#mix tape tour 2022 dates

[desirepathzine]

Is SAVED! by Reverend Kristin Michael Hayter a Christian album?

Yes? Sort of?

Hayter's musical career seems to always fling her at the foot of God. Her previous work as Lingua Ignota protrays God like a horrifying eldritch god of vengeance conjured by some ritual on All Bitches Die, a gleaming and gilded Catholic executioner on CALIGULA, and folkloric legend of the Pennsylvania landscape on SINNER GET READY. In 2022, Hayter announced she was retiring the Lingua Ignota moniker, and the associated back catalog, citing the emotional and physical pain of this powerful music, and the toll it was taking to write it, record it, and tour it.

As a vocalist and a performer, I have cannot fathom how Hayter completed even one of these Lingua Ignota shows. Her voice is a multi-faceted instrument of destruction, soaring high, screaming in pain, perfectly cracking with authentic imperfection, and I cannot imagine preforming the musically complicated and emotionally taxing music of Lingua to enraptured crowds watching your every move. I just missed my chance to see her while she was promoting SINNER GET READY (I mixed up the dates on my calendar and was ready to go the day after she had departed Nashville). While I was blissfully ignorant of missing the show, Hayter was haphazardly getting ordained in a hotel outside of Nashville in preparation for her next project.

In October of 2023, a few months after the very last Lingua Ignota shows in London, Kristin reintroduced herself to the world with that new title obtained in Tennessee, and released SAVED! as Reverend Kristin Michael Hayter.

Some of the tracks might be familiar tunes, for a variety of reasons. There are several old school hymns that I recognized from my Baptist upbringing. But Hayter had started performing some of this material while promoting Sinner Get Ready, and at a self-styled tent revival service at the first inaugural Perpetual Flame Festival, which marked the end of Lingua performances in the States.

Per Hayter, SAVED! was borne of a genuine attempt to find salvation through old time religion. Whether it 'worked' is up for debate, both in the album's narrative and in Hayter's demure and vague interview answers about her salvation. She built a doomsday cult bunker in the basement of her home, as featured on the album's cover and where the majority of the visuals for the record were filmed. She fasted before recording, blasted clips of revival sermons, and engaged in glossolalia, aka speaking in tongues, as part of the record.

It's much more stripped back than any of the expansive and grand Lingua instrumentation, mostly just Hayter and her prepared piano that was also used in previous touring, the inner strings of the instrument laden with chains and various other doodads that clang and whirr when she plays the keys. The lushly layered vocals are used sparingly. Perhaps most interestingly (and that's high praise on an album that regularly utilizes speaking in tongues), Kristin and longtime producer Seth Manchester recorded on tape, and proceeded to intentionally sabotage these physical recordings, stomping and smashing them, creating imperfections to further give these pieces a time, a place, and an irreplaceable atmosphere.

All of this makes SAVED! feel like a tape you found in the woods of a long passed tent revival, full of charismatic performances, blissfully imperfect voices, songs running into one another as the spirit moves, and maybe a snake handler or two. There are showstopping pieces like IDUMEA (the only track to feature synth) and I WILL BE WITH YOU ALWAYS, manic interludes of well-known hymns (PRECIOUS LORD TAKE MY HAND, NOTHING BUT THE BLOOD OF JESUS), interlaced with spine tingling interjections of tape damage and glossolalia.

Hayter's original works pair well with the much older hymns and traditionals. Album opener I'M GETTING OUT WHILE I CAN sets the tone perfectly, a march towards that imagined tent, inspired by the jovial piousness of the Louvin Brothers, as is ALL OF MY FRIENDS ARE GOING TO HELL.

I WILL ALWAYS BE WITH YOU is perhaps the closest a portrayal of the mission statement of the album: a bedridden narrator is beset by demons, that spill blood and inflict sickness, but finds release and freedom in celestial salvation. It's some of my favorite writing from Hayter on the album and maybe the strongest vocal performance as well, a technical feat. It never allows itself to become too beautiful, the song is always on the edge of complete oblivion from the keening feedback that appears throughout. It sounds like your ears ringing after an explosion. journey. MAY THIS COMFORT AND PROTECT YOU is a wailing prayer of protection, but it is external towards the listener as opposed to the internal reflection of its sibling songs. It functions almost as a benediction to the sanest part of the album.

But easily my favorite track on this album is THE POOR WAYFARING STRANGER, a traditional song that Hayter had been performing in her piano sets on tour. It is dark, moody, and she sings the third and fourth verses that are not heard as often but contain some of the most stunning lyricism.

So how does it end, this strange and beautiful tent revival in the woods? The closing track is the hymn HOW CAN I KEEP FROM SINGING? Hayter's piano is unbound, all objects removed from the strings, her voice is in a comfy key that doesn't put her into theatrical strain, surely within the album's narrative all has ended well. But partially through the song's length, Hayter speaking in tongue rises, more manic and guttural than anywhere else on the record, and it is her alone, no archival sound, no crowd noise. Just her. Even after the song sweetly finishes, she is screaming, crying, voice rising and falling. At one point she chokes, coughs, inhales deeply, and falls right back into her trance. The tongues continue for roughly two minutes after any music has stopped.

It's a shocking, beautiful, and captivating finale to an album of interesting choices, one that sticks with the listener. I sat in silence for I don't know how long upon hearing it for the first time. Kristin had performed SINGING on tour as well, a light and airy hymn amidst the fire and brimstone conjured in either of her two sets on any given SINNER GET READY date. Her ability to transform it into a haunting album closer is incredible (the same can be said for NOTHING BUT THE BLOOD OF JESUS, which she sang a capella over the recording of Jimmy Swaggart's infamous apology sermon during those same shows).

It's an insane album, full of fascinating production choices, performed to perfection. But such wild choices on the heels of such acclaimed work can polarize an audience. Lingua Ignota was always an uncategorizable project. Black metal and harsh industrial fans gravitated in particular towards All Bitches Die and CALIGULA, while recently Lingua's name will occasionally be tossed in with Ethel Cain, fans seeing similarities between Cain's screaming pain on Ptolomea and the rural gothicism of SINNER GET READY. Indeed, Anthony Fantano of theneedledrop, perhaps the most famous music critic on YouTube, gave his audience a heads up towards Hayter's music when he awarded SINNER GET READY an extremely rare 10/10, exposing the album to legions of folks who otherwise would have missed it. To many artists, this would be a sign to stay the path, follow a proven formula, keep chasing an angle that is clearly connecting with people. But I have a deep respect for Hayter's commitment to healing, to finding peace, and pursuing something that is still fascinating without being as taxing to her physical and mental health.

SAVED! is so unlike those other records, it's a bold move. But it's on purpose. This music is not directly tied to the worst events of Hayter's life, that she chronicled so unwaveringly in her previous work, admittedly to her personal and physical detriment. And she also comments often on SAVED! being maybe a transitory project, a sound and character that may not stick around for long, but was cathartic for her to release and work on. It was her first album that she recorded with some stability, living peacefully in New England, spending time with her horse.

Not everyone who enjoyed Lingua has jumped over to following the Reverend. A friend of mine who enjoyed SINNER GET READY said that SAVED! just falls close enough to what actually was used in their church's worship services to the point where it was mildly triggering for them, more than the death and destruction of previous Lingua entries. Which brings me to my original question: Is SAVED! a Christian album? It is earnestly sung (by an ordained minister nonetheless, although Hayter is quick to mention that she did it on a laptop and it took like eight minutes). Of course it is far too horrifying to play for the congregation of any given Christian church.

I like that there isn't a clear answer to these questions. Like the album's conclusion, there's no correct way to feel about it, no correct meaning to infer, just what you bring to the table. And even if it isn't a journey you take repeatedly, it is one worth taking at least once. Look into Kristin's Rorschach test and maybe you'll see something you love, or something that horrifies you. There is only one way to find out.

[singeratlarge]

REMEMBERING RICK ANDERSON: HIS LIFE WAS HIS ART

Music Mentor, Artistic Visionary, Bassist and Co-Founder of The Tubes

As one of my music mentors and as a friend, Rick Anderson (1947-2022) played in the background of my life for many years. He co-founded The Tubes, the revolutionary art rock band that fused satire and theatre and drew comparisons to Alice Cooper and Frank Zappa. The Tubes entered my radar in 1975 with their breakout debut and their presence on hipster FM radio (including Fee Waybill’s witty radio PSA promoting birth control). However, the powerhouse musicality of The Tubes drew me the most, with their sophisticated progressive rock punctuated by pop music anthems, from “White Punks on Dope” and “What Do You Want From Life?” Through hard work, constant touring, and perpetual crafting on stage and in the studio, The Tubes created an astonishing resume (and they’re still on the road). Their careers intersected with David Bowie, ELO, Peter Gabriel, Olivia Newton-John, Cliff Richard, Todd Rundgren, Rick Wakeman, and other giants in the field. The Tubes commanded my respect then and now.

My big move to California in May 1977 was precipitated by a mix tape sent to me by a friend and also mentor, Jeff Lloyd. His tape included several Tubes tracks with a note saying, “We need to do something this good,” and that upped my urge to head to San Francisco. Imagine my thrill when, two years later, Rick Anderson walked into my rehearsal space. At the time I was in a band called The Mystery Dates with bassist/guitarist Dan Reilly with me on lead vocals, bass, guitar, and keyboards. We auditioned drummers and landed on Joyce, who brought in other singers and musicians, and that posse included Rick. He helped us knock the project into shape and re-named us The Band-Aids, suggesting we could be a parody of New Wave opening acts. We had fun doing covers like “Do Ya Wanna Dance?” and “Steppin’ Stone.”

The Band-Aids/Mystery Dates broke up in Spring 1980, but Rick and I kept up a rapport. He treated all my friends as his friends, and he had me over to his Twin Peaks apartment to record demos (he wanted to produce my song “Dancin’ So Hard”). We gabbed a lot about music, though I was more the beneficiary of Rick’s experience and wisdom. I was a brash, opinionated 22-year-old with a head full of stupid and naïve preconceptions about music and the entertainment industry. Rick patiently cut through with real-world mentoring, instructing me on the workings of major label record deals (The Tubes were signed to A&M at the time), pros and cons of musician’s unions, recording tips, and going for a pop music jugular while keeping one’s artistic integrity.

Musicians can get awfully territorial about music, letting likes and dislikes eclipse the true value of a musical work, and I was like that back then. Rick taught me to cope and get ahead in this business, I had to become more objective and accept irony. For example, Rick took me to a club to see Eddie Money, who I wasn’t a fan of, but Rick said, “Watch Eddie. He has great charisma onstage.” From Rick I learned the necessity of stage presence and to respect the craft of other professionals. 

Another example: I had a negative reaction to The Carpenters. They didn’t fit my image of hipsterism, but Rick asked, “What’s wrong with them? There’s good playing, singing, production, songwriting, and they make people happy.” I couldn’t argue with that, and it led me to a cardinal rule of working in music: Leave my opinions at the door. Don’t let my attitudes and personal tastes block my discovery process as a creator. I can flex my likes and dislikes in private, but ultimately, they don’t matter in God’s grand scheme of creation and collaboration.

Rick and I drifted apart socially but we kept crossing paths (I gave him my first LP in 1985). Then in the late 90s we reconnected and began a meaningful correspondence of emails and postcards. He was still a reliable voice of affirmation and encouragement, with his droll realism balanced by childlike awe. 

Recently we sat at Rick funeral and listened to his daughter, family, and friends talk about Rick’s life well-lived. He resided in the small farm belt town of Merced CA, where he was celebrated as a model neighbor, father, and husband. It was a touching report, with descriptions of Rick’s constant even temper and dependability as a man and as a musical force. Of course, I wish I could’ve spent more time in person with Rick, but he left us with quite an imprint, and I’m grateful that he inspired me to up my game in every way.

[vopvocal]

New Kids on The Block Nkotb Tour 2022 | Mark Wahlberg | Backstreet Boys ...

[dustedmagazine]

Listed: Staubitz and Waterhouse

Mary Staubitz and Russ Waterhouse have each carved out distinctive approaches to improvisation that consistently evade categorization. Stuabitz in her solo guise, Donna Parker, unleashes blistering breakers of noise, feedback, and electronic scree. She’s also an inveterate collaborator, with long-running duos including Secret Diary with Jessica Rylan, Golden Shores with Daniel Paul Boucher, and work with Vic Rawlings, Arkm Foam, and Henry Birdsey. Waterhouse’s music runs from the cracked rock/new age rambles of Blues Control/Watersports with Lea Cho, Born In East L.A. with Joel St. Germain), and Animals (with Justin Allen) as well as his solo work like 1 Minute 2 Midnight out on Drag City which filters cracked synths field recordings and digital glitch into slabs of enveloping ambience and thundering onslaught.

Right before the pandemic hit, the two became a couple, moved in together, and weathered the ensuing storm diving in to a collaboration that focuses on a more internalized approach to listening and capturing the isolation of the pandemic world through a series of field recording-based work captured in around their home in Pawtucket, RI and further afield. Michael Rosenstein wrote about their recently released CD, Common Metals, noting that the duo captures “recordings of day-to-day existence tweaking them a bit and sequencing them into a release the refocuses one’s listening from environmental soundscape into observational slow cinema.”

For their Listed, Mary and Russ weigh in on “some things that provide us diversion while we have been sitting on the couch trying to ward off the January chill while drinking margaritas wearing velour sweatsuits.”

Mary’s picks:

Anna Lerchbaumer — Love, Lullabies & Sleeplessness (Eminent Observer, 2022)

Love, Lullabies & Sleeplessness by Anna Lerchbaumer

This tape sounds in the moment. You can’t come up with a title like side A’s “No More Weekend (Sounds Of Twins)” without it being the first moment you’ve had to yourself all day because THEY ARE FINALLY ASLEEP. At several points in side A the collage of baby cries crests into a taunting and hilarious rhythm; side B, “Noisy Lullabies For All Ages (0-99),” sounds like all the household machinery (and maybe a breast pump) going off one at a time, trailing off into what might be the static crackle of silence through the baby monitor. I love a good narrative in experimental music, especially a narrative I can relate to.

Maryanne Amacher — “Intercept” (WNYC, 1983)

Russ found a bootleg cassette of this Amacher piece that neither of us had ever heard of, and he tracked it down as a one-off broadcast on New York public radio from 1983. It’s huge and terrifying and the tones shimmer and melt into each other. Her work is meant to be heard in a roomful of speakers, but the oppression is still coming through on my tinny laptop.

Jessica Rylan / Can’t — “Puerto Rican Boom Car” (self-released, 2001)

An earworm for twenty years now, made with an ancient Rhythm Master drum machine, zero budget, and plenty of space. This song encapsulates living in our shitty Boston neighborhoods in the early aughts. I remember seeing Jessica play at Jacques during this time (Jacques was the drag bar that let us have shows in their foul-smelling basement). She had the Rhythm Master perched atop her pink flower cabinet and danced like it was electrifying her.

Pierre Henry — Variations For A Door And A Sigh (Phillips, 1969)

You can make a whole compelling record with three sounds. You can make those three sounds express an entire range of human emotion while you’re at it. Russ gave me this record on our second date. I’d never heard it before and now here we are.

James Connolly’s toilet seat — “Poison” (Twitter, 2018)

https://twitter.com/i/status/978357397537411072

Art is everywhere.

Russ’ picks:

Driving in Downtown Pawtucket

I enjoy 4K tour videos, and occasionally driving in silence, alone with my thoughts. This video is a nice mix of both and a snapshot of the area where we live. At one point the driver passes the News Cafe where Mary and I first met.

Single Stream

An abstract documentary about a recycling plant near Boston, by Paweł Wojtasik, Toby Lee, and Ernst Karel. We watched it tonight on our friend’s Plex (thanks Al Deaderick!). The cinematography and sound design are both stunning, and it touches on some of the same themes as Common Metals. Mesmerizing.

Relaxator — “Pigeon Sounds”

A short loop of pigeons, ad infinitum. This is the 8-hour version. Whoever Relaxator is, they have hundreds of thousands of plays on Spotify for relatively simple recordings of animals, machines, etc. Very popular in Turkey. What does Relaxator know that we don’t?

Tennie Komar — “Roll Me Over”

Mary introduced me to Tennie’s Future Stories EP, which I loved, so I got Mary this single off of Discogs for her birthday. It basically ended up being a gift to myself, and it’s been lodged in my head (like a steel plate) ever since. Jonathan “Shade” Goldman wrote, produced, and put out both Tennie records, but he dropped out of rock ‘n roll after sensing a negative vibe at a gig. Jonathan then turned to sound healing and worked closely with Laraaji. Tennie is now a medium and a psychic.

Sten Hanson — “The Love Song of the Red Princess”

A collaboration with Charles Dodge (who I’m familiar with from the 12 American Text Sound Pieces comp)? Sign me up. In theory this has something to do with Edgar Rice Burroughs’ character John Carter. Should I check out the Disney box office bomb? To be 100% honest I’m including this because the artwork is insane.

[redcarpetview]

Yola's 'Stand For Myself' Lands #1 on Americana Albums Charts

On August 19, Yola delivered a dazzling performance of “Diamond Studded Shoes'' on Jimmy Kimmel Live! The performance of her recent single, which is featured on her anthemic album Stand For Myself, was taped at Dan Auerbach’s Easy Eye Sound studio in Nashville and is available to watch here.

Speaking about the song, Yola stated, “This song explores the false divides created to distract us from those few who are in charge of the majority of the world’s wealth and use the ‘divide and conquer’ tactic to keep it. This song calls on us to unite and turn our focus to those with a stranglehold on humanity.”

Stand For Myself was released via Easy Eye Sound on July 30, 2021 and hailed as a singular sonic shift, by publications including The New York Times who stated, "'Stand for Myself,’ is an album made on her own terms” and All Songs Considered anointed the album “the best soul record of the last 20 years.” The album landed the #1 spot on the U.S. Americana Albums charts and single “Diamond Studded Shoes” also snagged the #1 spot on the U.S. Americana Singles chart, now celebrating a total of 8 weeks at the top of the chart.

Produced by Dan Auerbach, the album traces a musical thread to Yola’s most eclectic musical inspirations. From the seminal albums Yola discovered via her mother’s 70s record collection, to her love of eclectic British radio, which featured a fluid mix of rock, 90s neo soul, R&B and britpop—all which soundtracked her childhood and teenage years in Bristol, England. It reflects on Yola’s belief in the possibility of paradigm shift beyond the mental programming that creates tokenism and bigotry, which have deeply impacted her personal life and professional career.

Yola recently announced her upcoming early spring 2022 headline tour dates that will see her perform shows at venues across the US. She will also be performing dates with Chris Stapleton on his rescheduled tour in 2021, including Madison Square Garden on October 8 and two nights at Bridgestone Arena on Oct 22-23. For more information and tickets please visit: www.iamyola.com

2021 Live dates include: Aug 21 - Globe Life Park - Arlington, TX - w/ Chris Stapleton Aug 22 - Outlaw Music Festival - Austin360 Amphitheater Sep 3 - Summerfest Sep 5 - Jazz Aspen Snowmass Sep 11 - Moon River Festival Sep 12 - Sing Out Loud Festival Sep 16 - Hollywood Casino Amphitheatre - Maryland Height, MO - w/ Chris Stapleton Sep 17 - Oak Mountain Amphitheatre - Birmingham, AL - w/ Chris Stapleton Sep 18 - The Wharf Amphitheatre - Orange Beach, AL - w/ Chris Stapleton Sep 25 - Ruoff Music Center. Noblesville, IN - w/ Chris Stapleton Sep 26 - Ohana Music Festival Oct 7 - Harvester Performance Center - Rocky Mount, VA Oct 8 - Madison Square Garden - NYC, NY - w/ Chris Stapleton Oct 14 - Mizzou Arena - Columbia, MO - w/ Chris Stapleton Oct 15 - Pinnacle Bank Arena - Lincoln, NE - w/ Chris Stapleton Oct 16 - Denny Sanford Premier Center - Sioux Falls, SD - w/ Chris Stapleton Oct 21 - Riverbend Music Center - Cincinnati, OH - w/ Chris Stapleton Oct 22 & 23 - Bridgestone Arena - Nashville, TN - w/ Chris Stapleton Oct 28 - United Supermarket Arena - Lubbock, TX - w/ Chris Stapleton Oct 29 - Isleta Amphitheater - Albuquerque, NM - w/ Chris Stapleton Oct 30 - AK-Chin Pavilion - Phoenix, AZ - w/ Chris Stapleton Nov 4 - Frank Erwin Center - Austin, TX - w/ Chris Stapleton Nov 5 - BOK Center - Tulsa, OK - w/ Chris Stapleton Nov 6 - Cynthia Woods Mitchell Pavilion - The Woodlands, TX - w/ Chris Stapleton Nov 28 - Bristol, Eng - Rough Trade Dec 3 - FedEx Forum - Memphis, TN - w/ Chris Stapleton Dec 4 - Mississippi Coast Coliseum - Biloxi, MS - w/ Chris Stapleton Dec 5 - Thompson-Boling Arena - Knoxville, TN - w/ Chris Stapleton

The health and safety of Yola, her band, her crew, and her fans is of the utmost importance to us all. We are aware that safety precautions and best practices concerning COVID-19 are constantly changing and as a team we will continue to monitor the situation.

[stephaniemarlowftw]

These Arms Are Snakes Unveil “Riding the Grape Dragon (Demo)," Announce U.S. Tour Dates

The song appears on their rarities collection Duct Tape & Shivering Crows, out on April 15 via Suicide Squeeze. // See These Arms Are Snakes in select markets this June + July.

Photo by: Robin Laananen.

As they prepare for the release of their career-spanning, double LP release Duct Tape & Shivering Crows on April 15th, legendary post-hardcore group These Arms Are Snakes reveal a music video for “Riding the Grape Dragon (Demo)" and announce shows in Denver, Chicago, Brooklyn, Oakland and Los Angeles this summer (details below).

Originally appearing on the These Arms Are Snakes demo in 2003, “Riding the Grape Dragon (Demo)” resurfaces today alongside an extraordinary new music video directed by Documavision. Of the single, TAAS bassist/multi-instrumentalist Brian Cook comments, “We recorded our first four songs with Ben Verellen in his basement studio in the Hilltop neighborhood of Tacoma, WA sometime in late 2002 / early 2003. I remember very little of the session other than sleeping beneath the mixing console after a late night of drinking. The four songs were burned onto CD and mailed to every record label we liked. ‘Riding the Grape Dragon’ was the first song our unexpecting recipients would hear, and it was apparently a strong enough song for people to listen to the entire CD and respond to our unsolicited demos. We got a phone call from Jade Tree just a few days after we dropped our demo in the mail… which was surprising given that we’d forgotten to include any contact info in the package. Fortunately, there were enough mutual friends between us and the label that they were able to track us down, and later in the year we’d re-record the four demo songs plus ‘Drinking From The Necks Of The Ones You Love’ for the This Is Meant To Hurt You EP.”

Watch (+ share) These Arms Are Snakes' "Riding the Grape Dragon (Demo)" music video on YouTube.

Taken as an overview of These Arms Are Snakes’ career, Duct Tape & Shivering Crows is an exhilarating study of the band’s sonic evolution, varied musical approaches, and consistent quality. Taken without the historical context or typical considerations for a compilation album, it’s still a cohesive and enthralling record with an arc that takes you from the razor-sharp refinement of their final years through the adrenalized prog-punk explorations of their mid-career work and ultimately ramps up to the narcotic frenzy of their earliest material. If you were a These Arms Are Snakes fan back in the day, this is a crucial addition to your library. And even if you were a dilettante or a naysayer, this collection serves as an exciting recontextualization of a band that was often misunderstood and misrepresented by the media. Suicide Squeeze Records is proud to release Duct Tape & Shivering Crows to the world on April 15, 2022 on CD, cassette, digital formats, and 2xLP.

See These Arms Are Snakes live this summer; tickets go on sale on April 1st:

June 15  Denver, CO @ Marquis Theater

June 16  Chicago, IL @ Lincoln Hall

June 18  Brooklyn, NY @ Warsaw

July 7  Oakland, CA @ Crybaby

July 8  Los Angeles, CA @ Echoplex

Duct Tape & Shivering Crows track listing:

1.  Meet Your Mayor

2.  Camera Shy

3.  Trix

4.  Energy Drink and the Long Walk Home

5.  Heart Shaped Box

6.  Washburn

7.  Old Paradise

8.  Payday Loans

9.  Hook on This

10.  Riding the Grape Dragon (Demo)

11.  Run It Through the Dog (Demo)

12.  Diggers of Ditches Everywhere (Demo)

13.  The Blue Rose (Demo)

[canopyweekends]

Red on light blue tampon printed, pro dubbed c40 tape and 160g inkjet printed cardboard cover housed in a transparent snapbox.

Two amps and a fogged up window with a wide view. Different ideas of playing rubbed into the sunset and boiled up to growling guitar tectonics. Philipp and Philipp met in a rehearsal room directly above a Baptist church, car repair shops in the neighborhood, with two guitars and a small bunch of effect pedals. The resulting nine pieces show the communication of two minds through sound and the comic side of melancholy. Songs that shift between free-folk, drone and ambient. Melody and low end, feedback and delay. No preconceived arrangements, just improvising and exploring the unknown. Philipp Roth (of Red On and Miira) and Philipp Hager (of Zement and Schweben) have been active in musical outlands for years. »Offenbach« is their first album as a duo—after several tours and live shows together in different constellations. 

Date of releases March 15, 2022 All music by Philipp Dittmar & Philipp Hager. Recorded, edited and mixed by Philipp Dittmar & Philipp Hager in Nurernberg between spring 2019 and autumn 2020. Additional mixing by Alexander Günther. Mastered by Isabel Schroer at Olo Mastering, Berlin. Cover by Winkhorst, based on a collage by Cris Koch. Distributed by Buch- und Kunsthandlung Hübener, Bremerhaven.

https://canopyweekends.bandcamp.com/album/hager-roth-offenbach