CMJ » Marie Scarsella

Coheed And Cambria, Between The Buried And Me, Russian Circles @ Radio City

Marie Scarsella — Mon, 18 Mar 2013 16:29:46 +0000

If there’s one thing all three bands on this lineup have, it is crazy, hardcore fans. Walking into Radio City Music Hall, it seemed as though there was not a single person there without one of the band’s T-shirts on. If they were one of the few without, they were the first on the merch line picking things out and putting them on over their clothes.

By the time opener Russian Circles took the stage, the lobby had emptied out and the floor was packed. People were out of their seats and bobbing their heads accordingly to the melodic instrumentals, killer drumbeats and hard-hitting riffs. Dark lighting created a heavy aura and hid the owner of the mysterious voice, but fans ate up the group’s short, intense set.

Between The Buried And Me followed with an equally powerful set. Dressed in suits, the band ripped through several songs and had the crowd in a frenzy. They played songs spanning their discography, including Colors’ “Ants Of The Sky” and “Prequel To The Sequel.” By this point, the head-banging had begun, and two guys even attempted to start a mosh in the aisles. Unfortunately, they were promptly stopped by a security guard and were left standing there screaming the lyrics with both arms in the air.

By the time Coheed And Cambria came on, the crowd should have had no energy left. But when the lights dimmed, everyone had caught their second or third winds. Opening with “Pretelethal,” Claudio Sanchez’s voice was nearly drowned out by the crowd’s screams. People were wooing, singing along and even professing their love to the big-haired frontman. The band graciously accepted the love and continued on with crowd pleasers like “A Favor House Atlantic.”

The band didn’t banter much between songs, but Sanchez did express his excitement to play Radio City. As cool as it is for them to play such a big venue, it almost seemed strange to see them from a seat; but that didn’t quell the energy in the room. During “Here We Are Juggernaut” the man in front of me was dancing so hard he tipped over; conducting an invisible orchestra with his arms and bending so far over to scream, he lost his balance. He promptly turned to me to laugh, throw a neighboring fan a pound and dance some more.

Closing the set with an encore of “Domino The Destitute” and “Welcome Home,” fans could no longer contain themselves, reaching their loudest point yet. When the band gracefully left the stage and the house lights came back on, one thing was clear: Coheed fans go hard. If you couldn’t tell by their hoarse voices, you could tell by their sweat-drenched Coheed And Cambria T-shirts.

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Tim Kasher @ The Knitting Factory: March 14, 2013

Marie Scarsella — Fri, 15 Mar 2013 17:55:29 +0000

Tim Kasher’s musical ventures can get pretty depressing at times. With lyrics about heartbreak and dying, the mood is often rather heavy, but last night when he took the stage at the Knitting Factory, the room was anything but sad.

Kasher came out a little after 10:30 p.m., apologizing for his lateness by explaining that he was hanging out by himself, joking that he’s had all day and “pretty much my entire life” to be ready, and still came on stage late. He opened the set with a new song slated to appear on his soon-to-be-recorded album, followed by “The Jessica” from Bigamy. As the night progressed, Kasher played a handful of songs both new and old with funny stories and jokes in between. After a heartfelt rendition of some Good Life songs, including “Some Bullshit Escape,” he was joined by opener Nate Kinsella to “play some real rock and roll music.” Though, for a moment Kinsella was nowhere to be found.

“I wonder if there’s a Nate Kinsella around,” Kasher said to the eager crowd. “I actually don’t know if he’s around.” Upon his appearance, the two soon launched into The Game Of Monogamy’s “I’m Afraid I’m Gonna Die Here,” filled with many interruptions. Kasher would stop and say hilarious things, including, “No, really, keep it up!” to a burly sounding man attempting to fill in on female backing vocals from the crowd. It seemed as though with every note Kasher had another thing to say, and nobody seemed to mind one bit.

He eventually got back on track midway through the song but not before telling the crowd that he was confident in his next lyric: “When the orderlies steal our wedding rings/Do they even care what stories our bands of gold can tell?” He finished the song with only one more interruption, asking the crowd members if they were laughing because he talks too much. He was met with an eruption of giggles, which caused him to laugh and yell, “Fuck all of you,” before ending “I’m Afraid I’m Gonna Die Here” for good.

The set continued with a few more new songs, some solo album favorites like “Cold Love” and “Bad, Bad Dreams,” and a nice selection of Cursive tracks. Fanboys all around the room went wild for the Cursive classic “Sierra,” though Kasher wasn’t too keen on his rendition. “I apologize,” he said. “That was bad.”

The night came to a close with a warming performance of “No Harmony,” with Kasher’s vocals echoing through a mostly silent room. His voice was on point, making the song twice as chilling as usual. Instead of playing an encore after, he calmly climbed off the stage to talk to the crowd, greeting fans like old friends and laughing with whoever wanted to say hello.

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Captured Tracks: Mac DeMarco, DIIV @ Music Hall

Marie Scarsella — Fri, 19 Oct 2012 15:45:01 +0000

Mac DeMarco – Photo by Sam Rogers

Captured Tracks brought out their best of the best Thursday night at the Music Hall Of Williamsburg, merging sounds from all ends of the spectrum. Along the way, folksy sounds came from Dignan Porch, while DIIV channeled ambient grooves.

Thieves Like Us tested the crowd’s dancing skills with their brand of European dance pop, jam packed with whirring noises and strange sounds. Shortly after, Mac DeMarco took to the stage taking crazy stage antics to a new level. In between his soft and sweet, yet sometimes downright sleazy, tunes, he took the time to talk about everything from a particular female in the crowd to his butthole. “You saw my butthole? It’s usually brown.” Later, he told the crowd he “hope[s] they can catch” and launched himself with full force into a mob of people not quite ready for him. He floated around like some sort of awkward angel for a few minutes, making his way back to the stage to proclaim, “You guys can’t catch, but at least you can surf!” He then closed off his set with bits and pieces of songs by Metallica and the Police before launching into “Still Together,” and by practically sucking the face off of a female up front.

When DIIV took the stage after midnight, the venue was packed wall to wall, and the crowd was getting antsy. Not even two songs into the set, a girl had already launched herself off of the stage, starting a crowd-surfing and stage-diving trend that continued on throughout the night. After playing a few haunting tracks off of its latest, Oshin, frontman Zachary Cole Smith asked the crowd how long they should play and was met with screams of “Very long!,” “Loooong!” and my personal favorite, “Well, I’ve got absolutely nothing to do tomorrow!” Needless to say, the crowd got its wish.

The band played the majority of Oshin, including tracks like “Past Lives,” “Human” and a sped-up version of “How Long Have You Known.” The night came to a close following an electrified, high-energy version of “Doused,” complete with mosh-pits and crowd surfers who couldn’t commit. (Smith even had to coax the guy into jumping, saying, “Just do it, man!”) The band did play an encore, though the players never left the stage, and it was equally as energetic and wild as every song prior. As the house lights came on, the entire floor was filled with people checking out their bruises and battle scars.

Photos by Sam Rogers

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@ Music Hall appeared first on CMJ.

CMJ 2012 Artist Q&A: Find Vienna

Marie Scarsella — Tue, 16 Oct 2012 17:04:59 +0000

A few months into their recording session for a full-length, Philadelphia’s Find Vienna decided they just couldn’t wait to release new music. The end result was to cut the session short and release In Flight, a six-track EP filled with dreamy vocals and twinkling guitars.

I caught up with Patrick Mencel to talk about the EP, touring and how stoked the band is to be part of one of this year’s CMJ showcases.

On your website it says you’re inspired by “the battle artists fight every day to make ends meet.” How do you feel that that sort of struggle impacts you, and in what ways has it helped to shape Find Vienna?
Find Vienna doesn’t have any plans on giving up. I don’t think it has ever crossed our minds. We are in this for the long haul. We believe in our music, and we believe in ourselves, and we’ve been told that’s the formula for success. Sure we all have our financial issues, but we know they are only temporary.

During the recording of In Flight, you made the decision to release it as an EP instead of going on to make a full length. What sparked that decision?
I find that most artists are perfectionists. Creating an album is no different than painting a picture or telling a story. Sometimes it’s difficult to claim an end result. Oftentimes when I was younger I would continue to paint a picture until it was overdone. When creating music I believe it’s easier to go overboard than to keep things simple and great. Rather than overdue ourselves we decided to end the process of recording In Flight and move on. We ended up with six songs that we thought truly represented the band at the time, released the record, then began recording something entirely new.

Now that the EP is out, how do you feel about that decision? Are you satisfied with the results?
I could not be more proud of In Flight. We cycled through several producers including Dustin Burnett, Nick DiDia and Brian Malouf. The writing process went on for about two years. We started with a group of songs that we felt strongly about releasing but then decided not to. We wanted to make sure we had something real to put into people’s hands—a true representation of the band. So after about two years of trial and error and scrapping previous recordings, we quickly came to terms with where we were heading and recorded most of In Flight over a period of about two months.

Will we see a new full-length album in the near future?
Definitely, and as far as I am concerned, no band can put out a record fast enough. We have been writing for quite some time now and are itching to put something new out there. However we have all agreed to wait until the record is right. We want this one to knock down walls. We want to take risks on this one.

You’re currently touring with the Kin, and you’ve recently hit places as big as the Bunbury Festival. How has your experience been thus far?
The band has been fans of the Kin for quite some time. When they asked us to hit the road with them, it was an immediate yes. They are such a phenomenal group and have inspired us every step of the way. There are no words for when a band you look up to takes you under their wings and shows you the ranks. We have all become great friends on the road, and I think that energy comes off on stage while sharing it with them.

You’ll also be making a stop at CMJ 2012 this week. What are your expectations, and what are you most excited about?
We are just very excited to be a part of CMJ. So many years have gone by with us trying to be a part of it. It’s awesome we finally get to have a slot.

Find Vienna plays Fat Baby on Tuesday, October 16, as part of CMJ 2012.

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Minus The Bear, Cursive, Caspian @ Starland Ballroom

Marie Scarsella — Mon, 24 Sep 2012 21:54:38 +0000

Seattle’s Minus The Bear can be described in quite a few words, but at this point in its career, the most defining word would have to be sexy. With funky guitars and sophisticated synth sounds, the band has created its own brand of provocative enchantment. This translated perfectly with its set at New Jersey’s Starland Ballroom on Sunday night.

Openers Caspian and Cursive also stuck in line with this theme, putting on a show that seemed pretty hard to follow. Caspian’s short set of melodic instrumental tunes drew the audience in, filling the room with ambient vibes. Cursive’s set was packed with heavy energy, tearing through oldies like “Art Is Hard” and “Dorothy At Forty.” The group also treated fans to a taste of its latest record, I Am Gemini, playing songs like “The Sun And The Moon,” “Warmer, Warmer” and “Drunken Birds.” All the while, frontman Tim Kasher rocked a pornstar-esque ‘stache, which may or may not be super hot. Your call.

When Minus The Bear finally took the stage, it did so with a certain sense of suggestiveness and grace. “Steel And Blood,” from the band’s latest, Infinity Overhead, opened the show and got the flannel-clad, bearded audience swaying. The gentle back and forth turned into full-on jumping when the band launched into “Throwin’ Shapes,” and things only got crazier from there.

Guitarist Dave Knudson showed off his tremendous skills early in the set, tapping his way through “Absinthe Party At The Fly Honey Warehouse” in a way that made it look easy. You could tell how much hard work it is, though, as Knudson was easily the sweatiest member of the band, utilizing his own personal fan yet still dripping about four or five songs into the set. Either he was shredding super hard or the synchronized dance moves and the slamming on his pedal board (with his hands!) during the steamy “White Mystery” had him all hot and bothered. If you ask the two people grinding on each other behind me, they’d probably go with hot and bothered.

The coolest moment of the night came in the form of “My Time” when the band rolled out giant beach-ball-like balloons for the crowd to bounce around. The reason this was so awesome? They were filled with confetti, and as the song went on, they began to burst and shower the crowd in shiny specks.

Closing the set with heavy and seductive “Cold Company,” the band left the stage, leaving a crowd of rather enamored Jersey kids wanting more. This led to an encore that featured the nearly seven-minute epic “Dr. L’Ling,” followed by the flirtatiously depressing dance number “Lonely Gun.” When the band finally ended the night for real, it did so with an extended ending to “Pachuca Sunrise,” complete with mysterious guitar tones and alluring energy. Fans seemed pleased, and you can’t really blame them. After a set like that, at least one baby was going to be made that night.

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The Killers – Battle Born

Marie Scarsella — Mon, 17 Sep 2012 15:14:46 +0000

The Killers have always made one thing obvious with their music: Las Vegas pride. If the band’s glitzy sound and flashy style wasn’t enough, their new album is called Battle Born after the Nevada state motto. Staying true to their town’s way, the band has taken a gamble with their newest record, trading the disco-laced sound of Day And Age for neon-tinted pop and a pinch of Americana. However, unlike in Las Vegas, here everybody wins.

Opening with the beeps and swirls of “Flesh And Bone,” vocalist Brandon Flowers greets the listener with his sultry vocals and boyish charm. Like most Killers songs, it’s arena-worthy, but on a new level—one with echoing harmonies. “The Rising Tide” also plays on this idea, turning up the pace while incorporating harmonized backing vocals, which create a larger, fuller sound.

Battle Born also features a few poppier tracks that have the potential to be radio hits. The album’s first single, “Runaways,” appears to be a nod to the Sam’s Town era, playing up the band’s glam elements. The song hits hard with big guitars, soaring synthesizers, and an explosive chorus. “Miss Atomic Bomb” is a slower tune packed with romance and nostalgia. While Flowers reminisces about his youth (“Making out, we’ve got the radio on”) the band also subtly looks back on the days of Hot Fuss by quickly incorporating the main riff from “Mr. Brightside.”

The album is at its best with “A Matter Of Time” and “From Here On Out.” Both songs provide an adrenaline shot to the record with their fast pace and driving beats. “A Matter Of Time” plays out like an ‘80s pop tune, with more flair and less cheese. “From Here On Out” jumps and jives like a dance-rock tune with an Americana-esque guitar line, making it one of Battle Born’s biggest risk-takers.

When the record finally comes to a close with its title track, it does so in true Las Vegas fashion, playing into the idea of “go big or go home.” Here, Flowers’ vocals are at their best, showcasing his range over symphonic instrumentals. The song’s guitar lines are complex and gargantuan, its synths bright and prominent, its pianos soft and delicate. It’s the perfect closer to a game in which the Killers again come out on top.

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Minus The Bear – Infinity Overhead

Marie Scarsella — Mon, 27 Aug 2012 15:36:03 +0000

Much like 2010’s Omni, Minus The Bear’s latest release, Infinity Overhead, should come with a warning label. No, I don’t mean your typical “Parental Advisory,” but maybe something more along the lines of “WARNING: This album may inspire unexpected sexy times. Listen with caution.” However this time, though the music may sound just as risqué, the band added few dark twists to the mix.

“Steel And Blood” kicks things off smoothly but violently. While the synthesizers happily beep and the guitars chug along, it’s easy to overlook the gruesome car crash imagery in the lyrics: “She’s bleeding out, call an ambulance/These shaking hands are soaked in red.” “Lonely Gun” acts in a similar manner. While the album could’ve been plucked directly from Omni with its distorted dance-funk sound, its ass-shaking beats disguise some morbid themes. The song was written during what vocalist Jake Snider referred to as a “deep depression,” and he found himself thinking about the lonely state of an unused gun.

Infinity Overhead also has a few mood-changers mixed in. “Diamond Lightning,” from whose lyrics the album takes its name, slows things down Planet Of Ice-style. It features ethereal guitars and a dreamy vocal line, which fit perfectly with the outer-space-oriented lyrics. “Heaven Is A Ghost Town” follows suit with its slow, eerie tones, though it’s a bit more depressing than “Diamond Lightning.” The song’s chords echo while Snider painstakingly challenges the idea of heaven as a paradise, instead describing it as lonely and dark.

“Listing” steers away from the slow and heavy, using more upbeat and bouncy guitar patterns that mirror Planet Of Ice’s “Throwing Shapes.” It is easily one of the album’s most fun and unforgettable tracks. “Toska” is also a highlight with its soaring harmonies and a solo that reminds us all just how hard guitarist Dave Knudson can shred.

A song that could easily be featured in a hot and heavy movie moment, “Cold Company” brings Infinity Overhead to a close with serious force. Its guitars are huge, its drums are pounding, and it sums up the record perfectly: dark, sexy and gargantuan.

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Titus Andronicus, Cursive @ House Of Vans: August 16, 2012

Marie Scarsella — Fri, 17 Aug 2012 15:20:28 +0000

Titus Andronicus

Growing up in New York has made me associate summer with one thing: dozens upon dozens of free shows. After realizing I have yet to attend a single one, along with realizing I have not a single dollar in my wallet, I decided that the perfect way to cap off my summer was to spend an evening with Titus Andronicus and Cursive free of charge courtesy of the fine folks at Brooklyn’s House Of Vans.

After waiting in a line that stretched for blocks and dodging the mob that made a beeline for the free beer, I established myself in a nice safe spot on top of a skateboard drop-in. I say safe because once Titus Andronicus took to the stage, the quaint indoor skate-park-turned-venue became a madhouse, complete with mosh pits and stage divers. With seven-minute songs and an aggressive stage presence, Titus stole the show. The crowd not only demanded an encore but poured out of the front door as soon as it realized that the band would not be playing “one more song.” Someone decided it would be a good idea to tip a port-a-potty before they left, though…with a dude locked inside it. Ouch.

Cursive

By the time Cursive took the stage, a good amount of people had left the venue, many heading to a second Titus Andronicus show in a different section of Brooklyn. However, the place was still pretty packed, and while Titus is definitely awesome, those who left missed out on a mean set from Tim Kasher and co. Opening with “Drunken Birds” from I Am Gemini, Kasher proved he’s still got it after 15-plus years of tearing it up. His vocals were just as sharp as ever, and the crowd loved every second of it.

Along with “Drunken Birds,” the band played a few other tracks from its newest record, including “The Sun And Moon” and “This House Alive.” Both tracks were played with such precision that if you closed your eyes, you’d think you were listening to I Am Gemini in the comfort of your own bedroom. The band didn’t forget its older fans though, who came in with unrealistic hopes of hearing The Ugly Organ front to back. While they may not have had their dreams fulfilled entirely, they did get to hear quite a few Cursive classics. Fans were treated to the intense “Big Bang,” the charmingly dissonant “Sierra” and old-school favorite “Art Is Hard.” There was also an extremely loud and passionate sing-along to the eerie yet beautiful “The Recluse,” which led the majority of those in attendance to jump around the floor and dance like they were 16 again. After the band played a brief encore, everyone chugged what was left of their beer or Vitamin Water and shuffled out of the venue with probably the same thought in their heads: New York has the best summer freebies.

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Dignan Porch – Nothing Bad Will Ever Happen

Marie Scarsella — Wed, 15 Aug 2012 14:39:41 +0000

South London’s Dignan Porch decided not too long ago that it should go from one member to five. After recording the debut Tendrils alone, vocalist Joe Walsh felt it was time to bring his brother Sam and a few close friends into the mix. While the defining qualities of Tendrils’ bedroom dream-pop remain, this time Walsh has a crew, and they’re getting a little more optimistic.

The band shows its first signs of positivity with the album’s title, Nothing Bad Can Ever Happen, and keeps it alive with the bubbly strums of opener “Picking Up Dust.” Though soon “She Is Landing” counters that by adding a pinch of melancholy. The brief song clocks in at just over two minutes, but it adds an element of gray with Walsh’s low but steady vocal performance.

Each song on this album has its own distinct feel—the 47-second “Interlude” employs synths, while tracks like “Pink Oil” and “Sad Shape” play on the band’s roots-y side—yet they all manage to fit into one psychedelic collection. “Cancelled TV Shows,” a crispy, crunchy dance number, is easily Nothing Bad Can Ever Happen’s highlight. Combining surf-anthem chords with the upbeat hum of a synthesizer, the song really drives home the positive vibes. And throughout all 13 of these tracks, whether fuzzed-out and aggressive or scuffed-up and jaunty, the band is so laid-back and mellow that there’s never a break in the mantra: Nothing Bad Can Ever Happen.

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Beck To Release Album As Sheet Music

Marie Scarsella — Thu, 09 Aug 2012 14:38:43 +0000

Beck is putting out a new album this December…as sheet music. His upcoming project, Beck Hansen’s Song Reader, is an album of 20 songs of sheet music, which will be released by McSweeney’s. The songs have never been released or recorded, and will exist only in written format with accompanying art. The idea is that the album is supposed to exist only as you hear it and that the overall sound of the song depends on you. Select renditions of the songs will be posted on McSweeney’s upon the song reader’s release.

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Hear Matthew Dear’s “Earthforms”

Marie Scarsella — Wed, 08 Aug 2012 20:58:56 +0000

Matthew Dear has released “Earthforms,” the newest single off of his upcoming record Beams, which hits shelves on August 28 via Ghostly. This is the second track we’ve heard, following the synth-pop song “Her Fantasy.”

While the new track, complete with its thumping bass line and pounding drumbeat, may come as a surprise to those who are fans of Dear’s techno career, “Earthforms” makes it seem as if he’s a natural at writing populsive rock tunes.

Listen to the track and check out Matthew Dear’s upcoming tour dates, below.

Matthew Dear – Earthforms by ghostly

Tour Dates For Matthew Dear:
09/29 – Seattle, WA – Decibel Festival ^
10/13 – San Francisco, CA – Treasure Island Music Festival
10/17 – Atlanta, GA – Masquerade
10/18 – New Orleans, LA – Maison
11/22 – Houston, TX – House of Blues
11/23 – Dallas, TX – House of Blues
11/24 – Austin, TX – Mohawk
11/26 – Los Angeles, CA – El Rey Theatre #
11/27 – San Diego, CA – Casbah #
11/29 – Phoenix, AZ – Rhythm Room #
11/02 – Denver, CO – Larimer Lounge #
11/06 – Chicago, IL – Lincoln Hall #
11/07 – Ann Arbor, MI – The Blind Pig #
11/08 – Buffalo, NY – Soundlab #
11/09 – Toronto, ON – The Hoxton #
11/10 – Montreal, QC – Il Motore #
11/11 – Quebec, QC – Le Cercle #
11/14 – Boston, MA – Paradise #
11/15 – Washington, DC – U Street Music Hall #
11/16 – Philadelphia, PA – Voyeur #
11/17 – New York, NY – Webster Hall #

# w/ Light Asylum
^ w/ Lusine + Tycho

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New Track From Stars

Marie Scarsella — Wed, 08 Aug 2012 18:22:44 +0000

With Stars‘ new record, The North, less than a month away from debut, the Canadian synth-lovers have released yet another new track, titled “Backlines.” You can find a stream of the sun-kissed tune below.

Stars will also be touring this fall in support of The North, including a few dates with fellow Canadian electronic enthusiasts Metric.

Tracklist For The North:
01. The Theory Of Relativity
02. Backlines
03. The North
04. Hold On When You Get Love And Let Go When You Give It
05. Through The Mines
06. Do You Want To Die Together?
07. Lights Changing Colour
08. The Loose Ends Will Make Knots
09. A Song Is A Weapon

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Watch: Black Moth Super Rainbow’s “Windshield Smasher”

Marie Scarsella — Wed, 08 Aug 2012 14:45:10 +0000

After a wildly successful Kickstarter campaign, Pittsburgh’s mysterious Black Moth Super Rainbow revealed the video for its first single from Cobra Juicy, “Windshield Smasher.”

The video focuses on two rather unfortunate travelers trying to find their way when they are attacked by a band of mask-wearing misfits. They are held captive while the troublemakers cut their hair and force-feed them cake. Check out the weird shenanigans above and the band’s tour dates below.

Tour Dates For Black Moth Super Rainbow:
10/26 – Asheville, NC – Moogfest
10/27 – Savannah, GA- Graveface Fest
10/29 – Orlando, FL – The Social
10/30 – Miami, FL – The Stage
10/31 – Tampa, FL – Crowbar
11/01 – Tallahassee, FL – Club Downunder
11/02 – New Orleans, LA – One Eyed Jacks
11/03 – Austin, TX – Fun Fun Fun Fest
11/06 – Dallas, TX – The Loft
11/08 – Louisville, KY – Zanzabar
11/09 – Columbus, OH – Skully’s
11/10 – Millvale, PA – Mr. Smalls Theatre
12/03 – Boston, MA – Paradise
12/05 – New York, NY – Bowery Ballroom
12/06 – Brooklyn, NY – Music Hall of Williamsburg
12/07 – Philadelphia, PA – Union Transfer
12/08 – Washington, DC – U Street Music Hall

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Tom Waits Reveals “Hell Broke Luce” Video

Marie Scarsella — Tue, 07 Aug 2012 18:03:54 +0000

After a week of teasing with cryptic messages and images, singer-songwriter Tom Waits has unveiled his new video for “Hell Broke Luce,” a star-studded track from Bad As Me featuring Marc Ribot, Keith Richards, Flea and Casey Waits, Tom’s son.

Waits describes the video as “an apocalyptic war dream,” which makes sense when you note the images of burning graveyards and soldiers pulling a house by rope. Check it out for yourself below. While many fans were hoping his strange teasing was a hint toward a U.S. tour, there are no new announcements on that front.

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Opossom Premieres New Video And Announces Tour Dates

Marie Scarsella — Wed, 01 Aug 2012 18:23:05 +0000

New Zealand psych-pop outfit Opossom has released a video for “Getaway Tonight,” a track off of its upcoming album, Electric Hawaii, due out next week on Fire. The video plays on themes of B-list sci-fi, showing frontman Kody Nielson floating around outer space in an orange jumpsuit.

Opossom has also announced its first full tour of the United States, which includes three dates at this year’s CMJ Music Marathon. Check out the video above and the band’s tour dates below.

Tour Dates For Opossom:
10/10 – Los Angeles, CA – Echo
10/12 – San Francisco, CA – Hotel Utah
10/14 – Portland, OR – Bunk Bar
10/15 – Seattle, WA – Sunset
10/17 – Chicago, IL – Empty Bottle
10/18 – New York, NY – CMJ
10/19 – New York, NY – CMJ
10/20 – New York, NY – CMJ
10/22 – Philadelphia, PA – Kung Fu Necktie
10/23 – Washington, DC – DC9
10/24 – New York, NY – Pianos
10/25 – Boston, MA – Great Scott
10/26 – Toronto, ON – Parts And Labour

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