PRAISE FOR THE LAZY EYES
“If Brian Wilson joined Tame Impala for a day”
DIY Magazine
“Now nostalgia aficionados don’t have to root around in cool vinyl sections to discover the past, because The Lazy Eyes are the future.”
The Line of Best Fit
“A pristine psych-addled slice of guitar pop, complete with undulating piano chords and some gorgeous, watery effects on the guitar.”
Clash Music
“A stellar burst out of the gates from a band with a hell of a lot of promise ahead of them.”
Pilerats
“Sydney foursome The Lazy Eyes are still in their late teens, but possess a musical depth beyond their years.”
Tone Deaf
“You know when you listen to a song or an artist and you don’t know exactly why or how, but you can feel something special. This is a prime example of that”
Declan Byrne (triple j Unearthed)
“The hype is real. Believe it.”
Life Without Andy
Ascendant Sydney foursome The Lazy Eyes today share their eagerly anticipated second single, ‘Tangerine’. Listen HERE.
‘Tangerine’ follows their debut release ‘Cheesy Love Song’, which premiered on Home and Hosed with Declan Byrne and saw rotation additions across triple j Unearthed and FBi Radio, drawing praise from NME Australia, i-D Magazine, RAGE and more. Where their first single was a dreamy, patiently unspooling introduction to the band, ‘Tangerine’ takes a decidedly different approach, balancing the band’s breezy, vintage pop-inspired melodies with a blistering guitar solo climax worthy of Unknown Mortal Orchestra, running through a wealth of musical ground across its 3-minute runtime in a kaleidoscopic blur.
Harvey Geraghty (vocals, guitar, keys), Itay Shachar (vocals, guitar), Blake Wise (bass) and Noah Martin (drums) have been playing together since they were 15, having met each other while attending Newtown Performing Arts High School. Like ‘Cheesy Love Song’, ‘Tangerine’ dates back to the group’s formative high school years, the product of basement jam sessions, borrowed equipment and the overflowing energy of creative youthfulness. It’s a spirit that also exudes from the ‘Tangerine’ live visualiser filmed by Spencer Standish, which captures the band in grainy, lo-fi glory, tinkering with their pedals, feeding off each other’s energy, running across stage as they wail guitar solos underneath saturated house lights.
Of the track’s origins, the band says: “We like to include places and things into our lyrics. ‘Tangerine’ has a lyric that goes: “Hopscotch round Enmore Theatre…” We all met and went to school down the road from that theatre and visited it a lot with our friends, so it kinda just seeped its way into the music.
Tangerine is the first original we ever learned to play. It’s funny looking back on it because the rhythm of the melody was so hard for everyone – especially poor Noah on the drums – to nail. Nowadays the song is a breeze and It would be weird if it wasn’t, considering we have played it more than any other song in the set. Harvey finds a new and inventive way at every show to make the guitar solo ‘interesting’. Expect the unexpected from him. The recording came together slowly, adding layers one by one and producing it in our home studio in Lindfield. Sonically it’s still nostalgic of the time when we were just starting to learn to play with each other and really becoming a band.”
Named as a future act to watch by triple j, Happy Mag and more off the back of their much-talked-about showcases at BIGSOUND 2019, The Lazy Eyes are solidifying this reputation with audiences, taking their constantly morphing, playfully jam-filled live show national with appearances at the Sydney leg of Laneway, Farmer & the Owl and Fairgrounds festivals.
‘Tangerine’ by The Lazy Eyes is out now – buy/stream it here.
Stay connected with The Lazy Eyes:
Instagram | Facebook | Twitter | triple j Unearthed
Off the back of a sold out tour, a towering new single, and killer sets at Good Things festival, Australia’s favourite rockers The Butterfly Effect have today served up the video for their first new musical offering in over a decade, Unbroken – giving viewers a AAA pass to life on stage and backstage. Featuring behind the scenes footage and on-stage rampaging from their performances at Good Things Festival in Melbourne, Sydney and Brisbane, the video will allow everyone to relive their festival-going days, and is an in-your-face reminder of just how staggeringly powerful and relevant this band is, and offers a genuine insight in to the comradery within.
True to name, The Butterfly Effect is indeed a force, and they have clearly been missed by a patient and loyal fanbase who were right back there with them the moment it was revealed the band were back together.
“Releasing Unbroken was a pivotal moment in itself for us. We’re so happy to have been able to write more music as ‘The Butterfly Effect’. To then be added to the Good Things bill really topped off 2019 for us, “lead vocalist Clint Boge says. “To be honest, stepping out onto those festival stages again was a real uncertainty for us. It’d been 10 years between festival performances so to see that many faces, young and old in the audience really solidified to us that pushing forward with new material was an absolute must.”
Formed in 1999, The Butterfly Effect have enjoyed an illustrious career racking up some impressive stats, including three massive albums – all certified Gold – multiple appearances at renowned festivals including Livid, Falls Festival, Big Day Out and more, countless national and overseas tours, six consecutive years in triple j’s Hottest 100, three features on triple j’s Live at the Wireless, and a number one-selling DVD documentary and concert film. Despite sustained successes throughout the 00s, the rigours of band life took their toll on the band – and in 2014 The Butterfly Effect went on indefinite hiatus. After reconnecting at a rock show, the guys decided that a beer and a chat was in order. That catch up eventually led to a sold out national tour, and an ongoing desire to continue making music, which saw The Butterfly Effect jump into the studio, and as a result, the bold new single Unbroken was born. The melancholic track is a refreshingly honest and impassioned offering from the experienced hard rockers, and one that proves their creative connection is stronger than ever.
“We’re having a blast!” Boge enthuses, “Obviously we can’t all be in the studio together at the moment but writing music online is going to be the new normal for us for the next few months. It’s sounding like us, which is exciting! The feeling is reminiscent of when the band first started writing together back in the early 2000s.”
And in more thrilling news for fans, the band are hopeful to have some new music to dish out before 2020 is done, with Boge saying, “We’re obviously in uncharted
The Butterfly Effect is Ben Hall (drums), Clint Boge (lead vocals), Glenn Edmond (bass guitar) and Kurt Goedhart (lead guitar).
Unbroken is out now.
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American DJ and producer Baddies Only just dropped his third single “I Need You,” a modern club banger with a nostalgic element. The track delivers tech-house influenced style, incorporating a bouncy bassline paired with symbols and other instrumentals to create a high-energy sound born for sinister club parties. The catchy vocal riff in “I Need You” may sound familiar to fans of Steve Angello‘s side-peoject Mescal Kid; Baddies Only first heard the vocal during Angello‘s set when he first began going to shows, and he’d been waiting to use it in his own track ever since. Check out what he has to say about “I Need You” below:
“About 8-9 years ago, I heard this female vocal sample – “I Need You,” in a Steve Angello‘s mix from an artist named Mescal Kid (which ended up being Steve‘s alter-ego). It was so memorable because I was at that age when I just started going to concerts and meeting the baddest girls, dancing and partying with them, so my passion and excitement was on overload. I told myself I had to wait for the perfect song to bring the sample back to life and capture that euphoric, nostalgic feeling. We all can trace back to our first or second show/concert where the music and scene really enthralled us. I bring that energy and passion that ignited my love for house music” – Baddies Only
Los Angeles-based newcomer Baddies Only has already made a name for himself in the party circuit; he’s played at clubs and festival destinations around the world, including Mykonos, St. Tropez, Miami, Dubai, Los Angeles and more. His high-energy sound is made for hedonistic indulgences in the form of Club Bad, a concept he has built his brand around. Follow him on Instagram and Facebook to see what he’s up to next!
“Cave Vaults on the Moon in New Mexico” video: https://youtu.be/
“Alien” video: https://youtu.be/
“Strange God” video: https://youtu.be/FL5EK_
“Cave Vaults on the Moon in New Mexico is a total vibe record, and a terrific, beautiful and fully realized one at that, man.”
“This Taos, New Mexico duo’s debut album is a fine set of atmospheric dream-pop with a haunting desert-psych sound combining circling guitar lines, serene vocals and hypnotic melodies.
“The duo of Lauren Green (ex Mirror Travel) and interdisciplinary artist Marissa Macias have made something that feels sonically spiritual with their debut album, Cave Vaults on the Moon in New Mexico, an airy record that is heavy on atmosphere and meditative dreaminess.” – Dan Goldin | Post Trash
Tan Cologne is a new project by Lauren Green (ex Mirror Travel) and interdisciplinary artist Marissa Macias. The two artists met in Taos 5 years ago and began exploring new musical and creative terrains together. From forming an underground gallery space to composing experimental soundscapes, “Cave Vaults on the Moon in New Mexico” emerged from parallel observations and growth, with New Mexico as the axis of the journey.
Tan Cologne recently released their debut album on Labrador Records (Sweden). It is a story of time capsules and contact; examining fossilized terrains, monsoons, New Age dreams, alien visitations, resurrected communes, and the life cycle of a human ego on Earth. Cave Vaults on the Moon in New Mexico is an entryway to a new portal – a journey that explores the mysteries and oddities of New Mexico, alongside spatial inner-workings of growth and spirit.
Using sound as a vibrational connective tissue, Cave Vaults was recorded in two unique spaces – a 250+ year old historic adobe fortress located in Ranchos de Taos Plaza, and a small casita in Northern New Mexico. Everything you hear was written, performed, recorded, and produced by Green and Macias. The only other musician on the debut album is Green’s mother, who plays the flute.
The album title was grafted from Taos Composer Joanne Forman’s 1987 soundscape. Her composition “Cave Vaults of The Moon” accompanied a sculpture exhibition in Taos, NM on imagined alien artifacts – a resonant investigation and scent of Tan Cologne.
Where are you currently based?
I’m based in Brooklyn, NY.
How did you first start playing music?
I started strumming a guitar at the age of 13, just learning all the tunes to covers that made an impression on me like Nirvana, Red Hot Chili Peppers, Everclear and so on.
You’ve started a new project ‘Shacks & Palaces’, how did this come about?
OH, dang a hard question. So there’s many ways to look at it I guess, but one way it started is because of my love for lyrics. When I heard different lyrics dropped, like the song from the Yeah Yeah Yeahs, “Wait, they don’t love you like I love you,” the hammer dropped. I think everyone is an artist and has something to say that is beautiful and can lift you up. A lyric can dance with you, so in my belly I’ve always wanted to give that piece of myself that may make you feel something.
How do you go about juggling the your commitments with The Temper Trap with this new project?
Well, at the moment The Temper Trap has set ambitions to release more music, but the juggle lies with us all being in different parts of the world! We are all in each other’s corner with the different releases we have coming up and projects in the works.
Who else is in Shacks & Palaces and what instruments do they play?
Although this is released as solo record my lady Britni had an integral part in these songs. She is singing on the whole record and has been able to be in the development of the songs and help me to turn on the wind screen wipers, so to speak, to see what is in front of me. Oscar Dawson, an up and coming Aussie and legend, is an incredibly gifted multi-instrumentalist and we also hit this task together.
Your debut single ‘Once Upon A Hilltop’ is out now, what influenced the sound and song writing to for this track?
I’d say I dared myself to use a simple chord structure to write something imaginative. I’ve always been such a fan of the Flaming Lips and it feels like there’s a little bit of magic in everything they do, so with this song I used them as frame work and thought, what would they sound like if the wrote a folk song?
How did you go about writing Once Upon A Hilltop?
Well on the road touring you’re always riffing away and I don’t what country I was on when I came up with the riff but many years later I decided this was a song bed worth fighting for. Some songs come easy over years. This was a song I’ve been writing for years trying to understand what it should be
Where and when did you record/produce?
I recorded in Melbourne and Brooklyn…
I met up with Oscar Dawson, band member of Holy Holy and producer for a bunch of what you’re hearing on triple jjj, at the moment. We started in Melbourne, I texted him and said do you want to work on this tune and he loved it, so we started there 6 months later he met up with me in Brooklyn to finish it.
What programs/instruments did you use?
Oh, this song is a marriage between organic foot stomping and to mellotron synths.
Oscar records on Logic
What do you like to do away from music?
I’ve been keen on playing b-ball here in NYC, there’s always pick-up games here. I’m not that good, but I love it! I tell you what the games here go straight to people’s hearts and they never forget so if you’re not that good aka me sometimes it’s hard to get on the court again!
Who are you listening to at the moment?
Oh well with everything going on right now I’ve gone inwards and not listening to much except a nice a DJ playing all sorts of tunes to keep you comfy at home.
How are you spending your days in this very unique time in history:
Well, Britni and I have two kids, so I’ve become a total school teacher and it’s hands-on now. Outside of that we just got Disney Plus and I’m watching Mandalorian which is pretty epic.
Any advice for aspiring professional musicians?
I’d say in a band setting, you grow together and you develop together and your ability to stay connected in your personalities is as equally, if not more important to understand and resolve if possible then the music your making. I’ve seen some awesome bands never make the light of day and I’d dare say it’s because of this.
Favourite food and place to hang out?
Ha-ha coronavirus times so my home is my hot spot for now!
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See all world tour dates at westerman.world
Stay connected with Westerman:
Website | Facebook | Twitter | Instagram
“‘Somewhere’ will give you that same euphoric tingle you felt after falling in love with your first underground jangle pop band. Nimble guitar riffs swarm around Garvin’s subtle, sweet vocals, and it captures everything great about fuzzy rock and good-natured, classic indie-pop.” – Paste Magazine
“A phenomenal slice of totally ’90s droning guitar-pop bliss” – Stereogum
“Fuzzy guitar riffs, dynamic drumming, and lo-fi ambience.” – New Noise
Gum Country are an indie rock band brought to you by vocalist, guitarist and songwriter Courtney Garvin (The Courtneys) and multi-instrumentalist Connor Mayer. Their self-described “harsh twee” project began back in Vancouver as a series of lo-fi four track recordings made in an apartment, very quietly. After relocating to Los Angeles where they currently reside, the pair recorded their debut full-length album Somewhere with Joo-Joo Ashworth at Studio 22, this time at full volume.
Today they’ve revealed a video for the album’s lead single and title track “Somewhere” that was inspired by 80s and 90s performance music videos. Courtney explains,”I wrote ‘Somewhere’ a couple years after moving to LA. It’s about leaving a place that you are comfortable in and landing in a strange new one, and discovering what parts of your identity remain and which were left behind. The first line I wrote was ‘haven’t felt this way in a while, I can’t think straight can’t hide my smile, I guess this is gonna be my life for a while’, and then it was just a process of unravelling that thought. I think the song could be about the range of emotions that come with any big change, and ultimately settling on a mellow excitement for vulnerability.”
Watch Somewhere video. Stream/buy Somewhere.
The songs on Somewhere meander through the highs and lows of daily life, touching on subjects ranging from love, loss, and anxiety, to tennis, video games, and gardening. Garvin navigates these topics with humor and sincerity, her unassuming delivery riding amidst the swirling instrumentals like a snowboarder shredding fresh pow.
Gum Country draws on groups like Stereolab, The Replacements, The Breeders, Beat Happening, Yo La Tengo, Meat Puppets and The Magnetic Fields, enveloping and transforming these influences in the warm embrace of Garvin’s fuzzy open-tuned guitar tone. Mayer’s driving drums and melodic keyboard accompaniments provide a backdrop for these rich textures, casually blending digital and analogue to produce a sound that would feel right at home on NME’s C-86 compilation.
Somewhere (album) will be released digitally, on vinyl, CD and cassette on June 19 via Dinosaur City Records (Aus/NZ), Kingfisher Bluez (Canada), Burger Records (USA) and Waterslide Records (Japan).
Keep up to date with Gum Country via their blog.
“Honestly, one of my fave new voices right her“
– Bridget Hustwaite, triple j
“…seriously worth keeping an eye on…”
– Pilerats
“DVNA gonna be making some huge waves real soon“
–The Aston Shuffle
Raw, emotional and stripped back, DVNA (pron. Da-na) returns today with her most passionate single yet and first offering of 2020, ‘Half Past Sober’, premiering via triple j’s Home & Hosed last night.
Writing songs about her friends is somewhat DVNA’s trademark and ‘Half Past Sober’ is no exception. A true story about heartache and betrayal, the track’s origins are cemented in a conversation with a mate two years ago. “My friend’s told me about her relationship that was equally as passionate as it was toxic. A dysfunctional, heated, electric love affair that probably never should have happened, though glad it did. We’ve all been in situations where feelings aren’t reciprocated. You begin to feel weak, desperate and a slowly turn into a shell of your former self. Pricking your fingers on the staples barely holding the relationship together and learning to love the pain.”
Fusing her soulful vocals with a more stripped back production, the song was originally just acoustic but DVNA felt it needed a little more. “I teamed up with my good friend Fractures in his cute little Melbourne studio to bring this song to life,” she says. The result is musically dynamic, soft and intimate in times of vulnerability and climactic/ chaotic towards the end when frustration and anger begin to take over.
‘Half Past Sober’ lands fresh from a huge 18 months for the Gold Coast-based artist. Captivating the market with her first three singles ‘Sushi In Tokyo’, ‘Looking Like a Snack’ and ‘Girl On The Move’, DVNA has since racked up an impressive 3.2 million streams and caught the attention of triple j, becoming a triple j Unearthed feature artist while taking out their coveted spot to open up the main stage at Brisbane’s Laneway Festival. Recently signing with Falcona booking agency, DVNA has also supported the likes of LEISURE, Alice Ivy, Kira Puru, Arno Faraji and performed at various tastemaker festivals including BIGSOUND, Bleach Festival, Arcadia and The Mountain Goat Valley Crawl.
With more releases planned and a few sobering surprises, DVNA’s ‘Half Past Sober’ is the first sip the next phase for this talented producer, performer and songwriter.
DVNA’s ‘Half Past Sober’ is out NOW.
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Photograph by Matt Walter.
Stay connected with Dune Rats:
What is your name and role within Big League?
Travis, I sing, play guitar, and write the songs.
How did Big League form?
Marie (vocals/bass/wife) and I started messing around with a 4-track recorder, playing and writing at home. When we had enough material to share we got a couple of mates involved to complete the sound.
What’s been happening recently?
We’ve had a bit of a line-up change recently, our mate Jackson has joined us on guitar, and Marie broke her ankle, so we’ve been spending most of our time rehearsing new music from the comfort of our lounge room. We played a show at the Tote just before the city went into lockdown and Marie did it from a chair!
Your new single ‘Earth = Active Neutral’ is out now, what influenced the sound and songwriting?
A mate told me I should try EADABE tuning, and said a new tuning always gets you a couple of new songs! Lyrically, the planets impending doom was definitely on my mind, and once I had the vocal melody it sounded right to layer up the singing. I try to let the music get a little weird while still being hooky, I want it to rock without being cliché.
Where and when did you record?
We recorded at home in our makeshift studio. Drums, guitar, and bass were recorded live, with everything else dubbed over the top. It’s part of the album we’ve been recording and piecing together over the last two years.
How did the concept for the music video come about? – Where and when did you film and who with?
I think Gordon (Holland) wanted to draw on the shoegazey, dreamyness of the song so we just let him do his thing. It was filmed at our friend’s house early in the year, we didn’t have to decorate at all, it was a cool place to shoot. Gordons partner Cassie brought a heap of lights for us to play with and we took turns keeping our hungover mates company in the backyard!
You also have an upcoming album, how did the songwriting take place? – What influenced the sound and songwriting for the album?
Yes! Our new album’s called A Symbol Like A Cloud. I did most of the writing during stages of semi-unemployment in our living room with my Les Paul, and a coffee or beer.
I’ve been a fan of lo-fi recordings for a long time, and I’d just started listening to Car Seat Headrest’s album Twin Fantasy, a relatively recent, and boldly lo-fi record I thought. Seeing as our last album had been well rehearsed prior to recording, and was laid down in just a couple of days in a studio, I decided I wanted to go in the opposite direction; record weird ideas as they came without rushing to get an album out.
Some of the songs were written and recorded in a day, some were ideas that sat for a year before being completed. I just kept going until the album felt finished.
Who are you listening to at the moment?
I never gave the Lemonheads a proper go, but I have recently, they’re really good! I’ve also been listening to a bunch of US 80’s bands, X, Gun Club, Dream Syndicate.
What do you like to do away from music?
I tinker, we have a house that I’ve been renovating for the last few years, I’ll finish it one day.
What’s planned for 2020?
We’ll try and do as many shows home and abroad as we can, we were gearing up to tour Japan midyear but now that’s canned we’ll have to see how the lockdown plays out… like a lot of people right now, all our plans might push into next year.
Favourite food and place to hangout?
Love a good pizza, although once we’re allowed to go out again, I’ll be frothing for a beer and a burger somewhere. The Union in Fitzroy’s great, and so is Leonards House Of Love in Prahran.
https://www.facebook.com/bigleagueband/
UNIFY Gathering is set to return to Tarwin Lower from January 21 – 24 2021 with an all-Australian lineup.
Read the festival statement below:
It’s no secret that the music industry is one of the hardest hit industries by the current situation, and our hearts go out to the artists, crew, agents and managers that have lost their entire touring plans with no certainty of when it is coming back. This festival launched in 2015 with entirely Australian artists, and we’ve had the pleasure of having pretty much every heavy artist in the country perform across our six events. Now we want to invite all of them back for a celebration of this community and everything it provides. We hope to get back as many artists as we can. We’ll be pushing dates back a week to make the January 21 – 24 weekend in 2021.
In all of this chaos, one message stands as true as ever: music saves lives. It’s the inspiration in our lives and it’s the basis of communities that can band together to survive through tough times. We wanted this announcement out now to declare our intentions, and give the people in our community something to look forward to.
While UNIFY prides itself on connecting with the global heavy music community, it was with the local community of artists, crew, agents and managers that we launched our festival in 2015. In that first year, it felt like most of the Australian heavy music community got together to create one of the most memorable weekends of our lives. At the time, Australian heavy music artists were mostly unable to play festivals in AUS. We launched UNIFY because we wanted to see what it would be like for The Amity Affliction, Northlane and In Hearts Wake to play 40 minute sets at night at a festival. Looking at that lineup, it included many of the bands that defined the next half decade of Australian music, and that poster has become an iconic moment in the history of this community.
We are also aware that Australian artists are right now doing their best to reschedule current dates and look for opportunities that can work once life resumes. As such, UNIFY will also have no restriction on artists wanting to do tour dates surrounding our dates. We also won’t worry about putting through artists that played last year or the year before. It’s not about exclusivity for us, it’s about community.
We will be back with more details soon, but for now please join the event page to stay up to date as we roll out.
After two years of long work, even working across winter to finish the tune, Just A Gent & Xavi release their melodic masterpiece – ‘Miso & Memories’ this Friday March 20. The song is produced by both Just A Gent and Xavi, with vocals by the extremely talented Akira Flay released independently.
‘Miso & Memories’ is an emotional track blending the best elements of pop and dance music creating an earworm you won’t soon forget. The catchy vocals paired with the bouncy feel of the production could sit across a nightclub dancefloor or commercial radio station. The track’s strong swing influence, along with the laid-back future bass style of the drop, keeps the listener wanting more.
‘Miso & Memories’ is also a sonic tale that brings about a sense of not only love, but also loss. This track expresses a feeling about the fabled “one that got away” and getting over them.
Just A Gent is a young pioneer for the future bass music scene, teaching himself to produce at a young age accumulating millions of streams before he was legally allowed into a nightclub. In 2019 he released his third EP ‘URCA’ through Monstercat which was well received by media and fans alike, with Just A Gent going on to perform at FOMO, Groovin the Moo and Falls Festival over the year. With over 75 Million plays on Spotify alone, Just A Gent continues to grow with each release reaching new heights.
Xavi is a St. Louis based melodic bass music producer, who has seen support from artists like Porter Robinson, San Holo, Luca Lush, and many more. His most recent releases include an official remix of “Kids” by Lione, released on Tiesto’s record label Musical Freedom, and a single on Electric Hawks recent compilation Rebirth, titled “She’s Beyond Us.”
Akira Flay is a Santa Barbara, California based songwriter and producer blending hip-hop and electronic music with a varied somber or bombastic vocal delivery. Last month he released an EP titled “Hello, Goodbye.”
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Southern California twin duo, The Garden, share the video for “Clench to Stay Awake” off their recently released fourth studio album Kiss My Super Bowl Ring. The album debuted #1 on the Alternative New Artists Albums Chart in the US and #6 on the Top New Artists Albums Charts in the US while just clicking over 1 million streams for the album worldwide.
WATCH THE VIDEO FOR “CLENCH TO STAY AWAKE”
The Garden have been carving their own path since their formation in 2011. Known musically for their fast, punk-influenced jungle and DnB styles, they have a total of four studio albums and four EPs under their name, including LPs The Life and Times of a Paperclip (2013), Haha (2015), and Mirror Might Steal Your Charm (2018), Kiss My Super Bowl Ring (2020). Touring at a constant rate across the US, Europe, UK, China, Japan, New Zealand, Australia, Canada, and Mexico since 2013, their show is a mix of aggressive, unpredictable and trickster-ish tendencies. Additionally, The Garden made their Coachella debut in 2019 with previous festival appearances at Camp Flog Gnaw, Sasquatch, Riot Fest, Concrete & Grass in Shanghai, Neon Desert, End of the Road Festival, Tropicalia, and more.
Kiss My Super Bowl Ring, though primarily self-produced, includes tracks co-produced by Dylan Brady, and Wharfwhit, along with tracks featuring Ariel Pink, Khalif Jones (aka Le1f) and even a snippet from Carrot Top. The new album rivals the band’s previous work lyrically and sonically with unmatched belligerence. Kiss My Super Bowl Ring boasts a roster of songs that just might be the most creatively rattling yet from the duo
LISTEN TO KISS MY SUPER BOWL RING NOW
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