Consequence of Sound » Darker My Love http://consequenceofsound.net Think Fast, Listen Slowly Thu, 31 May 2012 15:17:41 +0000 hourly 1 http://wordpress.org/?v=3.4-RC1-20950 Cass McCombs performs new songs at 826LA for Culture Collide (10/9) http://consequenceofsound.net/2010/10/cass-mccombs-performs-new-songs-at-826la-for-culture-collide-109/ http://consequenceofsound.net/2010/10/cass-mccombs-performs-new-songs-at-826la-for-culture-collide-109/#comments http://c438342.r42.cf2.rackcdn.com//wp-content/uploads/2010/10/Cass-McCombsthumb.jpg Mon, 11 Oct 2010 04:44:28 +0000 Philip Cosores http://consequenceofsound.net/?p=75654 Though Cass McCombs performed a fair split of new and old tunes in Echo Park on Sunday night, the defining moment of the set came before the final song, and only because of what song he didn’t play. Backed by three supporting musicians, including Darker My Love bassist Rob Barbato, McCombs announced that he had come to his last number for the evening. An uninspired chorus of faint female voices seemed to believe this would be, and should be, the country-tinged beauty “You Saved My Life”. McCombs, though, had different ideas and said it was going to be a new composition, and as it played out, it was the only “rocker” of the slow-paced set. Of course, the entire performance was played without percussion or electric instruments, usually an indicator that the music would be performed within the limitations of coffee-house rock. There was also the setting of a classroom, with the venue being the LA chapter of Dave Eggers 826 Valencia creative writing school.

The song must have been a mere two minutes long. When it concluded , the singer half-apologized for it, saying it would sound better the next night when they would play with their drummer. The crowd remained seated, as if anticipating McCombs would surprise them by playing the song they liked, and weakly demanded, after-all.

Nope. That was the end.

The show was a part of Filter’s Culture Collide Festival, which rounded-up a surprisingly solid lineup of artists for four days of daytime events and night shows in the neighborhood’s selection of venues. An affordable wristband could get you into sets from Tokyo Police Club, Monotonix, White Lies, and many more, with The Echo, Echoplex, and Spaceland among the participating venues. McCombs was one of the many Americans on the bill, but as the conclusion of his set reinforced, McCombs doesn’t have to look far to take part in cultures colliding. In fact, he made a comment about being happy to take part in the benefit and that he didn’t know who it was benefiting. I couldn’t tell if he was joking or not. I still don’t know if there was a benefit, either, so I’m with you Mr. McCombs!

I had previously seen him open for Modest Mouse at The Catalyst in Santa Cruz, more than five years prior and he was not the warmest or most comfortable of performers then, either. But that’s why we call them artists and not performers. Some of them, at least.

Cass McCombs’ live show seems more like a bi-product of being a musician than his chosen medium for artistic interaction, with McCombs as a painter of of pop music atmospheres, creating mood and texture with his simply-arranged songs that are often startling in their beauty and piercing in their lyrical insight. He is not a natural-born rockstar and doesn’t pretend to be, but if he manages to entertain folks while unfolding some songs for them, well, that is a bonus. Thus this set, as McCombs has been reported to be working on his next album, seemed like a practice run for new material more than anything else, even the possible charity. But also note that McCombs has a number of albums and though a few songs seemed new, including a tune about a doll and the opener with the refrain of “buried alive”, this could be a false assumption made because no one there seemed particularly familiar with his work and McCombs is not the talkative type, only occasionally offering a song title. In the Bay Area or maybe New York, the set would have killed, with hordes rabid fans looking to hear new music from their beloved artists. The casual streets of LA are less involved and embracing, epitomized by music-festival folk who check out a sleepy acoustic set because they like that one slow song with the slide-guitar. Their disappointment was warranted, but honestly, it didn’t make the set any less enjoyable.

Yeah, the only cultures colliding during this set were that of the slightly awkward artist against the paradigm of the American consumer, which manifested as these 50 or so young, mostly white people. The contingent that was a little more familiar with the catalogue of Cass McCombs recognized the night’s third number, “Dreams Come-True Girl”, earning a gasp from a few reactionary ladies. Another Catacombs standout made the latter part of the set, “Prima Donna”, which played to a less involved group, but still sounded as simple and sweet as the album version. But no matter how touching a heartfelt version of “You Saved My Life” might have seemed, the crowd got something much better in the exquisite recreation of Dropping the Writ’s “Windfall”, which allowed the band to show off with mirrored guitar and keyboard leads. The reluctant ringleader could be caught appreciating the delicate notes between his versus.

It is baffling that even after getting substantial press and critical acclaim for last years Catacombs, Cass McCombs still plays in front of tiny crowds, sits way down on a festival bill where the biggest band is Tokyo Police Club, and is about the most difficult artist to find contact information for as there is. He has returned to the indie-consciousness when we all thought he had probably seen his best days after A and previously mentioned stints touring with artists like Modest Mouse. But after PreFection and Dropping the Writ failed to excite much of anybody, Catacombs stunned plenty of folks with its fragile, girl-group inspired heartbreakers; a contrast with A’s slow-burning, what-if -Nico-and-Reed-were-the-same-person kind of tunes that initially brought him acclaim. Some people were made for the spotlight, but McCombs seems satisfied being a working musician.

And maybe he played “You Saved My Life” the next day when he was scheduled to appear at the wrap-up of Cultures Collide, a full-on block party. Still, you should know what you are going to see when you check out Cass McCombs perform: an artist sharing his craft, not a performer giving you the song and dance and drama that you may think your 15 bucks deserves. With these expectations, you might find yourself quietly enjoying one of the best songwriters working today.

]]> didn't play. Backed by three supporting musicians, including Darker My Love bassist Rob Barbato, McCombs announced that he had come to his last number for the evening. An uninspired chorus of faint female voices seemed to believe this would be, and should be, the country-tinged beauty "You Saved My Life". McCombs, though, had different ideas and said it was going to be a new composition, and as it played out, it was the only "rocker" of the slow-paced set. Of course, the entire performance was played without percussion or electric instruments, usually an indicator that the music would be performed within the limitations of coffee-house rock. There was also the setting of a classroom, with the venue being the LA chapter of Dave Eggers 826 Valencia creative writing school. The song must have been a mere two minutes long. When it concluded , the singer half-apologized for it, saying it would sound better the next night when they would play with their drummer. The crowd remained seated, as if anticipating McCombs would surprise them by playing the song they liked, and weakly demanded, after-all. Nope. That was the end. The show was a part of Filter's Culture Collide Festival, which rounded-up a surprisingly solid lineup of artists for four days of daytime events and night shows in the neighborhood's selection of venues. An affordable wristband could get you into sets from Tokyo Police Club, Monotonix, White Lies, and many more, with The Echo, Echoplex, and Spaceland among the participating venues. McCombs was one of the many Americans on the bill, but as the conclusion of his set reinforced, McCombs doesn't have to look far to take part in cultures colliding. In fact, he made a comment about being happy to take part in the benefit and that he didn't know who it was benefiting. I couldn't tell if he was joking or not. I still don't know if there was a benefit, either, so I'm with you Mr. McCombs! I had previously seen him open for Modest Mouse at The Catalyst in Santa Cruz, more than five years prior and he was not the warmest or most comfortable of performers then, either. But that's why we call them artists and not performers. Some of them, at least. Cass McCombs' live show seems more like a bi-product of being a musician than his chosen medium for artistic interaction, with McCombs as a painter of of pop music atmospheres, creating mood and texture with his simply-arranged songs that are often startling in their beauty and piercing in their lyrical insight. He is not a natural-born rockstar and doesn't pretend to be, but if he manages to entertain folks while unfolding some songs for them, well, that is a bonus. Thus this set, as McCombs has been reported to be working on his next album, seemed like a practice run for new material more than anything else, even the possible charity. But also note that McCombs has a number of albums and though a few songs seemed new, including a tune about a doll and the opener with the refrain of "buried alive", this could be a false assumption made because no one there seemed particularly familiar with his work and McCombs is not the talkative type, only occasionally offering a song title. In the Bay Area or maybe New York, the set would have killed, with hordes rabid fans looking to hear new music from their beloved artists. The casual streets of LA are less involved and embracing, epitomized by music-festival folk who check out a sleepy acoustic set because they like that one slow song with the slide-guitar. Their disappointment was warranted, but honestly, it didn't make the set any less enjoyable. Yeah, the only cultures colliding during this set were that of the slightly awkward artist against the paradigm of the American consumer, which manifested as these 50 or so young, mostly white people. The contingent that was a little more familiar with the catalogue of Cass McCombs recognized the night's third number, "Dreams Come-True Girl", earning a gasp from a few reactionary ladies. Another Catacombs standout made the latter part of the set, "Prima Donna", which played to a less involved group, but still sounded as simple and sweet as the album version. But no matter how touching a heartfelt version of "You Saved My Life" might have seemed, the crowd got something much better in the exquisite recreation of Dropping the Writ's "Windfall", which allowed the band to show off with mirrored guitar and keyboard leads. The reluctant ringleader could be caught appreciating the delicate notes between his versus. It is baffling that even after getting substantial press and critical acclaim for last years Catacombs, Cass McCombs still plays in front of tiny crowds, sits way down on a festival bill where the biggest band is Tokyo Police Club, and is about the most difficult artist to find contact information for as there is. He has returned to the indie-consciousness when we all thought he had probably seen his best days after A and previously mentioned stints touring with artists like Modest Mouse. But after PreFection and Dropping the Writ failed to excite much of anybody, Catacombs stunned plenty of folks with its fragile, girl-group inspired heartbreakers; a contrast with A's slow-burning, what-if -Nico-and-Reed-were-the-same-person kind of tunes that initially brought him acclaim. Some people were made for the spotlight, but McCombs seems satisfied being a working musician. And maybe he played "You Saved My Life" the next day when he was scheduled to appear at the wrap-up of Cultures Collide, a full-on block party. Still, you should know what you are going to see when you check out Cass McCombs perform: an artist sharing his craft, not a performer giving you the song and dance and drama that you may think your 15 bucks deserves. With these expectations, you might find yourself quietly enjoying one of the best songwriters working today.]]> http://consequenceofsound.net/2010/10/cass-mccombs-performs-new-songs-at-826la-for-culture-collide-109/feed/ 0 No Age, Vivian Girls say no to cancer at The Strange! (2/7) http://consequenceofsound.net/2010/02/no-age-vivian-girls-say-no-to-cancer-at-the-strange-27/ http://consequenceofsound.net/2010/02/no-age-vivian-girls-say-no-to-cancer-at-the-strange-27/#comments Wed, 10 Feb 2010 19:40:33 +0000 Philip Cosores http://consequenceofsound.net/?p=24898 While most of the world was watching the Super Bowl on Sunday, a few hundred youngsters decided to spend their day with some of Los Angeles’ brightest talents (and a few welcome visitors) to help a lady named Irene Garcia in her struggle with cancer. Dubbed No Cancer!, it never quite became clear who Irene Garcia is to these bands (besides the fact that the event was subtitled “a benefit for our friend’s mom”), but the more you heard people talk throughout the day, it seemed therapeutic to put a single face on the mass of pain that cancer has caused to pretty much anyone you will ever meet. Most charities seem so vast (consider that most musicians are trying to save an entire country right now) that the idea of everyone banding together to help one single person was a refreshing change. But, though this sentimentality and social consciousness did provide a backdrop for the afternoon, No Age’s Dean Allen Spunt summed up the approach the day was going to take when he opened his band’s set with two understated words: “Fuck Cancer!”

The setting for the event changed twice in the days leading up, beginning as a joint house party, then a gallery show, and finally being staged at the yet-to-open venue The Strange. This was the first show at the space and minus a few quirks (would’ve liked a security guy somewhere near the No Age pit; the lights liked to turn off for minutes at a time), the room looks to be a welcome new spot to watch music in L.A. The line-up was equally strong, headed by L.A. residents No Age, Best Coast, Darker My Love, Abe Vigoda, and Graham Forest. To top things off, the day would be headlined by honorary Angelinos Vivian Girls (I know they are tied to their New York scene, but we appreciate the love they show over here, playing four shows in about 48 hours). Free punk buttons, feathers, and face painting were to be had. Vegan food was readily available. And, though no deal sweetener was needed, over-21 attendees received free Colt 45 malt liquor. Not just one. All you can drink Colt 45s (granted a tip jar for charity donations was utilized) until they ran out, which ended up being somewhere near Best Coast’s set in the early evening.

Thus, like any Super Bowl party, what began as a laid back affair full of lively discussion evolved into chaos. Damn fun chaos. And the perfect storm of charitable self-satisfaction, Super Bowl tradition, and malt liquor peaked at about 5pm when No Age took the stage. It was clearly the largest the crowd had been all day, but I wasn’t prepared for the eruption that took place when they kicked into their first song. I probably go to too many shows involving mandolins and/or xylophones these days, because I had forgotten how kids like to hurt each other. Within a couple songs, half the stage was occupied by the crowd, who just needed a place to flee the drunken slam dancing (note: it probably would’ve gone smoother if not for the kid in the leather jacket who couldn’t stand on his own and would take out five or six people with his stage-dives/collapsing). And it wasn’t like No Age were pumping out the hits. Save for “Teen Creeps” about half-way though their 25 minute set (I seriously felt like a mom worried someone was going to get hurt at the moment that intro kicked in), No Age stuck primarily to new material. You want the scoop on what the new No Age stuff sounds like. It sounds like No Age and makes kids want to hurt each other, so it rules.

The revved-up concert goers weren’t the only ones who got in the party spirit. The artists mingled throughout the day, with Vivian Girl bass player Kickball Katy getting the spirit award for watching nearly every band’s set. The festivities managed to creep into the performance quality, but in that charming well-I-only paid-ten-bucks-to-come-here kind of way. Cassie Ramone of Vivian Girls announced mid-set that they were “fucked up”, but the girls still managed to put on a fun, energetic, and crowd-pleasing closing set. They had the longest performance of the night at a mere 30 minutes, but managed to cover the bases of favorites (“Tell The World”, “Wild Eyes”), non-full-album-tracks (“Lake House”, “Second Date”), and a capella covers (The Chantel’s “He’s Gone”). Before them, Best Coast (also openers and drummer sharers of the Vivian Girls for a current tour) showed that the excesses of an all day party can affect the quality of your performance. Singer Bethany Cosentino was drunk enough to come across as a hot Courtney Love, but despite her sloppy play, was charming enough to pull it off. She got the biggest laughs of the evening with her uncensored banter and lighting complaints, and it is undeniable that the songs were good. “That’s The Way Boys Are” and set-opener “When I’m With You” came across in a similar way that the band Girls does, where they seem like innocuous pop songs with classic Americana imagery, yet you can’t help but feeling there is something dangerous lurking beneath the surface. Their debut full-length should be out this year, so we’ll see if the hype and promise are made good on.

The undercard offered a steady mix of solid performances throughout the day. But though quite different in sounds and influences, bands like No Age, Vivian Girls, Best Coast, Abe Vigoda, and NODZZZ (one of the afternoon’s most surprising and fun sets) can all be lumped in this noise pop category that blankets lo-fi and beyond. The two coolest sets came from bands that seemed out of place on the bill, except that like the aforementioned fuzz rockers, they are awesome. Darker My Love looks nothing like you would expect from an L.A. band, most notably lead singer Tim Presley’s cocked Dodger cap. But, they have been successful on the scene out here and bring classic rock and psychedelic influenced sound to the punk passion that links the entire bill. Likewise, singer Graham Forest and his band could inspire comparisons to Bill Callahan or The Mountain Goats, but in playing directly after No Age, he made singer-songwriter numbers seem like the punkest thing in the world. Forest passed the big singer-songwriter test in that his songs were well written and he could sing them well (although, he did sound a little like Billy Joe Armstrong at times). But, I think the greatest compliment I could give him is that his set made me want to see him without the band. Sure, they made him louder, but his songs are strong on their own and didn’t need the extra musicians, except only to keep the day as lively as possible.

And lively it was. From the bands to the crowd to the venue staff to the merchandise and drink crews, everyone seemed to want to remember that we were gathered for a serious issue by forgetting about it. All present are part of a culture that that usually spends Super Bowl Sunday more bored than not, but that doesn’t mean they need the slightest excuse to drink too much, scream and have a great time, like the rest of the country.

Vivian Girls Setlist:
All The Time
Wild Eyes
Walking Alone At Night
I Have No Fun
Can’t Get Over You
He’s Gone (A Capella)
Lake House
Moped Girls
You’re My Guy
Never See Me
Second Date
Tell The World

——

]]> can affect the quality of your performance. Singer Bethany Cosentino was drunk enough to come across as a hot Courtney Love, but despite her sloppy play, was charming enough to pull it off. She got the biggest laughs of the evening with her uncensored banter and lighting complaints, and it is undeniable that the songs were good. "That's The Way Boys Are" and set-opener "When I'm With You" came across in a similar way that the band Girls does, where they seem like innocuous pop songs with classic Americana imagery, yet you can't help but feeling there is something dangerous lurking beneath the surface. Their debut full-length should be out this year, so we'll see if the hype and promise are made good on. The undercard offered a steady mix of solid performances throughout the day. But though quite different in sounds and influences, bands like No Age, Vivian Girls, Best Coast, Abe Vigoda, and NODZZZ (one of the afternoon's most surprising and fun sets) can all be lumped in this noise pop category that blankets lo-fi and beyond. The two coolest sets came from bands that seemed out of place on the bill, except that like the aforementioned fuzz rockers, they are awesome. Darker My Love looks nothing like you would expect from an L.A. band, most notably lead singer Tim Presley's cocked Dodger cap. But, they have been successful on the scene out here and bring classic rock and psychedelic influenced sound to the punk passion that links the entire bill. Likewise, singer Graham Forest and his band could inspire comparisons to Bill Callahan or The Mountain Goats, but in playing directly after No Age, he made singer-songwriter numbers seem like the punkest thing in the world. Forest passed the big singer-songwriter test in that his songs were well written and he could sing them well (although, he did sound a little like Billy Joe Armstrong at times). But, I think the greatest compliment I could give him is that his set made me want to see him without the band. Sure, they made him louder, but his songs are strong on their own and didn't need the extra musicians, except only to keep the day as lively as possible. And lively it was. From the bands to the crowd to the venue staff to the merchandise and drink crews, everyone seemed to want to remember that we were gathered for a serious issue by forgetting about it. All present are part of a culture that that usually spends Super Bowl Sunday more bored than not, but that doesn't mean they need the slightest excuse to drink too much, scream and have a great time, like the rest of the country. Vivian Girls Setlist: All The Time Wild Eyes Walking Alone At Night I Have No Fun Can't Get Over You He's Gone (A Capella) Lake House Moped Girls You're My Guy Never See Me Second Date Tell The World ------ ]]> http://consequenceofsound.net/2010/02/no-age-vivian-girls-say-no-to-cancer-at-the-strange-27/feed/ 1 F Yeah Fest ’09 taps Black Lips, Tim & Eric, The Thermals, and more to save CA’s state parks http://consequenceofsound.net/2009/08/f-yeah-fest-09-taps-black-lips-tim-eric-the-thermals-and-more-to-save-cas-state-parks/ http://consequenceofsound.net/2009/08/f-yeah-fest-09-taps-black-lips-tim-eric-the-thermals-and-more-to-save-cas-state-parks/#comments Mon, 03 Aug 2009 14:45:27 +0000 Alex Young http://consequenceofsound.net/?p=17996 Now in its sixth year, Los Angeles’ F Yeah Fest has evolved into yet another incarnation. Created in 2004 by 18-year-old Sean Carlson, the event has been everything from a multi-day affair to a traveling tour. For its ’09 edition, Carleson and co-curator Keith Morris (of Black Flag) have decided to make F Yeah Fest a one day extravaganza of up-and-comers and hidden gems, all amidst a backdrop of raising awareness for the possible closure of up to 100 California State Parks.

The Black Lips, Tim & Eric, Lightning Bolt, The Thermals, and Lucero will head F Yeah Presents Save Our State Parks, set to take place on September 5th at the Los Angeles Historic State Park. Also confirmed are Converge, No Age, Fucked Up, Glass Candy, Times New Viking, Wavves, Crystal Antlers, AA Bondy, and Alkaline Trio’s Matt Skiba. The full lineup can be found over at the Festival Outlook.

Tickets for F Yeah Fest ’09 will go on sale beginning Tuesday, August 4th via Ticketweb.com and will cost you only $21 — one dollar from each ticket be donated to Homeboy Industries and Harvest of Hope. Those who volunteer will gain free access into the festival.

]]> http://consequenceofsound.net/2009/08/f-yeah-fest-09-taps-black-lips-tim-eric-the-thermals-and-more-to-save-cas-state-parks/feed/ 0 A Place To Bury Strangers announces most appropriately titled album ever! http://consequenceofsound.net/2009/07/a-place-to-bury-strangers-announce-most-appropriately-titled-album-ever/ http://consequenceofsound.net/2009/07/a-place-to-bury-strangers-announce-most-appropriately-titled-album-ever/#comments Tue, 21 Jul 2009 20:40:20 +0000 Alex Young http://consequenceofsound.net/?p=17589 Speakers and eardrums beware! A Place To Bury Strangers will soon be returning with a new album and by the sound of it, the loudest rock band known to man looks to be getting even louder.

“The original idea,” says vocalist/guitarist Oliver Ackermann, “was to create the craziest, most f’ed-up recording ever.”

On October 20th, we’ll hear what the New York outfit came up with when it releases Exploding Head via Mute Records. The followup to the band’s 2007 self-titled debut is billed as “43 mesmerizing minutes of pain as pleasure,” the result of “paranoid android pop,” “gorgeous gate-crashing melodies,” “Chinese water torture chords” and all the other over-the-top ways of describing sounds that are ear-bleedingly loud.

A Place to Bury Strangers will look to live up to its album’s title when the band hits the road this fall. The month-long trek will pair the noise rockers up with the likes of Dead Confederate, All the Saints and Darker My Love.

Cherish the silence while you have the chance.

Exploding Head Tracklist:
01. It Is Nothing
02. In Your Heart
03. Lost Feeling
04. Deadbeat
05. Keep Slipping Away
06. Ego Death
07. Smile When You Smile
08 Everything Always Goes Wrong
09. Exploding Head
10. I Live My Life To Stand In The Shadow Of Your Heart

A Place To Bury Strangers 2009 Tour Dates:
10/04 -  Philadelphia, PA @ Johnny Brenda’s ^#
10/05 -  Washington, DC @ Rock and Roll Hotel ^#
10/06 -  Chapel Hill, NC @ Local 506 ^#
10/07 -  Atlanta, GA @ Drunken Unicorn ^#
10/08 -  Tallahassee, FL @ Club Downunder ^#
10/09 – New Orleans, LA @ One Eyed Jacks ^#
10/10 -  Dallas, TX @ Club Dada ^#
10/11 – Austin, TX @ The Mohawk ^#
10/13 -  Tucson, AZ @ Plush ^#
10/15 -  San Diego, CA @ Casbah ^#
10/16 -  Los Angeles, CA @ Echo ^#
10/17 -  San Francisco, CA @ The Independent #
10/18 -  Portland, OR @ Doug Fir Lounge #
10/19 -  Seattle, WA @ Crocodile Café #
10/20 -  Vancouver, BC @ Biltmore Cabaret #
10/22 -  Salt Lake City, UT @ Urban Lounge #
10/23 -  Denver, CO @ Larimer Lounge #
10/25 -  St. Louis, MO @ Firebird #
10/26 -  Chicago, IL @ Double Door &#
10/27 -  Toronto, ON @ The Mod Club &#
10/28 -  Montreal, QC @ Il Motore &#
10/29 – New York, NYC @ Bowery Ballroom &#
10/30 -  Cambridge, MA @ Middle East Upstairs &#

^ = w/ Darker My Love
# = w/ All the Saints
& = w/ Dead Confederate

]]> Exploding Head via Mute Records. The followup to the band's 2007 self-titled debut is billed as "43 mesmerizing minutes of pain as pleasure," the result of "paranoid android pop," "gorgeous gate-crashing melodies," "Chinese water torture chords" and all the other over-the-top ways of describing sounds that are ear-bleedingly loud. A Place to Bury Strangers will look to live up to its album's title when the band hits the road this fall. The month-long trek will pair the noise rockers up with the likes of Dead Confederate, All the Saints and Darker My Love. Cherish the silence while you have the chance. Exploding Head Tracklist: 01. It Is Nothing 02. In Your Heart 03. Lost Feeling 04. Deadbeat 05. Keep Slipping Away 06. Ego Death 07. Smile When You Smile 08 Everything Always Goes Wrong 09. Exploding Head 10. I Live My Life To Stand In The Shadow Of Your Heart A Place To Bury Strangers 2009 Tour Dates: 10/04 -  Philadelphia, PA @ Johnny Brenda's ^# 10/05 -  Washington, DC @ Rock and Roll Hotel ^# 10/06 -  Chapel Hill, NC @ Local 506 ^# 10/07 -  Atlanta, GA @ Drunken Unicorn ^# 10/08 -  Tallahassee, FL @ Club Downunder ^# 10/09 - New Orleans, LA @ One Eyed Jacks ^# 10/10 -  Dallas, TX @ Club Dada ^# 10/11 - Austin, TX @ The Mohawk ^# 10/13 -  Tucson, AZ @ Plush ^# 10/15 -  San Diego, CA @ Casbah ^# 10/16 -  Los Angeles, CA @ Echo ^# 10/17 -  San Francisco, CA @ The Independent # 10/18 -  Portland, OR @ Doug Fir Lounge # 10/19 -  Seattle, WA @ Crocodile Café # 10/20 -  Vancouver, BC @ Biltmore Cabaret # 10/22 -  Salt Lake City, UT @ Urban Lounge # 10/23 -  Denver, CO @ Larimer Lounge # 10/25 -  St. Louis, MO @ Firebird # 10/26 -  Chicago, IL @ Double Door &# 10/27 -  Toronto, ON @ The Mod Club &# 10/28 -  Montreal, QC @ Il Motore &# 10/29 - New York, NYC @ Bowery Ballroom &# 10/30 -  Cambridge, MA @ Middle East Upstairs &# ^ = w/ Darker My Love # = w/ All the Saints & = w/ Dead Confederate]]> http://consequenceofsound.net/2009/07/a-place-to-bury-strangers-announce-most-appropriately-titled-album-ever/feed/ 1