Yo, what’s up Tracks fans? It’s been a while since we’ve put out some great interviews that you know you’ll get from Moe Train’s Tracks. However, we just dug deep, deep into the recesses of the MTT archives, and unearthed some amazing interviews.
We’ve been in the studio all day, revisiting our raw interviews with the insane Oderus Urungus/Dave Brockie from GWAR, Bullet for my Valentine, Walls of Jericho, and All That Remains. By the way, the interview with GWAR is without a doubt the wildest, strangest, most fucked up interview that the Tracks have ever done since their inception in 2007.
Be on the lookout on moetrainstracks.com for all of these… the best, and most entertaining interviews you’ll see and hear anywhere.
PS – BY THE WAY, KEEP AN EYE OUT FOR MTT AT A FESTIVAL OR CONCERT NEAR YOU.
To be continued.
Siren Mountain Jam announced the daily performance schedule for its June 21-22, 2013 debut event at High Country Fairgrounds in Boone, NC. Featuring music and art by women, the Siren Mountain Jam invites everyone to enjoy two days of music, healing arts, workshops, visual arts and more in beautiful Western North Carolina.
Performing at the festival on Friday, June 21st, is ten-time Grammy nominee and fearless bassist Meshell Ndegeocello, with genre-bending duo Rising Appalachia, Toshi Reagon, Melissa Reaves and more. On Saturday, June 22nd, multi-platinum selling recording artist and seven-time Grammy nominee Joan Osborne is joined by gritty singer-songwriter Michelle Malone, Melissa Reaves, The Swayback Sisters, and more. A full daily schedule can be found on the Siren Mountain Jam website at www.sirenmountainjam.com.
An array of healing and performing arts will also be prominently featured and offered at Siren Mountain Jam. From fire spinning, belly dancing, Zumba, and hula hooping to massage, herbal teachings, and yoga, attendees are invited to experience and enjoy a diverse mix of alternative teachings and activities.
Produced by women, and featuring women musicians, artisans, healing artists, non-profit organizations and chefs, Siren Mountain Jam is a celebration of women’s contributions to the arts. All are welcome and invited to enjoy a weekend of arts, nature, relaxation and fun in an Appalachian mountain setting.
Siren Mountain Jam is a family friendly festival with a limited number of tent and RV camping spaces available. Advance general admission 2-day passes are currently available for $75 (but will increase to $85 on June 1st and $100 on June 21st). Advance single day tickets are also available for $40 for Friday and $50 for Saturday (prices will increase to $50 and $60 respectively at the gate). Children 12 and under are free when accompanied by a paid adult. Limit 2 kids per adult. On-site weekend tent camping is available for $25 per person. Tickets for the festival and camping are currently on sale and can be purchased by visiting: http://www.sirenmountainjam.com/buy-tickets
CONFIRMED ARTISTS INCLUDE:
Lisa Baldwin & Dave Haney
The Mountain Laurels
SIREN MOUNTAIN JAM 2013
FRIDAY, JUNE 21ST, – SATURDAY, JUNE 22ND
HIGH COUNTRY FAIRGROUNDS, BOONE, NC
TICKETS: Advance 2-Day $75 (on-sale now) / Regular 2-Day $85 (on-sale June 1 – June 20) / Gate $100 (on-sale June 21) / Advance 1-Day Friday $40 / Regular 1-Day Friday $50 (on sale June 1 – June 21) / Advance 1-Day Saturday $50 / Regular 1-Day Saturday (on sale June 1 – June 22)
PURCHASE TICKETS: https://sirenmountainjam.webconnex.com/sirenmountainjam
FESTIVAL WEBSITE: http://sirenmountainjam.com/
As I Lay Dying’s frontman Tim Lambesis has been arrested on accusations that he had sought the assistance to have his estranged wife murdered, according to San Diego Police.
San Diego County Sheriff’s Department spokeswoman Jan Caldwell said that Lambesis was taken into custody in Oceanside, California after soliciting help with murder from an undercover detective. Caldwell said that “the information came to us late last week. We acted quickly on it. I believe that we averted a great tragedy.”
Lambesis is expected to appear in court for an arraignment on Wednesday or Thursday.
Ed. note: MTT sat down with Lambesis for an interview at last year’s Mayhem Fest. Besides being a gigantic and intense guy, he seemed very nice.
Interview with Toots Hibbert (Toots and the Maytals)
Brian Kracyla, Jacob Little and Monty Wiradilaga (Moe Train’s Tracks)
Hey, what’s going on reggae fans worldwide, you’re listening to a special reggae royalty edition of Moe Train’s Tracks. In this very special show, the Tracks has the honor to bring you one of the most memorable voices and performers in all of music, Mr. Toots Hibbert from Toots and the Maytals.
We had the opportunity to interview the man with the golden pipes about being a part of the establishing scene of reggae, coining the term reggae, being great in an amazing scene, finding his voice, and tons of other topics. Toots was definitely one of the most endearing and genuine musicians that we have interviewed over the years. Toots and the Maytals just released their latest album, Flip and Twist, and we’re sure that it will further his legacy as one of the top reggae artists of all time.
So Moe Train’s Tracks is honored to bring to you, this very special interview with the legendary Toots from Toots and the Maytals.
Moe: Absolutely amazing set today. Were you really having as much fun as it looked like you were having?
Toots: Yeah, a lot of fun. The people are so nice that when you sing for them you have to have some fun.
M: Feeding of the energy…
T: Yes, that heart energy.
T: Everyone just liked it. It’s a nice day!
M: Your voice is one of the most recognizable and classic sounds in all music, where do you draw all of your positive energy from to bring it into the music?
T: Well, my music is from good spirits, good spirit from the church, and from the people that come to my show with a good understanding to learn the ways of reggae music. That’s part of my energy too.
M: Your community of musicians, back in the day in Jamaica, included the most legendary performers of all time.
T: Yeah, mon!
M: Skatalites… The Wailers… How was the community of musicians back in the day when you coined the term “reggae”?
T: It’s a good fellowship in music from that time until this time. When I coined the word reggae it was just like now but people lived different. It took a little time for people to know about my music and they are really into my music now. So, it’s a good t’ing, the times have been changing and music has been better for Toots and the Maytals. When I coined the word reggae, when I sang the song Do The Reggae, the music was already playing in Jamaica all over but nobody called it reggae. People were searching for the name reggae but couldn’t find it. People used to call the beat in Jamaica “blue beat” and “boogie beat” and those are the things that spread from America to Jamaica. Boogie beat, blue beat, and “ska”, it’s like a slip. My two friends, Jerry and Raleigh, we sat down one morning and the word came up. We used to use a word in Jamaica called “streggae”, when the girl was looking so good you call her streggae, if she dressed raggity, you know. So, maybe the word comes from that, but I was the one who said let’s Do The Reggae! R-E-G-G-A-E. Reggae was spelled a lot of different ways in those days, but this is what it’s spelled like now. R-E-G-G-A-E.
M: Did the community feel that there was something huge happening? Because your music is universally recognized across all genres.
T: Yeah, that’s why I have 31 number one records in Jamaica. In those days, as it came out, people enjoyed it and knew that it was good. I have a couple of number ones, 31 number ones in Jamaica, and on vinyl in those days.
M: What was it like recording in Studio One?
T: It was strange. But, I started from Studio One. I was a good t’ing.
M: The whole process, working with Coxsone, was it just…
T: It was great, the process was good. Sing for very many, no good for many maybe, choose the songs.
M: I heard that you have some members of your family in the band.
T: My daughter and my son, my son play the bass and my daughter back up for me.
T: I’m never proud of myself. I know it’s good, but it’s not good to be proud, because the Lord says that you should not be proud. You just know that it is good and give t’anks.
M: Your music has been covered by some of the most recognizable names in all of music, like the Clash, the Specials, and Sublime. What’s your take on their covers of your music?
T: Well, I think it’s good, it’s a good t’ing to do. If a song is good, you can cover it. You can put your own line, your own style on it, and it’s still good. A lot of people cover my songs, I never really say which one is the best. I know I appreciate it, and they appreciate it also.
M: 54-46 is an amazing track…
T: I don’t even want to talk about that prison business. I’m tired of talking about that crap… It was a number one song though!
M: Well, some of your tracks… When they think of you… They think of certain tracks…
T: When I just came in, when I was like fifteen or sixteen… Those things happened when I was getting my first tour abroad, to go to UK. So I hardly talk about those t’ings again. It was a frame-up. When I didn’t get to go to UK, they sent a different group in my name, which never worked out for them. It was a thing that was planned. I just sang a song about it and it went number one.
M: You have the Toots Foundation…
T: Well, we planned this foundation for helping the youths, not only in Jamaica but wherever help is needed. My foundation is going to be bringing a lot of assistance. We founded it a few years ago and it’s been doing well. We did foundation things for the children in Jamaica, for the hospitals, for the blind, for the cancer society. We gave to the schools, we gave to the old age homes. We gave to the school in Clarendon, where I was born. The foundation is going good and I hope that we can give a helping hand whenever I do my show, which charges one dollar extra to go towards the foundation.
M: What does it mean to you to be able to give back to Jamaica, to give back to your country?
T: It’s been good, that’s why I do it. I couldn’t do it by myself, not without the people in America and all over the world.
M: We are also doing a special on the passing of Michael. How has Michael Jackson affected you musically? Or do you have any stories dealing with Michael Jackson?
T: No, his music never affected me. His music refreshed me. He was a cool guy, I liked him. I loved him too. It’s a pity that what happened happened, but it’s like you knew something was going to happen too. I figure he’ll always be innocent for me. He will always be missed by Toots and the Maytals.
M: With your music, with so many albums, so many number ones… When you are looking at your career as a whole, how do you think it lays in the history of music?
T: It’s history. My music is history. It’s antique… and it’s unique… and it’s good. It’s fattening. It’ll make you strong.
M: (Laughing) That’s the best quote I’ve heard all weekend!
T: It’s full of love and happiness.
M: How much longer are you going to be doing it?
T: Well, I’ve got no limit. We have to live good to one another, whether you’re black or you’re white. Show love to one another. Show respect. Learn to say good morning again, and good evening, good afternoon, good night, hey how are you doing, hello. Just be good, be nice, be Rastafari. That’s the way God would love we to do. His name is Rastafari and I’m just a son of God. I look at myself as an angel and a son of God.
M: So you’re looking to further the message…
T: My songs will always be a message of spirituality and happiness. My words have to be positive, if the words are negative than its not real reggae. They have to be positive, that’s the fulfillment of reggae music.
M: So, you just draw from the energy, from that positive energy, and put it through your music to your listeners.
T: Yeah, because it’s for real. Music is for real, for Toots and the Maytals, it’s for real. And love is for real. It’s not just “one love”. True love and real love is for real, there’s more than one love.
T: Yeah. I love to do this, I love to do that. So many love, you know. What’s love is real… So make it reveal… Whenever you feel… It make you feel good! Wake up in the night and rejoice that you’re gonna live to see another day. There’s no limit in my career. I do it as I can. You will always hear about Toots and the Maytals.
M: What’s your responsibility to all your listeners, to the world, through your music?
T: My responsibility to the world and for everywhere is that I’m truly responsible to the people and my music is to be positive, as it used to be and as it is right now. You have to be positive, that’s my responsibility, to make music positive for the world and for God to give us more blessings. He gave me the talent. (Singing) And I sing everything I talk! Hey-aay! (speaking again) I have to give thanks for giving me that kind of voice. I can sing it without music, I can sing it with music. It’s a revelation, a message of salvation.
M: Getting your start, how did you really come to find your own voice?
T: I give praise, I grew up in the church with my parents. Over the radio, I listened to Ray Charles, I listened to every artist, and I listened to every artist in Jamaica also. I founded my voice, and I have to learn it more, and I have to do things with my voice like (making sounds with throat). It’s a thing you have to do, like practicing a guitar. (making yodeling sounds) It’s thing that’s coming for the church, from the Lord God Rastafari, and I have it.
M: Absolutely. When did you know that ‘this is my voice’?
T: Well, I haven’t got one special voice, I have a lot of voices. I can make it turn to sing any kind of way. I know that I can sing, and people call me great, but I don’t think I’m great. I just want to be simple, and make people think I’m great.
M: (Laughing) Gems… I’m loving it! Is there anything else that you want to do in your career that you haven’t done yet?
T: Yes, there are a lot of things I want to do that I haven’t done yet. I wanna make a straight-up R&B record, well it will have some reggae in it, but mostly R&B flavor. I’m doing that. I want to be able to extend my foundation’s reach. I want to do things in Africa where a lot of black, and white people, is also, cuz there are a lot of white people born in Africa also. They’re African, so it’s not a black t’ing. If people need help, you help them when you can. My plan is to spread out my foundation and see what people think of it, and they can donate things for my foundation, and I could help. From American to Jamaica, and from America straight to Africa, all over the world, I want to do something for some people who need help, each and everywhere, north, west, east, and south. That’s my plan and my good thought and my wish.
M: That’s excellent. Thank you very much for being with us. It’s an honor and we appreciate it!
T: Yeah, mon.
How could we possibly describe this interview, but to say that were truly honored to be able to sit down with Ziggy Marley at the Bonnaroo Music and Arts Festival. It’s not often that one gets to sit down with one of their musical and life inspirations, but fortunately it happened in Manchester, Tennessee…
Ziggy Marley Interview on Moe Train’s Tracks
Ziggy Marley, Brian Kracyla and Monty Wiradilaga
Moe – We’re sitting backstage in Ziggy Marley’s tour bus. Ziggy, thank you very much for being on the podcast.
Ziggy – Good brah!
Moe – So how are you feeling about Bonnaroo? Are you feeling the love?
Ziggy – Ya mon. Bonnaroo, you know, is good.. is good feh see so much people together and just enjoying music and love. You know.. It’s great. It’s a great environment.
Moe – Absolutely. I’ve been speaking to many people about who they’re most looking forward to seeing at Bonnaroo.. And I’ll tell ya, about every single person that I had spoken to was very, very excited about your set…
Ziggy – Yeah?
Moe – And they were all out there.
Ziggy – Yeah mon.
Moe – “Love Is My Religion”.. I keep hearing you say, “love is all we need.” How does that shape your life?
Ziggy – Well that, I mean, what it is, is a gradual realization of the true concept of spirituality or the true concept of God. You know, because from when I was a young child coming up, we were about God, you know, we went through Christianity. We were still lookin’ for the truth. How do I identify myself in terms of that aspect, in terms of this religious aspect, spiritual aspect… What is it really? What do I call it? Am I a Christian? Am I a Rasta? What am I? And what is the direction that I should be goin’? So after a while, it just gradually come to me that love is really… Love is the answer. Love is the answer to everything that I was questioning.
Moe – You were looking for the truth, and love is the truth.
Ziggy – Yeah. So the truth for me doesn’t lie within the rituals of religion or the traditions of religion. Love is the truth, ya know? So, that is what I came to realize a few years ago, and just to put it in a terms that people can understand is “Love Is My Religion,” ya know?
Moe – It feels to me that you’ve written an anthem for a generation with “Love Is My Religion.” It feels that in this day and age, there’s not enough love, and what you’re telling everyone is… everyone does need love. Do you feel that your message is being received well?
Ziggy – Yes, I think so. Everywhere I go, it’s been received well and I believe that.. the good thing about love is that love don’t have any enemies. So even if, I mean, even if people are there who are Christians, Muslims, or whatever… You still can say that, ’cause it’s love. You know… You really can’t fight love. Like, you can’t have anything against love.
Moe – It’s true.
Ziggy – You know what I mean? I think it’s been received well and it’s hard work still to get the message out there ’cause I have to be on the road. My music and what I do is not something where I can sit down and depend on upon a TV or the radio or the media generally, to promote what I’m doing. What I’m doing, I have to get out there and do the footwork… The soldierwork. And that’s what we’re doin’ right now. That’s the only way I can get that message out properly, ya know?
Moe – Some musicians deal more with political aspects. I feel as though you deal more with the person… The social aspects. The human condition, I would say.
Ziggy – Yeah, well I’ve done political stuff, ya know. There was a point where I kinda understood… ‘All right, well, ya know what? The solution is not in politics or even social things. The solution is within the individual…’ To find love, that is the solution to the world’s problems. It is not democracy, it is not communism, nor capitalism… It is not religion, it is not charity, it is for human beings to find love within themselves. This is the solution for everything. Everything else is secondary. If you have democracy without love, it ain’t gonna work. If you have communism wit… Nuttin’ gonna work without love! Nuttin! So let’s find love first, and then we’ll find everything else!
Moe – Speaking of love… We were in the pit area during your performance. I was just taking a look around and you could see a huge smile on everyone’s face.
Ziggy – (Smiles and laughs)
Moe – A huge smile! It was great. It was almost as if you were putting your hands in the air over your head to channel the power of everyone in the crowd.
Ziggy – Yeah.
Moe – Is that how you feel?
Ziggy – Yeah, well that I mean.
Moe – Are you just feeling the music?
Ziggy – Yeah, yeah weh… You know, we’re transmittin’ vibrations, ya know. We’re communicatin’ with more that words and more than music. We’re communicatin’ with vibrations. So that is a form… that is a way of communication from me. So, ya know, puttin’ up my hands is very symbolic of just trying to soak up and tryin’ to give back healing power, ya know?
Moe – The people in the crowd were definitely soaking up your power as well.
Ziggy – Ya mon.
Moe – When you went solo…when you recorded “Dragonfly.” How was it getting away from playing with your family for so long with The Melody Makers? How was that transition?
Ziggy – Well ya know, I mean, feh me it wasn’t.. it was not a difficult thing. I do what I have to do. I do wherever life is taking me… I go without any resistance. So I’m just going with the flow. So the flow took me there and I didn’t fight it. I didn’t think about it, I didn’t judge it, I didn’t do anything, I just went with it.
Moe – So it felt natural.
Ziggy – Yeah. So I just flow with it. But I think one of the main things why that flow is like that, is because we are a family anyway. Yeah, so for me, it wasn’t like a breaking up of anything. You know because we are family.
Moe – Family’s family.
Ziggy – Yeah, that exists up to now, so we still have that togetherness, ya know?
Moe – In “Dragonfly,” you sort of changed your style a little bit. I felt.. It seems like you went a little jazzy, acoustic rock style, or bluesy?
Ziggy – Yeah well… Whatever it was, it was. I didn’t.. I never put any names, I didn’t try to do anything. I didn’t try to go jazzy bluesy, I just played what was coming out at the time. That’s what we do as artists. We just give what we have at the time. I don’t try to shape my music in any particular way. I try to just make it be natural. And so I think that “Dragonfly” was a very musically adventurous record, which is the way I am. I’m very adventurous. And so, you know, as I said, we’ll go with the flow and that’s what was happening with me at the time. For me, as an artist/musician, we try to lead the people. That means… What I do is not try to do what people want, because I’m an artist.
Moe – Exactly.
Ziggy – I have to do what my heart tells me. I have to lead them to me. I can’t follow them to where they are, I have to bring them to where I am.
Moe – You wanna be true to yourself like you say in your song!
Ziggy – Yeah! That is where we are. We have to bring the people to where WE are… and that’s just how it is, ya know?
Moe – Staying true to yourself, like in your music… Is it hard when people are judging what you’re doing?
Ziggy – It’s not hard for me. I wish people would get the message of the music. Ya know, mainly it’s critics who have opinions, it’s not people. Ya know, people enjoy whatever! ‘Hey! I enjoy..’
Moe – Yeah! Exactly!
Ziggy – It’s those who think they have that authority of criticism. But it doesn’t bother me, because feh me… I kinda am strong and believe and believe in what I am doing. I’m not here halfway. I’m here full way.
Moe – That’s good.
Ziggy – I believe in what I’m doing. I know what I’m doing have a purpose. So, there’s no detractors or negative energy that could make me even double think what I’m doing or think twice about what I’m doing ’cause I know what I’m doing, ya know?
Moe – Speaking of critics, I saw on your website that you said about family members… About how people tend to say that ‘Oh, Ziggy’s better than the other brothers.’ How does the family deal with that?
Ziggy – We don’t deal with it. There’s nothing to deal with.
Moe – You just flow?
Ziggy – Yeah. There’s nothing to deal with. That doesn’t effect us in any way shape or form. My bruddahs know me, my sistahs know me, we know each other… That’s it!
Moe – How would you describe your brothers?
Ziggy – Steve, who is the next eldest to me in terms of the male in the family… We call him “Raggamuffin,”
Moe – (Laughs)
Ziggy – Ya know, ’cause he has a rougher side… a little more bit more rougher… Yeh.. Damian, he’s the youngest one of us now. Steve mentored him into comin’ up into what’s been happenin’ now. And so he’s a young one. Still growin’, you know, still growin’, still young, still growin’, still finding who he is and stuff like that, so we still have to give him some time feh become who he is, ya know? We have Julian, Ky-Mani… Everybody is humble, everyone is working what they feel… and everyone is supportive of everyone else, you know I mean?
Moe – Well, you have an actor in your family, right?
Ziggy – Hmm?
Moe – Ky-Mani is an actor, correct?
Ziggy – Ky-Mani, yeah, did some acting in…
Moe – Shottas…
Ziggy – Shottas…Right. Yeah, he’s into acting and he’s making a new record right now coming out. So we’re looking forward to that.
Moe – Well since he’s an actor… I heard that you write screenplays.
Ziggy – (Smiles) I’m trying to! I’m trying to divert energy, ya know? I’m trying to put energy into other places where I feel creative energy.
Moe – So what are you writing about? What are your subjects?
Ziggy – (Laughs)
Moe – (Laughs) I’m sorry to embarrass you! Oh, come on!
Ziggy – You’ll see! Everyone will see!
Moe – (Laughs)
Ziggy – No matter what we’re doing… in terms of that screenplay thing, I’m tryin’ to be entertaining but I’m tryin’ to always have a message in what we do.
Moe – So there’s nothing in particular that you’re…
Ziggy – (Smiles) I don’t wanna say right now, ya know? Yuh haffa wait… Yuh haffa wait!
Moe – (Laughs) That’s fair enough! Do you have any other hobbies or diversions that most people don’t know about… That you’d talk about at least.
Ziggy – I like watchin’ movies, I play video games… Sports…
Moe – Guitar Hero?
Ziggy – (Smiles) I wanna get that one!
Moe – (Laughs)
Ziggy – I haven’t gotten that one yet, but I saw somebody playin it. I haffa get that one!
Moe – It’s fun! They have a huge screen over here (at Bonnaroo). It’s about 50 feet square.
Ziggy – Oh yeah?? I haffa get it! It looked fun! But I heard they’re coming out with a whole band!?
Moe – They are!
Ziggy – Yeah? It’s gonna be interesting! (Laughs)
Moe – You see people playing it all the time!
Ziggy – (Laughs)
Moe – Just to have that diversion, does it help you deal with everyday touring? ‘Cause you’re on the road all the time, right?
Ziggy – Yeah, for a couple years we been touring, spreading “Love Is My Religion.” But yeah… I like taking my head somewhere else after a while.
Moe – You’re going home after today?
Ziggy – Yeah, we head home for a couple days, then we head out to Europe.
Moe – I bet you’re just gonna go home and just do nothing, aren’t ya? (Laughs.)
Ziggy – (Laughs) That’s exactly it. That’s my favorite thing to do!
Moe – Yeah, I bet! I’m sure you have friends that you go home and they want you to go out… What do you say, “No.. Leave me alone!” or what? (Laughs)
Ziggy – No..no.. Really, I don’t… I don’t have a lot of friends, ya know? I’m a family man. I have my kids and wife and ya know, my bruddahs, but I’m not…
Moe – How many kids do you have?
Ziggy – Me have five.
Moe – Five…
Ziggy – I’m not someone that goes out a lot. I’m not into that. I’m into just relaxing.
Moe – A family person… Right.
Ziggy – Yeah… I’m into that.
Moe – Well you’re on the road all the time, I can definitely see that. You had an exclusive deal with Walmart for a year, right?
Ziggy – It was Target.
Moe – Oh, I’m sorry… Target! And it wasn’t the best experience? How’d it go?
Ziggy – No, it was all right. I mean, again, I told you that I love adventure. I’m an adventurer in what we do. So how this came about was… Well, we wanted to do an independent record now. I wanted to own my music, ya know? So, I didn’t want to go into any contract with any record label. Target came up and they said they would put it out in Target exclusive for a year. Ya know, it was a good business decision. And it was an experiment..
Moe – You were the first in the industry to do that weren’t you?
Ziggy – Yeah, yeah… I think… Something like that!
Moe – That’s a benchmark!
Ziggy – Yeah! It was a revolutionary concept, which I think there is going to be more in the future because of how the record business is going now. Record companies are going a bit down, and artists are begining to be more independent. But anyway, I mean, it was allright. I wish that they had put more into it, in terms of promoting it.
Moe – They didn’t do too much about it?
Ziggy – (Smiles) No, it is a big corporation, so I know how it… I’m not big. I’m just like a little small, you know (Laughs) in the corporation..
Moe – Oh come on! (Laughs)
Ziggy – I wish they had done more to promote it. But because it was only for a year, I was OK with it, ’cause I know after that, I could get it out on a more mass market thing. So, we’re looking forward for it being available to everyone in all of the main stores, but you can get it online anywhere anyway, so that’s cool.
Moe – I contacted someone from TuffGong and they said that I could use “Love Is My Religion” on my podcast.
Ziggy – Yeah.
Moe – And I also saw that you put, ah… What’s that song was it… On the podcast network? You just put another…
Ziggy – Which one? I’m not sure which one it was…
Moe – Ahh…
Ziggy – (Sings) Make some music… Into the groove…
Moe – It might be that one… I can’t remember!
Ziggy – I don’t know. I can’t remember.
Moe – But anyway! I’m sorry… With that, you’re opening yourself up and giving yourself out to the people.
Ziggy – Yeah.
Moe – How do you feel the reception from that? Do you think that more people will start embracing that? More musicians will start doing that?
Ziggy – You mean like…
Moe – Promotion-wise… ‘Cause it’s good for promotion for you!
Ziggy – Yeah, I mean. You know, gradually as we get more into the future of the music industry, I think that… artists will be more open to the new technology to get the music across. For me, you know.. for me, it’s about getting the message across, so that is the greatest thing for me if I can get what I’m saying across to people. That is what I’m interested in doing, and because of that, I’m very open to ideas, because I know that what I’m sayin’ needs to be given to the people… So I’m very open to whichever avenue I can get that to the people, ya know? So, I’m really open to anything that’s happening that will get the message.
Moe – I read that you said that you think that music will be free in the future?
Ziggy – Yeah, I wanted something like that to happen… Yeah! Why not? I don’t see why not… (Smiles) I’ve been trying to do that for a few years, but the business people, ‘No! No! You don’t…’
Moe – Yeah, yeah! I know! Well hey… maybe some day!
Ziggy – Yeah… The music free or the concert free… Somethin’… Somethin’… Somethin’ haffe… somethin’ haffe give! (Laughs)
Moe – (Laughs) Something have to give!
King B – (Laughs)
Ziggy – Yeah! (Laughs)
Moe – One last question… If you have one message to give, I think your message would be love…
Ziggy – That’s it.
Moe – But what’s your message?
Ziggy – It’s love! It’s love!
Moe – Yeah, definitely.
Ziggy – It’s very simple…
Moe – Well thank you very much for the interview.
Ziggy – Ya mon, thanks…
Moe – It’s been an honor. And thank you for you and your family…
Ziggy – Ya mon!
Moe – So are YOU gonna fly home? I know your hobby is flying…
Ziggy – Yeah!! (Laughs)
Moe – Take a hold of the controls, huh?! (Laughs)
Ziggy – (Laughs) I wish! I wish! I wish! (Laughs)
Moe – Hey Ziggy… Thank you very, very much, I appreciate it.
Ziggy – All right… Ya mon! Respect! Thanks…
- New comic book: Ziggy Marley’s Marijuanaman (boingboing.net)
- ‘This Train’ – Ziggy Marley, with Willie Nelson, Mickey Raphael (stillisstillmoving.com)
- Ziggy Marley becomes a dad for the 5th time (muzicmagazine.wordpress.com)
Derek has had one hell of a first year hitting the festival circuit, and blew up the crowds at Bonnaroo, Rothbury, Camp Bisco and more. His live performances along with his drummer Corey are an absolute must see.
Pretty Lights has been releasing free albums (with option to donate) on PrettyLightsMusic.com, so you definitely need to grab yourself some of his albums. If you need a great soundtrack to drive around to on a beautiful sunny day, Pretty Lights is the way to go!
Be sure to check out the new MoeTrainsTracks.com for an all new Tracks experience… So we bring to you… The man who moves the feet… Derek Vincent Smith, from Pretty Lights.
Derek Vincent Smith (Pretty Lights) Interview on Moe Train’s Tracks
Monty Wiradilaga and Brian Kracyla (MTT)
Moe (MTT): This is your first festival season right? How’s it treating you?
Derek (Pretty Lights): I had no idea what to expect coming into it. I was very excited about it. And to be honest, I’ve received nothing but love at all, it’s been really cool. Even fifteen minutes before the show, when the tent’s empty and I’m feeling kinda nervous about if people are going to come check out the set, they’ve never let me down. Everyone has been really cool, it’s been packed, lots of energy. People obviously come to festivals to listen to music and dance and get down and I’m glad that I can help them do that.
M: You guys run an interesting improv angle with your music, you always have an evolving sound. How do you work to create an evolving musical journey throughout your set?
PL: That’s a cool question. A lot of people look at me behind a table and think that I’m a DJ, and to be honest, I’ve never spun a record in my life. I could probably match beats with records, but I’ve never even tried it. All the music is original, using original productions I should say. I’m using software and different devices to trigger different parts and arrange it on the fly and to affect it and manipulate it and play some of the layers live on top, like melodies and samples and stuff like that. But back to your question, how do I look at it as a set, as a whole, I try to think of it more as how a DJ would as far as tempos. I really try to bring the energy up and back down smoothly. Even if it’s a real hype hip-hop speed track, I don’t like to play it after some more up-tempo electric track because it just doesn’t feel right.
M: Don’t want to burn people out?
PL: Yeah. Also I like to produce a lot of different styles of music, of a lot of electronic kind of music, but they also vary in energy a lot. But rather than just have my live shows be all high energy dance music, I like to bring in some of the more organic down-tempo, more emotional kind of tracks. It does take some consideration of where to bring that in and where to play it or not to play it. Honestly, as I play more and more, I’m getting better at being able to do that. Because I never have a set list, the songs have a level of improvisation, but the sets are always improvised as far as the order. Like last night, these people had grabbed a set list off the stage and I could see people were kinda arguing over it and I went down and said, ‘That’s not even my set list! That’s the set list for the band that hasn’t played yet. You better put that back up there, they’re not gonna know what songs to play.’
M: Well you and Corey worked together in another band before this, so I guess you guys have a good chemistry going.
PL: Yeah, we worked together before Pretty Lights in a band and actually when that broke up, when that kinda ceased to exist, that’s when I started writing the first Pretty Lights album. There was really a period of time for about two years between when that band ended and when the first Pretty Lights show that I actually invited the drummer up to play with me. I wanted that element live and I feel like it brings a certain kind of hands-on, live energy to the show. Also, I like to be able to play off another individual. So that’s when I collaborated with him and started doing the shows with a live kit.
PL: Yeah. When we first started playing it pretty much was only two hand signals, like ‘cut out’and ‘come back in’. But as we played together more and I’ve written more music in a way that it can be performed differently each time, utilizing the different technology like Abelton Live with the different kind of features…
M: Is that what you use?
PL: That’s what I use live, yeah, in conjunction of a device called a monomer. We use signals like, I have different hand signals to switch drum beats, or switch high-hat speeds, or switch to ride signals, or we’ve got one for switching to an off-beat snare pattern, or losing the snare and keeping the kick and high-hat, or different things for bringing the energy up or bringing the energy back down, and things like that. It’s definitely evolved, the way in which we communicate on-stage.
M: So how do you think the live performance brings your audience a different experience than what’s on your albums?
PL: It’s all about the energy, about hearing the music in a different sort of setting. It’s good car music, I think it’s good bedroom music but a lot of…
M: Bedroom music, huh! Getting the beds rockin’?
PL: That’s what I’m saying, man! People have told me that I’ve gotten them laid.
M: There you go, to your credit… Put that on your resume, ‘Getting People Laid!’
PL: (Laughing) Back to that question, what I was trying to say was that it’s not all me, or us, the people on-stage, creating that live experience. It has so much to do with everyone coming together and experiencing the difference of the live show energy but also within a congregation of people. And it also has a lot to do with, nowadays, the light show and bringing the visual medium. Which has evolved, but I’m looking to take it a lot further.
M: Just an all encompassing experience.
PL: Exactly, a multi-media experience. A lot of people think that when I named it Pretty Lights that I named it exactly for that, some crazy laser light show, but that definitely wasn’t in my mind at all when that name kinda came to be. It was more about personal experiences of pretty lights, I’m always on the look at for that kind of thing. But I’m definitely trying to bring the whole live light/video aspect of the show to a whole ‘nother level, and just keep pushing that, keep pushing the production so that people can really have a cool experience that’s far different than listening to the record.
PL: Yeah, he did. Not maybe at the same time that other people, especially at my age, might have been exposed to it or hit by it because, honestly, I grew up in a family that, when I was a kid, I wasn’t really exposed to a lot of music. Being born in the eighties, I think a lot of people my age heard a lot of Michael Jackson growing up but it was a different experience for me because it didn’t get into to it until I was able to find it myself as a late teenager. In junior high I was like ‘Oh, I know who Michael Jackson is, he’s the King of Pop’ but I wasn’t really exposed to his music. When I really started getting into music, and getting into production, and really going back and listening to it with fresh ears, a lot of it is just unbelievable. It’s just incredible music. The records he did specifically with Quincy Jones, who’s one of my icons as a producer, have been very inspirational, not only in how I create music but also in a personal way. That combination of artists was really able to create some pieces of music that made you feel. And that’s what music has always been about for me, creating emotion and always having people be able to feel something from the music, inside.
M: Where do you see Pretty Lights evolving to in the near future?
PL: I have a lot of ideas that I want to manifest and to make happen in my career, wherever it goes. Right now, and in the recent past, I’ve been doing a lot of collage sample producing, where I’m taking different snippets from vinyl and bringing them together to create pieces of music.
M: Like Girl Talk style?
PL: Not like Girl Talk at all. Actually, nothing like that. More like DJ Shadow, a big influence for me. The whole idea is more obscure pieces of music and just little pieces of it. So you can still really implement melodic creativity and create feelings and emotions that didn’t exist in the song that the sample was taken from because you’re getting pieces from all these different not only artist but different decades. As far as pushing the project and the show and the music in general, I feel like the sampling phase of my career is kind of dwindling because I have the means to create that stuff on my own. Before, in that two year period I mentioned between the prior band and Pretty Lights, I worked as an audio engineer in a professional recording studio and did a lot of records with, not only local bands, but some bigger artists. I did some work with Lyrics Born and Greyboy Allstars and stuff like that. I want to be able to capitalize on my experience as an audio engineer and working in the studio producing other musicians, just how we were talking about Quincy Jones. I’m actually already looking into getting my own vinyl press and buying analog tape machines, so I can really create the sound that I want, which right now I’m getting by taking it from vinyl from other decades. But I want to be able to create that in the present day. As far as future records, I’m looking to work with networks of musicians and really utilizing recording techniques to hang on to that golden age of music where everything sounded so warm and awesome. As far as my records, that’s where I’m looking to take things, but also I’m looking to make it very multi-media. I do a lot of video editing and stuff on the side and haven’t been able to really bring that to the show yet. So one thing that I’m looking to work on in the near future is also realizing audio/video compilation things, not just records but records and video accompaniments and the same time. But, anyway, you’re letting me babble on, which I appreciate.
M: That’s cool. I asked the question. Hey man, thanks a lot for being with us. I appreciate it. We look forward to your set tonight.
PL: Yeah, me too! It’s been a pleasure. Thank you so much.
A classic interview with Andrew and Ben From MGMT in 2008 just as they broke as major new players on the music scene.
MGMT Interview on Moe Train’s Tracks
Andrew Vanwyngarden, Ben Goldwasser (MGMT)
Monty Wiradilaga, Brian Kracyla (Moe Train’s Tracks)
Starlight Ballroom – Philadelphia, PA
Here’s a great interview that was rescued from The Tracks’ vaults… Back in early 2008, MTT caught up with Andrew and Ben from MGMT in Philadelphia, PA.
MGMT had just gotten a major break in the music scene with the widespread critical success of Oracular Spectacular. Keep an eye on MoeTrainsTracks.com for tons of great new content!
Moe: We saw you guys down at Bonnaroo for your set, it was a great way to open up the weekend. I was a pretty epic show if I must say.
Andrew: Yeah, it was fun. We had been to Bonnaroo before so it was good to see it from the side of the artist instead of the person in the crowd. It was only our second festival show.
M: Oh really, where was the first, Coachella?
M: So how do they compare?
A: I don’t know, Coachella was crazier for us because we were more nervous. Bonnaroo was a little more relaxed and cool.
M: You guys just started tour together with a band right?
Ben: We started practicing with them about a year ago. I think we were kinda thrust into exposure a little too quickly for our taste. We played on national television after we had only been touring with the band for a couple of months.
M: Was that on Letterman?
M: You looked a little nervous.
B: Yeah, we were very nervous! But we’re getting more comfortable and we don’t have to think as hard when we’re playing, its kinda getting to be more natural. We’re getting used to playing for crowds.
M: Did you guys have sound problems at Bonnaroo in the beginning, what was going on?
B: Yeah, well, the festival thing, we hardly ever really get a sound check so it’s always a little weird starting out.
A: I think the monitors were pretty messed up.
M: (to Andrew) Oh, by the way, you had on some pretty fucking crazy pants. I remember walking up to set and saying ‘holy shit’, those bright blue ones!
A: Tropical floral bellbottoms, yeah. Really big bellbottoms.
M: They looked comfortable though!
A: Yeah, they’re real comfortable.
M: Saw you guys backstage, you guys looked pretty chill, pretty relaxed, so I guess you feel like you’re falling into place with everything.
B: We’re good at hanging out. We’re good at relaxing.
M: Any standout moments yet from your recent successes?
B: We just played at the Oxygen festival in Ireland and that was really crazy. There were all these people climbing up the towers that were holding up the tent and we had to stop the show because this girl made it all the way to the roof of the tent so that you couldn’t even see her anymore and everyone was yelling at her telling her to come down.
M: Did she take a spill?
B: No, it would have been ugly if she had! That was probably at least 60 feet up in the air or something. It was pretty crazy.
M: I saw a video of you guys at some festival in Scotland that you guys were playing and you were walking around the grounds, checking out the scene; Andrew you like the thrill-rides?
A: As much as I’d like to keep the myth going that I like thrill-rides, I’m new to them. I’ve been on like Space Mountain and most of the Disney rides, and I like those a lot. I was like twenty when I started going on roller coasters, so I don’t think I’d go on the Slingshot thing. I would vomit.
M: You guys got together at Wesleyan, and you were actually making music that you thought would be annoying?
A: We knew it was annoying.
M: Just to fuck around, just playing, just to amuse yourselves?
A: I dunno… We were young and foolish.
M: You were freshman?
M: So it was basically putting that freshman energy, that drunken and banged up energy back into the music.
A: Yeah, exactly.
M: What’s up with the clothing optional dorm?
B: At some point it was designated a “clothing optional” dorm but there aren’t many people walking around naked there. There were a few, and we were friends with most of them.
A: I did naked calisthenics with Vin Popper on time. (all laugh)
M: Tell us about some of those early dorm session jams. We used to do the same thing. We’d go out to parties, get all fucked up and come back and just grab our instruments at like 2 o’clock in the morning and start jamming. So what was it like with you guys getting together?
B: It was a lot like that. It’s was just kinda very casual, just having fun. We had a lot of other friends that we played music with and we were both in other bands at the same time. It wasn’t like we started a band in order to get successful and get fans and all that, we just started it for something to do and didn’t really care if anyone liked it.
M: You guys just probably wrote the album for yourselves.
B: In a way, I mean, we know we were writing it for other people because we had signed a record deal at that point, so we had a delivery date, so there was a little bit of pressure on us but when we were writing the songs we didn’t think that anyone was actually gonna hear the album, so it was pretty much just writing it for ourselves.
M: So I guess its still a surprise with all of this going on?
B: Yeah, its still a surprise. And, I don’t know, it keeps getting crazier!
M: When you guys were first recording you guys had a pretty gritty sound right? I mean, if you were recording back in your dorms you’re going to have that unintentional gritty, natural sound. Did you guys try to replicate that sound?
B: In a way it was the other way around because we were doing a lot of stuff just on computers, so a lot of it was very electronic and very clean sounding. I think we’ve tried to get dirtier.
M: You had the producer who worked with the Flaming Lips. Did you guys pick him because he had that psychedelic background?
A: We kinda just chose him because we talked to him and we’re fans of the Flaming Lips and other stuff he’s done, like Sleater-Kinney and Mogwai. He’s not the kind of producer that wants to mold the band into something, he kinda just lets them do their own thing. So, he was good for us.
M: So did the album come out exactly how you wanted it to come out?
A: At the time I think it did, yeah.
M: Looking back now, what do you think?
A: I’m sure now if we listened to it a bunch, we’d probably change stuff. But we think it’s good that we can’t because it captures that moment.
M: I see you in a lot of pictures wearing sunglasses, you’re not becoming Bono are you?
A: I hope to God not!! If I am you should stab me…
M: What’s your beef with him?
A: Nah, I just don’t like him. I heard he’s a great guy, and he seems like he’s got good intentions. I think it’s really the sunglasses that piss me off the most. So, now I’m never going to wear sunglasses again.
M: Will you burn them in effigy?
A: We stabbed an effigy at our senior recital.
M: Ben, you said, “To give music meaning you have to have your back up against something”; What, you don’t remember?
A: (laughs) You sound like Thoreau or something.
M: Yeah, I guess you were being pretty introspective.
B: I guess maybe just having some resistance kind of helps. With us, when we got signed and we had to deal with all the kind of big-record-label bullshit for the first time, I think it kind of forced us to look at what we’re doing and try to give it as much meaning as possible and try to ask ourselves why we were doing it in the first place.
M: So what’s your validation?
A: I don’t think we’re validated.
M: No? What will be your validation then?
A: If aliens approve of our music. So, we’re waiting for contact.
M: Waiting for the return in 2012 when the earth ends? I know you guys are joking around about your future, about what will happen hen things will come, but we’re sitting inside of a big tour bus. Obviously this is probably five times bigger than your dorm room was. You said that when the fame comes around and you get the big label money that you would go get blow jobs, you would ride horses to your gigs, and go get castles. What’s going on with the success?
B: Yeah, we’ve both gotten blow jobs before, which is cool. We’re working on the horses and the castles.
M: What have you benefited from just by being in the business?
A: We get a lot of free clothes, a lot of free stuff. And we both got haircuts for the first time in a long time. We used to cut our own hair and now we can afford real haircuts.
M: If you guys think that everything musically has been done before, how does MGMT stray away from the norm’?
B: I don’t know if everything’s been done before…
A: All the good stuff has.
B: Yeah, all the good stuff’s been done before but pretty much…
A: You could string your guitar with celery or something, but that doesn’t mean it gonna be good music.
B: Any new good thing I think comes out of recycled ideas and using them in creative ways. Rock and roll is a pretty basic, simple form of music but there’s so many possibilities with it.
A: You don’t have to make up your own language to write a good poem.
M: Who is it that does that again…
A: Sigur Ros!
M: Oh yeah that’s right. Did you guys see them at Bonnaroo, what’d you think?
A: I heard for somebody that it’s much better to see them in a wide open cathedral-type space, like an indoor space, and I could see how that’d be true. It didn’t translate that well to the festival thing.
M: Yeah, it’s pretty grand I guess. So, what’s the future of MGMT, or have not realized the present yet?
A: We have trouble comprehending what’s happening at all times. But the future should hold good things. We’re trying to get a cabin somewhere in the woods. James is gonna cut firewood, I had a vision of him walking towards me with an arm full of firewood and I’m gonna smile and then our dog is gonna lick our faces.
M: (laughing) Alright guys, thanks a lot.
As Vampire Weekend gear up for the release of their highly anticipated third studio album Modern Vampires of the City, the band have unveiled a lyrical video for brand new track “Ya Hey,” directed by Greg Brunkalla.
Check out the video here: https://www.youtube.com/watch?v=i-BznQE6B8U
Already hailed in a 4.5 star Rolling Stone lead review raving “dark but beautiful… Vampire Weekend have gotten better at just about everything they do… pushing into awesome new directions,” Modern Vampires of the City is scheduled for release May 14 on XL Recordings. The new album is the band’s first full length collection of new material since its gold-certified sophomore album Contra, which debuted at #1 on the Billboard album chart upon its 2010 release.
Vampire Weekend has also confirmed its return to Saturday Night Live: The band will play NBC’s hallowed Studio 8H for the third time on May 11, with host Kristen Wiig.
May 2nd, 2013 – The Troxy, London
May 15th, 2013 – Agganis Arena, Boston
May 16th, 2013 – Sony Center for the Performing Arts, Toronto
May 17th, 2013 – The Fillmore, Detroit
May 20th, 2013 – Red Rocks Amphitheater, Morrison
May 21st, 2013 – Red Butte Garden Amphitheatre, Salt Lake City
May 23rd, 2013 – Keller Auditorium, Portland
May 24th, 2013 – Sasquatch Music Festival, George
May 29th, 2013 – Casino De Paris, Paris
June 23rd, 2013 – Firefly Festival, Dover
June 26th – 30th – Glastonbury Festival, Pilton
June 28th, 2013 – Portsmouth Guildhall, Portsmouth
June 29th, 2013 – O2 Academy Bournemouth, Bournemouth
July 4th – 7th – Rock Werchter, Werchter
July 6th, 2013 – Olympic Park, London
July 7th, 2013 – De Werald Draait Buiten, Amsterdam
July 9th, 2013 – Poupet Festival, Cholet
July 12th, 2013 – Optimus Alive, Lisbon
July 13th, 2013 – BBK Live, Bilbao
July 14th, 2013 – Musalic Festival, Aix-les-Bains
July 19th, 2013 – Gentlemen of the Road Lewes Stopover, Lewes
July 20th, 2013 – Longitude Festival, Dublin
August 4th, 2013 – Lollapalooza, Chicago
August 9th, 2013 – Squamish Music Festival, Squamish
August 11th, 2013 -Outside Lands Festival, San Francisco
September 20th, 2013 – Barclays Center, Brooklyn
September 28th, 2013 – Hollywood Bowl, Los Angeles
October 8th, 2013 – Midland Theater, Kansas City
The Metal Gods above are receiving a gift today in the form of Jeff Hanneman, guitarist and founding member of Slayer.
Jeff passed away due to liver failure around 11am at a hospital near his house. He is survived by his wife Kathy, his sister Kathy, and his brothers Michael and Larry.
Rest in peace, brother.
Los Angeles-based Hands’ are set to release their debut full-length album Synesthesia on April 30 via Kill Rock Stars. In anticipation of the album, Nylon is running an album stream a week before the release. The album is also streaming in full on Spotify. Earlier this week, Stereogum premiered the band’s remix of Passion Pit’s “It’s Not My Fault.” Hot on the heels of their sold out April Residency at Los Angeles’ The Echo, Hands will be performing on Thursday at The Echoplex as direct support for Wavves as part of the Red Bull Sound Select Presents: Los Angeles. Hands also announced a summer tour, which will make stops in major cities including New York, Atlanta, Chicago, Washington, D.C. and more.
Hands makes music like a rip tide, swirling in overlapping loops and riffs, slowly enveloping you. The group’s members – Geoff Halliday, Ryan Sweeney, Sean Hess and Alex Staniloff – craft their hypnotic sound from a single dropping note that builds into a reverberating roar that crashes over you like a wave. It’s a mesmerizing trick that they pull off on their debut LP, Synesthesia. Songs like “Videolove” and “Trouble” show Hands’ innate ability to blend instruments and electronics into a deep texture that moves ethereally through genres. Hands moves from rock to synth-pop to skyrocketing stadium anthem, often within the same song. The interplay of Sweeney’s esoteric guitar riffs, Hess’ technical tempos, Staniloff’s thumping bass and Halliday’s soaring vocals and affected keyboards help Hands build a dynamic atmosphere, where a lesser band would only manage empty atmospherics.
A relative newcomer to the LA scene, Hands began as a two-piece from Philadelphia before Halliday and Sweeney headed west and added the low and thump of Hess and Staniloff. The band made a mark on the scene immediately, quickly playing packed shows across the country including stops at SXSW, CMJ and Deluna Fest, headlining Echo Park Rising, sessions with Daytrotter, and a west coast jaunt with Maps and Atlases. Hands’ ability to win over fans with their feverish live show and dance-party-ready sound has already earned them opening spots for the likes of Deerhoof, DeVotchKa, Foster the People and Kimbra as well as playing shows to sold out crowds at venues across LA.
Hands Tour Dates
04.25 – Los Angeles, CA @ The Echoplex (with Wavves, Incan Abrham, Hot MT)
05.19 – San Diego, CA @ The Soda Bar
05.20 – Phoenix, AZ @ Sail Inn
05.21 – El Paso, TX @ Lowbrow Palace
05.23 – Dallas, TX @ Club Dada
05.24 – Austin, TX @ Stubbs Jr
05.25 – Houston, TX @ Fitzgerald’s
05.28 – Atlanta, GA @ Drunken Unicorn
05.29 – Chapel Hill, NC @ Local 506
05.30 – Washington, DC @ DC9
06.01 – Brooklyn, NY @ Glasslands
06.02 – Philadelphia, PA @ Kung Fu Necktie
06.03 – New York, NY @ Pianos
06.04 – Allston, MA @ Great Scott
06.05 – Montreal, QC @ Il Motore
06.06 – Toronto, ON @ The Drake
06.07 – Pittsburgh, PA @ 6119 Penn Avenue
06.08 – Chicago, IL @ Schuba’s
06.09 – Madison, WI @ The Frequency
06.11 – Minneapolis, MN @ The 7th Street Entry
06.12 – Des Moines, IA @ Vaudeville Mews
06.14 – Denver, CO @ Larimer Lounge
06.15 – Salt Lake City @ Kilby Court
06.17 – Portland, OR @ Bunk Bar
06.19 – Seattle, WA @ Sunset Tavern
06.21 – San Francisco, CA @ Brick & Mortar Music Hall
06.22 – Davis, CA @ Sophia’s Thai Kitchen
For more info, please visit: