‘God’s Picture’ is the latest track to be taken from Emma Ruth Rundle’s These Killing Times, and described by Emma as the centrepiece and thesis statement of this record. The album will be released via her own imprint Errant Child on 18th September.
“’God’s Picture’ is a meditation on the state of the world, particularly climate disaster, global conflict and class. Musically this song feels like a segue from Engine of Hell, with its gentle piano and guitar, to These Killing Times, with its more lush arrangements and message. This song is also a plea for the demolition of Western hegemony. Accompanied by a music video collaboration with many friends and for which I painstakingly constructed the sets for in the winter of 2025/26, ‘God’s Picture’ is the thesis statement at the core of my new album These Killing Times.”
Watch the video for ‘God’s Picture’ here:
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EMMA RUTH RUNDLE LIVE IN EU/UK IN 2027:
22/03/2027 DE Berlin Festsaal 23/03/2027 DE Hamburg Bahnhof Pauli 24/03/2027 DE Leipzig UT Connewitz 25/03/2027 DE Cologne Gebäude 9 27/03/2027 CZ Prague Palác Akropolis 28/03/2027 AT Wien Arena Wien 30/03/2027 DE Munich Backstage 31/03/2027 CH Zurich Rote Fabrik 01/04/2027 FR Lyon L’Epicerie Moderne 02/04/2027 FR Lille L’aeronef 03/04/2027 FR Nantes Ferrailleur 05/04/2027 UK Bristol Fleece 06/04/2027 UK Manchester Gorilla 08/04/2027 UK Glasgow St. Luke’s 09/04/2027 UK Leeds Brudenell Social Club 10/04/2027 UK London Islington Assembly Hall 11/04/2027 UK Brighton Chalk 13/04/2027 FR Paris Elysee Montmartre 14/04/2027 BE Antwerp Trix 15/04/2027 NL Tilburg Roadburn
Deconstructing Sequence unveils a devastating video for the track ‘The Undying Void’, taken from their latest full-length, Tenebris Cosmicis Tempora, which was released last November via Black Lion Records. The album leans into undiscovered realms of black metal but also pushes even further forward into progressive and avant-garde territories. As an explosive reminder of what the new album encompasses, Deconstructing Sequence deliver a striking video for an unhinged and thoroughly heart-hammering song. The video was recorded at Two Shots Studio and produced by Łukasz Grosik from Remedy Brand.
“Łukasz Grosik perfectly captured the atmosphere behind the song and the band, showing a very dark, destructive vision,” states the band. “A vision that we, as Deconstructing Sequence, will follow.”
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Deconstructing Sequence was formed in 2012 in Taunton, Somerset (UK) by Tiberius. Alongside former Northwail bandmate Morph, the duo sought to explore more progressive and avant-garde territories within extreme music. Soon after, J. Nerexo (from Shadows Land) joined on drums, culminating in a more aggressive and twisted edge to the band’s progressive sound. This lineup produced two EPs and one full-length album.
The debut EP Year One (2013), mixed and mastered by Arkadiusz “Aro” Jabłoński at Monroe Sound Studio, laid the foundation for a new era of artistic freedom. The follow-up, Access Code (2014), featured a video created by Costin Chioreanu of Twilight13Media, hinting at an evolving musical vision. In 2017, Deconstructing Sequence’s first full-length album, Cosmic Progression: An Agonizing Journey Through the Oddities of Space, released via Polish label Via Nocturna in 2018, was praised worldwide for its unconventional approach and bold sound. After relocating to Szczecin, Poland, Tiberius began shaping a new creative direction for what would become the band’s second full-length. With Morph stepping away, drummer Dark Soul joined in 2018, injecting fresh energy into the band. Over the next few years, Deconstructing Sequence meticulously constructed what would become Tenebris Cosmicis Tempora, recorded at Monroe Sound Studio under the supervision of Arkadiusz “Aro” Jabłoński between 2022 and 2025, with guest vocal contributions from Mazak and Adrian. In 2023, bassist Immortal joined as a full-time member, followed by Uruk on second guitar in late 2024, finalizing a complete and stage-ready lineup.
Tenebris Cosmicis Tempora, the sophomore album, blends the furious riffing of Mayhem, the majestic elements of DHG and Emperor, and the haunting depth of Akhlys, forging a journey through idiosyncratic sound and vision. While their previous album lent significant credence to death and post-metal in manifesting their progressive black metal art, this new opus sees the band truly deconstructing their earlier sequence — shapeshifting into a weirder and more unhinged black metal entity.
Tenebris Cosmicis Tempora unfolds as an allegory of humanity’s self-destruction and self-conceit. It follows the last human’s journey from Earth’s destruction to his transformation into a godlike being consumed by his own creation. Guided first by Lucifer and later corrupted by cosmic forces, he witnesses the collapse of faith, power, and meaning. In his quest to control and recreate existence, he becomes the very force of ruin he once fled — until only the void remains, reflecting the eternal flaw of humanity itself.
Looking ahead, the band is already working on new material, rehearsing demo tracks, and continuing their relentless pursuit of twisted, black metal innovation.
Ev Gold (guitar, vocals), Michael Jung (bass), and Stephen Moses (drums) make up GoJuMo, a noisy punk rock trio from Brooklyn. The three musicians first met in January 2016 through BC35, a weekend project celebrating the 35th anniversary of Brooklyn’s historic BC Studio, run by Martin Bisi (Swans, Sonic Youth). Artists connected to the studio over the years gathered to collaborate in different combinations, with Bisi documenting the sessions, which were later released by Bronson Recordings in 2018.
In the years that followed, Moses and Jung’s respective bands, Mustafina and Um, shared the stage several times with Gold’s Cinema Cinema. Then, in fall 2024, Gold reached out to Moses about starting a new project. What initially looked like a potential duo soon expanded when Moses suggested bringing Jung into the lineup. “I had loved Stephen’s drumming for quite a while and finally got the nerve up to reach out to him about jamming that fall,” recalls Gold. “It was fortuitous that he would recommend that we include Michael in the action and even more so when he – a great guitar player in his own right – was willing to handle bass duties. We have discussed swapping roles in the future, so there could very well be a GoJuMo record that has him on guitar and me on bass soon, we shall see!” Jamming and songwriting began soon after, and GoJuMo played their first show that December. Two-fifths of Alice Donut plus one-half of Cinema Cinema equals a GoJuMo: Go – Gold: Ju for Jung and Mo for Moses.
Throughout the year, the band developed the material through intensive rehearsals and live shows before returning to BC Studio with Martin Bisi in fall 2025. Having all worked with Bisi before, BC was the obvious choice.
The sessions quickly confirmed that the ease behind the project translated naturally into the rehearsal room. “Playing with these guys is an absolute joy. The music feels really organic and fits right into my wheelhouse and besides the fact that they’re really great players, they’re really nice guys,” says Stephen Moses. Ev Gold adds: “A lovely musical experience. Michael and Stephen have played together for over thirty years, they have a musical language of their own. It is a fortunate scenario to have such a well attuned rhythm section.”
That strong rapport was matched by an unusually productive first rehearsal. “The very first idea worked on at the initial GoJuMo rehearsal was ‘Failed Math” says Gold. “Coming away with three songs from the first time we ever got together in a room was a strong indication to us to continue to get together as often as possible!”
The session also produced the skeletal structures of ‘Worm’ and ‘How Soon Is Again?’, with all three songs eventually making their way onto the album.
Hear ‘Failed Math’ here:
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At a time when AI-assisted music production is becoming increasingly prevalent and polished recordings are often treated as the goal, GoJuMo instead relied on the chemistry built through months of rehearsals and live performances. The band opted for as little studio manipulation as possible: there were almost no overdubs, most of the record was captured live off the floor at BC Studio, and no song required more than three takes, with several completed in just one.
That approach is particularly evident on ‘Failed Math’, the album’s single. Gold traces the song’s origins back to the night he learned of the death of famed professional wrestler “Rowdy” Roddy Piper. “He was a childhood favorite of mine and in an odd circumstance, I happened to be at home with my guitar on my lap when I heard the news of his passing,” he recalls. “The next thing I knew I was playing a pattern on guitar that would become the main figure of this song”. The idea, originally titled ‘The Pit’ after Piper’s talk show Piper’s Pit, remained in Gold’s demo folder for years before finding a new life with GoJuMo. The song eventually evolved into a reflection on Gold’s struggles with math during his senior year of high school, an experience that prevented him from graduating on schedule and led to a semester of summer school.
The finishing touches and mixing were handled at HizHaus by bassist Michael Jung, who also serves as the band’s documentarian. An avid photographer who regularly captures live shows around New York City, Jung also records each GoJuMo practice for the members to review and use as part of the songwriting process.
TWICE A MAN unveil a beautiful visualiser for ‘Desert Snow’, the first to be plucked as an advance single from the electronic environmentalists’ forthcoming album Reveries Before Silence. The Swedes’ new full-length has been chalked up for release on November 20, 2026.
Parallel to their new album, Twice A Man will also release a collection of rare tracks revolving around marine themes that have been gathered in a 48-page 2CD artbook under the title The Marine Trilogy on November 20, 2026
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Twice A Man comment: “The first single track, ‘Desert Snow’, is one of our musical footprints in a time marked by uncertainty, division, and change”, Karl Gasleben explains on behalf of the band collective. "This song reflects on the world we live in today while reminding us that hope and positive thinking can still be a path toward unity. As modern societies continue to challenge our sense of human connection, we need to find what brings us together rather than what drives us apart. If we can discover a common voice that leads us away from war, polarisation, and the climate crisis, there is still a future worth believing in. We want to be able to look our children in the eyes and speak about tomorrow with honesty, responsibility, and hope. ‘Desert Snow’ is our contribution to that conversation – a song that carries both reflection and faith in a better future.”
Static Abyss’s new album The Dying Hunt was released on 1st September via Peaceville Records. To mark the release, the band have unleashed an utterly skin-crawling new music video for ‘Sinew Leech’, plunging viewers further into the album’s nightmarish world of brutal death metal, doom-laden riffs and psychedelic darkness.
Watch ‘Sinew Leech’ below and experience the latest descent into the twisted sonic abyss of The Dying Hunt.
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Emerging in the early 2020’s, Static Abyss is a monstrous hybrid of twisted, doom-laden brutal death, comprising of longstanding members of the US metal scene. The band consists primarily of the duo of Deathgrave’s Greg Wilkinson (Guitars/bass) & Chris Reifert (vocals), both also members of legendary American masters of sickness, Autopsy, with Chris also notably starting his career with genre pioneers, Death. The band’s debut, Labyrinth of Veins was released in 2022, and their second album Aborted From Reality followed in quick succession, surfacing in 2023.
Returning now for Static Abyss’ third studio album, and with the addition of Chad Gailey of fellow death merchants Necrot behind the drumkit for this release, The Dying Hunt plummets the listener again into the festering, psychedelic swamps of lunacy, with the spiralling melodies texturing the relentless savage riffs for an effective nightmare-inducing trip through the sonic abyss. Continuously and relentlessly flitting between brutal passages and hypnotic otherworldly craziness, ‘The Dying Hunt’ reflects the ailing world & the unravelling of the psyche of its inhabitants in this darkly dystopian landscape, for a masterful descent into sick Death Metal combined with Crust and Doom elements.
The Dying Hunt was recorded at Earhammer Studios in Oakland, CA, with engineering, mixing and mastering overseen by Greg Wilkinson himself. Cover art comes courtesy of Jon Santos.
Burning Song is the new release from Kali Malone and the first new album of solo compositions since early 2024’s All Life Long. The album arrives via Ideologic Organ on October 30th and is previewed with today’s single and video for the song ‘Heavy with Fruit.’
Music that hovers in the moment just before understanding, where revelation lives. Moving through endings and beginnings, reflection and foresight, Burning Song represents a transformation in Malone’s compositional strategy towards a process that is more intuitive and direct. The album was recorded at the historic Thomaskirche in Leipzig, Germany, where J.S. Bach was cantor for the last 27 years of his life; his body rests beneath the sanctuary. Malone is the first musician to perform contemporary works on the church’s Bach Organ, an instrument completed in 2000 but with bespoke tuning and temperament systems based on historical norms of the baroque period.
She is joined by Lucy Railton on cello and Stephen O’Malley on bowed acoustic guitar, the same trio that honed a profound connection based on deep listening through the development of Malone’s work Does Spring Hide Its Joy. Recording took place over the course of two late nights in August 2025, with the engineer Francesco Donadello placing over 20 microphones throughout the room and closely upon the instruments, allowing the listener to locate themselves within the music as it fills the historic sanctum.
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Across the album, chord follows chord, each in slow succession, emerging like stones of various shades and shapes on a winding path. The trio moves as one, stepwise, through passages that are alternately ambiguous and radiant, at times triumphant as the tones rise towards the organ’s upper register. By discarding canon form, which has dominated much of her organ work, there is a clear sense of freedom that allows these pieces to unfold more gradually and speak more declaratively than ever before. Even with the presence of one of the most canonized and dissected composers of all time just underfoot, Malone felt the pressure of tradition lifting, an ease of being dictating the flow of the music. She is careful to never extend the narratives of any individual piece beyond what feels conclusive, resulting in a relatively compact cycle of compositions.
The metaphor of burning holds two meanings. Fire moves in ways that appear intuitive, changing shape moment by moment, and relentlessly insistent. Here, Malone moves from harnessing the fractaline beauty of mathematics to reveling in the impact of feelings, of foresight, of something more undefined and from within. But burning is a process of change in which transformation spreads from a nexus point to rapidly consume whatever it encounters. The freedom found in the process of composing and realizing Burning Song is one that opens innumerable doors of possibility. In the fertility of ashes grows whatever comes next.
Live dates 2026/2027
Wed. Sept. 23 – Lisbon, PT @ Culgurest * Sat. Sept. 26 – Cologne, DE @ St. Gertrud [Brutalism] * Sun. Oct. 11 – Bern, CH @ Berner Münster [bee-flat] ^ Sun. Nov. 29 – Bratislava, SK @ Novy evanjelicky kostol [NEXT Festival] ^ Thu. Jan. 28 – London, UK @ St. Martin # Fri. Jan. 29 – London, UK @ St. Martin # Sun. Jan. 31 – Vernier, CH @ Madeleine Chapel – Espace de la Madeleine [Festival Antigel] #
* = Electronic set ^ = Solo organ set # = Burning Song set Plus more to follow
NYC art-rockers Ecce Shnak is bombastically stoked to present ‘Anna O’, the third single from their much-anticipated full-length record Dandy Variances, slated for release on October 23rd via Records, Man Records. With its ferocious blend of art-rock swagger, grunge grit, and theatrical ambition, ‘Anna O’ offers a raucous first taste of the sonic unruliness in store on the album.
Recorded and produced by Jeff Lucci, this single was mixed by Grammy award-winning producer Mario McNulty (David Bowie, Prince, Nine Inch Nails, Julian Lennon) and mastered by multi-platinum engineer Kris Crummett.
Formed in 2011 and forged in NYC’s experimental scene, Ecce Shnak (pronounced Eh-kay sh-knock) is made up of David Roush (composer, bassist and baritone vocalist), Bella Komodromos (vocals), Chris Krasnow (guitar), Gannon Ferrell (guitar), and Henry Buchanan-Vaughn (drums).
‘Anna O’ is a jump-off-the-couch, roaring-the-hook anthem with big grunge energy. For the first time, Ecce Shnak’s composer-baritone-bassist defers his lyric-writing duties to someone else. His mother, Robin Kneubuhl, wrote a poem months before he and his producer, Jeff Lucci, cooked up a noisy instrumental in March 2019. Roush and Lucci tried the poem out as a lyric, and it fit just right.
Kneubuhl has described her poem as “a lament about tragic contradictions in contemporary feminist thought and practice”. While Kneubuhl wholeheartedly believes in feminism’s ideals, she is concerned that it is misused toward nefarious ends, to the detriment of women and others alike.
“The song’s tragic hero embodies both a noteworthy psychoanalytic patient of Freud’s protégé Josef Breuer and the real-life gun-slinging heroine Annie Oakley. Though Anna is beleaguered by the contradictions Kneubuhl observes in the poem’s story, she ultimately emerges triumphant in the fight against patriarchy by the song’s end,” explains David Roush. “Though we are in the process of firming up the specifics, we can’t wait to play this for the Shnakiverse and music lovers generally on tour this fall!”
The music video is a third collaboration between Ecce Shnak and LA-based film producer DJay Brawner, who also directed the videos for the album’s first two singles, ‘Vincent’ and ‘Eddie, Legalistic Homeslice’. Ecce Shnak’s soprano, Bella Komodromos, plays the role of Anna, who is deeply distressed in captivity, as she seems wrongfully entrapped in an asylum. However, through an act of heroic resistance, she overthrows her abusive doctor and his servile aide. She sets herself free while the mighty rock band Ecce Shnak plays her homage as loudly and wildly as they can.
While Ecce Shnak’s songs draw on a wide array of styles, fans of Nirvana, the Pixies, and the Jesus Lizard will likely latch onto ‘Anna O’ quite tenaciously. With a reputation for astounding performances, Ecce Shnak’s music a volatile yet meticulously crafted ecosystem, where technical precision meets inspired mayhem.
With its name inspired by a dream, October By Name marks out a new chapter in the career of Kavus Torabi. – a psychedelic polymath increasing stretching out his creativity via co-ordinates entirely of his own. This has been a decade so far in which his prolific artistry has only been matched by an equally turbulent period in his personal life. Yet the alchemical charge that has resulted matches the mystical origins of the album’s title with six songs that inhabit a similarly surreal and transcendental landscape. As Kavus reckons “If you can’t trust your subconscious, who can you trust?”
Not merely a more optimistic and beatific sounding record than its cathartic and intense predecessor The Banishing, October By Name sees Kavus evolving as an artist in ways he maybe didn’t even predict himself. Both inspired by his recent work with Gong and Cardiacs, and inhabiting a serious change of modus operandi via his work to date with the improvisational project The Utopia Strong, he created a new method of writing where all styles converge and overlap "As with the first time I heard Cardiacs at the age of sixteen and thinking ‘Oh! You can make stuff like this’, so I had a similar epiphany three decades on"
Somewhat in the great lineage of British psychedelic pathfinders through the ages (the triumvirate of Syd Barrett, Robyn Hitchcock and Julian Cope being an example) It’s at heart a bittersweet yet optimistic reverie that is pure Torabi. "Perhaps there is no free will and we’re all just playing out the consequences of our genes, insecurities and childhood damage" he reflects on the fundamentals of this song “But I have to believe change is possible because, honestly, what’s the point in anything if it isn’t?”
The openers ‘Signals Shine’ and ‘In Her Radiance’’, meanwhile, in all their luminous glory, see him writing love songs. “No big deal in the wider pantheon of music, but a very big deal to me in that I’ve never written this way before,” he notes. “There’s a different energy in writing romantic verse from the position of a man of my age and experience as opposed to when I was in my twenties. I was far too self-conscious and critical to even attempt anything like this back then and genuinely didn’t feel the pull of the love song like I do now. Writing about being on acid made much more sense”. Crucial to October By Name – which Kavus sees as the third part of a trilogy of solo albums is its very specific way of working. “This wasn’t necessarily a contrived plan when I started making solo records but the model I used on my debut Hip To The Jag; performing and recording everything using only instruments available to me, writing songs of an autobiographical and personal nature and drawing and lettering everything by hand seemed to be the right way to go” he notes “This was a way to put all of myself into something, allowing my shortcomings to define the outcome. I’m not a great drummer or letterer, for example, but the way I play drums or hand-letter, sing, or mix becomes the thing”.
“Increasingly, I’m becoming more solipsistic, going further into my own world creatively. As long as the bubble I’m in keeps giving me songs, I’m OK with that. Honestly, every one I get over the line, that still excites, thrills and engages me is a blessing”.
‘My Shameful Namesake’ is the second album to be released in advance of the album. Check it here:
‘Hallucinations’ is the first single and video from Fire Aim Ready, the sixth album from seminal Chicago punk band The Effigies. This is their first release featuring new lead vocalist Geoff Sabin, who took over following the tragic death of founding lead singer John Kezdy in 2023.The new album was recorded at Million Yen Studios in their hometown, and was produced, engineered and mixed by their guitarist Andy Gerber. The album is being released on 12” LP vinyl, CD, digital download and streaming services by the venerable Chicago independent label Pravda Records October 23.
Following writing sessions between live dates in late 2025, the album came together featuring the riff heavy punk metal the band became known for in the 80s with sharp lyrics and aggressive vocals showcasing a clear-eyed worldview on the current state-of-affairs. Written and recorded quickly to capture the moment, the album also includes a cover song from the Stranglers as a nod to the band’s early influences. This is the band’s first release since Burned in 2024, the last album to feature Kezdy.
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Formed in 1980, The Effigies are recognized as one of Chicago’s pioneering punk bands, shaping the Midwest punk scene with their aggressive sound and captivating lyrics. The band’s DIY ethos and commitment to authentic themes about corruption and urban alienation positioned them as a seminal influence on the punk scene for generations. Led originally by vocalist John Kezdy, bassist Paul Zamost, drummer Steve Economou and guitarist Earl Letiecq, the band’s early work blended the raw energy of classic punk with a distinct Midwestern working class sensibility, setting them apart from the coastal scenes of New York and Los Angeles. Their early performances in small Chicago clubs energized a local community of fans and helped establish the city as a notable hub for punk and alternative music. Early releases such as 1981’s Haunted Town EP, 1982’s 7” single “Body Bag” b/w “Security”, and 1983’s “We’re Da Machine” cemented the band’s significance in the expanding scene.
Throughout the 1980s and 1990s, The Effigies shared stages with many prominent acts, including local favorites Naked Raygun and Big Black, as well as national acts The The, Circle Jerks, Black Flag, The Cramps and PIL. Their live shows became legendary for their intensity and were seen as a threat to the local rock establishment still mired in tribute and cover bands. Renowned record engineer Steve Albini writes that “The Effigies were absolutely essential to development of a healthy punk scene in Chicago. Between them and Naked Raygun in the early 80s they basically kept the scene going until it developed momentum beyond them. The Effigies were a moving force during a crucial and exhilarating time.”
While the band drew inspiration from post-punk, hardcore and metal, they have always maintained that, at heart, they are a punk band. Their music consistently embodies the core values of the punk movement: celebration of individuality, egalitarian ideals, and the power of a committed supportive community.
In 2023, the band emerged from a period of relative inactivity to record a new album. They teamed with Andy Gerber at Million Yen Studios, who also produced the 2007 release Reside, and would go on to take over lead guitar duties with the band. The tragic death of founding member John Kezdy in August of 2023 marked a deeply emotional turning point for the band – Kezdy’s vision and charisma had been central to the Effigies identity. In honor of his legacy and last works, Burned was released in October of 2024 on BFD Records followed by reissues of 1984’s For Ever Grounded and 1985’s Fly on a Wire. To support the album releases and continue moving the legacy forward, the band enlisted a new vocalist, Geoff Sabin, whose energy and passion have reinvigorated the group. Their return to the stage has featured festival sets at RiotFest, Rebellion, and PunkRockBowling, a regional tour with The Black Crowes, and coast to coast shows including prominent clubs like Metro, The Whiskey, Sainte Rock, and The Middle East. The live sets have been embraced by long-time fans and critics alike, signaling that The Effigies are poised for a new chapter while maintaining the spirit and integrity that Kezdy helped establish. As of 2026, The Effigies are touring extensively, with plans to continue reaching audiences worldwide.
Cor de Lux are getting closer to releasing their Ipecac Recordings debut album, YEAR OF THE HORSE, on 18th Sept, which captures their competing impulses: abrasion and melody. Across nine songs, the Kill Devil Hills quartet balances post-hardcore urgency, shoegaze bliss, and guitar-driven catharsis. Recorded and produced by J. Robbins (War on Women, Mary Timony), YEAR OF THE HORSE preserves the raw chemistry that defines the band while pushing their songwriting into sharper, more immediate territory.
Today the band share a final preview of the album with the release of ‘Blind Smile’, a track about the beauty in the complete freedom to be who you are.
“The blind man smile, the deaf laugh for all to hear, to be so brave, you can’t hear anyone”
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About the track, Dawn Moraga says, “My cousin is deaf and his true laugh that isn’t altered from what he thinks he should laugh like is one of the most joyous sounds. I think this song is about for me personally trying to find that freedom to not care about what people think of me and to dig deep to find the real. It came together with John and I talking about the beauty from a true smile.. the blind smile.”
John Bliven adds, “The title for ‘Blind Smile’ came about because I wanted to illustrate an event that inspired and humbled me when I was a videographer during a Visually Impaired Persons (VIP) Fishing Tournament, an event that brings hundreds of VIPs to the Outer Banks every year. I got to witness the most joy filled smiles I’ve ever encountered as they felt the scales of the fish and commented about the texture and sliminess as they saw with other senses.”
COR DE LUX LIVE:
Aug. 29, 2026 Raleigh, NC Lump Gallery
September 10 Raleigh, NC Hopscotch Festival @ Kings September 20 Durham, NC Stanczyks + October 7 Philadelphia, PA Ortlieb’s October 8 Brooklyn, NY The Broadway October 10 Toronto, ON Lee’s Palace * October 11 Detroit, MI El Club * October 13 Chicago, IL Outset * October 14 St. Paul, MN Turf Club * October 15 Davenport, IA Raccoon Motel October 17 Louisville, KY Whirling Tiger October 18 Asheville, NC Static Age
