November 26th, 2019

St Francis Hotel feat. TT – The Truth is Dead

LISTEN HERE

St Francis Hotel are an Irish duo based in London. Their new single ’The Truth Is Dead’ is being released on 26th November 2019 via 30th Century Records. The band wrote the song with Carla Azar (Autolux), with vocals from Theresa Wayman (WarpaintTT).

The track appears on the Danger Mouse curated 30th Century Records Volume 2, to be released on December 6th. An unreleased Danger Mouse / Sparklehorse collaboration featuring MF Doom was released from the compilation last week.

’The Truth Is Dead‘ follows the duo’s critically acclaimed single ‘Liar, Liar, Liar (feat. Gaz Coombes)’ and is the latest to be taken from their upcoming debut album We Fall Together (Jan 2020), which includes collaborations with Portugal. The ManMax Rad, and Waterstrider, with more names to be announced.

The track’s title is probably pretty self-explanatory as to what it’s about. It feels like the kind of song that could only be written now. If you put the four of us in a room together four years ago, we probably couldn’t have conceived this song. Hopefully in a year’s time people won’t need to write songs with titles like ’The Truth Is Dead’”.

As producers, St Francis Hotel recent production / collaborations include Michael KiwanukaArcade Fire’s Regine Chassagne, and Art School Girlfriend.

30th Century Volume 2 features highlights from the label’s 2019 releases including Adam Green, The Babe Rainbow, Sam Cohen, Big Search and Husky Loops, plus music by new signings 20-year-old Los Angeles native Poppy Jean Crawford, New Yorker Baba Ali and Portland’s Alexandra Savior.

The double vinyl version (February, 2020), is the exclusive vinyl home for Granddaddy’s “Bison on the Plains” and Broken Bells’ “Good Luck.” The track listing for the compilation is as follows:

  1. Broken Bells – Good Luck
  2. Big Search – Stillness in the Air
  3. Babe Rainbow – Something New
  4. Alexandra Savior – Howl
  5. Grandaddy – Bison on the Plains
  6. Poppy Jean Craword – Jonsies Gonesies
  7. St. Francis Hotel feat. TT – The Truth is Dead
  8. Danger Mouse & Sparklehorse feat. MF Doom – Ninjarous
  9. Sam Cohen – Something’s Got a Hold of Me
  10. Husky Loops – Reasonable Thing
  11. Waterstrider – Way Out
  12. Maybird – Don’t Keep Me Around
  13. Adam Green – Reasonable Man
  14. Baba Ali – House
  15. Faux Ferocious – Good Times Ahead

 

November 22nd, 2019

Alexandra Savior – Howl

archer cover

“Portland’s mystery girl (VICE)” may no longer be a kept secret, but Alexandra Savior can never be fully figured out. Today, she shares “HOWL,” the last single from her forthcoming album, The Archer, which will be released via 30th Century Records and announces the LP’s release date: January 10, 2020. Speaking about the new single, Alexandra Savior says: “I originally wrote “HOWL” as a simple piece of poetry featured on an experimental sound tape that I created on my four-track recorder a few years ago. I never had any intention of releasing “HOWL” or any of the other pieces from that tape. But over time, I kept revisiting “HOWL” naturally, and continued to build a narrative. Consequence of Sound, who debuted the single and video, said: “If new single “Howl” represents that reclaimed autonomy, Savior has really hit the mark with The Archer. Dubious synthesizers creep along a slinking bass line, instilling the track with an eerie sense of steely caution. “Handsome dictator of my crimes/ I can’t tell if they’re yours/ I can’t tell if they’re mine,” sings Savior, slowly picking apart a manipulative relationship. Despite the sensual insecurity of the track, there’s a supreme confidence in its execution, a winning example of the Portland-based musician’s talent.” Nina Ljeti, who fronts the LA-based band Kills Birds, directed the music video for “HOWL,” which was shot in LA. Savior and Ljeti spoke to Consequence of Sound about the song and video, citing their inspirations. Savior noted that her Tascam 4-track recorder played a major role, as did Humbert, Humbert, the narrator of “Lolita” — especially in the context of psychological manipulation. Savior says: Humbert, Humbert, the narrator of “Lolita” is a reference for me because of his ability to characterize Lolita in a way that rationalizes his own desire for a child. In a manipulative relationship, it is oftentimes difficult to see whom the perpetrator is and who the victim is, I wanted to relay that confusion from the perspective of the young woman. Ljeti channeled influences such as Harold and Maude (“particularly the sequences where Harold stages these elaborate death scenes as a way of coping with the world around him. There is obviously a dark humor to that, which we applied to the video,” says Ljeti), Laurel Nakadate, “Suspiria,” every Paul Thomas Anderson movie ever. Ladygunn says, “Savior has a unique voice that veers away from the cookie cutter pop that is dominating the mainstream right now.” The new album showcases that standout vocality Savior is now known for, and also weaves a bittersweet story together with clever wordplay and broodingly beautiful layers of melody. Savior’s forthcoming, sophomore album, The Archer, which was produced by Sam Cohen, often known as a fan of collaboration, most recently teaming up with Kevin Morby for his Oh My God album. On working with Savior, Cohen says, “It’s really a joy to work with someone who’s got such a strong sense of melody and also such a strong sense of what she wants stylistically.” Savior’s debut record, Belladonna of Sadness, was written in collaboration with Alex Turner of Arctic Monkeys and NME says, “Savior continues to build on that bold arrival and is becoming a star in her own right.” Her new album shows that not only does her voice stand alone, but that her musicality stands alone, too. Savior recently announced her 2020 North American tour dates, which will bring her mesmerizing live show to Seattle, WA, Portland, OR, San Francisco, CA, Los Angeles, CA, San Diego, CA and New York, NY in February. Fans can hear the “striking and smoky vocals [that] belong solely to Savior (NME)” and these new picturesque melodies live. Tickets are on-sale now. For more information, head to Alexandra Savior’s website: alexandrasavior.com.
ALEXANDRA SAVIOR’S 2020 NORTH AMERICAN TOUR DATES
02/11 – Barboza, Seattle, WA
02/12 – Lola’s Room, Portland, OR
02/14 – Cafe Du Nord, San Francisco, CA
02/15 – Pico Union, Los Angeles, CA
02/16 – San Diego, CA Soda Bar

November 15th, 2019

Danger Mouse and Sparklehorse Feat. MF Doom

Print

“Ninjarous” is a never before released song by Danger Mouse and Sparklehorse featuring MF Doom. The song is available now and also features Patrick Carney on drums. Listen to “Ninjarous” HERE
 
“Ninjarous” is a product of the prolific relationship between Brian Burton (Danger Mouse) and the late Mark Linkous (Sparklehorse). Danger Mouse was inspired to release “Ninajarous” by his memories of Linkous’s particular affection for the song. 
 
“Mark and I worked on a lot of music together,” Danger Mouse recalls.  “But the song we did with MF DOOM was always one of Mark’s favorites. He’d kept on me to put it out, so I’m happy to pay tribute to him by getting it out there.”
 
Prior to “Ninjarous,” Danger Mouse and Sparklehorse’s creative partnership was documented by the 2010 album Dark Night of the Soul, which featured The Flaming Lips, Iggy Pop, Julian Casablancas, James Mercer, and Suzanne Vega, with visuals by David Lynch. 
 
While Dark Night of the Soul was completed, and unofficially released before Linkous’s untimely passing, he did not survive to see its official release.
 
“Ninjarous” will appear on 30th Century Volume 2, the second installment of the label’s compilation series curated by Danger Mouse, the details of which are forthcoming. 

October 28th, 2019

Alexandra Savior – The Archer

ALEXANDRA SAVIOR
ANNOUNCES NORTH AMERICAN 2020 TOUR DATES
IN SUPPORT OF FORTHCOMING ALBUM
THE ARCHER
DUE OUT ON 30TH CENTURY RECORDS
ALBUM PRE-ORDER NOW LIVE WITH NEW SONG AND VIDEO
THE ARCHER
 Digital pre-sale: HERE
Vinyl pre-order: HERE
Upcoming live performance
November 19th at The Bootleg in Los Angeles
Portland’s mystery girl (VICE)” may no longer be a kept secret, but Alexandra Savior can never be fully figured out. She wears many colored hats, quite literally, as she explores a lighthouse, in her brand new video for the title track to her forthcoming album, The Archer, out now on Danger Mouse’s 30th Century Records.
Today, Savior also announces her 2020 North American tour dates, which will bring her mesmerizing live show to Seattle, WA, Portland, OR, San Francisco, CA, Los Angeles, CA and New York, NY in February. Tickets will be on-sale on Wednesday, October 30th.
Describing her album’s title track and latest release, Savior says:
“I wrote “The Archer” on Christmas Eve as a gift for a lover. At the time, my perception was that I was writing a song about how it feels to love someone, but now when I listen back to “The Archer”, I realize that I was writing an observation of a psychologically unhealthy relationship, from the perspective of someone who is unconsciously aware that she is being emotionally mistreated. In 2017, I filmed the Super 8 video for “The Archer” in Port Townsend, WA with artist Alexandria Saleem. The lighthouse and the grim December sky, represented to me the isolation I felt during that time in my relationship.”
Ladygunn says, “Savior has a unique voice that veers away from the cookie cutter pop that is dominating the mainstream right now.” New single, “The Archer,” showcases that standout vocality Savior is now known for, and also weaves a bittersweet story together with clever wordplay and broodingly beautiful layers of melody.
“The Archer” is the third single from Savior’s forthcoming, sophomore album, The Archer, which was produced by Sam Cohen, often known as a fan of collaboration, most recently teaming up with Kevin Morby for his Oh My God album. On working with Savior, Cohen says, “It’s really a joy to work with someone who’s got such a strong sense of melody and also such a strong sense of what she wants stylistically.”
Savior’s debut record, Belladonna of Sadness, was written in collaboration with Alex Turner of Arctic Monkeys and NME says, “Savior continues to build on that bold arrival and is becoming a star in her own right.” Her new album shows that not only does her voice stand alone, but that her musicality stands alone, too.
Along with Savior’s newly announced tour dates, a previously announced, special live performance will take place on November 19 at The Bootleg in Los Angeles. Fans can hear the “striking and smoky vocals [that] belong solely to Savior (NME)” and these new picturesque melodies live. For more information, head to Alexandra Savior’s website: alexandrasavior.com.
ALEXANDRA SAVIOR’S 2020 NORTH AMERICAN TOUR DATES
02/11 – Barboza, Seattle, WA
02/12 – Lola’s Room, Portland, OR
02/14 – Cafe Du Nord, San Francisco, CA
02/18 – Mercury Lounge, New York, NY
Photo credit: Dana Trippe
BIO
It all started with a feeling of relief. Just after midnight on New Year’s Eve, Alexandra Savior, who was six months out of a rocky relationship and appreciating her independence, sat down and wrote the song that would become “Crying All the Time.” The melodic, heart-rending ballad, she says, “is about how it feels to be in a relationship with a person who’s disappointed in you,” but it’s also a clarion call announcing the arrival of her sophomore album, The Archer, out DATETK. The dreamy, melancholy song, the first single from The Archer, feels at once classic and contemporary; it’s a torch song for a new generation.
“There’s depression and there’s heartbreak,” Savior says of the album’s themes, which play out over 10 haunting tracks. “But each song represents a different emotional state. I tried to project some sort of strength; I wrote during a time when I was a young woman growing into my identity and developing my confidence, and I hope that comes through.”
Her message gets across loud and clear. Tracks like “Crying All the Time” and “Saving Grace” are big songs—ambitious and atmospheric—that put Savior’s ethereal voice and sharp writing on display. “It came from a place of anger,” she says of “Saving Grace,” the album’s writhing second single. “I had gone through a breakup and people kept telling me it was a saving grace, and I found it ironic because I was so heartbroken.” In some of the songs, Savior’s emotions unfold like thunderstorms and envelop everything going on around them. Other numbers, like “Soft Currents,” feel quiet and more intimate, like a whispered secret nobody was meant to hear.
And while Savior shoulders the responsibility for the lion’s share of her output herself, writing her own songs, creating the artwork for her album’s cover, and even filming her own videos, The Archer was created with an indispensable set of collaborators who helped harness her vision. Its Savior’s first release on 30th Century Records, the label run by her friend and collaborator Danger Mouse, and was produced by Sam Cohen, who’s best known for his work with artists like Kevin Morby and Benjamin Booker. “It’s really a joy to work with someone who’s got such a strong sense of melody and of what she wants stylistically,” Cohen says. “It was amazing to go into her world of 1960s B-movie love stories; Alexandra had a vision that really spoke to me.”
Of course, he wasn’t the first to appreciate her talent. The Oregon native first gained industry attention in 2012 when she posted a cover of Angus Stone’s “Big Jet Plane” on YouTube. The playful, haunting performance landed her a legion of influential fans—she ended up songwriting with Linda Perry, who compared her to Fiona Apple—and put her on the road toward releasing her debut album, 2017’s Belladonna of Sadness, which was written in tandem with the Arctic Monkey’s Alex Turner and produced by Simian Mobile Disco’s James Ford. Pitchfork praised the album, saying, “Savior has a penchant for clever wordplay and a voice that can hypnotize, terrorize, or both,” and the Guardian swooned for Savior’s “preternatural self-possession” and “crystalline, intimate voice.”
Still, with The Archer, Savior says, “I felt like I needed to establish my own voice and show my independence again.” A listen to the new album will prove that she’s done that, and then some. It’s not only the establishment of a voice, but a showcase for an extraordinary talent at the peak of her power. She’s already at work writing songs for what will be her next release. For more information, visit alexandrasavior.com.
For all Alexandra Savior related press inquiries, please contact:
Leigh Greaney // leigh@bighassle.com
For more info:

 

October 1st, 2019

Faux Ferocious – No Pressure

FAUX FEROCIOUS RELEASE NEW 7-INCH PRODUCED BY PATRICK CARNEY OF THE BLACK KEYS

“NO PRESSURE” PREMIERING NOW ON BILLBOARD!

“…another exceptional dose of stoned to the bones motorik psych and jittery punk…” –Post-Trash

“…gutsy, bracing psychedelic punk…” –Nashville Scene

“Hairy hypnotic rock ‘n’ roll that will still slap you into a pause. The best kind.” Aquarium Drunkard

October 1, 2019 — Today, Nashville based kraut-punk project Faux Ferocious releases the follow-up to their 2019 Burger Records full length, Pretty Groovy, with a vicious new 7-inch. The project was produced by Patrick Carney of the Black Keys and engineered by Marc Whitmore in Nashville, TN at Carney’s studio, Audio Eagle Studio. “No Pressure” is the second track to be released and is premiering now on Billboard.
These singles are the perfect follow up to Pretty Groovy as Faux Ferocious continues to evolve their motorik post-punk sound and walk the line between experimental and reachable. The songs have a natural flow and uncluttered lyrics where nothing hides behind walls of reverb and delay. Each part of the music is good enough to stand on its own, but the totality is bizarrely exceptional.

Faux Ferocious’s new 7″ inch is out now.

September 27th, 2019

Broken Bells – Good Luck

Broken Bells (Danger Mouse and James Mercer), have released their newest song “Good Luck.”

BB_GOODLUCK_HiRESlayer 3000

Listen:: https://brokenbells.lnk.to/GoodLuck 

Much like last year’s “as adventurous as always” (Stereogumstandalone single “Shelter,” “Good Luck” bears the unmistakable sonic signature of Broken Bells unveiled on 2010’s eponymous debut and 2014’s After The Disco—in other words, the instantly recognizable audible fingerprints of both Mercer and Burton melded into something entirely other. As with neo-classic Broken Bells tracks including “The High Road” and “Holding On For Life,” “Good Luck” is completed by deceptively apocalyptic sonic and lyrical imagery that is actually more rooted in present day reality than any dystopian future.

In other news, it can now be confirmed that Mercer and Burton have reconvened in the studio and are hard at work on a third Broken Bells album.  No release date has been set for this first collection of new Broken Bells material since 2014.

“As with ‘Shelter,’ we wanted to release ‘Good Luck’ while it felt timely and reflective of specific discussions between the two of us, questioning the state of things, as we do…”

September 5th, 2019

Adam Green – Engine of Paradise

Adam Green Releases New ‘Engine of Paradise’ Video Containing Imagery From His Graphic Novel War and Paradise

NYC Release Show On Sept. 6 at Rough Trade, Brooklyn

Engine Of Paradise Out Today, Sept. 6th, Graphic Novel War And Paradise Out Today Sept. 6th

Free PDF Of Graphic Novel War and Paradise Available From AdamGreen.Info

unnamed

Photo Cred: Pete Voelker

LISTEN & SHARE: Adam Green – Engine Of Paradise LP

Adam Green has released his new LP ‘Engine of Paradise’ today along with a new comic book styled music video for the title track. When talking about the LP Adam says: ‘Engine of Paradise’ is some soil to plant yourself in.  It’s a place to relax, like being in a movie theater, where the players are jewelers of melodic time.  My graphic novel, “War of Paradise”, is a companion to the album and also out today for FREE to download from AdamGreen.info, and hard copies are available to order through PioneerWorks.Org!

Exploring the same themes as the upcoming album, Green is also releasing his first graphic novel, a psychedelic war epic called “War and Paradise” set in the colorful universe of his film “Adam Green’s Aladdin.”  The graphic novel will be released concurrently with the album.

Adam Green is an artistic polymath — a songwriter, filmmaker, visual artist, and poet. As part of New York’s downtown antifolk scene at the end of the nineties, Green made up one half of The Moldy Peaches, who later enjoyed mainstream success via the 2007 Grammy-winning Juno soundtrack. As a solo artist, Green has recorded 10 albums, many of which have become cult hits. His songs have been performed by artists as diverse as The Libertines, Carla Bruni, Kelly Willis, Dean & Britta, and Will Oldham. His 2005 record Gemstones went Gold in Europe.

Green’s paintings and sculptures have been the subject of exhibitions in America, Asia and Europe, including a 2016 solo-show at the prestigious Fondation Beyeler Museum in Basel, Switzerland. Green first combined his visual aesthetic, psychedelic writings and musical compositions in the The Wrong Ferarri (2010), the first feature film shot entirely on an iPhone. The “screwball tragedy” was described by Rolling Stone magazine as “Fellini on Ketamine” and went on to feature in the curriculum of NYU’s Tisch Film School.

His second feature film, Adam Green‘s Aladdin (2016) — an immersive fantasy film starring Macaulay Culkin, Natasha Lyonne, Alia Shawkat, Jack Dishel and Francesco Clemente and shot entirely on papier-mache sets — was described by Buzzfeed.com as “the trippiest movie ever made,” while RogerEbert.com called Aladdin “a movie that belongs inside a museum.”  An instant cult hit, the movie was screened theatrically in a midnight movie context, at over a hundred of Green’s concerts around the world, as well as the Andy Warhol Museum in Philadelphia.

After first publishing a bilingual volume of his poetry with Suhrkamp Verlag, Green’s newest book War and Paradise is a graphic novel that combines his lyrical and visual vocabulary. The satirical war epic is about the clash of humans with machines, the meeting of spirituality with singularity, and the bidirectional relationship between life and the afterlife.  Green’s 10th solo album, Engine of Paradise, is a musical exploration of these same themes. Recorded in Brooklyn, New York, by Loren Humphrey, the forthcoming album reimagines the baroque orchestral style of his early 2000s era records and features performances by James Richardson (MGMT), Florence Welch (Florence and the Machine) and Jonathan Rado (Foxygen).

TOUR DATES
All European dates with Jackie Cohen (Foxygen) opening

9/6/19 – Rough Trade – Brooklyn, NY
10/18/19 – CCA – Glasgow, UK
10/19/19 – Soup Kitchen – Manchester, UK
10/20/19 – Thekla – Bristol, UK
10/22/19 – EartH – London, UK
10/24/19 – Vooruit – Ghent, BE
10/25/19 – Gaite Lyrique – Paris, FR
10/26/19 – Melkweg (Upstairs) – Amsterdam, NL
10/28/19 – Stage Club – Hamburg, Germany
10/29/19 – BiNuu – Berlin, Germany
10/31/19 – Palace – St. Gallen, Germany
11/1/19 – Sommercasino – Basel, Switzerland
11/2/19 – La Romandie – Lausanne, Switzerland
11/3/19 – Papiersaal – Zurich, Switzerland
11/5/19 – Flex Halle – Vienna, Austria

Engine Of Paradise – Tracklisting
01. Engine of Paradise
02. Gather Round
03. Freeze My Love
04. Wines and Champagnes
05. Escape From This Brain
06. Cheating on a Stranger
07. Let’s Get Moving
08. Rather Have No Thing
09. Reasonable Man

LINKS
Website
Facebook
Soundcloud
Instagram
YouTube

August 30th, 2019

Faux Ferocious – Good Times Ahead

FAUX FEROCIOUS ANNOUNCE NEW 7-INCH PRODUCED BY PATRICK CARNEY OF THE BLACK KEYS

Today, Nashville based kraut-punk project Faux Ferocious announces the follow-up to their 2019 Burger Records full length, Pretty Groovy, with a vicious new 7″ to be released on 30th Century Records, the record label of producer extraordinaire Danger Mouse. The project was produced by Patrick Carney of the Black Keys and engineered by Marc Whitmore in Nashville, TN at Carney’s studio, Audio Eagle Studio. “Good Times Ahead” is the first of two singles to be released and is premiering now on Nashville Scene who said, “QUOTE.”

These singles are the perfect follow up to Pretty Groovy as Faux Ferocious continues to evolve their motorik post-punk sound and walk the line between experimental and reachable. The songs have a natural flow and uncluttered lyrics where nothing hides behind walls of reverb and delay. Each part of the music is good enough to stand on its own, but the totality is bizarrely exceptional.

Faux Ferocious is poised to bring their freaky brand of rock n’ roll to as many people as will listen, starting with a hometown show in Nashville before heading out on a European tour this September.

Faux Ferocious Fall 2019 Tour Dates

8/31 – Nashville, TN – Soft Junk
9/03 – Brooklyn, NY – Our Wicked Lady
9/06 – Asten-Heusden, Netherlands @ Misty Fields Festival
9/07 – Netherlands
9/08 – Antwerp, Belgium @ Cabron
9/09 – Lille, France @ L’Imposture
9/10 – France
9/11 – Paris, France @ L’espace B
9/12 – Lyon, France @ La Maison Mere
9/13 – Lugano, Switzerland @ Lido San Domenico
9/14 – Zurich, Switzerland @ Rothaus
9/16 – Halle, Germany @ Hühnermanhattan Klub
9/18 – Berlin, Germany @ 8mm
9/19 – Hamburg, Germany @ Kornet
9/21 – Stockholm, Sweden @ Slaktkyrkan
9/22 – Malmo, Sweden @ Plan B
9/24 – Manchester, UK @ YES
9/25 – Glasgow, UK @ Nice & Sleazy
9/26 – London, UK @ The Shacklewell Arms
9/27 – London, UK @ Studio 9294
9/28 – Brighton, UK @ The Pipeline

 

 

August 29th, 2019

St Francis Hotel – Liar Liar Liar

Liar Liar Liar ARTWORK

St Francis Hotel are an Irish duo based in London. Their new single ‘Liar, Liar, Liar’ is being released on 30th Century Records and is the first in a series of high-profile collaborations featured on the duo’s upcoming debut album.

Featuring vocals from Supergrass frontman Gaz Coombes – his first new release since May 2019 –‘Liar, Liar, Liar’ epitomizes the duo’s soulful psychedelic sound. The gospel-driven track is a venomous dedication to someone who’s perception of themselves is at odds with how the world sees them.

The accompanying music video is a vivid representation of this contradiction. St Francis Hotel collaborated with animation director RUFFMERCY (Thom Yorke, Run The Jewels, Earl Sweatshirt) who has become well known for his loose hand drawn animation style and video producers James & James.

‘Liar, Liar, Liar’ is the first single to be taken from St Francis Hotel upcoming debut album, ‘We Fall Together’ (Late 2019), which features other artists including Theresa Wayman (Warpaint, TT), Max Rad, and Waterstrider, with more names to be announced.


The release follows a string of singles including ‘You’d Gotta Be Alive’ and ‘Collide’ that earned critical acclaim and were featured across UK radio (BBC 6 Music, BBC Radio 1, KCRW), Spotify (New Music Friday, Fresh Finds, Viral 50 UK) Apple (Best Of The Week) and appeared in US TV shows (Lucifer, Shadowhunters).

As producers, St Francis Hotel’s recent production/collaborations include Arcade Fire’s Regine Chassagne, Michael Kiwanuka, and Art School Girlfriend.

For more:

https://www.facebook.com/stfrancishotel/

https://www.instagram.com/stfrancishotel/

August 2nd, 2019

Babe Rainbow – Many Moons of Love

The Babe Rainbow share the starry-eyed “Many Moons of Love”

New Album ‘Today’ Out September 6th via 30th Century Records

U.S. Fall Tour Dates on Sale Now!

STREAM “MANY MOONS OF LOVE” HERE

 

Aussie psychedelic-pop band The Babe Rainbow released “Many Moons of Love” the final track from their upcoming full-length record ‘Today’ out September 6th . The Babe Rainbow have also announced a string of Fall U.S. tour dates this November.
❋❋❋


ABOUT THE BABE RAINBOW
A sunny neo-psych collective from Byron Bay, Australia, the Babe Rainbow emerged in 2015 with a self-titled EP bearing a unique blend of cosmic nuggets. After signing to 30th Century Records, the band embarked on a West Coast tour with outfit Allah-Las. They recorded their 2017 full-length alongside Stu Mackenzie of King Gizzard & the Lizard Wizard and in 2018 they released the follow-up, Double Rainbow.

“The Morning Song” is the first single lifted from the upcoming third full-length from the Babe Rainbow. A generous helping of folk pop, flutes and floating harmony, acoustic guitar, late 70’s electronic fox trot, and the choir of the women of the wonderfolk. Just an optimistic announcement of a new cycle, fresh air.

The new album is more musical and ambitious than previous outings, produced by Sam Joseph from the Flightless Records / King Gizzard stable. It feels authentic to the Babe Rainbow but more diverse and sophisticated, like falling in love outwards, a perfect collection of pacific vibrations, brunch in Arcadia.

The Babe Rainbow’s new album will be available everywhere September 6th on 30th Century Records.

he Babe Rainbow: ‘Today’
30th Century Records
September 6th, 2019

1. Butter
2. Morning Song
3. Something New
4. Us and the Rainbow
5. The Faraway Nearer
6. Funky I Like it
7. Electrocuted
8. The Wedge
9. Beasty
10. Many Moons of Love
11. For Your Eyes Only


THE BABE RAINBOW “HIPPIE FOREVER” U.S. TOUR DATES



NOVEMBER 1 – Brooklyn, NY
@ Union Pool
[TICKETS]

NOVEMBER 2 – Brooklyn, NY
@ Union Pool
[TICKETS]

NOVEMBER 4 – Montreal, QB
@ Bar le Ritz PDB
[TICKETS]

NOVEMBER 5 – Toronto, ON
@ Horseshoe Tavern
[TICKETS]

NOVEMBER 7 – Vancouver, BC
@ Fox Cabaret
[TICKETS]

NOVEMBER 8 – Portland, OR
@ Polaris Hall
[TICKETS]

NOVEMBER 9 – Seattle, WA
@ The High Dive
[TICKETS]

NOVEMBER 11 – San Francisco, CA
@ The Independent
[TICKETS]

NOVEMBER 12 – Sonoma, CA
@ Gundlach Bundschu Winery
[TICKETS]

NOVEMBER 13 – Los Angeles, CA
@ Teragram Ballroom
[TICKETS]

NOVEMBER 15 – San Diego, CA
@ Casbah
[TICKETS]

NOVEMBER 16 – Santa Ana, CA
@ Constellation Room
[TICKETS]