Showing posts with label Leaf Label. Show all posts
Showing posts with label Leaf Label. Show all posts

Thursday, May 17, 2012

Volcano! Vid #3.

 
"Long Gone" the third episode of the weekly series "Seed to Flower Thursdays with volcano!",  in which the band sheds light on the inspiration behind the songs off their forthcoming album, Pinata due out June 12th via the Leaf Label. Look for a new song and a new Seed to Flower video every Thursday from 5/3/12 to 6/7/12. Pre-order options HERE.

Thursday, May 10, 2012

Volcano! Vid #2.


"Supply and Demand" the second episode of the weekly series "Seed to Flower Thursdays with volcano!",  in which the band sheds light on the inspiration behind the songs off their forthcoming album, Pinata due out June 12th via the Leaf Label. Look for a new song and a new Seed to Flower video every Thursday from 5/3/12 to 6/7/12. Pre-order options HERE

Thursday, May 03, 2012

Volcano's New Video Series.

 

"Fighter" the inaugural episode of "Seed to Flower Thursdays with volcano!", a weekly YouTube series that will shed light on the inspiration behind virtually every song on Volcano's forthcoming album, Pinata due out June 12th via the Leaf Label. Look for a new song and a new Seed to Flower video every Thursday from 5/3/12 to 6/7/12. Pre-order options HERE

Wednesday, June 22, 2011

Vessels Headling BBC Stage At Glastonbury.

Vessels will be headlining the BBC curated "Introducing stage" in the Dance Village this Sunday as part of The Glastonbury Festival. If you happen to be basking in the Glastonbury glory be sure to stop by. Their set time is slotted for 7:30 PM. If you can't make it check out this live video of "Meatman, Piano Tuner, Prostitute" that was posted earlier today.




Vessels - Meatman, Piano Tuner, Prostitute (live) from Vessels Band on Vimeo.

Monday, August 31, 2009

A Hawk And A Hacksaw

A Hawk And A Hacksaw's latest album Delivrance reviewed on Baeble blog:

".....Named after a line from Hamlet, AHAAH does the bard proud by turning every song into a web of intrigue and storytelling. Sometimes, words are insufficient. Sometimes the most lyrical music is the kind that doesn't need to beat you over the head with witticisms. Almost all the songs are exclusively instrumental, and the galloping violin, whimsical accordion, and eclectic orchestra (which includes everything from the upright bass, cello, and clarinet, to the bouzouki and cimbalom) weave fireside tales of sharing soup with mustached villagers, galloping along the Danube in a horse-drawn buggy, dancing late into the night on the cobblestones in the main square....." Read full review HERE.


Upcoming US tour:
09/12 Chicago, IL @ Empty Bottle (The Wire present Adventures in Modern Music)
09/14 Cleveland, OH @ Beachland Tavern
09/15 Pittsburgh, PA @ Your Inner Vagabond

09/16 Toronto, ON @ The Drake Hotel
09/17 Montreal, QC @ Il Motore (w/ Damon & Naomi)
09/18 Boston, MA @ YMCA Theatre (w/ Damon & Naomi)
09/19 New York, NY @ Le Poisson Rouge (w/ Damon & Naomi)
09/20 Washington, DC @ Rock N' Roll Hotel(w/ Damon & Naomi)

09/22 Chapel Hill, NC @ Nightlight
09/23 Asheville, NC @ Grey Eagle Tavern and Music Hall (w/ Damon & Naomi)
09/24 Athens, GA @ The Melting Pot (w/ Damon & Naomi)
09/25 Atlanta, GA E.A.R.L. (w/ Damon & Naomi)
09/26 Knoxville, TN @ Pilot Light (w/ Damon & Naomi)
10/03 Albuquerque, NM @ Outpost Performance Space
10/06 Tucson, AZ @ Solar Culture
10/07 San Diego, CA @ Casbah
10/08 Los Angeles, CA @ Spaceland (w/ Damon & Naomi)

10/09 San Francisco, CA @ Independent (w/ Damon & Naomi)
10/10 Eureka, CA @ Nocturnum (w/ Damon & Naomi)
10/11 Eugene, OR @ Cozmic Pizza (w/ Damon & Naomi)
10/12 Portland, OR @ Doug Fir (w/ Damon & Naomi)
10/13 Seattle, WA @ Tractor Tavern (w/ Damon & Naomi)
10/15 Salt Lake City, UT @ Urban Lounge (w/ Damon & Naomi)
10/16 Denver, CO @ Hi-Dive (w/ Damon & Naomi)

Friday, August 28, 2009

Nice Vladislav Delay Interview On Flavorwire.

An interview with Finnish composer Sasu Ripatti’s who works under the name Vladislav Delay was posted on Flavorwire last week. The feature includes a video and a stream-able edited version of the song "Melankolia" off the upcoming album Tummaa (street 09/06/09) on the Leaf Label.

FP: A lot of your recent work shows some dissatisfaction with making things you can’t really touch or experience except through electronics. Why the new emphasis on working with your hands?

SR:
Soundwise and rhythmically, of course, electronics and computers have beautiful aspects, but this one particular issue can make all the positive aspects troublesome. Sometimes I have been frustrated having to program a tone or rhythm with a mouse in my hand when I had an inspiring vision ten minutes before. I could have just played it out, but I end up writing software and forgetting what I was about in the first place. I try to bring the two approaches together somehow, looking for various ways to make it more the way I wish it was.


Read full feature HERE.

Friday, June 12, 2009

Jeremy Barnes of AHAAH Busts Some Knowledge On Romanian Folk Jams.

Jeremy Barns of A Hawk And A Hacksaw compiled a righeous top 20 list of Romanian records for Factmagazine.com. Included in the feature are photos, album artwork and even a downloadable mini-mix of some of the artists covered. It's a fascinating lightning speed introduction to the genre. Rock the cimbalom!

Read the full feature
HERE.

Wednesday, April 15, 2009

A Hawk And A Hacksaw At 78 RPMs!

Ultra cool A Hawk And A Hacksaw Foni Tu Argile 10" goes on sale this Monday (4/20/09). The records are cut at 78 RMP and there are only 500 of them in the world. Get'em while you can.

AHAAH is currently playing a string of dates opening up for Wilco:
04/15 Milwaukee, WI @ Pabst Theater
04/16 Bloomington, IN @ University Auditorium @ University of Indiana
04/17 Athens, OH @ Memorial Auditorium @ University of Ohio
04/18 Knoxville, TN @ Tennessee Theatre
04/20 Athens, GA @ Classic Center Grand Hall
04/21 Asheville, NC @ Thomas Wolfe Auditorium
04/22 Birmingham, AL @ Sloss Furnaces
04/23 Oxford, MS @ The Lyric

Thursday, March 12, 2009

Wildbirds & Peacedrums Video For New Single.


Wildbirds & Peacedrums - There Is No Light from Leaf Label on Vimeo.

Video for Wildbirds & Peacedrums' latest tribal stomping, tambourine banging, banshee crying single 'There Is No Light'. W & P will be making a quick stop in the States this month to indulge in some SXSW madness.

03/20 Austin, TX @ The Sidebar (SXSW Park The Van Records, Partisan Records, indie outlaw, The Knitting Factory 4:30PM)
03/20 Austin, TX
@ Antone's (SXSW The Billions Corporation showcase 9:00 PM)

Monday, March 09, 2009

Efterklang's Seattle Show Review.

Efterklang's first show of their current North American tour has received a glowing review by Seattle Show Gal. It appears the band is off to rulin' start, play on boys & girls.

Seattle Show Gal
Your Public Servant for Live Show Reviews


Efterklang

To See Rating 8/10

Just Curious Rating 8/10


Band Members:
* Casper Clausen (Vocals & Various Instruments) * Mads Brauer (Computers, Seq. & Flute) * Rune Fonseca Mølgaard (Piano) * Thomas Kirirath Husmer (Drums, Trumpet & Choir) * Rasmus Stolberg (Bass, Guitar & Various Instruments) * Peter Broderick (live-band member – Violin, Guitar, Drums, Whatever he feels like, & Choir) * Anna Brønsted (live-band member - Piano, Vocals) * Niklas Antonson (live-band member - Trombone & Choir) * Frederik Teige (live-band member - Guitar & Choir)

Denmark’s finest!


I had the pleasure of being at the premier show on Efterklang’s American Tour. This was one of those shows that can’t ever be recreated. There were world premier songs that were played, and songs that were a work-in-progress debuted. For those of you who weren’t able to make it and for those of you who are just curious, here are some highlights.


Efterklang, the Danish word for remembrance and reverberation or ‘after sound,’ bring distinction and light to unchartered waters. Efterklang explores an area of sound that hasn’t been touched. There are so few bands these days that are indisputably original and leave no room for copy cats; Efterklang is one of them.


There are lots of layers and moving parts within Efterklang. I really like Efterklang’s approach to this because their moving parts are created and executed by individual contributors as opposed to being created by one mind and performed many. Having multiple minds at the source of Efterklang adds levels of individuality that translate into depth of sound. Although being created by several different minds, Efterklang has been playing music together for so long that all the sounds meld together as one cohesive unit.


Their approach to music is very story telling and progressive. With gradual mood changes though-out the songs and through-out the set, I was very compelled to put myself over in their world. Sit and listen. Their set was so moving and versatile that it was difficult for me to choose what to feature. I am giving you a world premier performance of a song that is currently called Friendfirmations. I am also going to give you a collage of three other songs in a separate clip that highlight the diversity of sound that is Efterklang. If you have the chance to see them first hand, don’t miss it.

There are still plenty of dates to go:
03/09 Visalia, CA @ Brewery
03/10 Los Angeles, CA @ Spaceland
03/11 Tucson, AZ @ Plush
03/13 Salt Lake City, UT @ Urban Lounge
03/14 Denver, CO @ Larimer Lounge
03/16 Norman, OK @ Opolis
03/17 Denton, TX @ Hailey’s
0
3/19 Austin, TX @ French Legation Museum (SXSW Other Music party 2:00 PM)
03/19 Austin, TX @ Habana Bar (SXSW Hometapes/Leaf showcase 11:00 PM)
03/23 Tallahassee, FL @ The Engine Room (w/ Canon Blue)
03/24 Atlanta, GA @ E.A.R.L. (w/ Canon Blue)
03/25 Chapel Hill, NC @ Local 506 (w/ Canon Blue)
03/26 Washington, DC @ DC9
03/27 Philadelphia, PA @ The First Unitarian Church
03/28 New York, NY @ Mercury Lounge
03/30 Boston, MA @ TT the Bears
04/01 Toronto, ON @ El Mocambo
04/02 Pittsburgh, PA @ Garfield Artwork
04/03 Cleveland, OH @ Grog Shop
04/04 Chicago, IL @ Schubas

Friday, February 06, 2009

Wildbirds & Peacedrums Amoeba In-store Flyer.

A very special in-store performance at Amoeba Music
6400 Sunset Blvd. Hollywood, CA.
February 16th 2009

Tuesday, January 13, 2009

Free EP Of Efterklang Hybrid Band & "Polygyne" Video.

Take from the Leaf Label newsletter:

The four songs on this free download live EP were recorded at the festival in Roedovre (a suburb of Copenhagen) on November 8 2008. This was the first and maybe also the last concert by Slaraffenklang. The idea is simple and fun. Slaraffenklang is the mutant hybrid of Efterklang and Slaraffenland. There were 12 musicians on stage, and the songs performed were versions of songs by Efterklang and Slaraffenland. Sometimes just louder and heavier, and sometimes in new arrangements.


SLARAFFENKLANG - Danish Dynamite Live at Sono Festival 2008

Tracklisting:

1. Cutting Ice To Snow

2. Polaroids

3. Echo Wave

4. You Win


Recorded, mixed and mastered by Petter Samuelsson Click here



Efterklang - Polygyne from Rumraket on Vimeo.

Thursday, December 18, 2008

Some Much Deserved Murcof Coverage.

Murcof's stunning Versailles Sessions has been getting some much deserved media attention. Among the more notable accomplishments Murcof made the cover of Italian music magazine Rockerilla (pictured above), was #43 on Wire's Record of the Year list, and has recieved reviews from Exclaim, Tinymixtapes and Almostcool.

Here are a few relevant web links:
Tinymixtapes
Irishtimes.com
Exclaim.com
Thefourohfive.com

More on The Versailles Sessions:

"Fabulous...It brings nothing to mind so much as Vangelis in his Blade Runner mode, performing to Louis XIV" The Word

"it's freaking massive" Almost Cool

"impressive in its reach and seriousness" BBC Music

"sublime" **** Time Out

"a grand and elegant opus" Metro

“Corona’s exquisite touch, attention to detail and disarming sense of originality remain as haunting and beautiful as ever” 4/5 DJ

"an absolute pleasure" The Wire (#43 Record of the Year 2008)

"Corona’s work is becoming increasingly complex and fascinating, and this piece shows him at his most versatile and confident yet." 4.9/5 Album of the Month, themilkfactory

"Mind-blowing" 8/10 AU

Friday, November 07, 2008

Nice Little Absentee Piece On NPR.org.

Absentee: 'Shared'
By Tamara Vallejos


NPR.org, November 6, 2008 - The most immediately striking thing about London-based pop quintet Absentee is singer Dan Michaelson's deep and gravelly voice. A little bit Leonard Cohen, a little bit Johnny Cash, Michaelson immediately takes hold of listeners on the band's second full-length album, Victory Shorts.


Released this fall on the Memphis Industries label, Victory Shorts has individual moments of greatness, but sometimes feels bipolar overall. The album begins with one of its strongest songs, the lovely ballad "Shared." The combination of Michaelson's baritone and delicate female harmonies are lulling, but the calm doesn't last long. Suddenly, the pounding drums and brawny guitar of "Boy, Did She Teach You Nothing?" leap in. While it's a wonderfully catchy tune, the transition is jarring.


It's not the only time that happens on Victory Shorts. Later, the gorgeous but heartbreaking melancholia of "Love Has Had Its Way" is undercut when it's followed up by the raucous "Bitchstealer." Then again, maybe there's brilliance in how Absentee treats the subject of ended relationships. While "Love Has Had Its Way" is a passive bemoaning of love lost, "Bitchstealer" takes the exact opposite route. "I need to find a way / To try to make her stay when she wants to go," sings a determined Michaelson. The shuffling between anger, frustration and sadness will feel familiar to anyone in a failed romance.

Thursday, November 06, 2008

Essie Jain Reviewed On Pitchfork Today.

Better late than never review of Essie Jain's The Inbetween CD released in May of this year. Link
Essie Jain:
The Inbetween
[Ba Da Bing / Leaf; 2008]
Rating: 6.9
Original post

Looking back, Joan Baez's high, heady trills seem eerily indicative of the unspoken melancholy that plagued the late 1960s in America: Baez's songs, no matter how upbeat, are seeped in a vague and persistent longing for something better, something less devastating. British-born singer and songwriter Essie Jain doesn't sound much like Baez-- she's not a folk singer, exactly, and her voice is often deep and direct where Baez's is light and warbly-- but her second LP, The Inbetween, is heavy with the same odd, pervasive uneasiness. From the nervous, scuttling piano notes which open "Here We Go" through the fog-horn desolation of the extra-grim "I Remember It Just Like This", The Inbetween is quiet and desperate, a trembling testament to general disillusionment.

Jain's minimal compositions-- most tracks feature only vocals and piano or acoustic guitar-- are dark and distrustful ("There is not an innocent man around us who isn't under siege," she bellows in "Please") and tinged with an otherworldliness that earns her comparisons to freak-folkers past and present-- especially Vashti Bunyan, Sandy Denny, and White Magic's Mira Billotte. The cinematic bleakness of The Inbetween can be wearying, but it's also the record's central conceit; its atmospherics are at least as essential as its songs. Consequently, The Inbetween becomes the kind of record that leaves its listeners craving melodramatic context (walking despondently down a mysterious alley, fedora deflecting light rain, face obscured)-- anything more distinctive and tortured than just slouching over on a living room couch.

Jain had a track ("Why") included on the Slim Moon-curated The Sound the Hare Heard (alongside a slew of singer-songwriters, including Death Vessel, Sufjan Stevens, Thao Nguyen, Wooden Wand, and Laura Veirs), and her ghostly 2007 debut, We Made This Ourselves, placed her squarely within the new spook-folk paradigm. All of Jain's work is focused, mostly, on her lingering voice: It can be deep and prodding or high and vaporous, depending on the moment. "Do It", one of the richer tracks on the record (it includes piano, guitar, and drums), is also one of the strongest-- Jain's vocals, raw and uncorrected, nudge and jab. In "Here We Go", a steady piano melody and twittering drums back up Jain's playful, jazzy vocal line, one of the lightest included here-- "Oh, oh here we go," she grins.

The Inbetween is a remarkably wistful album, the kind that can be trying or cathartic, depending on when and how you listen, but Jain's voice is mostly stunning-- it's indicative of her precise time and place, and, accordingly, means something to all of us.

- Amanda Petrusich, November 6, 2008

Thursday, October 09, 2008

Volcano! Receive A 7.9 Review From Pitchfork.

Volcano!: Paperwork
[Leaf; 2008]
Rating: 7.9
Original Review

It may be easy to create an indie rock song that eschews structure for instrumental shock-and-awe, or reveals too much information in the lyrics, or pokes fun at messianic rock stars. Doing all of the above is rare, however-- as is making each stray verse or hiccup as arresting as the one before it-- but volcano! manage this on their second record, Paperwork, even better than they did on their debut, Beautiful Seizure.

The mercurial three-piece may now be more cohesive, consistent, and focused, but volcano!'s unpredictability is Paperwork's biggest strength. "'78 Oil Crisis" starts slow with incidental noises, but it settles into a streamlined, linear melody, until the intermittent spasms of guitar become almost calming. A theremin tone anchors the grinding and coughing of "Sweet Tooth" as it grows more paranoid and mechanical, and later makes an insistent earworm from bent-out-of-tune guitar notes. "Astronomer's Ballad" is a doe-eyed Spanish-language serenade that eventually devolves into tightly controlled chaos. None is quite as stunning as the graceful and evocative "Palimpsests", whose well-tamed fuzz-guitar line and increased patter of drums makes With's taps-like call to "wake up, wake up" seem like a test of strength.

The arrhythmic, stuttering beat and meandering melody of "Performance Evaluation Shuffle" is not the first song to send up cubicle culture, but few have sounded so suffocated and desperate. "Africa Just Wants to Have Fun" shows off the many modes of volcano! but flows more naturally than some of their other freewheeling material. The verse gradually builds to a brassy, step-ladder melody, which progresses to a damn-near funky staccato guitar line, as singer/songwriter Aaron With uses every bit of his elastic vocal range to lampoon Bono, most pointedly over the buzzing bass keyboards in its bridge ("Won't you make up your mind/ Are you bored or inspired... You're acting like Christ on the cross/ You look ridiculous").

As with many tracks on Paperwork, the floor drops out of "Tension Loop", but the percussion skitters along with impressive precision, never losing the pulse. The song emerges from gentle drums and a soft, busy guitar plucking, finally torn apart by jagged samples and electronic manipulation that go from pretty to hair-raising, while With's tempered croon grounds the song (with only minimal yodeling). "Slow Jam" (which is anything but) is the record's biggest gamble, a falsetto-laden ode to impotence.

Lord knows why "Kitchen Dance" ends it all with a half-sigh, offering all the band's tricks-- bi-lingual crooning, keyboards that go from whisper to scream, double-time drums that spike the pulse-- without any of the pacing, charm, or measure of the rest of the album. But without volcano!'s occasional over-indulgence, this record would be half as interesting. Even compared to the convulsive and ambitious pop of their better-established peers like Deerhoof, volcano! are set apart by their fearlessness.

- Jason Crock, October 9, 2008

Tuesday, September 23, 2008

Volcano! In The New York Times.

VOLCANO!
“Paperwork”

(Leaf)
Original post

The noisy, ferociously talented band Volcano! earns its name with its explosion of song: melodies within melodies, little harmony-rich sketches that could fuel another band’s entire track.


Yet “Paperwork,” this Chicago trio’s second album, isn’t all pleasure. Volcano! has absorbed a lot from Deerhoof, another band with a killer drummer and complicated songs that sound fresh, jury-rigged and seldom overthought. And it sounds as if this band has inherited some of Deerhoof’s anti-production too: Sam Scranton’s bass drum like a tabloid headline; Aaron With’s trebly guitar and dry-sounding vocals, mixed low enough to make the words indistinct; keyboards and electronics (from Mark Cartwright) used in nontraditional ways, sudden surges of ensemble sound that push everything into the red.


Mr. With uses his guitar for jolting or lilting single-note lines, rhythm scratches and noise. His voice is what sounds like a true lead guitar, stretching words and sounds into giant melodies, even when they are just in-between parts, embellishments or passing phrases.


As a singer he’s brave and extremely musical but sometimes hard to take — histrionic and affected, with a grating falsetto. The lyrics are full of insults and petty frustrations about office drudgery, spoiled rock stars and consumerism. Sometimes they’re sung in Spanish. Once, in “Astronomer’s Ballad,” this fits the song, a kind of Mexican country waltz. A few other times it’s as unnecessary as the punctuation mark in the band’s name.

BEN RATLIFF

Friday, September 19, 2008

Volcano! Review On Tiny Mix Tapes.

Volcano!
Paperwork
[The Leaf Label; 2008]
Styles: noise rock, post rock, experimental
Others: The Ex, U.S. Maple, Deerhoof
Original review

When we were first introduced to volcano! three years back, the initial boisterousness of their avant rock assault was disarming enough to earn them a place in our innovation-deprived hearts. Beautiful Seizure was everything an experimental rock record should be — difficult, unpredictable, and invigorating. Now, following a two-year hiatus, volcano!’s sophomore effort Paperwork has arrived as our latest listening challenge, and I am happy to report that there’s plenty reason to rejoice.

Although the band has maintained its restlessness and proclivity for outbursts, this new batch of compositions has a demeanor both more focused and melodic than their earlier work. Overall, the band seems to be enjoying working together as a tighter unit, and as a result, an almost funky quality emerges at times from the cacophony, as when "Africa Just Wants to Have Fun" ends with a breakdown that I imagine will inspire many a listener to unexpectedly and uncontrollably lapse into a shaking of the booty.

Sam Scranton’s drumming was always a major component of volcano!’s sound, but here, it’s nothing short of foundational. Right from the opening track "Performance Evaluation Shuffle," his ability to be simultaneously rock-solid and unhinged allows his bandmates to careen and wobble without the slightest sense of ever losing purpose. Meanwhile, Aaron With’s vocals and guitarwork, while still rambunctious, show more sarcastic bite and tunefulness. "Slow Jam" in particular seems an exercise in flaunting his admirable elasticity in both areas, a strange sex/love song where he comes across as a nerdy pervert constantly apologizing for overstepping his boundaries. With a little Timbaland tweaking, it could be on JT’s next album (or at least Har Mar’s).

It seems inevitable that, after a mold-breaking start, a band can only mature by finding ways of subverting form from within — breaking pop apart by more fully working within (and against) its contours. In this sense, Paperwork is a definite step forward, and though it’s possible that those who loved volcano! before might find this more "conventional" album less exciting, I’d be surprised if anyone called it less rewarding.

1. Performance Evaluation Shuffle 2. Africa Just Wants To Have Fun 3. Tension Loop 4. Fairy Tale 5. Slow Jam 6. ’78 Oil Crisis 7. Sweet Tooth 8. Astronomer’s Ballad 9. Untitled 10. Palimpsests 11. Kitchen Dance

by Dave Gurney

Volcano! are playing a few Chicago dates before heading over to Europe for a five week tour. The band has a record release show at the Empty Bottle on September 25th and a in-store at Reckless in-store October 5th at 4:00 PM.

Tuesday, June 10, 2008

Wildbirds & Peacedrums Writeup on Brooklyn Vegan.

It's going to be a packed week of touring and busking for the Swedish minimal pop duo Wildbirds & Peacedrums. Brooklyn Vegan gives a full layout of venue, train station and street corner performances. Original post.

This great sounding Swedish duo called Wildbirds & Peacedrums are paying us a visit this week, and while they're here they plan on performing at least eleven times in NYC alone! TONIGHT (June 10th) you can catch them opening for Adem at his only area show (was Domino having a convention or something?) at Union Hall in Brooklyn....


This is the only US show in which Adem will be showcasing songs from his 3rd solo lp 'Takes' which is out Stateside Tuesday on Domino.

Then W & P are going to DC to play The House of Sweden (because they're from Sweden), and then back to NY to not only play Joe's Pub, Union Hall again, and Coco66, but also to play shows in parks and on the subway and IN FRONT of Sound Fix and other places. Hey look, their new album "Heartcore" got an 8.0 (and four out of five stars).

An amalgam of clattering drums, exotic instrumentation and wild scat singing, they veer between the controlled cacophony of Tim Buckley, the playful kookiness of Mary Margaret O'Hara and Bjork at her most otherwordly. [Yorkshire Evening Post]

Wildbirds & Peacedrums - 2008 Tour Dates
June 10th - Park Slope, Union Hall (with Adem and Sharon Van Etten)
June 12th - Washington DC - The Roof at the House of Sweden
June 15th - Fort Greene, Corner of Lafayette and Vanderbilt Aves in front of the Brooklyn Flea (1pm)
June 15th - New York, NY - Joe's Pub at the Public Theater
June 17th - Rochester, NY - Lutheran Church of Reformation
June 18th - Park Slope, Union Hall (with Jacob Golden and The Battle Of Land and Sea)
June 19th - Union Square (6pm)
June 20th - Greenpoint, Coco66
June 21st- Williamsburg and Cobble Hill: Bedford Ave L Stop, in the station (12pm), Lorimer St L Stop, in the station (1pm), Graham Ave L Stop, in the station (2pm), Bedford Ave and North 11th, in front of Sound Fix (3pm), Corner of Smith and Bergen Streets, outside of F, G Bergen Stop (5pm)