the brian jonestown massacre tour 2023

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The Brian Jonestown Massacre  

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We were lucky to see The Brian Jonestown Massacre live on stage in Hamburg‘s Knust club. The show was great! So powerful and energetic, Anton singing and playing in a great shape (though spending some time with the retuning of the instruments ;-) ). Supported by Moogy who also sang „Anemone“, one of my favourite songs. The BJM played new songs from the new „Something Else“ album that sounds so very nicely „retro“ and many great songs from the earlier days (among others „Who“, „When jokers attack“). It was loud and very, very hot (due to an abnormal summer in Northern Germany). Joel cheered the audience with his tambourine and Anton even turned his fan to us, helping us with a cool breeze. Although The BJM played quite long, we were sorry to watch them leave (no farewell) and not return again for an encore. We waited as long as possible, but, maybe due to the exhausting temperatures in the club, remained unheard. Anyway, it was a wonderful gig and the size of the club allowed us fans to get in touch with the band. The light show was, as usual, very nice, too. I definitely recommend to go and see The BJM live, it‘s so worth it. The records are already awesome but live they are just brilliant and even better. By the way, „LeVent“ (A Records!) supported the show and they were really great, too, so it was a georgous evening.

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We were lucky to see The Brian Jonestown Massacre live on stage in Hamburg‘s Knust club. The show was great! So powerful and energetic, Anton singing and playing in a great shape (though spending some time with the retuning of the instruments ;-) ). Supported by Moogy who also sang „Anemone“, one of my favourite songs. The BJM played new songs from the new „Something Else“ album that sounds so very nicely „retro“ and many great songs from the earlier days (among others „Who“, „When jokers attack“). It was loud and very, very hot (due to an abnormal summer in Northern Germany). Joel cheered the audience with his tambourine and Anton even turned his fan to us, helping us with a cool breeze. Although The BJM played quite long, we were sorry to watch them leave (no farewell) and not return again for an encore. We waited as long as possible, but, maybe due to the exhausing temperatures in the club, remained unheard. Anyway, it was a wonderful gig and the size of the club allowed us fans to get in touch with the band. The light show was, as usual, very nice, too. I definitely recommend to go and see The BJM live, it‘s so worth it. The records are already awesome but live they are just brilliant and even better. By the way, „LeVent“ (A Records!) supported the show and they were really great, too, so it was a georgous evening.

I had heard that Anton had turned a new leaf with age, so I tried my luck. I'm not a fan of the meltdowns or the whining as some are. Alas, it was like visiting my racist grandparents whom seem to exist out of time. It's just a part of him, I guess.

He was one guitarist short (I'm not surprised), which he mentioned no less than 5 times to excuse the poor performance.

He berated his keyboardist.

He berated his lead guitarist.

He physically / forcefully adjusted his rhythm guitarists head position relative to the microphone they were sharing.

He did show a glimmer of levelheadedness here and there, but it was heavily outweighed. I don't know if the show was good. I know that it was OK until he kept pointing out everyone's flaws. I was too annoyed and distracted by the abuse. And in case anyone is wondering, he did fake a British accent live.

I was prepared for a 3 to 11 hour show, I think it was a little over two hours. Not blaming them, just putting that out there. Also, it's possible that the guitarist was legit not there for unrelated reasons and tensions were high due to having to come up with a new set list and rehearse on short notice. Also, no encore. I don't know.

Compared to the Dandys show last year, forget about it. No comparison. Dandys Rule OK.

The Brian Jonestown Massacre started their group in San Francisco in the late 80's. They had a heavy feel of psychedelic rock and other tones such as blues and raga.

When they come out on stage you could see they way about them and their music was pure to who they were and to the era they were playing in. They combined a variety of different instruments into their sets with such things as Indian drones, sitars, mellotrons, farfisas, didgeridoos and tablas. The lead singer comes out in a denim jacket and the rest of the group as a hippie and indie look to them. The stage is black until their lighting kicks in and then the whole feel and attitude changes.

Playing live they have a variety of things going on around them to entertain and amaze the audience. Bright colors flash and change giving a retro vibe to each song they play. When they play the move around a lot and have a vibe that can remind one of the Ramones and various others. The audience is filled with adoring fans and their numbers range in the hundreds. All of them moving and grooving with their set and really digging the sound. For when they played it was really something to have been seen, especially live.

Haydn Kramer

The Brian Jonestown Massacre last night. Swirling, Jangling, sumptuous guitar’s: raging with keyboards and rhythm lines roaring beneath, some say psychedelic, “shoe gaze”, folk-rock, or garage, but by any descriptive, adjective; a dreamy transcendent rock band with a bent toward perfection, (three songs good-naturedly stopped for broken strings). Since 1990 and always closely associated with The Dandy Warhols, (another killer band not enough people know about), liquid symmetry between the band Anton Newcombe formed in San Francisco, ethereal sounds and lyrics ended, without encore—-because, you knew they had completed something special when you floated out to the street.

BJM were awesome last night in their Brooklyn debut at the new Brooklyn Steel venue. Anton Joel Ricki and crew did not disappoint and treated the large adoring crowd to an evening of impromptu jam, trance, and psychedelia. They sprinkled their show with a catalogue of well known past songs as well as some more contemporary issued songscapes, with the crowd at times rocking and bopping. One disappointment show was cut short by curfew ending at 11PM and only two hours in length. However, Anton managed to cram in as many songs as he could in this alotted time. Can't wait to see them again!!!! Fred

PS: SongKick kicks song!!! Easy to use and no hassles. I love my songkick.

Ah, honestly one of my favourite bands, wish that I could say I enjoyed the show but it wasn't all that. They have such a huge discography there's basically no guarantee you'll hear any of the songs you like (I only knew a couple), and none of their music sounds anywhere near as good live. That coupled with bad bouncers and a couple of crazy fans lead to what was easily one of the worst gigs I've been to. Felt like I wanted to leave after a few songs. Still, glad I can say I've seen them, and I'll still proudly wear my BJM T-shirt, but I can't say it was worth the price of the ticket: maybe if you're out of it.

Not sure if the rolls of electric waves came from being in such close proximity to the stage or cacophony of sound, but BJM is still in my head and blood - thank god. If the spark can stay around a few more weeks I will be satisfied with this round but it will be far too long before I get to experience their melodies again in such capacity. Long live the beauty, majesty and evil that comes with The Brian Jonestown Massacre!

well, 4th show in the past year i have bought tickets for, but have had to miss due to personal matters, eating the ticket on...so, i couldn't tell ya. this one and luna def hurt the most, on that figurative "hit to the gut" level. :( as for the cost, i have given more to less worthy causes, so...hope it was as great asi imagine it would be. i do wish we transfer the tickets though. i could have made someone's night.

It was awesome!

We had the chance to sit and talk with Anton before the show about where he's been living and what he had planned for the future.

Very chill and intimate setting...

Then they played a Great set!

Overall, Great venue!

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• Los Angeles (LA) (23)
• London (18)
• SF Bay Area (18)
• Denver (13)
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The Brian Jonestown Massacre Announces Fall 2023 Tour Dates

Cait Stoddard

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The Brian Jonestown Massacre: Electrifying North American Tour Celebrates Their Visionary Music

The Band Arrives In Los Angeles on October 13 for Show at New, Hip Venue, The Bellwether

The iconic musical phenomenon, the Brian Jonestown Massacre, renowned for its unparalleled sound and visionary artistry, is in the midst of an electrifying tour across North America this fall. After astounding success on their UK and Europe tour, the band is ready to treat their dedicated fans in the US, Canada, and Mexico to an unforgettable live experience spanning 39 epic shows. The tour is in celebration of their critically acclaimed 20th studio album, “Your Future Is Your Past,” which made its mark on the music scene with its release on February 2, 2023, under Anton Newcombe’s own label, A Recordings . You can purchase tickets online for their remaining shows on their website .

For the past three decades, the Brian Jonestown Massacre has fearlessly charted new musical territories, shaping a genre-bending blend that draws from a kaleidoscope of “60s swagger, neo-psychedelic overload to skronking metallic noise, motoric krautrock stomping, and shoegaze.”-Shindig Mag. 

Led by the indomitable frontman, songwriter, composer, multi-instrumentalist, engineer, studio owner, father, and force of nature, Anton Newcombe, the band’s live performances have been nothing short of transcendent, captivating audiences with mesmerizing psychedelic jams and technical brilliance. Critics and fans alike have praised their innovative sound, hailing them as an essential pillar of the alternative music scene.

“The band played with an intense fervor that suggested they were completely in their element on the stage, creating a lucid soundscape that enveloped the room. With their incredible performance, The BJM proved why they’re such an essential staple in the alternative scene. Not only does Newcombe know how to write a good song, but in a live setting, these songs translate beautifully. Even if you only know a handful of their tracks, seeing The Brian Jonestown Massacre live is sure to be a spectacular experience. “ – Far Out Mag.

Their latest album, “The Future Is Your Past,” serves as a profound exploration covering topics such as war and crisis, delivered with unparalleled creative finesse. It serves as a testament to Anton’s continued relevance and creativity, tackling weighty themes with poetic nuance and musical ingenuity. From searing anthems that rally against injustice to introspective ballads that navigate the depths of the human experience, the album weaves a captivating tapestry of sound and storytelling. As Anton notes, many of the songs reference inspiration from his son Wolfgang and are, in fact, his ideas. Listen to FUDGE , the album’s lead single.  

Lead reviews praised the album with descriptions as far and wide as “Blasts of shimmering Madchester-era Power Pop,” said Classic Rock, while Uncut pointed out Anton’s “fiercely motivational songs.”  Mojo and others heralded the songs as “Anthemic,” while the Record Collector took note of how “their steadfast resistance to the 21st-century sounds is precisely what makes them a life-giving force… familiar yet miraculously fresh.” It was Louder Than War’s “Album of the Week” – “Stretches all sonic boundaries… And whilst this is the 20th album by the Brian Jonestown Massacre over their illustrious career of over 30 years, this shows no signs of waning in terms of inspiration and proves to be another glorious explosion of 21st century mind-blowing psychedelia.” In a Clash Music review by Nick Roseblade, the critic writes , “The Future Is Your Past is the most consistent album Newcombe has released since Methodrone.”

Audiences can expect to hear newer songs from this masterpiece, plus their 2022 majestic album “Fire Doesn’t Grow On Trees ,” along with classics that showcase the band’s signature mix of genres. From the dreamy shoegaze melodies to the meandering grooves that drift into sonic hypnosis, the album exemplifies Brian Jonestown Massacre’s musical evolution and trailblazing spirit.

As one of music’s most fascinating bands, the Brian Jonestown Massacre has challenged mainstream conventions, opting to take the road less traveled. Despite the pressures of the industry, Newcombe’s determination to follow his own path has made him a pioneering catalyst in modern music, earning him the status of an underground hero. With 20 albums under their belt, each exploring different dimensions of rock ‘n’ roll, the band continues to evolve and expand their sonic horizons and remains an essential force in the world of music.

The highly anticipated North American tour will take the band across the East and West coasts, the South, and the Midwest, featuring performances at iconic festivals LA’s Desert Daze, Los Angeles’ newest and most hip venue, Bellwether Theater, the Levitation Festival in Austin, Texas, and Mexico City’s Hipnosis. The tour will continue in November in Australia and New Zealand. With only seven days off during the extensive 39-date run, the Brian Jonestown Massacre is ready to deliver an immersive and transformative live experience to their ever-growing and fiercely devoted fanbase.

On tour, Newcombe is accompanied by:  Ricky Maymi (guitar) Ryan Carlson Van Kriedt (guitar) Daniel Lyons (drums) Joel Gion (tambourine) Hallberg Daði Hallbergsson (bass) Emil Nikolaisen (keyboards)

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The Brian Jonestown Massacre

Melody's echo chamber.

This event is all ages.

$49.50 – General Admission

*plus applicable service fees

For an additional $85.00, you can opt in to upgrade your experience to include access to the exclusive Looking Glass Lounge before, during and after the show! Please note all Looking Glass Lounge upgrades are subject to availability.

All doors & show times subject to change

The Brian Jonestown Massacre was formed in San Francisco in 1990. The band has had over 40 members since then, but its driving force and main songwriter is Anton Newcombe. Other prominent members have included Matt Hollywood, Dean Taylor, Jeff Davies, Brian Glaze, and Joel Gion. Their sound is heavily influenced by the psychedelic sounds of the 1960s, but also carries influences from shoegaze, jangle pop, garage rock, and lo-fi genres.

Much has been made of the fact that Newcombe is head strong and has just one vision in mind: his own. However, many of the musicians who quit his band have stayed in his orbit and continue working with him in some capacity. Newcombe was, at one point, a drummer in Hecksher’s Warlocks. Campanella produces or engineers many of the records on Newcombe’s record label, the Committee to Keep Music Evil and has also been on the last 2 highly successful European tours, playing keyboards and on occasion, guitar. Gion is forever showing back up shaking the tambourine at BJM shows. Even the Dandy Warhols appear to have buried the hatchet with Newcombe, as he joined them onstage at Lollapalooza in July of 2005.

In 2015, Newcombe returned to the themes of Aufheben with Musique de film imaginé, a collection of soundtrack cues for a nonexistent movie, inspired by his love of classic French cinema. A seven-song collection of new, more rock-based material arrived later that year under the amusing title of Mini Album Thingy Wingy.

Melody’s Echo Chamber

It’s now been ten years since Melody Prochet burst into our consciousness with her enchanting, psychedelic pop, and much has happened since. Her third studio album, Emotional Eternal, is a glorious consolidation of the lessons learned along the way, seen through the eyes of someone who has taken a step back, and who can see clearly as a result. The fact it is with us at all is a minor miracle. It was no coincidence that the last album was called Bon Voyage, as Prochet had had every intention of saying au revoir and not just à bientôt.

Since Bon Voyage came out in 2018, Melody has swapped Paris for the clean air of the French Alps. That sense of equilibrium is detectable in the new record. If Bon Voyage was anarchic in its unruliness, then Emotional Eternal is the more cohesive and orderly of these siblings, though it too is full of sonic surprises.

Melody’s Swedish accomplices, who she met by chance at The Levitation Festival in Angers in 2015, Reine Fiske of Dungen and Fredrik Swahn of The Amazing reuniting the ‘Bermuda Triangle’—the nickname they gave themselves due to their ability to get lost in music together. That trio have grown into a production powerhouse, working closely together and refining what was already sublime.

To celebrate the 10th anniversary of the Melody’s Echo Chamber’s debut album Domino and Fat Possum have reissued the record alongside ‘Unfold’, a collection of long lost and previously unreleased songs from 2013.

In March 2023 Melody has returned with a handful of intimate shows in London, Paris, Los Angeles and New York. The live band consists of her accomplices on the two last albums: Reine Fiske from Dungen and Fredrik Swahn from The Amazing. Johan Holmegard, also from Dungen, will play the drums and Jérôme Pichon will play guitar.

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Brian Jonestown Massacre’s Anton Newcombe: ‘People make me out to be a loser when I’m not’

Notorious for their onstage brawls and their imperious frontman, the San Francisco band have managed to survive 30 years of drink, drugs and drama. We catch up with them on tour

O ver more than 30 years, the Brian Jonestown Massacre have garnered a reputation like that of few other bands. The San Francisco group, led by Anton Newcombe, are known for their fecund creativity, violent volatility, chaos and magic – all of which are woven together to create music spanning psychedelia, shoegaze, country and garage rock. I have joined them for part of their UK tour. “Stop putting off a genius, you cocksucking dickhead!” yells Newcombe to a heckler during one of many guitar-tuning breaks in Brighton. “Go fuck yourself!” he spits to another.

Much of their reputation was cemented in the 2004 documentary Dig! , in which Newcombe delivered lines such as: “You fucking broke my sitar, motherfucker,” after an onstage brawl with his own band. The film is a maelstrom of drama, addiction, blown opportunities and a friendship turned rivalry with the Dandy Warhols.

The Dandy Warhols frontman, Courtney Taylor-Taylor, is the film’s narrator. He describes Newcombe as “the most craziest and talented musician I have ever met”. Of the band, he adds: “I’ve never seen them eat. All I’ve seen them do is drink liquor and snort drugs.”

Setting up for a show in Brighton.

Almost 20 years on, a few days before the release of the band’s 20th album, Your Future Is Your Past , the vibe backstage at a BJM show is more hummus than heroin. Newcombe kicked his habit many years ago. He describes quitting as “like running a marathon with the flu and then having Bruce Lee kick you in the chest”.

Today, Newcombe sips vodka sodas slowly and hurtles through packs of filterless cigarettes, on which he puffs as we walk from the soundcheck to the tour bus in Bristol. He is dressed in pyjamas, slippers and a Stetson, staying in this outfit until showtime, when he swaps the nightwear for denim, has a quick armpit wash in the tour bus sink, pulls on his cowboy boots, adds mounds of dangling jewellery and dabs on patchouli oil.

At 55, Newcombe has done what few expected of him – survive – and what even fewer thought possible – thrive. BJM are a self-sufficient outfit: they run their own label and studio, own their back catalogue and sell out their shows with ease. Despite being a cult band since their formation in 1990, their appeal has trickled down through generations. The crowd in Bristol is a sea of pogoing twentysomethings singing every word. Anemone , a cut from 1996, has become an unexpected hit, racking up nearly 80m streams on Spotify alone. Despite its slow-burn groove, it goes off like a bomb when they play it live. It was a favourite of Anthony Bourdain , who invited Newcombe to be in the Berlin episode of his TV show Parts Unknown. “Drenched in opiates and regret, I heard this song once and became besotted by it,” Bourdain once told Rolling Stone.

The band’s Ryan Carlson Van Kriedt (left) and guitar tech Shea Roberts prep for sound check.

It’s one of very few concessions to the past the band make live; mostly, they choose to play new material. “Some bands are happy to resign themselves to playing the hits, but that’s not me,” Newcombe says.

On the bus, Newcombe shows me his favourite bar-fight move: deliberately dropping his glass on the floor, causing the aggravator to look down, “then bam”, throwing his fist down. But Newcombe says he is done with bar brawls – even though someone threw a lit candle at him recently after an argument. “I don’t go to bars, because people want to provoke me and pick fights,” he says. “I see red. My natural tendency is to want to grab people by the throat and not stop. I can’t control how I react and nobody deserves what I am capable of unleashing just because they said something stupid. I’m much happier cooking and making music.”

Joel Gion and Anton Newcombe backstage.

Despite seemingly being a magnet for drama, one on one, Newcombe is welcoming and softly spoken. In Falmouth, we sit quietly and talk as the rest of the band disappear to a house party with some fans. They return at 6am; the tambourine player, Joel Gion, sleeps through the 5pm soundcheck later that day. “Oh man,” he says. “I fell out of my bunk while sleeping and didn’t even wake up.” He points to a badge he has sewn on to his bag that reads “Bushido” – literally, the way of the warrior, the moral code of the samurai rooted in discipline, loyalty and other virtues. “To remind myself not to get too fucked up on tour,” he says, laughing.

Gion has written a memoir, a task he says was assisted by the high-quality amphetamines he used to take in San Francisco. “That provided me with a memory sharpness,” he says. “I was able to remember far more than I expected.”

Is this the same speed given to Oasis on their first US tour, as documented in the 2016 documentary Supersonic, which caused Noel Gallagher to go missing and the band to break up briefly? “That’s it, baby! Ninja speed, Noel called it.”

Guitarist Ricky Maymi.

Newcombe and Gion on stage.

BJM were the support band at one show back then. “I knocked on the tour bus and Noel answered. I’m like: ‘Hey man, I have most righteous fucking crystal meth that you’re ever going to do,’” Gion recalls. Noel passed, but Liam was up for it; the substance was soon liberally distributed among the band. “They do all these coke-sized lines of this shit that you just need a little pinky of,” he says. “They stayed up for three days. On stage, they were just gone. Their jaws were working like old-fashioned train crankshafts.”

There is love in the band, but also palpable tension. On stage, Newcombe stops songs and lambasts members, declaring their playing to be “shitty” and “sloppy”. “Sometimes you gotta crack the whip – you’re only as good as your weakest link,” he says after a testy exchange in Brighton, before making an analogy of Ronaldo (himself) playing on a team of six-year-olds (the rest of the band).

Fans in Brighton pay homage.

It can create visible unease on stage – it’s like watching a storm cloud, waiting for thunder to crack. Sometimes the thunder is Newcombe’s ire; at others it’s the sound of a band locked into ferocious, immersive grooves. At their best, the band are mesmerising. But the constant stopping can kill the show’s momentum. “I have perfect pitch and it really bugs me,” Newcombe says, as we zigzag the streets of Brighton looking for hippy shops in which to buy more jewellery, before settling in a bar. “It’s better to stop a song in the first seconds and play it correctly than to play some bullshit for hours. The Rolling Stones do it every single concert – they sound nothing like the record.”

Newcombe gives off the aura of someone who feels he has beaten the system. “I’ve got a better deal than anybody in the world,” he says. “You don’t need validation from other people.”

As we toast to good health with a shot of Grey Goose, I ask if he feels that people hold misconceptions about him. “I’ve got this wild reputation,” he says. “But I’ve found it advantageous that people underestimate your intelligence.” Newcombe is apparently contradictory in this area. He is prone to bursts of boastful proclamations: “I’m a fucking genius, like one of these Mozart guys,” he says one minute, before offering: “I’m not saying I’m so great, or I cured polio, or whatever.”

The Brian Jonestown Massacre.

He is consistent in his fervent dedication to forging his own path. “I knew from being very young that I didn’t want to be like anybody that I knew,” he says. “I noticed people were just generally unhappy because they weren’t doing what they wanted to do. I decided I’m never going to be that person. Do what you want, it’s fine to be yourself. All the way you.”

The band briefly danced with record labels in the 1990s. “It went to shit,” says Gion. Newcombe says circumventing – and in some instances tormenting – the industry was a tactic. “I thought since everybody says yes, I’ll just say no,” he says. “It’s counterintuitive, but smart.”

This has led to accusations of self-sabotage. “Everyone’s like: ‘Oh, he throws it all away,’” he begins. “But the postscript of Dig! is that the whole industry collapsed. All the king’s horses and men, they’re gone. None of those people in that movie have a job in the business. People make me out to be a loser when I’m not.”

Taking a stroll on the prom.

That said, it’s clear he would like a taste of some of that world. “I would love to do Jools Holland,” he says. “I watch all the shit on there and laugh, because I could play 50 songs in a row that are better. Even if I could summon up enough composure to stand there and just be deadpan, it would be more intellectually stimulating, artistically relevant or historically fucking important.”

In the opening scene of Dig!, shot in 1995, a young Newcombe leans into the lens of a camera with wild, glaring eyes and declares: “I’m going to destroy this fucked up system. Let’s burn it to the ground.”

So, did he do it? He leans over, those same eyes staring at me through yellow sunglasses, the whiff of patchouli ever present. “That’s just what I did.”

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The brian jonestown massacre, with color green.

Logjam Presents is pleased to welcome The Brian Jonestown Massacre for a live in concert performance at The Top Hat on Tuesday, October 3, 2023. Tickets go on sale Friday, July 14, 2023 at 10:00AM at the The Top Hat, online or by phone at 1 (800) 514-3849. All tickets are general admission standing room only… Continue Reading

Logjam Presents is pleased to welcome The Brian Jonestown Massacre for a live in concert performance at The Top Hat on Tuesday, October 3, 2023 .

Tickets go on sale Friday, July 14, 2023 at 10:00AM at the The Top Hat ,   online or by phone at 1 (800) 514-3849. All tickets are general admission standing room only with limited bench seating. All ages are welcome.

About The Brian Jonestown Massacre

This the first time this title has been available on vinyl . At the risk of further labouring a rather obvious point, with Thank God for Mental Illness, their third collection of absolutely stunning music in 1996, the Brian Jonestown Massacre parallels the prolific and effortless brilliance of the Rolling Stones at their fevered late-1960s peak; the sheer scope of their achievements is stunning — rarely are bands quite so productive, or quite so consistently amazing. Thank God is the BJM’s down-and-dirty country-blues outing, all 12-odd tracks supposedly recorded on a single July day at a cost of just $17.36 .

The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Since 1995 The Brian Jonestown Massacre has released numerous albums, first for Bomp! Records, the label which gave them their start, and later for TVT and Tee Pee. BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club.

Originally Newcombe was heavily influenced by The Rolling Stones’ psychedelic phase – the name comes from Stones guitarist Brian Jones combined with a reference to cult leader Jim Jones, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK Shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.

Color Green is an expansive rock and roll band made up of Noah Kohll, Corey Madden, Kyla Perlmutter and Corey Rose. The dynamic unit throws extremes of raw energy contrasted by a night’s vulnerability into their performances, keeping their audience unsure of what to expect next. An infinite pool of influences, from The Rolling Stones to Spiritualized, gives Color Green their charm: an unlikely blend between explosions of sound and gentle harmonies.

Kohll and Madden, the fleet-fingered guitar gurus, formed the group in 2018 after jamming their way through the astral plane. Their debut, self-titled EP arrived on Maximum Exposure in 2020, following two strange years of jamming late into the mysterious desert nights. In an aimless onslaught of moving through the American west, Kohll and Madden landed foot in LA. Their self-titled debut, released in 2022 on Aquarium Drunkard and ORG, blasts out of the gates at full strength. Equal parts fuzzy and twangy, the songs cull from many decades of the strange sounds of American music.

Joining forces with the devilish rhythm section of Perlmutter and Rose, Madden and Kohll are tethered down to earth with an unfaltering backbone. With all four voices featured throughout each performance, the band calls all colors of emotion into play. Color Green’s dedication to mastering the live show has established a cult like following across the country — opening for acts like Fuzz, Kikagaku Moyo, Circles Around the Sun, and Etran De L’air only begins to paint the picture of the malleability of the band. Like the cotton comedown after a potent tab of Orange Sunshine, Color Green is a gentle melter.

THE BRIAN JONESTOWN MASSACRE Australian Tour 2023

30 July 2023 The Rockpit

Psychedelic rock legends The Brian Jonestown Massacre return to Australia in 2023 bringing favourites and as ever, new material from their storied career.

Lead by the singular visioned drive of Anton Newcombe and a revolving cohort, The Brian Jonestown Massacre have delivered an unrelenting schedule of recorded output, some 20 studio albums, 14 EPs, five live albums, six compilation albums and 22 singles, a majority independently through the band’s self-sustaining A Records.

Brooklyn Vegan commented on the latest studio album release The Future is Your Past, “Newcombe is clearly energized and that comes through loud and clear”.

Album number 20, The Future is Your Past which, like its 2022 predecessor Fire Doesn’t Grow on Trees, came out of an intense prolific streak during the height of covid with Newcombe writing and recording a song a day for 70 days straight. His amalgam of classic lysergic rock, hazy shoe gaze and mellow drone continues to be refined as the writer shows he inhabits a rarefied stratosphere of endless inspiration.

After extensive US and European tours since the re-opening of the planet, The Brian Jonestown Massacre are now set to play dates across Australia. Get your tickets HERE

• A Recordings Ltd.
• Discography
• A Records U.K. & Global Store Vinyl & CDs
• A Records US Store Vinyl & CDs
• A Records US T-Shirts
• A Records European T-Shirts
• Levitation Brian Jonestown Poster Series
• Amazon Digital CD & Vinyl

The Brian Jonestown Massacre ‘Don’t Get Lost”

Release date: 24th february 2017 order here.

Available on 180 grm yellow coloured vinyl 2LP .

Don’t Get Lost was fully recorded & produced at Anton’s new Cobra Studio in Berlin . It is the 16th full length release from the Brian Jonestown Massacre recorded from March 2016 to October 2016 . With band members Ricky Maymi , Dan Allaire , Collin Hegna & Ryan Van Kriedt .Also Emil Nikolaisen from the Norwegian band Serena-Maneesh & Pete Fraser (The Pogues .New Young Pony Club) on saxophone joins the band on this album , plus vocal performances from Tim Burgess (Charlatans) , Tess Parks and Shaun Rivers . A new dynamic is heard on this album mixing the shoegaze/psychedelic sound with more experimental twists on some tracks you might hear PIL (Metalbox) , Primal Scream , or even Ornette Coleman . 14 tracks that will twist and turn through the known and the unknown Brian Jonestown Massacre . Anton Newcombe has been a very busy man these past 2 years, kicking off with the critically acclaimed Brian Jonestown Massacre album ‘Revelation’ in May 2014. After a successful UK and European tour, the BJM followed this up with the ‘+-‘ EP (Nov 2014). 2015 saw the release of ‘Musique de film imaginé’ (April); an imaginary film soundtrack album featuring the track ‘Bonbon’ which has, ironically, been used in ‘Dheepan’; the Palme D’or winner at Cannes film festival 2015. In June, Anton and Tess Parks embarked on a well received tour of the UK and Europe to support the release of ‘I Declare Nothing’. Anton finished the 2015 with a BJM mini-album release entitled ‘Mini-Album Thingy Wingy’ . In 2016 The band released 2 singles and the critically acclaimed Third World Pyramid .

The band have been touring the world since November 2015 ,playing Australia , New Zealand , and then in 2016 USA , Canada , Europe , Chile & Argentina. A small US tour is happening in March 2017 please click here for more information.

Tracklisting SIDE A – 1) – Open Minds Now Close , 2)Melodys Actual Echo Chamber , 3) Resist Much Obey Little , 4) Charmed I’m Sure , SIDE B – 5) Groove Is In The Heart , 6) One Slow Breath , 7) Throbbing Gristle , SIDE C 8) Fact 67 , 9) Dropping Bombs On The Sun , 10) UFO Paycheck , SIDE D – 11) Geldenes Herz Menz , 12) Acid 2 Me Is No Worse Than War , 13) Nothing New To Trash Like You , 14) Ich Bin Klang CD – Tracklisting 1) – Open Minds Now Close , 2) Melodys Actual Echo Chamber , 3) Resist Much Obey Little , 4) Charmed I’m Sure , 5) Groove Is In The Heart , 6) One Slow Breath , 7) Throbbing Gristle , 8) Fact 67 , 9) Dropping Bombs On The Sun , 10) UFO Paycheck , 11) Geldenes Herz Menz , 12) Acid 2 Me Is No Worse Than War , 13) Nothing New To Trash Like You ,14) Ich Bin Klang