Oh My God is simply one of the greatest live shows that has ever existed. I have been following these guys since about 2003, from Duffy’s Tavern to the Double Door and now to Pianos in Manhattan. It has been nearly eight years since I fist got a glimpse of the insanity that emanates from the stage – I was once fortunate enough to open for them. Anyways, I’ve told my stories about one of my all time favorite bands in prior posts (here and here), but here they are again, beginning their fall tour with us in NYC. If you know what is good for you, you’ll go to Pianos tonight a see it for yourself.
Below are a few videos from their new material. Also, visit their website oand myspace.
The Amygdaloids
Theory of My Mind
Knock Out Noise
June 15th 2010
Imaginate by the Amygdaloids
In the Fall of 2005 I walked into Union Hall in Brooklyn to catch a public lecture given by Dr. Joe LeDoux, professor at NYU’s Center for Neural Science. While I have many interests, I always fell short in the sciences, so you can imagine I was quite certain I wouldn’t understand a word of Joe’s discussion of the world of neurons, memory, fear and that little nut shaped region in the brain called the amygdala. But Dr. LeDoux’s lecture was entirely accessible and served as testament to his ability to communicate the business of neuroscience. He has written two books aimed at a general readership, offering not-so-science-savvy folks an avenue towards understanding how their brain works. So one might say that Joe has embraced his role as neuroscience’s public intellectual, ensuring that what goes on in the realm of his discipline does not become too far removed from the questions and curiosities of the people. Think Ted Talks. But LeDoux’s connection to the complex world of neuroscience is not the end of the story. After the lecture, the audience joined LeDoux and a few of his fellow scientist friends up to the first floor of Union Hall where they performed as The Amygdaloids. Right before my eyes I watched these scientists shatter every stereotype concerning the “right brain-left brain” dichotomy. But that was 2005; The Amygdaloids have come a long way since that Union Hall show, releasing their latest record in June called Theory of My Mind.
The two clearest influences that inform The Amygdaloids’ music are the distinct styles of lead guitarist Tyler Volk and LeDoux. Through Volk’s guitar flow accents and power riffs reminiscent of the Monterey Pop Festival of 1967 and the immortal Woodstock that followed two years later. He celebrates the work of Jimi Hendrix and Carlos Santana with his blues laden psychedelia. LeDoux for his part writes songs that project the giest of 60’s dream pop, his songs are products of an ethic that demands good pop be, as Jack Tatum from Wild Nothing said, “catchy but not cheap.” LeDoux is a story teller who, with regard to lyrics and music, is guided by the path set out by the likes of Bob Dylan and The Byrds. The two band members’ influences combine to make a whimsical explication of neuroscientific import embedded in the form and fashion of rock and roll. The lyrics present in Theory of My Mind all hail from the band’s public intellectual ethos. Crime of Passion is a track that explores the question of how much responsibility individuals have when they commit crimes during heightened emotional states. The narrating character of the song croons from a prison cell, recalling the reasons he committed murder and his regrets, singing, “If I could go back, I wouldn’t have killed for you. You’re not worth what I am going through.” Appropriately, to accompany this morose contemplation, Rosanne Cash (daughter of Johnny) sings backup, imbuing the track with a strong sense of sadness.
Itis clear from the various titles of the songs that theme of Theory of My Mind is brain science, with all titles in some way referring to motifs of memory, fear, and individual will. Rhythmically, Tyler Volk’s Automatic Mind is a very creative endeavor that diverges slightly from the overall cohesion of the record. This side item song has a style of its own, mixing the choral melody of 60’s pop with the grim and gothic verse of early 80’s British post-punk. The song succeeds as an unexpected amalgamation.
The CD’s title track, Theory of My Mind explores a psychological question concerning when individuals begin to impute mental states such as desires and beliefs to others, and in turn believe that other individuals impute such mental states to them. In essence, when do we feel empathy; when do we recognize the hopes and fears of others and when do we believe they know or think about ours? Often the answers to these questions have been idealized as representative of our most human emotions, but these emotions are not so easily understood. These questions have diffused over a broad field of disciplines including anthropology, primatology, philosophy, etc. Theory of My Mind is a record that explores these and many other questions. Using the language of love, regret, and all the other entries in the lexicon of rock and roll, Theory of My Mind translates the inquisitiveness of the laboratory onto the forceful expression of the stage.
Pharmacy Spirits
Teen Challenge
March 2010
Self-Released.
Pharmacy Spirits – Books Pharmacy Spirits – Just Like Charles
This spring we received a beautiful gift from Nebraska’s Pharmacy Spirits. Following the path carved by their debut EP Every Song Ended In 1994, Teen Challenge stands on the shoulders of giants, and it stands tall. The record somewhat insinuates a contradiction, sharing the name of an evangelical Christian outreach program created in the 1950’s to heal the country’s youth of their addiction to drugs, alcohol, and sexual perversion. Pharmacy Spirits and Teen Challenge explores the expanse between depraved debauchery and outlandish treatment programs; the anxiety of each extreme is encapsulated by the band’s style. Taking a listen to their earlier EP, one recognizes a celebration of British and American new wave and post-punk engaged in fornication with college radio demigods, producing a dance driving vegrandis opus that is ultimately hip.
The observation that sometime in 1994 the music died sells the narrative that the 80’s was a truly significant decade. The lives of such admired artists as The Glove, The Cure, Joy Division, Bauhaus, The Fall, and later bands like the Pixies and Pavement (Slanted and Enchanted, 1992 and Crooked Rain, Crooked Rain 1994), all flared and faded by the time 1994’s final sun set. Though this would be only one telling of the story, as many would argue that the few bands who still release albums are alive and well, not to mention, the very existence of Pharmacy Spirits’ seemingly inarguable relevance underscores the fact that many of these bands’ early catalog has never been hotter. These artists though have come through the looking glass marred by the now romanticized experiences of sex, drugs, and death. Enter Teen Challenge.
Piecing together and then articulating the ambient qualities of a record is never easy. The critic is forever the douche bag for ever even considering the use of his vocabulary. Teen Challenge though has a warmth and beauty that is so exquisitely wrought with desperation and exhaustive emotion that it would be difficult to talk about it without reading like a canvas description at the MOMA. Teen Challenge has all that the throw-backs of the modern era could ever hope. The best songs make you want to dance, the rest are just as cool, though the contrast between pulsations such as Books or Just Like Charles and the slow downs like Safety Now only serves to elevate the power and energy of the former. Simply put, Teen Challenge is a beautiful gift that has reified all that we ever loved about the decade of decadence, yet at the same time Pharmacy Spirits has the guts and vision to move beyond a bygone time, through the looking glass, to explore what still counts, what is still relevant. By all measures they have succeeded.
Tour
August 28th 7PM Eclipse Records w/ Dragons Power Up! & tba Minneapolis, Minnesota
August 29th 9PM Vaudeville Mews w/ Gabe Cordova & tba Des Moines, Iowa
September 3rd TBA
September 4th TBA
October 1st 9PM The Cave w/ Gospel Gossip! Northfield, Minnesota
October 2nd 9PM 331 Club w/ Gospel Gossip Minneapolis, Minnesota
Arthur Killroad
The Longest Day of My Life
June 2010
Self Release
I Don’t Eat Syrup, I’m a Man Life in the Malebolge
Once again I have spent way to much time considering how I should approach a record that is miles away from my cup of tea but one which I have great respect for in terms of song writing and recording. What can you say when a guy simply does what he does really damn well. Arthur Killroad’s music reminds me of a good and dear friend who, even when surrounded by the snobbiest of snobby indie kids, says “I write great pop songs, I can’t help it, and I’m not going to run away from it.” Arthur Killroad, or Mike Petruccelli if you prefer real names, has recently self-released The Longest Day of My Life, a seven track pop-core confection that shamelessly employs nearly every hook in the book producing a record so easy on the ears you almost forget the constricting waistline of your Skinny 511’s™. Killroad’s latest effort has markedly improved on his last venture, which was similarly hook laden, but this time around he has not only kept the lyrics clever, but he has cradled his words in a soundscape of music employing much more than his flicker fast acoustic guitar and gruff impassioned voice.
The addition of a trap set, bass, and the occasional crunchy distorted guitar punch in has added considerable value to his project. This is not to say that his solo recordings are empty, but he has simply written better music that functions in large part due to layers and contrasts. In some ways I think he could go even further. Fine…he can keep the hooks, keep the borderline emo-nouveaux melodies, keep the Ben Folds inflected voice; keep ‘em, but The Longest Day of My Life demonstrates that Killroad knows how to orchestrate, he knows how to arrange and I am interested to hear what comes next. Killroad hails from Athens, Ohio; though I am pretty sure I spied him walking around Alphabet City last year. His myspace mentions that he is on his way to Chicago, a town I am very familiar with. With new plans, a new city, and new friends, he will have a whole new pool of experience from which to draw. Killroad has let it be known that he has turned a corner in his life and his music clearly reflects that.
The Atlantic Manor
The World Beneath This World is Brightening
Do Too Records
Spring 2010
“The Captain’s Name Was Death” by The Atlantic Manor
“I am proud to be lo-fi. I know of no other way.”
The above sentiment offered by R. Sell, the Miami based singer-song writer known as The Atlantic Manor, has so much heart it inspires. He rightly suggests that no matter your resources, you can find a way to record and circulate your music amongst a community of listeners. Over the last decade R. Sell has released 11 diy, lo-fi records under the The Atlantic Manor moniker and from the looks of it, this dude has no intention of stopping anytime soon. Sell strongly identifies with the American underground music scene whose beauty and authority comes from the pure motives and raw energy of those artists that dare to do something out of the ordinary. With complete disregard for the monotonous expectations of the cacophonous clamor of the music industry’s crony-capitalist regime, Sell envisions the American underground as a community and a movement that is required in order to maintain any semblance of genuine and authentic artistry within America’s broader music economy. Simply said the shear volume of work and the grit and guts with which this project has been engaged is awesome. But it must also be said to be problematic. Any record from one moment to the next can be said to have varying degrees of relevance, but I am unsure if this can be said of The Atlantic Manor’s 11th release The World Beneath This World is Brightening.
The record opens with lackadaisical strumming and a twisted child like voice singing what seems to be a satanic version of Old McDonald Had a Farm. The second track Vessels somewhat resembles Joy Division’s Atmosphere. It is a 14 minute long cyclical and meandering progression with muted and indistinct lyrics. The strategy of the track is the same as Velvet underground’s Heroine, a simple structure with vocals littering the staccato guitar notes, though the track never builds, it does not crescendo, and it does not really move a muscle from the first note until the last. The next song, Failing By the Second, begins with a muted strum subtly sounding in the background, and a metronomic back beat that is upfront and unwavering, save the occasional fill. The song is minor and brooding; it is haunted by guitar distortion that mimics the sound of a depressed whale song or the moan of steel beams that shift back and forth in some post-apocalyptic wind.
Like the majority of The Atlantic Manor’s music, The Captains Name Was Death is structured by the cyclical pattern of a few strummed chords. R. Sell’s voice is bloodshot with humility. The track just rolls along as tremolo accents and an inartful clean tone guitar solo dance with the synthesized sound of a wood saw song. The drums for DeathCrown, the epitome of diy recording, have Stephen Morris all over them, but it is at this very moment that R. Sell’s formulations become tired. The songs run into to each other, making it difficult to decipher one from the other. While Apple Dreams definitely has wistful qualities, these qualities are mere replications of what was heard for 14 minutes in Vessels. The songs may not be exactly the same, but some might say that one’s existence makes the other obsolete.
The World Beneath This One is Brightening, like the record itself, is out of sync and out of tune; it is a mélange of minor chords and baritone mud sack sadness that never really translates into anything. At this point it becomes clear that the record is limited in its depth. The transition from The World Beneath to The Good Son is astounding in its sameness. The closer is a 12 minute depressant that perhaps encapsulates Sell’s best effort. Black River Runs’ attempt to infuse various unorthodox sounds into the haphazardly strummed guitar backed by a syth drone is quite appealing. I have received much of Atlantic Manor’s back catalog and am eager to peruse the collection of songs. Like a second-hand store, The Atlantic Manor conceals the occasional diamond in the rough, but that gem is all too often embedded in throw away tracks. I understand that The Atlantic Manor wants to be profoundly productive—11 albums in 10 years—but I would say that the band/the song-writer would be very well served if they or he or whomever was more selective of the parts of themselves that they choose to exhibit; that is if they would like their community of listeners to grow.
Other Music
Slow Drugs and Other Sorrows (2009)
On the Wrong Side of Saturday Night (2008)
All the Best Girls Have Winter Hearts (2007)
Sneaking Up on the Death Scene (2006)
The Trouble that You Left (2006)
Special is Dead (2005)
Failing by the Second (2004)
The Desperate Vibe of Emotional Devastation (2002)
The Hate We Get Going (2001)
When I am a Viking (2001)
The bluesy musings of Jeff Shelton of Louisville, Kentucky combine the heritage developed in folk narrative story telling and a groundling’s attitude toward art. Shelton underscores this dynamism with his juxtaposition of Prisoner’s Lake, the fourth track on his latest CD titled Lazy Bones, and the subsequent track Oldest Memory. Prisoner’s Lake is a lamentful ballad with a slow and tender melody backed by a beautiful vocal track that stresses a frightful innocence. You can hear the room space and brushes as they hit the snare, creating a sense of intimacy and emotional inundation. In Oldest Memory, Shelton performs singsong poetry, highlighting erectile functions and spread eagle positions. The Mack performs more often than not at a base level. However, throughout the record, strands of warmth and artistic sincerity emanate. At these junctures, Shelton’s most tenable road to greatness is revealed.
Wilco
Wilco (The Album)
June 30th 2009
Nonesuch Records
The danger of writing an unabashedly and deliberate self-referential album is immense. It is often the kind of indulgence that eternally condemns and confines many records of its kind to Best Buy bargain bins. Of course there are the great cannon makers who will always be remembered for their eponymous contributions, Led ZeppelinI,II, III, & IV; The Who Sell Out; The Beatles (commonly referred to as The White Album); etc. Wilco goes beyond imprinting their name on a record or a song (in this case both). Blaring their self awareness, they have titled their newest record Wilco (the Album), and the first song on the release Wilco (The Song). But with all this narcissism, the album’s contents are not Xeroxed copies and remakes. The songs are fresh.
The band has moved effortlessly from their post Uncle Tupelo reformations, A.M and Being There, through the nascence of Summerteeth to their seminal Nonesuch release Yankee Hotel Foxtrot and then on to the whammy crazed, Nels Cline addledA Ghost is Born, which won a basket full of awards—partly based on merit and partly based on the cachet accumulated by the release of I Am Trying to Break Your Heart: A Film About Wilco—arguably the greatest music DVD ever released. The film documents the production of Yankee Hotel Foxtrot, cementing their status as industry underdog, giving even more attention to their follow up. From there they released a live CD documenting their 2005 show at The Vic in Chicago and later in 2007, Sky Blue Sky—a masterful retreat into neighborhood nostalgia and hometown reflection. With such a varied spectrum of song typology, where was Wilco to go? Their answer was a satirical celebration of themselves. The answer was Wilco (The Album).
Unquestionably the most polished and produced record of Wilco’s catalogue, this newest venture sees the band marinade amongst themselves. They are like an old married couple, the husband and wife begin to look alike. Cline and Tweedy alternate and converge through scales of distortion and wild free form feedback. Pat Sansone plays it straight with his standard roots rock licks that occasionally serve to anchor an otherwise frenetic guitar section. The album is eclectic in itself at times characterized by experimental loops and other times by subdued pop melodies. Leslie Feist duets with Tweedy on the song You and I. The song is soft and easy. It is a perfect midpoint between the pop orchestration the erupts in the beginning, Wilco (The Song), and the record’s conclusion, Everlasting, a song with subtle experimentation and a beautiful outro of wisping loops of Wilco’s signature guitar medley of Tweedy and Cline.
Wilco’s performance at Keyspan Park in Coney Island was worth the $55. I broke my own ethics in buying the tickets. No show should cost this much. When bands price themselves that high, it is a “fuck you” heard loud and clear. But I bought the tickets anyway and solemnly swallowed my convictions knowing that I’d get to see Yo La Tengo open. The predication of Ira Kaplan’s distorted wall of noise to the Tweedy/Cline symposium was phenomenal. It was like seeing my two favorite two cousins. The show lasted three sets. This confused me because I was pretty sure Tweedy was a little put off by the audience. It was tough to tell whether he was mocking the thousands of fans, many of whom were middle aged khaki wearing stiffs with pink ball caps or fraternity brothers sucking down fifths of Southern Comfort and screaming “wooo hooo” like Homer Simpson. At one point he stood in disbelief, shoulders ashrug when the crowd continued to sing Take Me Out to the Ball Game when he jokingly suggested it was his next tune. This underscores Tweedy’s dickishness but it doesn’t explain why he gave us everything that night. No matter the reason, it was a brilliant and a great show. Wilco is/are absolutely classic in every sense.
UPDATE: A reader points out that Nels Cline did not in fact play on A Ghost is Born. This is a misperception on my part stemming from the fact that I saw the group tour for A Ghost is Born and Nels was aboard. Thank you very much John-Paul for the correction. Somehow it is indeed more satisfying that Tweedy plays those solos himself. Though Nels is incredible.
Other Records
A.M.-1995
Being There-1996
Summerteeth-1999
Yankee Hotel Foxtrot-2002
A Ghost Is Born-2004
Kicking Television: Live in Chicago-2005
Sky Blue Sky-2007
01 “Wilco (The Song)”
02 “I Am Trying to Break Your Heart”
03 “Shot in the Arm”
04 “At Least That’s What You Said”
05 “Bull Black Nova”
06 “You Are My Face”
07 “One Wing”
08 “Handshake Drugs”
09 “Deeper Down”
10 “Impossible Germany”
11 “Jesus Etc.”
12 “Sonny Feeling”
13 “I’m Always in Love”
14 “Can’t Stand It”
15 “Hate it Here”
16 “Walken”
17 “I’m the Man Who Loves You”
18 “Hummingbird”
Set 2
19 “Heavy Metal Drummer”
20 “You And I”@
21 “California Stars”*
22 “You Never Know”*
23 “Misunderstood”
24 “Spiders (Kidsmoke)”#
Set 3
25 “The Late Greats”
26 “Hoodoo Voodoo”*
@ w/ Feist on vocals
* w/ Feist and Ed Droste of Grizzly Bear on backup vocals and percussion
# w/ Yo La Tengo
Animal Collective
Merriweather Post Pavilion
January 20th 2009
Domino
Two of my favorite things come from Baltimore, Maryland, the setting for The Wire and Animal Collective. Now living in New York City, Avey Tare (David Portner), Panda Bear (Noah Lennox), Deakin (Josh Dibb), and Geologist (Brian Weitz) make up what is easily one of the most dynamic bands celebrated by popular music’s enlightened underclass. To be sure, 2007’s Strawberry Jam was not perfect, but it was an infectious collection that had everyone’s ears aflutter. Animal Collective’s follow up, Merriweather Post Pavilion has only improved on the band’s innate sense of melody, creativity, and freakishly impressive composition.
With Panda Bear’s solo, Person Pitch, upstaging critically Strawberry Jam, it is no surprise that Merriweather Post Pavilion is a softer, more relaxed, and sober album. Person Pitch, winning a shack full of accolades, is a hyper ethereal and subdued record that never approaches the measured schizophrenia exhibited on Strawberry Jam. Merriweather Post Pavilion draws at least part of its genealogy from this release. The guttural rantings of Peacebone and For Reverend Green are tucked away deferring to harmonious vocal polyrhythms. There is an air Paul Simon’s usage of South African melodies and music that recalls Graceland in the most flattering way possible.
Merriweather Post Pavilion is Animal Collective’s most vocally accessible record. While its sedated character makes for easy listening and demonstrated maturity, the band has reserved their most vibrant songwriting for another day. Every flaw bitched about off of Strawberry Jam was attended to and corrected. But the heart and soul of the two records are far from one another. An apologist would argue that this obviously stems from the fact the they are indeed two different records, but even they would deep down inside feel the cold void caused by the absence of Animal Collective’s most delicious attribute—madness.
Other Music
Spirit They’re Gone, Spirit They’ve Vanished- 2000
Danse Manatee- July 2001
Campfire Songs- 2003
Here Comes the Indian-2003
Sung Tongs- 2004
Feels- 2005 Strawberry Jam- 2007
Tour
Jul 16 2009 8:00P Cigale, Paris
Jul 17 2009 8:00P Dour Festival, Dour
Jul 18 2009 8:00P Melt Festival, Grafenhainichen
Jul 19 2009 8:00P Jarocin Festival, Jarocin
Jul 20 2009 8:00P Postgarage Graz
Jul 21 2009 8:00P Bands Apart Festival @ Piazza Castello, Ferrara
Jul 22 2009 8:00P Rock in Roma @ Ippodromo, Le Capanelle Rome
Jul 23 2009 8:00P Jazzaldia at Kursaal San Sebastian
Jul 26 2009 8:00P Fuji Rock Festival, Nigata
Aug 8 2009 8:00P Lollapalooza, Chicago, Illinois
Aug 8 2009 8:00P Lollapalooza DJ Set, Chicago, Illinois
Aug 14 2009 8:00P Prospect Park Bandshell, Brooklyn, New York
Aug 15 2009 8:00P Prospect Park Bandshell, Brooklyn, New York
Aug 20 2009 8:00P Brixton Academy w/ Gang Gang Dance, London
Aug 21 2009 8:00P Green Man Festival, Crickhowell
Sep 12 2009 8:00P All Tomorrow’s Parties, Monticello, New York
Brian E
Yellow Light District
Record Label Records
July 15th 2009
“Don’t Stop—Just Slow Down”
This motto on the cover of Brian Ellis’ newest project speaks volumes. Yellow Light District, due to be released as a limited series of 500 individually numbered 12” vinyl in July, is vintage sonic pornography for those who get a hard-on when they listen to the likes of the Beverly Hills Cop soundtrack, or are obsessed with 1988’s Bloodsport…err anything Jean-Claude Van Damme. This record is no conservative, veiled throwback; it is a neon headband inspired synth-feast.
I listened to the LP while jogging through industrial Bushwick and Williamsburg. I quickly transformed into Little Mac training for my final bout with Mike Tyson in NES’ Punch-Out. Yellow Light District’s most penetrating hook is its style; It isn’t intellectual—it isn’t professorial—it is its own weird science. The first track, Theme, flawlessly begins the record with rolling waves of soft synth melodies that eventually starburst into a dance floor beat, textured with free form keyboards. As every track passes, Mr. E never lets up, always reintroducing the listener to an era some wish was long forgotten. But like the venerable Dov Charney seems to believe, some things don’t die for a reason, and there should always be those creatives out there to remind us why.
Andrew Bird
Noble Beast
Fat Possum
January 20th 2009
I first saw Andrew Bird perform as I watched back stage at 2005’s inaugural Intonation Festival in Chicago’s Union Park. He performed with a lone drummer and a loop machine, displaying his truly awe-inducing proficiency at layering himself over and over until the fullest, deepest chorus emitted from the stage stacks. It was this first encounter that attached me to his third solo record The Mysterious Production of Eggs. It was a record that defined the summer of 2005 along with the other monster releases of that year. While I cannot say that Noble Beast is a return to his earlier work—he has after all an extraordinarily lengthy and impressive repertoire, the vast majority of which sounds nothing like the music of recent years—it is worth noting that Mr. Bird has walked back a bit the more refined direction he pursued with his fourth solo release Armchair Apocrypha, returning instead to slightly more grainy rhythmic loops and eloquently worded lyrics.
The new terrain Andrew Bird chooses to explore with Noble Beast is something of a somber excursion narrated by songs written with epic cadences and animistic themes. The two most rewarding deviances from his prior works are Not a Robot, But a Ghost and Anonanimal, the later of which contains Bird’s finest song writing. Some might accuse him of dipping his toes into full fledged post-rock mockery, Tortoise meets Explosion in the Sky, but the sheer quality of the track quickly wins over and grumblings. Andrew Bird still has his obsessions with medical terminology and molecular compounds, with calcium revisiting his lyric book yet again. This record is punctuated with quaint interludes belying his fascinations with Irish folk and bluegrass. In fact the personal sentiment drawn from Nobel Beast is a result of looking back at the foundational elements of individual style, of looking inward and returning to a sense of self; while at the same time launching forward again, looking at new prospects and new tones of expression without releasing that which make him so great. Nobel Beast is simply said his best record yet.
As Bowl of Fire
Thrills (1998)
Oh! The Grandeur (1999)
The Swimming Hour (2001)
As Andrew Bird
Music of Hair (1996)
The Ballad of the Red Shoes EP (2002)
Fingerlings (2002)
Weather Systems (2003)
Fingerlings 2 (2004)
The Mysterious Production of Eggs (2005)
Fingerlings 3 (2006)
Armchair Apocrypha (2007)
Live In Montreal (2008)
Fitz and the Dizzy Spells EP (2009)
Noble Beast (2009)
Tour
Jun-8 Merriweather Post Pavilion Columbia , MD
Jun-14 Bonnaroo Manchester, TN
Jun-15 Cobb Energy PAC Atlanta, GA
Jun-18 Radio City Music Hall New York, NY
Jun-19 Bank of America Pavilion Boston, MA
Jul-10 Greek Theatre Los Angeles, CA
Jul-11 Greek Theatre Berkeley, CA
Jul-13 Red Butte Garden Salt Lake City, UT
Jul-14 Red Rocks Amphitheatre Morrison, CO
Jul-16 Britt Pavilion Jacksonville, OR
Jul-17 Marymoor Amphitheatre Redmond, WA
Jul-18 McMenamins Edgefield Amphitheater Troutdale, OR
Jul-19 McMenamins Edgefield Amphitheater Troutdale, OR
Jul-26 Squaw Velley Ski Resort Olympic Valley, CA
Aug-06 Eastnor Castle Ledbury, UK
Aug-07 Lollapalooza – Grant Park Chicago, IL
Aug-07 Eastnor Castle Ledbury, UK
Aug-08 Eastnor Castle Ledbury, UK
Aug-08 Lollapalooza – Grant Park Chicago, IL
Aug-09 Eastnor Castle Ledbury, UK
Aug-14 Haldern Pop Festival Haldern, DE
Aug-15 Haldern Pop Festival Haldern, DE
Aug-21 Glanusk Park Powys, UK
Aug-22 Glanusk Park Powys, UK
Aug-23 Glanusk Park Powys, UK
Oct-02 Austin City Limits Festival Austin, TX
