Four years later, I remember getting Dark Castle‘s Flight of the Pegasus demo in the mail after hitting them up via MySpace to review it. The disc was a labeled CDR that came packaged between two taped-together pieces of cardboard. Its front cover was a sticker by guitarist/lead vocalist Stevie Floyd with the band’s logo on top and the name of the EP below. And the music was a live-recorded half-hour that boasted a Led Zeppelin cover and raw sounds that only gave the faintest hint of what was to come.

And when Dark Castle released Spirited Migration on At a Loss in 2009, the Floridian duo outdid themselves in terms of growth over the course of their time together. Floyd and drummer, sampler and vocalist Rob Shaffer arrived with a coherent vision of what they wanted their band to be, incorporating influences from world music and managing to balance the varying elements in their approach in such a way as to maximize both the aural brutality and atmospheric weight.

They toured hard for Spirited Migration, and that work is evident in their 2011 Profound Lore label debut, Surrender to all Life Beyond Form. It’s a record densely-packed with turns and musical twists — this second doomed to the point of cruelty and the next embroiled in ritualistic chanting or industrial beats — but what’s most staggering about it is Dark Castle has managed to take all of these things and turn them into one coherent statement of purpose. Teamed with Sanford Parker and seamlessly incorporating guest appearances from next-gen-heavy luminaries such as Nate Hall (U.S. Christmas), Mike Scheidt (YOB) and Blake Judd (Nachtmystium), Floyd and Shaffer proved able to maintain consistency in the face of a devastating creative scope.

Away in the mountains from her new home in the Pacific Northwest, when I talked to Floyd for the interview that follows, she was working on several art projects, including a Dark Castle shirt and finalizing the cover art for the new YOB record. Nonetheless, she took time out to discuss the breadth of Surrender to all Life Beyond Form, working closely with Parker in the studio, some of the musical concepts behind the writing for the album and a lot more. Her passion and existential connection to her work shone through in her honesty and openness regarding these processes, and I hope you get a sense of that reading.

Full 3,750-word Q&A is after the jump. Please enjoy.

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It’s short at just a bit under 34 minutes, but in that time, Floridian duo Dark Castle’s second full-length, Surrender to all Life Beyond Form, demonstrates dense atmospherics and a leap in creative expanse from their last offering, 2009’s Spirited Migration. That’s not to discount the progressive mindset of the debut (even their 2007 demo EP, Flight of the Pegasus showed their potential for covering a wide breadth), but even if you compare the titles of the two LPs, it’s clear Dark Castle were going for something farther reaching with their latest, which also serves as their Profound Lore debut. To aid them in the cause, guitarist/vocalist Stevie Floyd (also bass and piano on the record) and drummer/vocalist Rob Shaffer (also guitar and bass on the record) enlisted the help of producer Sanford Parker, who contributes Moog, synth and samples throughout Surrender to all Life Beyond Form and a formidable trio of guest vocalists in Nate Hall (U.S. Christmas), Blake Judd (Nachtmystium) and Mike Scheidt (YOB).

With such a slew of appearances across its tracks, one might expect Surrender to all Life Beyond Form to come off choppy or like a haphazard song-collection rather than a complete album idea, but nothing could be farther from reality. Surrender to all Life Beyond Form is so much an album that it’s easy to lose track of which cut you’re in at any given moment, and the appearances, be it from Parker, Hall, Judd or Scheidt, are so seamlessly interwoven with Floyd and Shaffer’s sound that one might miss them altogether if disinclined to explore the liner booklet to see Floyd’s visual artwork (Relapse Records artist-in-residence Orion Landau also contributed to the layout) or the lyrics to the songs and find the names listed there. Dark Castle’s sound on Surrender to all Life Beyond Form is as inclusive as it is expansive, touching on industrial elements, misanthropic drone metal and Eastern scales, Floyd’s guitar still finding room to work in memorable riffs amid her also-developing vocal style on the album’s opening title-track. Where Spirited Migration felt comprised mostly of growls vocally, even in the song “Surrender to all Life Beyond Form,” Floyd displays the fruits of Dark Castle’s hard road labor in cleaner, still vaguely tortured moans and wails, enhancing the bleak atmospherics of the track while also floating above them. The affect isn’t wholly unlike what Laura Pleasants sometimes brings to Kylesa (the crunch of the opener’s riff aids that comparison), but Dark Castle is altogether more doomed and lumbering sonically.

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I wasn’t there to see it, but this past weekend, Miami outfit Shroud Eater reportedly devastated their hometown with Kings Destroy, Junior Bruce and Hollow Leg. As the trio is also to embark on a week-long tour with Hollow Leg starting March 22, now seemed as appropriate a time as any to post the recent conversation I had with guitarist/vocalist Jeannie Saiz about the band and their self-released debut full-length, ThunderNoise.

Now, about that album. I said in my review (and, I think, rightly) the recording of drummer Felipe Torres was unfortunate. I hope, more than that, what carried across is that Shroud Eater, while still in the earlier stages of discovering who they want to be as songwriters, are nonetheless concocting a righteous brew of sludge aggression and bastardly groove. In fact, part of my reason for scheduling the phoner with Ms. Saiz at all was to give myself another chance to underscore that very point. So consider it underscored.

What’s most striking about ThunderNoise post-review is the immediacy of it. It’s such a cliché to talk about unsigned acts as “hungry,” and I don’t think what’s driving Shroud Eater at this point is aspirations for big-time commercial success, but the impatience (perhaps brought on by the reportedly extreme heat in which the album was recorded) of the material on ThunderNoise is palpable. I included a Bandcamp player at the end of the interview, which is short by the standards of some done around here, and I hope you’ll take the time to listen to at least some of the tracks on the album.

The purpose here is basically to introduce Shroud Eater to anyone who might be interested in what they’re doing, because I am. In the conversation that follows, Saiz discusses her writing process with bassist Janette Valentine, how Shroud Eater got together, what inspired her cover art for ThunderNoise, recording the album, and perhaps most importantly, where that badass title came from.

Complete Q&A is after the jump. Please enjoy.

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Creative neo-sludge trio Shroud Eater emerge from the swamp of their Miami homeland with their first full-length, the self-released ThunderNoise. The album, available digitally or in a limited run of 100 self-stamped digipaks put together with lyric sheets by the band themselves, is 11 tracks/44 minutes of modern sub-melodic upbeat sludge, not too dissimilar from Kylesa or, in parts, High on Fire, but distinguished from those groups by a rawer feel and less thrash or classic metal influence, Shroud Eater seem to draw more from the tonal well of Helmet and the ‘90s school of thickened noise rock. Vocals are kept mostly to shouts, with a few exceptions, and ThunderNoise has a couple turns on it that stave off redundancy, Their 2009 Shroud Eater EP was grittier sounding, but the trio haven’t lost any of their immediacy on the long player, and ThunderNoise is every bit as vital.

The three tracks from Shroud Eater’s Shroud Eater – “We are Beasts,” “Vesuvius” and “Cyclone” – show up on ThunderNoise in re-recorded versions, palpable changes audible in the vocals of guitarist Jeannie Saiz and in the drum work of Felipe Torres. Torres has an unfortunate snare sound that cuts through more on some stereos than others — really came out in my car, but isn’t so bad on the office computer, despite still kicking through “Shark Valley” – but on the songs with vocals, they take away from it. The drum sound in general is my major production gripe; Torres’ tom-work on opener “High John the Conqueror” sounds thin and doesn’t come across naturally as it should. Saiz’s guitar and the bass of Janette Valentine make up for a lot of ground, but there’s no doubt ThunderNoise would be even heavier with better drum recording. Not the end of the world, by any stretch. You can still get a sense of what Shroud Eater is going for sound-wise in the songs, and it’s not like basement black metal recorded into a Fisher Price tape recorder, where it’s raw past the point of being listenable, it’s just something worth noting.

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You might recall I first saw the name Hollow Leg on a t-shirt of a fellow show-goer when Earthride played NYC earlier this year. If you don’t, the original post is here. If you’re too lazy to click, they’re a duo from Jacksonville, Florida, with a penchant for guitar thickness and ass kickness. I’ve been following them on the Book of Face and it turns out they’ve just released their debut album.

It’s called Instinct, and in the true modern fashion, Hollow Leg has put the entire thing on Bandcamp for free listening. Since it’s Monday afternoon and I’ve got some listening time, I thought maybe you might too. Here’s the record and here’s the link where to buy it:

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I set myself a couple rules for this one: No farther west than Texas, nothing north of Virginia and if a band features members of Down, they’re out. That means no Crowbar, no C.O.C., no Eyehategod or any of their other offshoots. Those are great bands, don’t get me wrong, but you get into that territory and next thing you know the whole podcast is full — ditto had I included Maryland — and I think once you take a look at the tracklist, you’ll see I was aiming for something else entirely.

When the idea was originally suggested, it was an exploration of the new Southern metal, bands like Baroness and their post-Mastodon Southern prog ilk. Later it was expanded to include a wide breadth of Southern rock and metal old and new. Well, the first was a little too narrowly focused (there just aren’t 30 bands — yet — playing Masto-prog), and the second was a little too wide ranging, so I took a middle course between them. You still get the bands like Baroness, Torche, Mastodon, and Zoroaster, and you also get some more straightforward rock-type stuff from the likes of Texas acts SuperHeavyGoatAss, Amplified Heat and Orthodox Fuzz.

I’m pretty sure you’ll agree it’s a killer mix of bands, and that it covers a wide ground, from the humid sludge of Sourvein and Ol’ Scratch, to the wide-eyed psych bliss of Tasha-Yar. All but one of the included tracks are from the latter half of the last decade (I’d argue the song from 2004 and the album from which it came were a big inspiration for many of the other bands present), and that was definitely on purpose, since this is a vibrant scene happening right now. I tried to be as timely with it as I could.

In that spirit, you’ll find new music included from Torche, Kylesa (finally found Spiral Shadow at an FYE; let the record show I tried two legitimate indie stores first), Elliott’s Keep, US Christmas, Kin of Ettins, Orthodox Fuzz and The Crimson Electric. To honor readers Josh and Jason who first presented and then expanded the idea, we start off with Weedeater, who are possibly the most Southern band on the planet.

Click here or the image above to get the file, or stream it on the player above. Full tracklist with timestamps and years of release is after the jump. I hope you enjoy it.

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Thanks to all who commented for your podcast suggestions. I kind of like the one about the new Southern stuff, but I’d have to find out if I actually have enough material for it. We’ll see. In the meantime, we close out this week with Dark Castle, in honor of that idea.

This weekend is Halloween, and I’m going as “The Guy Who Spent His Whole Weekend Doing Homework.” Seriously, it feels like every week I do all this homework and then another week comes and there’s just more. What the hell is that about? Enough already.

I’m going to try to make it out to Brooklyn tomorrow night to catch Moth Eater, The Resurrection Sorrow, King Giant and Solace. More info on that show here. It’s getting awfully exhausting driving into Brooklyn for shows every weekend for what feels like and might actually be the past month, but I guess until anyone in Jersey starts giving a shit about good music, I’m stuck. Stupid lack of convenience.

Whatever your plans are, I wish you well. Have a happy and safe whathaveyou and we’ll see you back here next week to wrap up October’s numbers, get that new podcast up and — if I’m feeling fancy and have time to transcribe an hour-long phone conversation — maybe even my interview with Chris Goss from Masters of Reality. Either way, stay tuned. More fun to come.

In the spirit of the release, I’m going to try to keep this short:

Torche songs are so easy to get excited about, because they’re actually exciting. They’re upbeat, energetic, accessible, friendly-sounding even at their heaviest. I just popped their new offering, Songs for Singles in my player for the first time, and already, I want to hang out with it. I want to sit with it and have a beer and watch the bug zapper. Eight songs in under 22 minutes isn’t the kind of numbers I usually get down with, but man, Torche kick ass with twice the efficiency of most bands.

What I like most immediately about Songs for Singles is that the first six tracks comprise half the listening time, and the last two make up the final 10-plus minutes. You’re through “U.F.O.” before you know it, and “Lay Low” is only 51 seconds long, so that’s barely started before it’s done, but “Shine on My Old Ways” seems to change the pace, and by the time “Face the Wall” comes on, you feel like you just hit it. The wall, that is.

If you dug the dreamy pop aspects of Meanderthal, you’re probably also going to drool over Songs for Singles, as even on the slower “Face the Wall” and six-minute capper “Out Again,” that element of their sound is a constant. There aren’t any über-heavy guitar bombs, and as “Out Again” stretches the instrumental section that gradually fades to close the record, it’s apparent that what Torche like playing with in their sound is the sometimes massive, sometimes sweet contrast. Right now, they’re doing it better than anyone else.

If you want to feel young compared to someone else, I’ll humbly submit the method by which I discovered Jacksonville, Florida, duo Hollow Leg: I saw their logo on a t-shirt. That’s right. Not on the internet, not through some popular blog or forum posting, but on some dude’s shirt at the recent Earthride show in NYC. How old am I? Well I’m that old.

Keeping that in mind, imagine how surprised I was to find out the kind of raucous shenanigans Hollow Leg got up to when I finally checked out their MySpace, only to discover that it’s just two guys in the band! What will they think of next?

Like a lot of duos in this post-Black Cobra/post-Om society, Hollow Leg made up for a lack of players with a thickness of tone. Guitarist/vocalist Brent riffs like he means it on “Spit in the Fire” with singing that, at its cleanest, reminds of Today is the Day‘s unsettling later output, and full-on growls that don’t seem cheesy or overly metal, but rather fit the material nicely, appropriate for the chaos behind them.

Drummer Tim hits heavy and hard on “Caretaker,’ only accenting the plod of the song. Hollow Leg do a good job of mixing up the pace, paying homage to the doomier side of their noise/stoner influence while also keeping in mind that it’s the groove that’s going to best carry across the material. Longer songs like “The Return” or the rougher-edged “Warbeast” have plenty of room for Hollow Leg to change up their approach, and the band does so fluidly, which you can hear for yourself on the internet if you’re less than 77 years old, or if you’re like me, you can read all about it… on some dude’s t-shirt.

This site seems awfully Torche-centric lately, with the Floor coverage (lackluster though it was — the coverage, that is) and the Meanderthal Demos writeup, but there’s word through the PR wire that they’ve got a new album out on Hydra Head September 21, so it’s only right to post said news in this space, which I think I’ll do right now:

Songs for Singles, Torche‘s upcoming addition to a six year stretch of well deserved lionization within the world of progressive metal, is basically a super solid collection of singles (though I’m pretty sure the title actually refers to one’s legal interpersonal status) written by, and therefore in, the instantly appealing songwriting style developed by the band…

You, just like me, have probably been waiting patiently for some new material since Meanderthal! If so, I’m honored to be the one to publicly confirm that new material is on its way! If you are one of those in need of an education on the subject, Songs for Singles will still find a way into your day to day… reason being… everyone’s Summer needs a jam (debate it) and Songs for Singles will be hitting shelves just in the nick of time!

Torche, Songs for Singles:
01 “U.F.O.”
02 “Lay Low”
03 “Hideaway”
04 “Arrowhead”
05 “Shine on My Old Ways”
06 “Cast into Unknown”
07 “Face the Wall”
08 “Out Again”

I got to Europa about 15 minutes after doors and 15 minutes before the first band. Annoyingly early, even for an early show with four acts on the bill, set to be over by about 10 so the Polish dance party, which is a regular feature at Europa, could start vaguely on time and the venue could make some real money. I wasn’t drinking (much) because I was driving in. I should have drank more.

The first band was Hot Graves from Florida, and though they rocked like a blackthrash Kill ‘em All era Metallica and the vocalist/guitar player talked some righteous shit, I just couldn’t get into it. I sat in the back, sipped my beer and regretted the ride in and the $15 I paid at the door when I should have just left. Some nights going to shows is like not being able to get a boner.

I do enjoy me some Javelina though. The Philly outfit killed as usual, and though it was only about 7PM when they were done, I felt like I’d been through a full night already. Unearthly Trance was next, playing songs from their new album, guitarist/vocalist Ryan Lipynski trying out a more melodic vocal approach that worked fairly well. They’re a band I’ve always taken for granted because they’re local. I have the feeling if I was from Arkansas I’d think they were the best shit in the world. But they are good what they do and deserve the success they’ve had. I won’t begrudge them that. There were people who left when they were done.

Those people missed Floor. Jerks. The ones who stayed were treated to sing-alongs, guitar bombs from Steve Brooks, smiles, good times, good songs, and occasional stretched out heavy droning that broke up the set nicely. Floor only played for an hour and 15 minutes or so, but they pretty much killed, and I was glad to see recently interviewed bassist Anthony Vialon looking like he was enjoying himself. The room was packed and it was more genuine enjoyment than I’ve seen Brooklyn allow itself to have in a long time. Who the hell cares if these people heard Floor after the fact? They knew the words to the songs — one up on me in that category — so who am I to criticize? At least they didn’t just stand there like assholes.

When the show was over, I split out to a bar down the street to sober up (that’s right) and got funny looks from the locals. Perhaps it was my pre-imposed annoyance — unrelated to the show, but not helped by it either — but I didn’t come out of Europa feeling like I’d communed with gods. I’ve always liked Floor in a more than ambivalent kind of way, and though it looked like everyone was having a great time on stage and off, I felt like I was in a bubble surrounded by it rather than actually a part of it. My loss, I’m more than sure.

On my most recent trip there, the dude behind the counter of Wallingford, Connecticut‘s Red Scroll Records pretty much had me pegged. I don’t know if it was the shirt I was wearing (I don’t remember which it was, but all I wear are band shirts, so it could have been anyone) or what, but shortly after I walked into the store, the strains of the aforementioned Dopesmoker by Sleep started coming through the stereo system. I guess I’m an easy mark.

As most of my previous excursions to Red Scroll have been, this one was successful, yielding used records from The Gates of Slumber, Quitter, Slough Feg, reissues of the first two Enslaved albums (also used), recent comedy records by David Cross and Eugene Mirman and, as I stood at the register, like a candy bar at a grocery store checkout, a six dollar pink cassette of Torche‘s Meanderthal Demos.

Of course, I was psyched at the CD haul, but the Torche went in first. I buy cassettes because I have a tape player in my car and I feel like if I don’t use it, I’m somehow missing out on an opportunity. The Patient Mrs. thinks this is ridiculous, and she’s a little right. I enjoy the absurdity, and in the case of Torche‘s Meanderthal Demos, I was stoked to hear the band’s material in a rawer form, since, though the finished album was enjoyable, it was also incredibly polished, production-wise.

Getting to hear the roots of songs like “Grenades” and “Across the Shields” was both interesting and exciting, since it sounded good and was a cool experiment for the ears in this new context. The songs are different, obviously less developed, but enjoyable anyway, and though Torche‘s capable grasp of melody is present, there’s more edge to the demos that makes them sound a little rougher than Meanderthal itself. In other words: right fucking on.

A pink cassette is a little more hip irony than I usually allow myself to engage in, but whatever, it sounds good and it only cost six dollars, so I’d be a bigger asshole for not hearing it. And it was worth every penny, since the tracks still show off Torche‘s high-quality songwriting in their rudimentary form. I didn’t expect to come out of Red Scroll having just paid six dollars for a pink cassette, but it wound up being the highlight of the trip and something I’ve gone back to for multiple listens already. All hail the impulse buy.

Well, the first time I caught wind of Shroud Eater‘s demo, I knew the band was going pro, and now that they’ve decided to give the release away for free in advance of their full-length debut, ThunderNoise, it’s confirmed… by the fact that The Obelisk isn’t hosting it. Yes indeed, the Miami trio has chosen some Russian download site instead. The smart move all around. No one reads this page anymore. Click here for the zip file.

Here’s what the PR wire has to say about it:

Shroud Eater, South Florida’s DIY grunge/stoner rock trio, is offering a free download of their debut self-titled EP, in anticipation of the release of their debut full-length record, ThunderNoise, due out this fall. Inspired by all things dark and dirty, including ‘70s heavy metal, and ‘90s grunge/stoner rock, the three-song EP can be downloaded here.

“We had always seen the EP as a way to distribute our music for free to as many people as possible — it’s a basic primer on who Shroud Eater is as a band, and hopefully it left people curious and interested in hearing what we can really bring to the table,” states guitarist/vocalist Jeannie Saiz. “For the ThunderNoise sessions, we have some surprises up our sleeves, and are positive that the finished album will rock your ass off.”

The EP was recorded last year at Relax, Bro! recording studio, in the band’s hometown of Miami, and it was mixed and mastered by Jonathan Nunez. Artwork comes courtesy of Shroud Eater’s own Jeannie Saiz.

I know I’m taking a pretty strong stand here, and that my opinion might be controversial, but I have to say it: I am AGAINST robbing bands on tour. I don’t think it’s right, and I don’t think it’s the way nature intends mankind to behave.

There, I said it. I feel better. Really.

In all seriousness, you’ve got to be one serious fuckhead to rob a band on tour. Especially a band like Torche. I mean, go ahead, steal Saliva‘s shit. They didn’t pay for it, half those cabinets are empty, and they suck anyway. But to rob Torche while they’re sleeping after a show? That’s a special brand of asshole.

Here’s a note from the band via the PR wire:

After our Chicago show at the Congress Theater on May 14 between 1:30AM and 4:00AM our van was broken into while parked in front of Goethe Elementary and a bunch of equipment was stolen. Items taken include music equipment, personal items/luggage, band/personal checkbook, cameras, laptop, and passports.

The following items were taken:
* Custom Electrical Guitar Company bass w/hardcase #220
* First Act custom bass w/hardcase serial number # JN-0901002
* Black Gibson Custom Les Paul w/SKB hardcase
(has chip on the top L side of headstock, visible neck repair on top side of the neck,
may have missing paint opposite vol and tone knobs if sticker was removed).
* Custom woodfinish guitar w/hardcase
* Acoustic 370 Bass Head
* 2 x SKB PS25 pedal boards
* 2 x Boss tuning pedals
* MXR Phase 90
* Boss DD5 pedal
* Boss guitar EQ pedal
* Custom 3 way amp selector (metallic blue)
* Fulltone OCD pedal
* Aguilar Tone Hammer pedal
* Boss Bass EQ pedal
* Shure Beta 57
* Misc Mogami, Monster, and George L’s cable
* Suitcase style 7 space guitar stand
* Black iPod Touch
* Black Compaq Presario laptop
* Nikon Blue Coolpix camera
* Sony CyberShot camera
* Garmin 205W GPS
* Black Luggage containing: tubes, guitar strings, instrument cables, speaker cables, tuning pegs, surge protectors.

If you know anyone in the Chicago area we’d appreciate any help in spreading the word.

Thanks,
Torche

Since the band had their passports stolen and are unable to join Coheed and Cambria and Circa Survive in Canada, Torche have assembled some last-minute house shows until they’re able to meet back up with the tour. Please go out and support the band, and if you’re feeling extra generous, you can make a donation here.

Yeah, sure, Torche have just launched on a month-long US tour — nothing really new there — and I guess Hydra Head is going to issue the split they did with Boris, but the below info from the PR wire (oh, PR wire, how I missed you) also subtly drops the news that the band just finished a new recording. Doesn’t say of what sort, EP, LP or other, but whatever Torche has got that’s new is fine by me. Check it out:

Kicking off this week, Miami‘s Torche will head out on a month-long US tour supporting Coheed and Cambria and Circa Survive. The tour will span both coasts, travel throughout the Midwest, and head to select cities in the Great White North.

In addition, Torche and Hydra Head have announced the band’s new split release with Boris, Chapter Ahead Being Fake, which will see the light of day on June 29th on 10″ vinyl.

And since teasing is our sort of our thing, the band just finished self-recording their next batch of hits for release late August 2010… but we’ll tell you more about that later…

Torche live w/ Coheed and Cambria and Circa Survive:
04/22/10 Charlotte, NC. @ The Fillmore Charlotte
04/23/10 Atlanta, GA. @ Tabernacle
04/24/10 Lake Buena Vista, FL. @ House of Blues (Orlando)
04/25/10 Lauderdale, FL. @ Revolution
04/27/10 Houston, TX. @ Warehouse Live
04/28/10 Austin, TX. @ Stubb’s BBQ
04/29/10 Dallas, TX. @ Palladium Ballroom
04/30/10 Tulsa, OK. @ Cain’s Ballroom
05/01/10 Oklahoma City, OK @ Diamond Ballroom
05/03/10 Tempe, AZ. @ Marquee Theatre
05/04/10 Pomona, CA. @ The Fox Theatre
05/05/10 San Francisco, CA. @ The Warfield
05/07/10 Portland, OR. @ Roseland Theater
05/08/10 Seattle, WA. @ Showbox SoDo
05/10/10 Murray, UT. @ Murray Theater
05/11/10 Denver, CO. @ Ogden Theatre
05/13/10 Minneapolis, MN. @ First Avenue
05/14/10 Chicago, IL. @ Congress Theatre
05/15/10 Royal Oak, MI. @ Royal Oak Music Theatre
05/17/10 Boston, MA. @ House of Blues
05/18/10 Montreal, QC. @ Metropolis
05/19/10 Toronto, ON. @ The Sound Academy
05/22/10 Philadelphia, PA. @ The Electric Factory
05/26/10 New York, NY. @ Rumsey Playfield
05/27/10 Washington, DC. @ 9:30 Club
05/28/10 Washington, DC. @ 9:30 Club
07/31/10 Chicago, IL. @ Subterranean * no Coheed or Circa Survive