Seven months after Panda Bear’s latest album, Panda Bear Meets the Grim Reaper, Noah Lennox, former member of Animal Collective, has released his EP for “Crosswords.” Grim Reaper takes on the standard electronic-pop style constant through all of Panda Bear’s albums, but with an eerie twist. Lennox combines the style with a combination of distorted sounds. “Mr. Noah” opens with an unsettling clip of what sounds like whining dogs. However, Crossover EP takes a more upbeat approach.
“Crosswords” opens the EP, a familiar track from Grim Reaper, with extracts of the 90’s electronic genre. The echo riff in the background sounds similar to the style of Savage Garden. “No Mans Land” follows with a cosmic theme and metallic beats. Panda Bear is mainly composed of heavy synth sounds, but Lennox softens the sharp sound with his fluid vocals. “Jabberwocky,” although relatively upbeat like the rest of the EP, reflects the haunting melodies found in Grim Reaper. “Cosplay” ends the five-track EP with a sound similar to the Beach Boys’ Pet Sounds, with simple and repetitive lyrics, an ode to the greener things in life. “Marijuana makes my day.”
You’ve been in a hot field all day with sun beating down, there’s no shade in sight and you’re at the point where you don’t know if you have a tan or you’re just caked in dust. If you happen to be at a music festival that features some sort of body of water, this part of the festival experience can be alleviated by jumping in the ocean or lake, or by heading off to the water park.
Going on its third year, Lockn’ will once again call Oak Ridge Estate in Arrington, VA, home for four days this month. The 5,000+ acre venue is nestled in the foothills of the Blue Ridge Mountain and the festival takes place within the grassy infield of the racetrack on the property. While the venue size is extensive, the property lacks a water feature for attendees to enjoy when the dust and heat become oppressive.
Fortunately, the congregation of the Trinity Episcopal Church, located just across the road from Oak Ridge Estate, were creative in organizing WaterLockn’ as a way for attendees to not only cool down and truly experience this area of Virginia, but also help support local and international charity work.
“When we first heard about Lockn’ coming to Oak Ridge, we had to decide as a congregation how we were going to react. We are a very small church in a county that has a very small population. A huge event like Lockn’ is a very different experience for most of us,” stated Jennifer Cumby, WaterLockn’ Coordinator. “Right away, we decided that we needed to openly embrace not only Lockn’ as a festival, but each and every festival goer in a loving way. We realized that for most festival-goers, Nelson County only really exists as some roadway and the festival grounds and we wanted to show people the beauty of the place we live and also, try to raise some money to help the people in this county and around the world who are in need.”
One of Trinity’s members came up with the idea to run trips to a private swimming hole on the Tye River. “It wasn’t long before the rest of us got behind it and just made it happen,” stated Cumby. “We work on WaterLockn’ for about six months out of the year. It’s a big investment of time and talent, but we are fortunate to have many, many creative, dedicated, and hard working community members who all come together to make WaterLockn’ happen.”
Trips to the swimming hole will run Friday-Sunday throughout the day, and will last about one hour total, with approximately 45 minutes of swim/bathing time. WaterLockn’ takes up to 50 people per trip with an average of 5-6 trips per day. The swimming hole is staffed with lifeguards and volunteers to make sure every attendee is well taken care of.
Out at the river, WaterLockn’ also provides Dr. Bronner’s soap. If you aren’t familiar with Dr. Bronner’s, this soap is organic, Fair Trade, biodegradable castile liquid and bar soaps. Because Dr. Bronner’s Magic Soaps products are organic and biodegradable, they can be used responsibly outdoors, with appropriate consideration for freshwater biomes and drinking water sources. “Since it is a natural waterway, we ask that people use the soap we provide to better protect our waterways,” Cumby said.
These trips out to the river will cost $20/person and all proceeds will support local charities and Haitian outreach. Last year, WaterLockn’ was able to donate about $3,000 to charity.
“Last year, a portion of the proceeds went to establish a well in Haiti to provide fresh, clean drinking water and water for agricultural purposes,” stated Cumby. “Trinity also supports Nelson County Kid Care, which is a supplemental nutrition program for ‘food insecure’ children in Nelson County. The program provides non-perishable food items, distributed through the school system, to children to help feed them over weekends and breaks throughout the school year. Many Trinity members are deeply involved in this program, serving on boards and committees, fundraising, and packing the weekly allotments of food items. It costs roughly $200/year to provide food for one child through this program that is funded completely through donations and grants and is run by volunteers.”
This year WaterLockn’ will be donating to the Virginia Haiti Collaborative, as well as the Nelson County Kid Care. The Virginia Haiti Collaborative is a collection of churches, schools, and individuals affiliated with the Episcopal Church who partner with St. Marc’s Primary School in Cerca-La-Source, Haiti, to improve education throughout Haiti. “A significant portion of this year’s WaterLockn’ proceeds will be used to train Haitian teachers in Haiti to help them establish an education framework that will benefit all of the children in that country, Cumby said. “Haiti is very close to the hearts of all of us at Trinity Episcopal Church. Many of our members have traveled there to help build schools and work with the Haitian people to improve their quality of life.”
Donations from this year’s WaterLockn’ to the Nelson County Kid Care will continue to help provide food to struggling families to help local children stay nourished over the weekend. Research has shown a direct correlation between hunger and poor school performance. “This program makes a big difference in the lives of those who participate in it. That difference is noticed in the classroom, making educating Nelson County kids easier and helping them be more successful in the short and long term,” shared Cumby. “WaterLockn’ helps us raise more money to help more people than we could ever raise on our own. We are very grateful for the opportunity to do so much good while helping people have so much fun.”
Please Note!
As Vinyl witnessed last year, slots for WaterLockn’ trips fill up extremely fast! Trinity will have a table in the main festival area and registration for the trips will start as soon as the festival grounds open on Thursday. Last year, many trips sold out a day in advance, so it is suggested that if you know you want to go, come stop by the WaterLockn’ table first thing and get your trip locked in.
Travel out to the river will be in 12-passenger vans, so there will not be a lot of room for anything that cannot fit on your lap.
Coolers, glass, and alcohol are not allowed.
Individuals who will be bringing their children should bring a car or booster seat for that child. Children who are not properly secured in an appropriate safety seat will not be allowed to ride in the van.
For all updates, follow WaterLockn’ on Twitter and Facebook!
Beach House is best described as a dream. Hailing from Baltimore, Maryland, Alex Scally and Victoria Legrand form this indie duo. Since their first self-titled album in 2006, Beach House has become an obscure gem among the indie-rock scene, often likened to the sounds of My Bloody Valentine and Grizzly Bear, among others.
Beach House’s newest release, Depression Cherry, stays true to their ethereal style. You begin the album, and the notion of time seems to fade; before you know it, you’re sitting in a dark room, and the afternoon has turned into night. How appropriate that the album should embody the nighttime, but not at all depressing like the title implies. The tracks are dreamy and sensual. 80’s synthetic overlays give the album a dark-techno sound, but the album is not eerie. In fact, it is very sublime and relaxing with its languid melodies.
The album opens with “Levitation,” a dramatic first track with 80’s synthesizer tones and Legrand’s lofty vocals. A soft tambourine transitions to a rhythmic beat and subtle rock guitar riffs. “Sparks” follows with a raw guitar opening accompanied with a techno backdrop, giving the track an industrial style, softened by airy vocals. “Space Song” takes on a different sound with a surfer vibe, while “PPP,” one of the more popular tracks, takes on the style of a love song, reflecting a 50’s melody.
The album seems to be a combination of love songs and lullabies, all of which are enrapturing and comforting in their gentle vocals. Although the band name might imply a sound best suited for the west coast, Beach House captivates their listeners by taking the indie genre, which is normally associated to sounds similar to punk and rock, and combines it with a sound less harsh than the industrial genre and an 80’s techno style to create complex and beautiful melodies.
Its been a while since Vinyl Mag has talked to Wieuca. We interviewed them about their band dynamic and future plans and reviewed their self-titled EP, “Wieuca.” Needless to say, Vinyl Mag is excited to see where this band is going, and we’re very happy they came to Athens from Atlanta. Hopefully they’re here to stay. Wieuca has recently graced us with yet another single, “Pressure Head,” from their upcoming album Master, produced through Land of the Freak Recordings.
The track opens with eerie noise and distorted instruments. The broken sounds come together to create an upbeat melody, and the noise slowly transitions to a somewhat surfer guitar riff and vocals. The sound remains ethereal, and perhaps a little psychedelic until the instrumental end. In our interview with Wieuca, Will points out that “the band is more collaborative and fun than it ever has been,” but “open to adding more members to expand the potential of our live show,” which is reason enough to attend their release show for their upcoming album on September 4th at the 40 Watt, along with The Hernies and Big Morgan.
Today, a rare cultural event will combine a performance by super hot band Unknown Mortal Orchestra, a confluence of local businesses and a showcase of ‘Dreamers + Doers’ in Athens.
For the grand opening of Urban Outfitters downtown, the company has taken a unique and localized approach to herald their arrival in Athens and highlight the new store on Clayton. UO has worked with local promoters Slingshot to organize a free event at Creature Comforts brewery and also exhibit some of the town’s creatives in a gallery setting.
The ‘Dreamers + Doers’ showcase inside the brewery will feature a cross section of those in Athens that fit the description, such as:
Double Dutch Press
Suds and Lather
Appaloosa Designs
Condor Chocolates
Forged & Found
Piedmont Provisions
Oneta Woodworks
Smokey Road Press
There’s more! Drinks will be complimentary. An optional signature glass will be for sale, proceeds of which will go to the musician non-profit, Nuci’s Space. In addition, there will several local foodtrucks on the scene for food on the spot.
Combined, this is by far the most localized overture from any of the national stores that have moved into Athens over the last few years. It’s probably worth mentioning here that the event is ticketed but free, if you flash that you have the UO app at their store they’ll give you a ticket.
If you’re not yet turned on to Unknown Mortal Orchestra, the Portland/New Zealand band has been intriguing slipstream, mainstream and critics alike since their first self-titled album in 2011. Their recent album Multi-Love continues their buzzy-warm, yet edgy, style bringing to mind the sultry wistful days of Sly and the Family Stone, without the innocence. These are eyes-wide-open times. Kinda perfect combo for a summer hang. Being alive in twenty-oh-five.
Come soak up the peak of the season! Go to the New local events app, Townie., for details or directly download the UO app and flash it at the counter in their new store for your free ticket.
Wavves was the first show that my companion and I saw at Shaky Knees this summer. I have to admit that I could not fully appreciate Wavves at the time since I had not previously listened to them extensively, and because it was so ridiculously hot standing on the black asphalt, shoulder to shoulder with my fellow festivalgoers. Nevertheless, Wavves played as if it weren’t 90 degrees outside, and I decided to place them in my top 10 shows from the festival, next to Ryan Adams and The Black Lips.
Fast-forward about three months, and Wavves has kept their listeners well stocked with new music. “Heavy Metal Detox” is the third single from their upcoming album V, along with “Flamezesz” and “Way Too Much”. “Heavy Metal Detox” is nothing unfamiliar; the track opens with a slightly distorted and repetitive guitar riff, which hooks the listener with a catchy melody. The track takes on their signature punk sound with raw vocals and a slight surfer vibe.
“Flamezesz” is equally as punk but with the addition of a brief synthesizer melody that carries on throughout the track. “Way Too Much” follows with the same upbeat sound.
Wavves successfully carries on the tradition of punk, while also adding a modern twist with their Californian sound. Unlike other punk bands, Wavves isn’t performing for shock value, but rather contributes directly to the evolution of a genre. Perhaps the same could be said for bands like The Black Lips, whom I also placed in my top 10 artists from Shaky Knees as stated above. I couldn’t help but think of The Black Lips while listening to “Heavy Metal Detox,” which seems appropriate considering The Black Lips have a slightly heavier sound. Wavves combines genres, which makes it hard to pinpoint their sound. They are a little bit indie, a little bit surfer, and a lot of punk, and while their sound is on point, they don’t let that overrule their lyrics, which are clear and well thought out.
Mac Demarco is a relatively new artist that not everyone has heard of. My first encounter with him was on a sticker on the back of my friend’s laptop. I had to ask, “Who was this strange man surrounded by lettuce, bearing a large and mesmerizing gap toothed smile?” Once I bought my Shaky Knees ticket for summer 2015 and saw that he was on the lineup, I delved into the soft rock, surfer sound that is Mac Demarco. His first album Ying Yang released in 2010 with 2 following in 2012. Perhaps it wasn’t until Salad Day,s released in 2014, that Demarco started to acquire a larger following (or at least until I jumped on the bandwagon).
Salad Days seemed to add clarity and value to Demarco’s unique sound. His style does seem to have a subtle beach vibe, but most of all it is unique in it’s effects and smooth melodies. As a friend pointed out, what sounds like an echo or distortion effect on Demarco’s guitar and vocals, sounds as if it could be some sort of physical recording manipulation. This theory came with the realization that Demarco’s live performance sounded subtly different than his studio recordings. Soon after Salad Days, in fact a mere two weeks ago, Demarco released his newest album Another One. Although the album is short with only 8 tracks, it is well recorded and features Demarco’s signature laid back sound. However, this album, unlike any of his other albums, seems to make use of 80’s synthesizer sounds that can be heard in tracks like “Another One” and “A Heart Like Hers.” Demarco’s personality and humor comes out in this album. The last track, “My House By the Water,” is almost three minutes of the sound of the tide coming in, water rolling over rocks, overlaid with a somewhat eerie synthesizer tune. This is the environment that Demarco inhabits. He has no worries and no cares, just a twenty-something making fun music and entertaining people. Finally, in the last few seconds of the track, a man’s voice can be heard, almost automated. He relays an address, and it’s not until the voice says “Stop on by, I’ll make you a cup of coffee. See ya later,” that you realize it is Mac Demarco, himself, inviting you to his home.
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The Movie Life. All photos by Samantha Nakhoul.
“The last time I saw you act like this, we were kids.”
A couple weekends ago The Masquerade entertained thousands of Atlantans with a dream lineup of 60 punk and hardcore bands. The name was fitting, given the recent selling of the venue to a multi-family developer who plans to turn the land into a mixed-use development. Its proximity to the BeltLine, a former railway corridor turned linear park, made the acquisition inevitable. It remains to be seen what will happen to the building, but early plans call for the former Du Pree Manufacturing Company Excelsior Factory to be repurposed as part of the massive development. Though the old mill hangs in a poetic state of purgatory, one thing is for sure: the days of concerts at the iconic venue are numbered.
The recent headlines made the inaugural Wrecking Ball music festival that much more compelling. With a ridiculous lineup that included Descendents, The Get Up Kids, Coheed and Cambria, Desaparecidos, Thrice, Glassjaw, Appleseed Cast, American Nightmare, Modern Life is War, Braid, Pianos Become the Teeth, and Foundation among others, the only way it could’ve been any better was if they brought in an actual wrecking ball after Coheed and Cambria closed it out on Sunday and literally tore the place down. So many of these bands started their careers in Hell and slowly worked their way up to Heaven and eventually out to the Music Park. Part of what made the weekend so great was hearing the artists share their personal experiences playing these stages. The Get Up Kids recalled their first trip here 20 years ago touring with MxPx and even played the first song they ever wrote as a tribute. Conor Oberst mockingly seemed into purchasing a condo on the land, and Descendents had to be yanked off the stage, though probably not in protest. It seems every band that has ever passed through this city has played at least once at The Masquerade, and that is what makes this place so special. Yeah, the sound isn’t very good, and it feels like the floor will collapse at any second sending everyone in Heaven to their death, but there’s something about this musty old clap trap that keeps us coming back. Nirvana, Pearl Jam, Public Enemy, Nine Inch Nails, the list goes on, but this weekend was a celebration of punk.
I’ll admit this lineup would’ve been much more exciting to me 15 years ago, and maybe I was in attendance solely to keep my 16-year-old self from coming back and murdering me in my sleep. Many of these bands have slipped into “guilty pleasure” listening status while others serve as a consistent reminder of who I am and how I got here. Each one reminds me of riding around on hot southern nights with the windows down and five friends singing at the top of their respective lungs. It was a throwback, and I’m okay with that.
For my personal tastes, Saturday was the reason I was there. The Music Park stage got things rolling with The Coathangers, The Lawrence Arms, Title Fight, and The Movielife. The latter putting on an energetic set during which they thanked the crowd for making this “the best show (they’ve) ever played in Atlanta.” They even commented on the amount of lyrics being shouted back at them – apparently the New York of the South has never been so welcoming of this actual New York band. Inside, Braid, Small Brown Bike, and Samiam lit up the Heaven Stage to round out the afternoon.
As night fell, everyone moved out to the Music Park for main attractions: The Get Up Kids and Descendents. This was the first time I got to see The Get Up Kids, which were amazing. I know they’ve been doing this for a long time and have been involved in several other big name and solo projects over the years, but I was so impressed with their sound. Nothing against the other bands, but Matt Pryor and the boys were the most professional sounding band of the weekend. They went through all the classics including Red Letter Day, Ten Minutes, Shorty, Action & Action, Holiday, and Mass Pike, among others. I forgot just how many catchy songs they had written and was genuinely surprised how many of the lyrics I could still belt out.
The night came to a close with Descendents, who have made perhaps the biggest impact of any band on punk music over the course of their 38 year career. Most of the musicians at this festival probably had at least a couple of Milo’s songs on their earliest mixtapes or playlists, and many were on stage taking it all in. They went through a crazy long set of about 30 songs before the PA system was cut, and everyone was told to go home, proving just how punk rock these old guys remain.
The outdoor vibe on Sunday was a little more laid back with Yuck, Basement, and Cave In paving the way for a rather subdued Thrice set. The harder hitting acts like Foundation, Glassjaw, and Blacklisted were pushed indoors where multiple hangovers were sweat out in front of the Heaven Stage. Back outside, Desaparecidos, and Coheed and Cambria finished off the weekend. Not much to say about them except that Conor was Conor, and Coheed was much less epic than usual, only playing around a dozen songs.
Overall, it was a great weekend to be a punk, and I’m glad the organizers of Wrecking Ball were able to put together such an amazing group of bands as part of The Masquerade’s farewell concert series.
A few things I found curious:
Purgatory wasn’t Purgatory – it was a merch-sized tent out in front of the venue. The real Purgatory was roped off as an artist’s lounge – kind of a bummer.
Thrice and Glassjaw were scheduled in overlapping time slots, making it impossible to see each of their sets in entirety. I wasn’t the only one upset about that flap, as Dustin Kensrue even felt compelled to comment on the obvious mistake during their set.
The discovery of the weekend came in the form of the band Somos who shut down the Purgatory Stage on Sunday night. The Boston based quartet are playing a refreshing brand of catchy emo throwback tunes. They have a full length titled Temple of Plenty that I highly recommend giving a listen. Be on the lookout for a recently finished record in the coming months.
Cayucas, helmed by twin brothers Zach and Ben Yudin, named themselves after “a sleepy little seaside town” in California, and you can almost hear those rolling waves in their music. It’s dreamy, sunny, and just plain makes you feel good, the same way an ocean breeze kisses your cheek and puts a smile on your face.
They brought their summery vibes to the Parish in Austin last Sunday night, with Seattle surf-rock band Hibou opening the night. Hibou is the new project of 21-year-old Peter Michel, former drummer of Craft Spells. The energy these kids brought arguably stole the night for me, at least in terms of surprise. I wasn’t familiar with their music previously, but with Michel dancing around the stage barefoot and his lead guitarist in old-school Adidas flip flops and a massive grin stuck on his face, I couldn’t help but be enchanted. Keep an eye out for these guys; their debut record is coming out this fall on Barsuk.
Cayucas carried some of that energy into their headlining set, opening with their most recent single, “Moony Eyed Walrus,” and heading straight into another fairly upbeat track “Hella,” both off their new album Dancing at the Blue Lagoon.
The rest of the evening felt a bit more subdued, moving through a nice selection of their sway-enducing singles including “Cayucos” (the name of the city from which they take their name) and “Will, “The Thrill”” (one of my personal favorites… something about the line “oh my God, is this really happening to me?” gets me every time).
The definitive song of the night may have been “Blue Lagoon,” which saw Zach Rudin back on guitar after a few songs on keys and one which he provided only vocals. It’s super sharp, jangly guitar sounds had the entire crowd swaying along and it seemed to be one of the most recognizable for the room.
The next song, “Ditches,” slowed things down in a big way, followed by “Deep Sea” and “High School Lover,” which was written about Zach’s high school lover, who has apparently gotten married since and doesn’t know the song was written about her. This was one of the rare moments of banter between the band on stage; they weren’t a very talkative bunch. They did, however, make time to shout out Hibou before leaving the stage. There was mention of a Matt Damon impression, which we were not treated to, but watch out for the Hibou bassist busting that one out somewhere down the road.
Cayucas may not have provided the most energetic of performances, but it seemed to fit with their hazy tones, perfect for lazy summer days, and appropriate for the lethargic tendencies that Austin’s summer heat can bring.
Sydney Eloise. Photo courtesy of The Cottage Recording Co.
Last March, Atlanta based singer-songwriter Sydney Eloise spoke with Vinyl about street style. Nearly a year and a half later, she’s completed her debut record Faces under Sydney Eloise and the Palms due out on September 22 via The Cottage Recording Company.
In our recent conversation with Sydney, we discussed the recording process for the record, growing up as a child of two musicians and what inspired her to keep writing.
Vinyl Mag:Hey, Sydney! It’s been awhile since you’ve talked to Vinyl. Last time we talked about your fashion, and this time you’ve got something even bigger in the works. What’s happened in the last year and a half since we last caught up?
Sydney Eloise: About the time we last spoke I had just gotten together with Damon Moon and Chandler Galloway, and we decided to record a song just for fun. Damon and Chandler are two of the three owners of a recording studio in East Atlanta called the Cottage, so after Chandler and I would get off work, we’d go to the studio after hours and just work on songs. Before you know it, we had three or four songs, and then we decided it should be a band.
VM: So, where did the idea of completing a fully completed album stem from?
SE: Well, putting out a 7” EP was our first idea, but we kept recording, and then we had enough material for an actual full length, so we changed our minds. It was really some friends coming together and feeling it out.
VM: That’s a very organic development. Often we see artists come out after the release of their album, and admit that they wish things would’ve been different with the finished product.
SE: It can feel very forced, and that was my experience before this project. It wasn’t fun for me past a certain point, and a lot of it began to feel contrived and sterile. I couldn’t write for almost a whole year, and I was depressed about that. I’m so happy to have these talented people in my life now who are also my best friends. We still spend every day together even when we’re not creating music. It feels like fun again, and it’s something we should be doing.
VM: I’m really happy to hear things are looking up for you. Now, I have to ask about the album. We got a review copy, and I’ve noticed the genre of each song is noticeably different. What made you decide to pursue that artistic direction in the album instead of sticking to just one style?
SE: We wanted to approach each song differently, and I felt by being a singer/songwriter and playing by myself for such a long time that it needed to be different each time to stand on its own. In the end, it still ended up being a cohesive piece of work. Everything was very dependent on our mood for the day or artists we had been listening to earlier like Paul Simon, George Harrison, or Phil Spector’s Wall of Sound productions.
VM: I’m glad that you mentioned Paul Simon, because I saw that you recently had a gig with the Atlanta Collective where you did a cover show of Paul Simon’s Graceland album. He’s a major influence on you, so I’d like to know what some of your favorite albums are?
SE: There are SO MANY! For me, records remind me of specific time periods in my life. I always go back to Joni Mitchell, because that was the first artist my mother introduced me to when I was young. She was so innovative, to the point, and honest with her music. So I would say her album Blue, but Carole King’s Tapestry is another that will always be close to my heart, too. I used to think my mom was her for a long time, because she is also a singer and would sing King’s songs.
VM: So with your mother being also being a musician, do you discuss everything you’re working on with her, or does she just get to hear the finished products?
SE: Well, since my parents are both musicians, they do attend most of my shows and try to guide me along. However, I’m doing something a little different from them. At times I share things with my mother when I’m trying to flesh out a song or an idea. She loves to hear anything new I’m working on so she can know what I’ve been going through or where a song is coming from.
VM: Earlier, you said each song is different in its own way, but the entire record works as a whole. With that in mind, do you think you could pick a favorite song from the record?
SE: That’s a great question. A part of me has a fondness for “Always Sailing” because it was the first song that started this whole project and new direction with us. That one is particularly special to me, but they really all are because they’re all like children to me.
VM: With the album process completely finished and the release coming in a little over a month, what do you think the most challenging part of the entire process was for you?
SE: To be honest, most of it was a lot of fun. It was the environment and people that made it fun, but I think the time in between some of the sessions was difficult for me personally due to scheduling. Some days I would just want to finish something.
VM: Following the release of the album, are you currently working on anything for the future in terms of shows or new shows?
SE: Yes! Once the record is out, we are headed out on the road to support the record. We’ll be on tour in October. We’ll be doing the East coast in the beginning and then some regional weekend runs. We’ll also continue to write for the next album, because I know we’re already having withdrawals.
We can’t wait to see Sydney Eloise and the Palms on tour, so be sure to keep an eye out for dates, and check out Faceson September 22!
