Dub Trio: "Control Issues Controlling Your Mind"

In late October, the peerless  Dub Trio issued its latest dub-metal opus, IV, with the usual "anything goes" mentality — incorporating a warped, guitar-infused dubstep track as well as a foray into prepared piano alongside the usual grooves, riffs, and "sludge and bass."

Following a stop in Rochester, New York, the band spoke with ALARM contributor Saby Reyes-Kulkarni for his interview archive and webcast The Haywire. Watch Joe Tomino, Stu Brooks, and DP Holmes talk about "playing each other," translating that to the studio, and being reintroduced to metal. Then stay tuned for a quick update from Tomino about his food blog and his never-ending search for french-onion soup.

For us, 2011 was another year of taking in as much as we could and sharing the best with you. Next year, however, will be a homecoming of sorts, a return to rock-'n'-roll roots. We'll soon be able to share the projects that we have in store — across multiple mediums — but for now, dig into this rock-focused list of must-own albums.

And for more, revisit (or simply visit) our lists from 2010 and 2009:

100 Unheralded Albums from 2010
50 Unheralded Albums from 2009

Steven Drozd: The Heart Is A Drum Machine (The Score) (Twinkle Cash Co., 1/18/11)

Steven Drozd: "Born"

A multi-instrumentalist and the third-most-tenured member of The Flaming Lips, Steven Drozd marked his first official solo release early this year with the nearly instrumental accompaniment to the documentary The Heart is a Drum Machine.

The music shares a lot of characteristics with the Flaming Lips of the past dozen years – synthesized grooves, big rock beats, fuzz bass, airy keyboards, and different instrumental flourishes weaving in and out. But listeners are unlikely to confuse the two, and the score succeeds as a standalone album as well as a film accompaniment.

…And You Will Know Us by the Trail of Dead: Tao of the Dead (Richter Scale Records / Superball Music, 2/8/11)

…And You Will Know Us by the Trail of Dead: "Weight of the Sun"

There has been no shortage of grand themes and allegories in the canon of Austin post-punk quintet …And You Will Know Us by the Trail of Dead. The band’s newest album, however, better matches its ambitious themes with its music, presenting an epic pair of pieces for Tao of the Dead.

The album recalls progressive albums of yore, from the likes of Rush and King Crimson, but channels them into easily digested movements. Stretches of heavy distortion and drum thrashing will appeal to the more metal-minded Trail of Dead fans, but there’s also plenty of hook-laden, radio-ready alternative rock.

Wires Under Tension: Light Science (Western Vinyl, 2/8/11)

Wires Under Tension: "Electricity Turns Them On"

Light Science is the exciting debut from Wires Under Tension, a duo comprised of violinist/multi-instrumentalist Christopher Tignor and drummer Theo Metz. With help from a few friends, including Jared Bell of Lymbyc Systym, the two combine live performance with electronic manipulation, sounding something like a progressive Dirty Three with horns, hip-hop beats, and post-rock guitar swells.

This seven-track release is a dense, fluid collection that retains consistency thanks to Metz’s steady rhythms. Electro-mechanical piano, clavinet, and synthesizers mesh with loops and samples to round out an impressive first release.

Pitom: Blasphemy and Other Serious Crimes (Tzadik, 2/22/11)

Pitom: "Head in the Ground"

Combining heavy, fuzzy rock jams with Jewish melodies, Pitom is one of many projects from guitarist, bassist, and composer Yoshie Fruchter. Blasphemy and Other Serious Crimes, the quartet's second release on Tzadik, follows the same path as its predecessor, but it does so with a bit more cohesion and restraint.

Built from the ground up with distorted bass and violin, the band's music carries similarities to that of Skeletonbreath and Miasma & The Carousel of Headless Horses. Whether driving a song with an infectious melody, commingling with the violin in the high end, or simply taking over a track with raw ability, Fruchter knows when to go full throttle (the punk power of "An Epic Encounter") or pull back (the dark slow jam of "A Resentful Repentance").

The Psychic Paramount: II (No Quarter, 2/22/11)

The Psychic Paramount: "RW"

Though relatively silent for the past six years, New York noise-rock trio The Psychic Paramount returned in February to release its first full-length since 2005. Effected guitar loops, devastating low-end grooves, and bashing rhythms again form the core of the band's sound, but II is a direct yet dynamic rock explosion.

Between the guitar, the cymbals, and the effects, the mid-range gets a constant workout. Those who are turned off by this kind of music may find it to be an exercise in patience, but the lengthier durations are a testament to the trio's skills at climax and denouement.

DeVotchKa: 100 Lovers (Anti-, 3/1/11)

DeVotchKa: "100 Other Lovers"

Following the fame from its Oscar-winning soundtrack for Little Miss Sunshine in 2006, Denver multi-instrumental quartet DeVotchKa has playfully tinkered with its sweeping, emotive sound. Though it already tossed together elements of folk, rock, Mexican, and Gypsy music, it remained united by the sullen croons and songwriting of frontman Nick Urata.

That unifying factor remains, but its newest album, 100 Lovers – its second post-Sunshine full-length – continues to expand the band’s scope. The material adds new and often subtle flavors to DeVotchKa’s repertoire. Uninitiated listeners might hear more of the same, but 100 Lovers is perfect for content fans – moving in new directions without a radical departure.

Stateless: Matilda (Ninja Tune, 3/1/11)

Stateless: "Ariel"

Matilda, Stateless' second full-length, showcases the British electro-rock group's continued maturity. Lead singer Chris James hits an impressive range of notes, from reverb-cloaked backing croons to soulful leads, atop an amalgamated mix of styles, sounds, and beats.

With contributions from The Balanescu Quartet, DJ Shadow, and Shara Worden (of My Brightest Diamond), Matilda is stylistically inventive, with familiar worldly touchstones reworked into new contexts.

Grails: Deep Politics (Temporary Residence, 3/8/11)

Grails: "I Led Three Lives"

With cinematic soundscapes, Westernized Indian melodies, film-noir mystique, 1960s psychedelia, and crushing heaviness, Grails is an instrumental rarity. The Portland band's newest offering, Deep Politics, is an engaging and epic mix of acoustic intonations, indigenous sounds and melodies, spaghetti-western motifs, somber piano balladry, and more doom-filled, Eastern-infused stylistic transcendence.

And thanks in part to arrangements by Timba Harris, the mighty violinist from unparalleled genre annihilators Estradasphere and Secret Chiefs 3, Deep Politics vies to be Grails’ best album yet.

Parts & Labor: Constant Future (Jagjaguwar, 3/8/11)

Parts & Labor: "Constant Future"

After establishing itself early last decade as an interesting new name in noise rock, Parts & Labor delivered a flurry of releases over the span of just a few years. Since then, the band has scaled back to a trio built around the fuzzed guitar, bass, keyboard hooks, and tight rock rhythms.

Featuring some of the band's sturdiest songs yet, Constant Future is direct, potent, and catchy. Behind Dan Friel and BJ Warshaw's echoing, harmonized vocals are dirty, thick grooves that power the overlaid electronic freak-outs.

Adebisi Shank: This is the Second Album from a Band Called Adebisi Shank (Sargent House, 3/15/11)

Adebisi Shank: "Micro Machines"

Released to European acclaim in 2010, the aptly titled second album from Irish electro/math rockers Adebisi Shank achieved North American release this year thanks to the peerless Sargent House.

The management company / record label describes the trio as a blend of Fang Island’s shredding riffs with Battles’ electronic quirkiness and rhythmic playfulness. That description isn’t off the mark, but readers won’t get a sense of the band’s real abilities until they hear its hyper-melodic, polyrhythmic, and — most importantly — jubilant songs in full.

Second Album delivers a maelstrom of zany electronics, unusual distortions, and triumphant, rapidly ascending scales mixed with vintage synths, marimba, horns, and other accoutrements. This is all packaged between and around gloriously catchy and powerful rock riffs, resulting in a manic and buoyant sophomore effort.

Dub Trio: "Control Issues Controlling Your Mind"

Since the release of their last studio album, Another Sound is Dying, the boys of Brooklyn-based dub-metal band Dub Trio have been busy touring extensively as well as working as the backing band for acts such as Matisyahu. But in that time, they’ve managed to get back in the studio to continue crafting their own distinct songs.

IV, the band’s latest release, is possibly their heaviest and most experimental album yet. It waxes and wanes between raw, thrashing metal and chilled-out ambience, highlighting the band’s versatility. And though the sound is far from reggae, it never fully departs from the dub genre. Listeners of IV should expect to hear “dub,” rather, as a concept: compositions are mangled and manipulated to explore different ideas and emotions.

Bassist Stu Brooks and drummer Joe Tomino took time out of their touring schedule to speak with ALARM about their latest album and about the evolution of their sound.

You’ve mentioned that much of the songwriting for this album was done on the road. What was that process like?

Joe Tomino: The first batch of songs for IV were written in Chavagne, France at the start of one of our previous European tours. We had a few days off before we started the tour, so we set up our equipment in a house and played all day. The next batch of songs was written several months later in Brooklyn. We rented a rehearsal space in for a few weeks and worked on more material. Finally, the last couple of songs were written in the studio. [We] actually wrote, recorded, and mixed in the same day. It was an interesting approach of having this discipline of going in to the studio with an idea and needing to come out with two completely finished songs within one day.

Though Another Sound is Dying took a noticeably heavier direction, IV is even more packed with riffs. Has the band's hefty tour itinerary led to songs that have more live energy?

JT: As with all our tours, the songs we play from night to night are always evolving. There is enough inherent improvisation in our music that we can subtly change things from night to night or tour to tour. We always try to give the audience as much of a visceral experience as possible from stage. Since there are no lyrics or front-man talking between songs, we rely on energy to propel the performance. A Dub Trio show is like an emotional rollercoaster of sound.

There are fewer full-on dub moments on IV, but you added a few tracks that are completely different, including a "Dub Trio take" on dubstep, a minimalist percussion piece, and a nine-minute tune that starts with toy piano and goes ambient at the end. What else do you want to try that you haven't yet?

JT: Not sure. We’ve covered a lot of ground, musically, between our four studio albums. These days we’re really enjoying playing a good, old-fashioned blues jam at sound check every chance we get. The other day we played a twelve-bar blues [piece] with some sub-bass keyboards, distorted and effected guitars, and some dubstep-sounding drum samples. We try not to set any limits on where the music will take us when we are composing new songs.

At what point do you begin working with dub effects? Has that changed as the band has evolved?

Stu Brooks: We've always been into using effects/electronics and interested in studio gear, but it wasn't until after being a rhythm section for a couple years that we really incorporated the dub-style effects into our instrumentation. At that point, we really started developing a sound and not necessarily applying the dub effects to only reggae but other music we were also interested in playing. In the beginning, it was more electronic/ambient/dub that we applied these effects to, but at some point, we realized "no genre restrictions" while maintaining the same dub technique.

We don't apply the dubs until the live setting or once we're in the studio. Conceptually, there may be an intention as for how we dub a particular section.

This is your first album in a while that hasn't featured Mike Patton on a track. Do you envision using any other guest vocalists in the future?

SB: We are always interested in collaborating with different vocalists, whether it be in the studio or on stage. As for our own records, it is not a priority. But working on other people's records is always a fun and challenging experience, and we love to do it.

Your beginnings as a group were more improvised, and you continue to experiment with songs or portions of songs in the live setting. How frequently do you go "off the cuff" on stage, and how does your group chemistry affect that?

SB: Most of the songs have sections that we leave as an open pallet for improvisation with dubbing and instrumental variations. There are unspoken limits to this that we adhere to, but not as a rule. I think, as a group, we've always just let ourselves have total musical freedom, but we do have a dialect inherent in Dub Trio's music that we speak. This evolves like any language.

Has it gotten any harder (or easier) to make time for Dub Trio with all of your outside studio and tour commitments?

SB: We've been working a lot with Matisyahu for the past few years. We really enjoy backing him up. He really encourages us to inject our sound into the songs that he's been playing for years and sometimes completely revamp them altogether. While backing him up, we are featured as Dub Trio, and to us, doing that gig is just one part of what Dub Trio does as an entity. So I guess I am trying to say that we are always Dub Trio all day. [With] that being said, we've been doing less of our own headlining tours. It seems that all we do is Dub Trio these days.

What are you inspired by at the moment — musically or otherwise?

JT: Death Grips, Oval, Max Richter.

What are your plans for the future of Dub Trio?

SB: We plan to keep it real. Twenty more records.

Tom Waits: Bad as Me (Anti-)

Tom Waits: "Bad as Me"

Few musicians are as cloaked in mythology as Tom Waits. Yet his music is both comforting and jarring, pushing boundaries while always honoring the legacy of American songwriting. Bad As Me, Waits’ first studio album in seven years, is all of these things. The songs oscillate between manic and maudlin, flip-flopping throughout the entire album. Where a Depression-era blues tune ends, a ballad begins.

There are multiple references throughout, the most obvious of which is when Waits calls out Mick Jagger and Keith Richards on “Satisfied.” The punch line of the joke is that Richards is playing guitar on the track. And he’s not the album’s only superstar. Flea plays bass; so does Les Claypool. Marc Ribot, who’s played with Waits since 1985, lends his Latin-infused guitar licks to just about every tune. And Waits’ son, Casey, plays drums, emerging here as a versatile musician in his own right.

Despite several blistering tracks, the best song on the album also is its softest. “Pay Me” is a tearjerker. An instrumental coda is the perfect end to the melancholy reverie, and in that moment, Waits seems like nothing more than an anonymous and soft-spoken piano player. Of course, it’s only a moment. Three minutes later, he’s back to his droll wordplay and violent howls, talking at us in spoken asides and then cackling in our faces.

- Text by Timothy S. Aames.

Russian Circles: Empros (Sargent House)

Russian Circles: "Mlàdek"

In 2009, instrumental rock trio Russian Circles released Geneva, an album that both introduced the worming bass lines of Brian Cook (of These Arms are Snakes) and showcased the band’s balance of metallic fury and melodic beauty. Complementary strings and horns also dotted the sonic landscape, creating a superlative post-metal opus.

Empros cuts away the complementary pieces of Geneva, instead focusing on the trio’s interplay. Cook has further ingrained himself in the Russian Circles sound, allowing the galloping rhythm section just as frequently to play the lead as Mike Sullivan’s effects-heavy, overdubbed guitars. And the usual ear for dynamics is present once more, building moments of tension and release to go with the killer riffs.

- Text by Scott Morrow.

Dub Trio: IV (ROIR)

Dub Trio: "Control Issues Controlling Your Mind"

Download

When dub-rock powerhouse Dub Trio last released a full album at the start of 2008, it marked a significantly heavier direction, with chugging hardcore and sludge-metal tendencies creeping into its unparalleled blend of grooves and riffs. The trio’s newest, IV, continues that trajectory, committing the group first and foremost to metal.

Dub remains a key factor, albeit more subtly. Few tracks bear the mark of modern reggae or dub music, but individual instruments are tweaked at key moments. “Ends Justify the Means” is the band’s first venture into the wobbly bass sounds of dubstep, but palm-muted and manipulated guitar stabs make it entirely new. And “1:1.:618” is an experiment in prepared piano and improvised effects, emphasizing the unpredictable nature of this inimitable outfit.

- Text by Scott Morrow.

Kid Koala: Space Cadet graphic novel and soundtrack (Ninja Tune)

Kid Koala: "Main Title Theme"

Canadian artist Eric San, better known as Kid Koala, is a non-traditional, storytelling turntablist, classically trained pianist, and accomplished visual artist. Like his 2003 release Nufonia Must Fall, Space Cadet is a joint graphic novel and soundtrack, each of which has been meticulously handcrafted between other artistic endeavors.

Over 132 pages of etchboard images, Space Cadet tells the tale of a guardian robot and a girl whom he raises to be a great astrophysicist-slash-space-explorer. It touches on themes of love and seclusion, as San sets the tone with a gentle and somber piano score. His turntable work makes intermittent appearances, usually to give the piano or other accompanying instruments (strings, horns, marimba) a warped and “drunken” feel.

The album’s tracklist provides follow-along page coordinates for the music, providing the type of audio/visual synthesis that is central to his “headphone concert” tour of 2011.

- Text by Portia Medina. Read our Q&A here.

Darkness Falls: Alive in Us (HFN Music / Fake Diamond)

Darkness Falls: "Noise on the Line"

Part of Copenhagen's blossoming pop scene, Darkness Falls is a two-woman dream-pop duo with throwback flair consisting of singer/keyboardist Josephine Philip and guitarist/bassist Ina Lindgreen. The two made a splash in April with their debut EP, and now on their first full-length effort, produced by DJ/composer Anders Trentemøller, they present a fuller and more dynamic sound.

In no small part from Philip's haunting harmonies, the music serves an atmospheric and hypnotic mood. The timbres are assorted yet thematic, united by guitar tones that drip with twang and surf-rock reverb. Accents of acoustic guitar, glockenspiel, Theremin, harp, and harpsichord join the spooky synths and sparse percussion for a soundscape that's alternately minimal and flourishing.

In all, Alive in Us is a promising debut that shouldn't be overlooked due to its Danish origin. And if you want to hear more of Philip's talents with Trentemøller, listen to the heartbreaking ballad "Even Though You're With Another Girl" on the producer's outstanding 2010 album, Into the Great Wide Yonder.

- Text by Scott Morrow.

Corridor: Real Late (Manimal)

Corridor: "Objective Lens"

Led by multi-instrumentalist Michael Quinn, Los Angeles-based Corridor is a quirky one-man pop experiment, crossing streams with classical and world sounds. But Quinn, who released a self-titled debut as Corridor in 2009, also cites influences such as industrial/folk art-rockers Swans, medieval English folk, and Django Reinhardt, creating one massive — but cohesive — confluence of styles.

Corridor’s blend of electronic looping and acoustic plucking is often dark and emotive, with an almost grunge/metal heaviness. Real Late also is populated by thumping tribal percussion and distortion on the verge of squealing, avant-garde hysteria. Even when venturing into dirge-ful, down-tempo territory, a jazz-like sense of melodic phrasing pulls it all back together.

- Text by Kyle Gilkeson and Scott Morrow.

Mr. Gnome: Madness in Miniature (El Marko)

Mr. Gnome: "Ate the Sun"

Formed in 2005, Cleveland-based duo Mr. Gnome has been offering introspective, spooky indie rock ever since its inception. Even though the art-rock band is composed of just singer/guitarist Nicole Barille and drummer/pianist Sam Meister, Mr. Gnome finds a way to make a lot of noise.

Madness in Miniature, the duo's third full-length album, flexes its muscles frequently. Oscillating between raucous guitars, atmospheric soundscapes, persistent drumming, and Barille’s full-on belt-outs and soft-spoken vocal layers, the body of work immediately calls to mind the best stuff by Yeah Yeah Yeahs and The Kills, with hints of Queens of the Stone Age peppered throughout.

“House of Cards” is the clear-cut hit here, featuring an array of sonic qualities: clean guitars at the intro and verses, riff-laden interludes and bridges, forceful choruses, both sweet and distorted vocals, creepy harmonies, pulse-pounding percussion, and Halloween-esque howling. This variety is reflected in the rest of the album, making Madness in Miniature an indie-rock success.

- Text by Michael Danaher. Read the full review here.

The Brandt Brauer Frick Ensemble : Mr. Machine EP (!K7)

The Brandt Brauer Frick Ensemble: "Pretend" (f. Emika)

On its debut album, You Make Me Real, German “acoustic techno” trio Brandt Brauer Frick introduced the world to its unholy marriage of dance-floor forms and neoclassical minimalism. Over the course of the last year, the band has performed, on occasion, as a 10-piece ensemble, which has enabled it to transfer its digital components into the hands of even more humans.

Now that 10-headed beast, known The Brandt Brauer Frick Ensemble, has released Mr. Machine, an eight-song EP. The title track kicks things off with a steady, spare drum beat and half-cooked instrumental detritus populating the wide-open spaces. From there, things should sound a bit more familiar, as four tracks are reinterpretations of tracks from You Make Me Real and three are reinterpretations, including "Pretend" by Ninja Tune recording artist Emika.

The production is incredibly rich without being dense, and each of the instruments is given equal measure of the spotlight. It’s definitely headphone music; you’ll want to catch every new wrinkle and texture.

- Text by Kyle Gilkeson.

Honorable Mentions

The Boddie Recording Company retrospective release (Numero Group)

Deer Tick: Divine Providence (Partisan)

Dirty Projectors & Björk: Mount Wittenberg Orca (Domino)

East of the Wall: The Apologist (Translation Loss)

Giant Squid: Cenotes (Translation Loss)

Junius: Reports From the Threshold of Death (Prosthetic)

Justice: Audio, Video, Disco (Ed Banger)

Morkobot: Morbo (Supernatural Cat)

Nordic Nomadic: Worldwide Skyline (Tee Pee)

Gary Numan: Dead Son Rising

Prurient: Time’s Arrow EP (Hydra Head)

Ralfe Band: Bunny and the Bull OST (Warp Films / Ghost Ship)

Raleigh Moncrief: Watered Lawn (Anticon)

El Rego: s/t (Daptone)

Roedelius Schneider: Stunden (Bureau B)

Roots Manuva: 4everevolution (Big Dada)

Slugabed: Moonbeam Rider EP (Ninja Tune)

Star Fucking Hipsters: From the Dumpster to the Grave (Fat Wreck Chords)

Statik Selektah: Population Control (Duck Down)

Christina Vantzou: No. 1 (Kranky)

Wild Child: Pillow Talk (Major Nation)

Zakarya: Greatest Hits (Tzadik)

Brooklyn-based dub-rock band Dub Trio has announced a release date for its first studio album since Another Sound Is Dying in 2008. The album, entitled IV, will be released on October 25 in both CD and vinyl formats via ROIR. The gap in releases can be attributed to the band's recent musical nomadism, a period during which the trio became Matisyahu's live band and contributed more studio work to big-name rap and pop artists.

"Most of the record was written while we were on the road," says bassist Stu Brooks. "By the time we hit the studio, we were extremely hungry to put down the ideas." According to drummer Joe Tomino, IV expands on the band's singular sound and places an even greater emphasis on metal and instrumental experimentation. "As always, we aspire to create a visceral experience for the listener, and IV is no exception," he says.

The band will tour this fall with dates forthcoming.

Thursday, April 16

Sleepytime Gorilla Museum, Dub Trio, Cheer-Accident @ Bottom Lounge (Chicago)

What a great way to celebrate the passage of Tax Day. First, indefinable prog collective Cheer-Accident opens for its hometown with a mix of rock, pop, chamber music, and noise.

Second, dub-metal instrumentalists Dub Trio rework their own punishing riffs and grooves for live variations, channeling dancehall sentiment through dropped-D rock.

After that, "rock against rock" avant-gardists Sleepytime Gorilla Museum close the night with an adventurous combination of metal, theatricality, homemade instruments, and philosophical themes.

Congrats to ALARM reader J.D. Romero, the winner of two free tickets to this show.

Friday, April 17

The Bad Plus @ Old Town School of Folk Music (Chicago)

Jazz trio The Bad Plus has made a career out of going against the grain. Genre purists have derided the band's infusion of rock structures, which helps create a hard-hitting jazz sound around a lineup of piano, bass, and drums.

Along the way, the group has built the reputation for deconstructing covers and reappropriating them into unique forms. Now The Bad Plus tours in support of For All I Care, its first all-covers album that includes a guest vocalist and a few classical covers.

Kid Koala @ Zentra (Chicago)

Loaded with samples that span the 20th century, DJ/turntablist Kid Koala employs a cross-genre sound that's impossible to pin down. For this stop through Chicago, he performs a DJ set at a local nightclub that may or may not hold a large contingent of bros.

Saturday, April 18

Qwel @ Reggie's (Chicago)

Chicago rapper Qwel lays unpausing flow and societal topics over melancholy production. Here he gets opening support from Galapagos4 labelmate Robust, who also opens at Reggie's the night before for Kool Keith and Kutmasta Kurt.  Doomtree rap-collective member Dessa — a guest on the great new album by P.O.S. — also opens.

Before heading their separate ways, Sleepytime Gorilla Museum and Dub Trio finish a series of tour dates that can be seen here.  Chicago's performance is this Thursday, April 16 at the Bottom Lounge.

One winner will be drawn at random and notified by the end of Wednesday.  Good luck!

**This contest is now closed. Thanks for your participation, and congrats to the winner.**

One entry per person. Contests are only open to ALARM newsletter subscribers. By entering your e-mail address you are signing up for our exclusive e-mail newsletter. You can always unsubscribe if you don’t like it, and you’ll still be eligible to win any contest you entered.

Sleepytime Gorilla Museum: www.sleepytimegorillamuseum.com
Dub Trio: www.dubtrio.com
Cheer-Accident: www.cheer-accident.com

In April, Dub Trio rolls back through the Midwest and East Coast on a mini-tour with avant-garde "rock against rock" outfit Sleepytime Gorilla Museum.  Those shows come highly recommended.

**This contest is now closed. Thanks for your participation, and congrats to the winner.**

Dub Trio: www.dubtrio.com
Ipecac Recordings: www.ipecac.com

One entry per person. Contests are only open to ALARM newsletter subscribers. By entering your e-mail address you are signing up for our exclusive e-mail newsletter. You can always unsubscribe if you don’t like it, and you’ll still be eligible to win any contest you entered.

Here's a list of tours on our radar, including dates from The Bad Plus, Fucked Up, Orange Tulip Conspiracy, P.O.S., Secret Chiefs 3, Young Widows, and more.

Follow each artist's link to see current tour dates.

The Bad Plus: March 5 – April 17
After a few one-off shows and a short stint in Eastern Europe, the rock-infused jazz trio begins a month and a half of spread-out dates in major North American cities. Accompanied by vocalist Wendy Lewis, the group is supporting the release of its first all-covers album, For All I Care.

Dan Deacon: April 6 – May 17
Electronic artist Dan Deacon takes a six-week jaunt across the US and Canada with a full supporting ensemble to perform the electro-acoustic works of his new album, Bromst.

Don Caballero: Feb. 3-28
Led by drummer/instigator Damon Che, these rock instrumentalists began a US tour last week that will hit major cities from coast to coast. Since being recreated, the group (with Che as its only remaining original member) has emphasized a heavy rock sound, continuing with its most recent album, Punkgasm.

Fucked Up: Jan. 27 – Feb.
Closing out its three-week US tour, Fucked Up plays a few Midwest dates before culminating with two Valentine's Day shows in Chicago and a recently added gig in Michigan. The shock-value cross-genre punks then take a breather before traveling to Europe in late February.

Irepress: March 4 – April 11
Heading out in support of its sophomore album, Sol Eye Sea 1, this (mostly) instrumental Boston group treats rock clubs to mathy, melodic, chugging, epic songs.

The Oddity Faire: A Mutated Mini Fest: March 4-28
This four-week traveling mini festival features an outstanding lineup of Les Claypool, DeVotchKa, Saul Williams, and Secret Chiefs 3 in many cities. Some dates include the Yard Dogs Road Show, O'Death, and The Mutaytor. Tickets are a bit pricey but should be worth every dollar. Claypool is supporting a new album, Of Fungi and Foe.

Orange Tulip Conspiracy: May 1-23
This new project from Estradasphere guitarist Jason Schimmel makes its debut US tour in support of its excellent first album.

P.O.S.: Feb. 5-28
With what should be one of the year's best hip-hop albums in tow, Minnesota's P.O.S. kicked off a three-week US tour in Montana last Thursday. His jaunt runs through the West, the Midwest, and the East Coast before returning to Minneapolis.

Sleepytime Gorilla Museum: April 9-20
This theatrical art-metal group takes a short Midwest and East Coast tour between albums, getting a fabulous opener in Dub Trio for five of the dates.

Young Widows: March 13 – April 7
After a stretch of European performances, Louisville's Young Widows will have spent the better part of two months on the road, punishing crowds with a rhythmic heaviness and inspiration from forerunners such as The Jesus Lizard.