HESO Magazine

Photography, Music, Film, Hitchhiking, Craft Beer – Cultural Pugilist

Tag: Polyvinyl Records

Pillar Point - Marble Mouth

Pillar Point – Marble Mouth

“Dove” immediately marches through your ears, into your brain, releasing that oh-so-coveted, smile-inducing, music-generated dopamine…calling on fond associations of some of the upbeat tracks Phoenix put out in years past.
— The Music Ninja

Pillar Point – Marble Mouth

Pillar Point - Marble MouthScott Reitherman was planning to record the second Pillar Point album at home in Seattle, when he received an unexpected invitation — extended backstage in Phoenix after opening for of Montreal — to cut it at Kevin Barnes’ home studio in Athens, Georgia. Barnes said of the music, “I love how hooky/funky/dancey the songs are. As a complete work, the album transports me into a glamorous milieu. It makes me wanna dress in drag and go to a blue collar bar. Ha ha.”

“I couldn’t believe it to be honest,” says Reitherman. “I was overwhelmed; we’re halfway through the tour and I’m already having the time of my life.”

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Deerhoof Live In Tokyo

Deerhoof – La Isla Bonita

“We neither had it all nor shall we…We are just fine without your promises.”

Satomi Matsuzaki on ‘Black Pitch’

The Beard – EP 91 – Deerhoof by Beard Radio on Mixcloud

Deerhoof is the quintessential gateway band. Like the Velvet Underground and Pixies before them, they have spawned 1000 other bands, some of whom have gone on to sell lots of records. Not publicly so-well-known for their multi-directional syncopation and almost Hellenistic melody chugging out their intense maximal sound from a few strings and percussives, but to the indie-girl / -boy fanclubs their sound has slowly become part of industry vernacular: St. Vincent, Flaming Lips, Tune-Yards and Dirty Projectors are just a few of the bands to owe debts of gratitude to the foursome of Satomi, Ed, John and Greg.

Deerhoof – La Isla Bonita

But who is Deerhoof? (Read the HESO Interview from their 2008 Japan tour) Why have they lasted? How are they so influential, yet still relatively unknown? They put out a notably good album just a couple months ago. So why have they never become rich and famous but still have managed to have stuck around for over two decades — having celebrated its 20th anniversary last year. According to the press release from this past November’s release of La Isla Bonita, drummer Greg Saunier stated:

No band is an island. Felt like one sometimes, in those budgetless and obscure early days, Satomi [Matsuzaki] and me locked in the basement trying to figure out how our clashing personalities and ideas could turn into a band. If we hadn’t had that crazed mid-’90s Bay Area punk scene to call home, I doubt we’d still be here to chat about a 20th anniversary. We don’t set out to create masterpieces. The Deerhoof fan is a thrill-seeker. This is the latest volley in an ongoing conversation we’ve been honored to hold for 20 years.

That their 13th studio album was not recorded in a studio, but demo tracks were recorded for a week at guitarist Ed Rodriguez’s basement and sent to Godmode Records guy Nick Sylvester, an early Deerhoof supporter back from his days as a music critic for Pitchfork, who eventually produced the album. Drawing on key influences Radiohead, The Flaming Lips, Lou Reed, Sonic Youth, Beck, the Roots, Ric Ocasek and David Byrne, La Isla Bonita is, above all a Ramone-y groove album, with repeating riffs and their trademark nonlinear yet efficient arrangements. It swings to and fro with approachable and yet still disjunctively “weird” melody and rhythm patterns, enough to be true to past form while still as explorative as a car speeding down a darkened highway lit by only the moon and driven by the odd and beautiful music within. See photos from a live show in Tokyo.

Deerhoof - La Isla Bonita

Deerhoof – La Isla Bonita

Upcoming Dates

  • Jan 31 Indigo Fest Santa Ana, CA
  • Feb 14 Dzik Warsaw, Poland
  • Feb 16 Lido Berlin, Germany
  • Feb 17 Conne Island Leipzig, Germany
  • Feb 18 Zoom Frankfurt, Germany
  • Feb 19 Petit Bain Paris, France
  • Feb 20 La Maison Folie Mons, Belgium
  • Feb 21 Melkweg Oude Zaal Amsterdam, Netherlands
  • Feb 23 Marble Factory Bristol, United Kingdom
  • Feb 24 Stereo Glasgow, United Kingdom
  • Feb 25 Brudenell Social Club Leeds, United Kingdom
  • Feb 26 Oval Space London, United Kingdom
  • Feb 28 La Route Du Rock Festival (Winter Edition) Saint-Malo, France
  • Mar 09 Toad’s New Haven, CT
  • Mar 10 Paradise w/ of Montreal Boston, MA
  • Mar 12 Beachland Ballroom w/ of Montreal Cleveland, OH
  • Mar 13 The Metro w/ of Montreal Chicago, IL
  • Mar 14 Turner Hall w/ of Montreal Milwaukee, WI
  • Mar 15 First Avenue w/ of Montreal Minneapolis, MN
  • Mar 16 The Waiting Room w/ of Montreal Omaha, NE
  • Mar 17 ACM – UCO Performance Lab w/ of Montreal Oklahoma City, OK
  • Mar 18 Walter’s Downtown w/ of Montreal Houston, TX
  • Mar 19 SXSW Austin, TX
  • Mar 20 SXSW Austin, TX
  • Mar 21 Thirsty Hippo w/ Fred Thomas Hattiesburg, MS
  • Mar 23 The Earl w/ Fred Thomas Atlanta, GA
  • Mar 24 Mercy Lounge w/ Fred Thomas Nashville, TN
  • Mar 25 Duke Coffeehouse Durham, NC
  • Mar 26 Ottobar Baltimore, MD
  • Mar 27 Pearl Street Northampton, MA
  • Mar 28 Marlin Room at Webster Hall New York, NY
The Real Return of The Rentals

The Real Return of The Rentals

The Rentals - Lost In Alphaville

The Rentals – Lost In Alphaville (Polyvinyl, 2014)

In Jean-Luc Godard’s 1965 dystopian sci-fi riddle of a film, Alphaville, Lemmy Caution is a detective set out to stop a mad scientist. Machines, or rather A Machine–Alpha 60–has collectivized all individuality and trampled out emotion, romance, dreams and love. The poetry of the world is gone. The commodotization of the soul is eminent. Will poetry win out?

Cut to 2014. No longer black and white 1965 disjunctive Paris noir, commodity is king, the body is for transhuman sale, machines do–in their seemingly cute and innocuous Asimo way–rule. At least on the surface. Dig a little deeper and you can still find that same soul satisfying squelch you somnambulantly seek out. You thought The Rentals had something to do with TARP and Fannie Mae or Freddie Mac and American Exceptionalism and the Right To Own A Home & Bear Arms & BBQ! America Fuck Yeah! Well, they (The Rentals) do, actually, I’m sure, in some way reference the subprime essence of the mortgaging of America for technological doodads that do nothing. You can feel that they have something to do with most everything on Lost In Alphaville, the surprisingly long awaited and highly anticipated follow-up to ex-Weezer bassist Matt Sharp’s Return of the Rentals and Seven More Minutes.

They are almost more vital now than before (the 90s), now that they have taken the offhand lo-fi moog fuzz sploosh that dominated an era of indie-rock (that turned out to influence most everything electro-cool you hear today) and unfolded it inside outside of itself and expanded the sound with insightful lyrics, subtle yet catchy guitar hooks, and stretched out poppy sweet melodies that made Weezer all that it never actually could have been (once Sharp left the band). Because–let’s be honest here–when the collaboration between Rivers Cuomo and Matt Sharp ended after Pinkerton, (and the lawyers took over) Weezer’s reign as a meaningful band ended as well. While Cuomo and Sharp had a millisecond of a chance to become the X Generation’s Lennon and McCartney, Weezer–and specifically Cuomo–then became the vomit-inducing new incarnation of KISS and Gene Simmons, respectively, albeit with an overwhelmingly WTF / Richard Linklater Slacker vibe. Rock Is Dead (Sigh). Long Live Rock (Sigh).

The Real Return of The Rentals

The-Rentals-002-by_Brantley-GutierrezThankfully Matt Sharp had cultivated some personality he somehow kept away from Cuomo’s Alpha 60-esque poetic vacuum of destruction of all things in good taste. He cultivated relationships with talented musicians (who didn’t just want to be rock stars). He became monkish and went underground. He studied. The word sabbatical comes to mind. Of course I have no idea if any of this is factually true, but in my world this is how I perceive it. Weezer became Ass Hats and Matt Sharp disappeared. Until earlier this year, when rumors flourished that a resurrection of The Rentals had resurfaced, in the shape of Jess Wolfe and Holly Laessig from Lucius (vocals), Ryen Slegr of Ozma (guitar), Lauren Chipman of The Section Quartet (strings) with The Black Keys’ Patrick Carney (drums) next to Sharp at the rhythm helm.

The result is particularly good. Not great, mind you, but enough of a stand alone effort to more than interest someone who has never heard of The Rentals, nor ever really gotten why–or how–Weezer kept going. The musicianship is loose, even expansive on opener “It’s Time To Come Home”, and shifts into sturdy and efficient electro-pop territory that Sharp is so attuned to, alternating time signatures with wave of the hand wafty ease, and adding well-placed strings on “1000 Seasons”. Over the course of Lost in Alphaville, one sniffs the recurring motif of technology tinged with sentimentality. Not in the maudlin and mushy sense of bad cable television, but more in the humanistic approach to the modern era of figuring out how to live in a world with smart phones, drones and Androstenedion. Like Godard’s film, Sharp’s cultural artifact is imperfect, and doesn’t always reach its potential, but it/he/we are cognizant of our imperfections, our failings and that all things along the path, for good or ill, make us who we are. In this realization, there is freedom from the hegemony of the invisible overlords, there is a path the NSA cannot perceive. We are all made of stardust. As he croons in “Seven Years”

It’s true you’re still with me /
You’re still with me but I don’t know why /
I know it’s too ambitious /
Too ambitious to even try

Yet here we are, still trying. Try to see them live:

    09/05 – Los Angeles, CA @ The Fonda Theatre * ^
    09/07 – Pomona, CA @ The Glass House * ^
    09/08 – San Francisco, CA @ Slim’s ^
    09/25 – Philadelphia, PA @ Union Transfer
    09/26 – Asbury Park, NJ @ Stone Pony
    09/27 – NY, NY @ Irving Plaza

* w/ We Are Scientists
^ w/ Ozma

Alvvays Ride Perfect Summer Pop Song Wave

Alvvays Ride Perfect Summer Pop Song Wave

Alvvays Ride Perfect Summer Pop Song Wave

Like a 90s Prime Time Soap Opera Cast…

“You should be an American!” is never a good way to start off a conversation. But that’s how the imaginary interview goes in my head. Me, perusing the map of Nova Scotia, wondering why my American history course was so inadequate, thinking, Why isn’t that a part of Maine? and People actually live there who don’t fish? The summer camps must be awesome! Yes, I am from California…

Alvvays, a Canadian quintet who have just dropped their debut album on the musical world, seem to have the likes of all us ready to faint at the first lovely gasps of the Molly Rankin singing on “Archie, Marry Me”. Like an uplifting mix of the brightest spots of Teenage Fanclub and Belle & Sebastian with flourishes of Camera Obscura but with clear and melodic, but loud guitars, Alvvays seem to be catching the perfect wave at the peak of summer. Admittedly it’s an east coast, Canadian wave. But these days, what with Canada having hegemony over the US of A in terms of authenticity, it translates. Two of the fivesome, Rankin and Kerri MacLellan grew up as next-door neighbours in Cape Breton. Seems like the by turns practical and sentimental Scottish love of the the sea is alive and well in the Canadian heartland of Prince Edward Island too, where Alec O’Hanley, Brian Murphy and Philip MacIsaac hail. Just another reason to move to Canada. Or if they won’t let you in, at least the other Portland.

Recorded at Chad VanGaalen’s Yoko Eno studio and mixed by Graham Walsh (Holy Fuck) and John Agnello (Sonic Youth, Dinosaur Jr., Kurt Vile), the album is distributed by Polyvinyl, who lovingly say, “Convening in Toronto, the group have been making music since dusk or maybe dawn, when stars were appearing or fading off. As a result, their debut self-titled album is both sun-splashed and twilit — nine songs concealing drunkenness, defeat and death in tungsten-tinted pop that glitters like sea glass.”

I don’t know about all that. We’ll wait for the sophomore effort to comment on such import as tungsten-tinted pop and glittery sea glass. Their first album, if a bit truncated and wobbly in the middle bits, does promise that there is hope for the children of fisherman past, if only all of us would trust in the sea.

Alvvays Ride Perfect Summer Pop Song Wave

Alvvays Ride Perfect Summer Pop Song Wave

Alvvays (Polyvinyl, 2014)


Aug 05 – London @ Birthdays
Aug 06 – London @ Rough Trade East
Aug 09 – Kingston, ON @ Wolfe Island Festival
Aug 16 – Montreal, QC @ La Vitrola
Oct 20 – Cambridge, UK @ Junction 2 &
Oct 21 – Liverpool, UK @ Kazimier &
Oct 22 – Dublin, Ireland @ O2 Academy &
Oct 24 – Birmingham, UK @ The Institute &
Oct 25 – Leeds, UK @ Brudenell Social Club &
Oct 26 – Newcastle, UK @ Riverside &
Oct 28 – Brighton, UK @ Komedia &
Oct 29 – London, UK @ Shepherd’s Bush Empire &
& w/ Real Estate

American Football circa 1997

American Football Deluxe Edition

American Football
American Football Deluxe Edition
Polyvinyl Records
Release: 20 May 2014

American Football circa 1997

American Football circa 1997

In the 15 years since its release, American Football’s self-titled debut full-length has quietly become one of the most fiercely beloved titles in the Polyvinyl catalog. Though the trio — Mike Kinsella (Cap’n Jazz, Owen, Owls), Steve Lamos, and Steve Holmes — only played a few shows and released just one other record (a three-song EP that preceded this full-length), their influence and legacy has steadily continued to grow in the time after they disbanded.

American Football, Polyvinyl

American Football, Polyvinyl

From its now iconic artwork to the band’s unique songwriting approach (highlighted by an emphasis on shifting time signatures and sincere lyrics), American Football proves a record doesn’t become a true classic through flashiness or catering to trends, but rather the deep emotional connection it forges between the music and the listener.

After guitarist Steve Holmes discovered a set of cassette tapes containing a variety of unreleased recordings, the band curated an album’s worth of these rare live recordings, demos, and practice sessions (in which the group rehearsed material they never recorded elsewhere) to complement the original record.

Now available on 2xLP (180-Gram Red) and 2xCD, American Football is being re-issued with beautifully expanded packaging that incorporates new photographs from Chris Strong along with lyrics, detailed liner notes written by the band, and never-before-seen band pictures.

Upcoming Shows:
09/28 – Urbana-Champaign, IL @ Pygmalion Music Festival
10/10 – New York, NY @ Webster Hall SOLD OUT
10/11 – New York, NY @ Webster Hall SOLD OUT
10/12 – New York, NY @ Webster Hall SOLD OUT

Shugo Tokumaru - In Focus?

Shugo Tokumaru – In Focus?

Shugo Tokumaru has a busy year ahead of him. Shortly after releasing his fifth full-length album, In Focus? (out now), Tokumaru confirmed a U.S. tour opening for Kishi Bashi, including first ever trip to the west coast & SXSW.

Kicking off on February 22 in Seattle and concluding March 9th in New Orleans, Tokumaru will be performing In Focus? as an intimate, solo set each night, a contrast to the 6-piece band live shows he usually plays in Japan.

Cheock out the video for “Katachi” directed by Kijek/Adamski, featuring stop-motion display of colorful objects set in time to the beat of the song.

Also, listen to “Decorate” from In Focus?

Shugo Tokumaru – In Focus?

February 22 @ Crocodile – Seattle, WA
February 23 @ Biltmore – Vancouver, Canada
February 24 @ HOLOCENE – Portland, OR
February 26 @ Great American Music Hall – San Francisco, CA
February 27 @ Moe’s Alley – Santa Cruz, CA
March 1 @ Troubadour – Los Angeles, CA
March 2 @ The Casbah – San Diego, CA
March 5 @ Club Congress – Tucson, AZ
March 7 @ Stubb’s Jr. – Austin, TX
March 8 @ Fitzgerald’s (downstairs) – Houston, TX
March 9 @ One Eyed Jacks – New Orleans, LA

Japandroids Celebration Rock

Japandroids Celebration Rock

Japandroids Celebration Rock It is hard to imagine Brian King and David Prowse being in a room together and not sounding like ten guys with heavy equipment making a lot of noise. But making good, and occasionally great, rock noise. And being unapologetically melodic and poetic about it to boot. But they beat me to that punch: this is Celebration Rock. This is about being unapologetic. This is about youth and fireworks and like the studied dissonance of the intro track “The Nights of Wine and Roses”, says, “Don’t we have anything to live for? / Well of course we do, but until it comes true / we’re drinking.”

But doesn’t that sound rather like a band straddling the line between adolescence and adulthood, between their first and second album, between living the dream or just merely dreaming their lives away?

Japandroids Celebration Rock

On “Fire’s Highway” Brian King croons, “A northern soul in southern lands/ will always find his way to southern hands.” which perhaps begins to speak to what the Japandroids duo have experienced in recent years with the unexpected success of their debut album Post-Nothing (Polyvinyl, 2009): the incessant touring, the searching for comfort in unknown territory, the desire to continue burning the wick at both ends while remaining unsure at to what comes next. He goes on to add, “So give away your gypsy fears / and turn your restless nights to restless years.” Your dreams are no longer unrealized. They are happening right now and how do you feel? To continue deeper into the labyrinth means to give up the old life and become a new person. To give up the quest means to live Groundhog’s Day as a fry cook at some greasy spoon and watch the girl of your dreams walk out time after time, never knowing how much you used to rock.

They bought the idea of the dream. From the press release, “Japandroids fought tirelessly against their own creative limitations, struggling to expand their sound beyond the simple sloganeering that dominated Post-Nothing.” Sure, there were issues. There was supposed to be a lead singer. They were supposed to be friends. There was supposed to be success, money, the trappings of rock glory. Overland travel is a grueling experience, and add touring and pouring your young musical hearts out every night in yet another nameless college town to that, and it changes into that four letter word we don’t like to talk about in association with our dreams: work. Because you can only play your current discography of twenty-two songs for so long (especially if they add up to just over an hour), before they are grumbling for more. They—the audience, the unseen and insatiable internet hordes, the record industry insiders—they always want more. So on top of making a name for yourself as one of the most explosive live bands playing, you have to write more songs—good songs—in order to sustain the dream. Luckily, that’s what happened.

The question as to why music is so much better loud and in the dark can only be answered individually, yet the fact remains that while the night is the realm of sleepy-time dreams for most, for some it is when they are most awake. Click To Tweet
Japandroids Celebration Rock

Japandroids Jam Space Panorama

Despite a few unsure moments (If a rough theme of the album is travel and driving, then the fourth track, “For the Love of Ivy”, seems to be a tenuous diversion down a back country road that dead-ends at one of those swamps for which the south is famous), there is very little fodder on the eight song, 35 minute tribute to life. For indeed the motif of the album resides in that cliché of carpe diem (or more aptly carpe noctem), citing relentless references to Fire, the Night, Hell and Heaven, Thunder, and not above all, as they so eloquently put it on “Adrenaline Nightshift”, “…“waiting for the generation’s bonfire to begin”. But what does the chorus, sung, like most of their call-and-response-y choruses, in rousing duet, mean, “There’s no high like this / Adrenaline Nightshift”? The question as to why music is so much better loud and in the dark can only be answered individually, yet the fact remains that while the night is the realm of sleepy-time dreams for most, for some it is when they are most awake.

The wistfulness of “Younger Us”, at 3:33, which wins the race for the shortest track on the album (the other seven all hovering somewhere in the 4:20 range), hearkens back to Post-Nothing as much as “The House That Heaven Built” is forward-looking and full of optimistic naïvete. Yet it is the album’s final track, “Continuous Thunder” that displays the full lyrical maturity of the young two-piece that sounds like a five-piece. Understanding that it is the “simple sloganeering”, the driving beats of the almost militaristic drumming, and the droning background guitar that people want, that they hear in their heads when they aren’t listening to this on their mp3 players walking to the subway, and asking, “O and if I / had all of the answers and you had the body you wanted / would we love with the legendary fire? / And if the cold, pissing rain flooded that fire / would you still take my hand tonight? / Singing out loud yeah yeah yeah yeah yeah yeah yeah, like continuous thunder./”, might just be the reason that Celebration Rock penetrates our ears like a perfect display of fireworks reflects in our eyes, fading out to in a fragmentary blur of light to soak in to our corneas, leaving the dark illuminated only with our own dreams of thunder to live for.

Japandroids 2012 Tour Dates

Japandroids Celebration Rock

  • Jun 22, 2012 – Grog Shop, Cleveland Heights, OH (with Cadence Weapon)
  • Jun 23, 2012 – Lee’s Palace, Toronto, Canada (with Cadence Weapon)
  • Jun 25, 2012 – La Sala Rossa, Montreal, Canada (with Cadence Weapon)
  • Jun 26, 2012 – Brighton Music Hall, Allston, MA (with Cadence Weapon)
  • Jun 27, 2012 – Bowery Ballroom, New York, NY (with Cadence Weapon)
  • Jun 28, 2012 – Music Hall of Williamsburg, Brooklyn, NY (with Cadence Weapon)
  • Jun 29, 2012 – Johnny Brenda’s, Philadelphia, PA (with Cadence Weapon)
  • Jun 30, 2012 – Rock & Roll Hotel, Washington, DC (with Cadence Weapon)
  • Jul 3, 2012 – 7th Street Entry, Minneapolis, MN (with Cadence Weapon)
  • Jul 7, 2012 – Biltmore Cabaret, Vancouver, Canada (with Previous Tenants)
  • Jul 12, 2012 – Lincoln Hall, Chicago, IL (with Ty Segall)
  • Jul 13, 2012 – Union Park (Pitchfork Music Festival), Chicago, IL
  • Jul 29, 2012 – Fuji Rock Festival, Niigata, Japan
  • Aug 12, 2012 – Treibhaus Luzern, Lucerne, Switzerland
  • Aug 14, 2012 – Parades de Coura Festival, Ponte do Lima , Portugal
  • Aug 16, 2012 – Workman’s Club, Dublin, Ireland
  • Aug 17, 2012 – Mandela Hall, Belfast, United Kingdom
  • Aug 18, 2012 – Funkirk Estate (Beacons Festival), Skipton, United Kingdom
  • Aug 19, 2012 – Summer Sundae Weekender, Leicester, United Kingdom
  • Aug 22, 2012 – Gamli Gaukurinn, Reykjavik, Iceland
  • Aug 22, 2012 – Gamli Gaukurinn, Reykjavik, Iceland
  • Aug 24, 2012 – BootBooHook Festival, Hannover, Germany
  • Aug 25, 2012 – Obstwiesenfestival, Dornstadt, Germany
  • Aug 27, 2012 – Zoom, Frankfurt, Germany
  • Aug 28, 2012 – Beatpol, Dresden, Germany
  • Aug 29, 2012 – Magnet Club, Berlin, Germany
  • Aug 31, 2012 – Pod Minoga, Poznan, Poland
  • Sep 1, 2012 – Hydrozagadka, Warsaw, Poland
  • Sep 3, 2012 – Akvarium, Budapest, Hungary
  • Sep 4, 2012 – Chelsea, Vienna, Austria
  • Sep 6, 2012 – Kino Siska, Ljubljana, Slovenia
  • Sep 7, 2012 – Postgarage, Graz, Austria
  • Sep 8, 2012 – NKC Park, Zagreb, Croatia
  • Sep 10, 2012 – Lucerna Music Bar, Prague, Czech Republic
  • Sep 11, 2012 – Feierwerk, Munich, Germany
  • Sep 12, 2012 – Treibhaus Luzern, Lucerne, Switzerland
  • Sep 14, 2012 – La Chocolaterie, City of Brussels, Belgium
  • Sep 15, 2012 – Leffingeleuren Festival, Leffinge, Belgium
  • Sep 16, 2012 – Incubate Festival, Tilburg, Netherlands
  • Sep 18, 2012 – Paradiso, Amsterdam, Netherlands
  • Sep 19, 2012 – Rotown, Rotterdam, Netherlands
  • Sep 21, 2012 – Reeperbahn Festival, Hamburg, Germany
  • Sep 22, 2012 – Gleis 22, Munster, Germany
  • Sep 23, 2012 – Luxor, Cologne, Germany
  • Sep 25, 2012 – Pumpehuset, Copenhagen, Denmark
  • Sep 26, 2012 – Voxhall, Arhus, Denmark
  • Sep 28, 2012 – Pustervik, Gothenburg, Sweden
  • Sep 29, 2012 – Strand, Stockholm, Sweden
  • Sep 30, 2012 – John Dee, Oslo, Norway
  • Nov 1, 2012 – Grande Halle de la Villette (Pitchfork Music Festival), Paris, France

Available on 180-gram vinyl with 20-page lyric and photo booklet.

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