the idea of freedom through impermanence and destruction vs compassion, an urgent call to imagine a better world before it’s too late. Listen to it, digest it, and become insatiable.

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Photo credit: Abbey Raymonde

The ever-enigmatic Godspeed You! Black Emperor have announced their new album in suitably oblique form – only, their message is loud and clear here. There’s no press hype for the album in their accompanying statement, but no explanation is required when it comes to the their focus: the album’s title alone speaks for itself. NO​ ​TITLE AS OF 13 FEBRUARY 2024 28​,​340 DEAD. This is, of course, the number of Gazan casualties since 7th October 2023. That number now stands at in excess of 41,000.

The final track on the album, ‘GREY RUBBLE – GREEN SHOOTS’ is an expansive seven-minute piece which balances darkness and hope.

The accompanying statement reads as follows, and you can hear the track below:

THE PLAIN TRUTH==
we drifted through it, arguing.
every day a new war crime, every day a flower bloom.
we sat down together and wrote it in one room,
and then sat down in a different room, recording.
NO TITLE= what gestures make sense while tiny bodies fall? what context? what broken melody?
and then a tally and a date to mark a point on the line, the negative process, the growing pile.
the sun setting above beds of ash
while we sat together, arguing.
the old world order barely pretended to care.
this new century will be crueler still.
war is coming.
don’t give up.
pick a side.
hang on.
love.
GY!BE

Tour dates:

UK/EU

SEP/OCT 2024
27 Sep 2024 • Dublin IE • National Stadium

29 Sep 2024 • London UK • Troxy
30 Sep 2024 • Glasgow, UK • Barrowlands
01 Oct 2024 • Manchester UK • Ritz
02 Oct 2024 • Bristol UK • Marble Factory
03 Oct 2024 • Coventry UK • The Empire
04 Oct 2024 • Tourcoing FR • Le Grand Mix
05 Oct 2024 • Esch-Alzette LU • Kufa
06 Oct 2024 • Paris FR • Le Trianon
08 Oct 2024 • Nantes FR • Stereolux
09 Oct 2024 • Nancy FR • L’Autre Canal (Jazz Pulsation Festival)
10 Oct 2024 • Zürich CH • Volkshaus
11 Oct 2024 • Lausanne CH • Les Docks
12 Oct 2024 • Frankfurt DE • Zoom
14 Oct 2024 • Berlin DE • Huxleys
15 Oct 2024 • Amsterdam NE • Paradiso
16 Oct 2024 • Brussels BE • AB
18 Oct 2024 • Athens GR • Floyd

NORTH AMERICA
NOV 2024

04 Nov 2024 • Hamilton ON • Bridgeworks
05 Nov 2024 • Toronto ON • History
06 Nov 2024 • London ON • London Music Hall
07 Nov 2024 • Grand Rapids MI • Elevation
08 Nov 2024 • Chicago IL • The Salt Shed
09 Nov 2024 • St Paul MN • Palace Theater
11 Nov 2024 • Lawrence KS • Liberty Hall
12 Nov 2024 • Fayetteville AR • George’s Majestic Lounge
13 Nov 2024 • Nashville TN • The Basement East
14 Nov 2024 • Knoxville TN • Bijou Theater
15 Nov 2024 • Atlanta GA • The Masquerade
16 Nov 2024 • Charleston SC • The Music Farm
17 Nov 2024 • Saxapahaw NC • Haw River Ballroom
19 Nov 2024 • Washington DC • 9:30 Club
21 Nov 2024 • Brooklyn NY • Pioneerworks
22 Nov 2024 • Norwalk CT • District Music Hall
23 Nov 2024 • Boston MA • Roadrunner
24 Nov 2024 • Philadelphia PA • Union Transfer
25 Nov 2024 • Montréal, QC • MTELUS

NORTH AMERICA
APR/MAY 2025

25 April 2025 • Austin, TX • TBA
26 April 2025 • Dallas, TX • Granada Theater
28 April 2025 • Denver, CO • Ogden Theater
30 April 2025 • Los Angeles, CA • The Bellweather
01 May 2025 • Santa Ana, CA • The Observatory OC
02 May 2025 • Tijuana, B.C., Mexico • Cine Bujazán
03 May 2025 • Ventura, CA • Ventura Music Hall
04 May 2025 • San Francisco, CA • Curran Theater
06 May 2025 • Portland, OR • Wonder Ballroom
07 May 2025 • Portland, OR • Wonder Ballroom
08 May 2025 • Seattle, WA • The Neptune
09 May 2025 • Seattle, WA • The Neptune
10 May 2025 • Vancouver, BC • Vogue Theatre
12 May 2025 • Kelowna, BC • Revelry
13 May 2025 • Calgary, AB • Palace Theatre
14 May 2025 • Edmonton, AB • Midway

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