Prepared For A Nightmare by Mayflower Madame – Album Premiere and Interview

Mayflower Madame, the Norwegian Post-Punk / Psych band comprised of Trond Fagernes, Håvard Haga, and Ola J. Kyrkjeeide, are excited to premiere their album, Prepared For A Nightmare, here at DISARM!

The album is being released digitally on March 27, to be followed by the physical release, on both vinyl and CD, May 15th via Only Lovers Records, in collaboration with Portland’s Little Cloud Records and Parisian label Icy Cold Records.

While you enjoy the stream of the new record, you can also check out these DISARMing questions we asked Trond Fagernes. So press play, enjoy the record, and read on!

DISARM: What are you listening to right now?

Trond: Right now I’m listening a lot to LA band Sextile. They’re doing some kind of raw combination of Post-Punk and Synth-Wave that I find really, really cool.

What was the first LP/tape/CD you remember owning?

I remember getting some Beatles CDs when I was really young, one of them was Revolver. The first two CDs I bought myself was Nirvana’s Nevermind and Unplugged in New York which I still can very much enjoy listening to today.

Vinyl or CD/Digital?

I prefer vinyl, but still listen to CDs also. I’m definitely a sucker for the physical format when it comes to music.

What are your favourite bands?

Hmm, always a hard question, so many to choose from… The first that comes to mind are early Clinic, Psychic Ills, DIIV, and Bauhaus. I should also mention Sextile again. And Nirvana will always have a special place in my heart.

Why do you live where you do?

Simply because Oslo is the most central place to be in a small country like Norway.

What is your favourite journey?

Also a hard question, again so many great to choose from… But I guess there’s not much that I have enjoyed more than doing a road trip along the US west coast or driving in between the mountains and national parks of Utah.

What’s your idea of a perfect Sunday?

Sleeping undisturbed until I wake up (without a hangover) after staying up late the night before. Then a long breakfast with my girlfriend before I go to our studio for a couple of hours (feeling very creative and motivated of course). After that perhaps going to a museum or gallery followed by a nice dinner with some wine and then a lazy evening watching a movie and listening to some of my favourite vinyl.

What essentials do you take on a plane or tour bus?

Preferably someone interesting to talk with and a good novel (or a band or artist biography if in the need for some “easy entertainment”). A notebook is always handy as well.

What is your dream vacation if money was no object?

I guess it would be the same answer as for my favourite journey. Either that or traveling throughout Japan for a month or so.

What do you do with 4 hours to yourself in a new city?

I would definitely look up the best art gallery/museum and the best record shop. Then I would find a nice neighbourhood to stroll around for a little while before wrapping it up at a cozy bar with great drinks and good music.

Photo by Miriam Brenne

What inspired you to take up music?

As long as I can remember, I’ve felt the need to express myself creatively. I was not impressed by my own drawing abilities and I think I’ve always been too impatient to be a writer, but when I first picked up a guitar it felt right at once. It didn’t take that long before I could copy some of my heroes and then I found out that it didn’t require that much technical abilities to create something myself that I actually also thought sounded cool.

What was your most memorable day job?

My first day job was as an assistant janitor at a nursing home for elders with dementia. It was kind of ironic that I ended up there because I was not a “handyman” at all and I didn’t really enjoy my tasks at that time, but I learned a lot, mostly from the contact with the patients (I’m still not a handyman), and even today I think about that job quite often.

What advice should you have taken but didn’t?

I don’t really remember any, I must have ignored/suppressed them all. You learn as you live – I guess that’s been my motto.

What should everyone shut up about?

Everyone who says global warming and climate change is not real should shut up right now.

Who’s your ideal dinner guest, living or dead, and what the menu be?

I would invite Bill Hicks for some tacos and discussions about music, art and politics. I imagine it would be a fun meal.

Who is your favourite hero of fiction?

Hmm, I’m not sure if I have any particular fictional heroes anymore, but as a kid I was a really big fan of Zorro!

What was the best live gig or music festival you attended (as a fan or artist)?

As a fan I think it’s either Pulp at Oya Festival in Oslo during their reunion tour in 2011 or Clinic at Oslo Psych Fest in 2015. As an artist it’s just too difficult to pick out one or two, but maybe one of the more obscure ones that I really enjoyed was a house show in Boise on our first US tour in 2017. A big living room in a suburban house packed with really cool, friendly people and goats in the backyard. Great vibes.

What are your “must” read magazines, news, websites, blogs?

Another difficult one. For news I do my best to avoid the tabloids and I prefer a Norwegian newspaper called Aftenposten. I don’t really read that many blogs or magazines regularly. There’s a lot of great music blogs out there though – like Disarm Magazine 🙂

Name something you consider a mind-altering work of art.

German Expressionist painter Ernst Ludwig Kirchner’s street scenes from Berlin 1913-15. I wrote my master thesis in art history about these works and I would gladly do it again – they’ve never stopped fascinating me. If I had to pick one of them, it would be a painting called “Potsdamer Platz” from 1914.

What does the next 6 months look like for you?

I guess we’ll be either stuck at home because of the Corona virus pandemic or touring around Europe and North America in support of our upcoming album Prepared For A Nightmare.

Which musician rule do you agree with? Always meet your heroes or never meet your heroes?

Meet them!

Thanks Trond!  You can check out more from Mayflower Madame and get Prepared For A Nightmare on their Bandcamp page HERE.

20 DISARMing Questions for Fenne Kuppens of Whispering Sons

Back in September, we featured “Waste” by Whispering Sons, a Belgian Post-Punk band formed in 2013, on our New Music Radar.

Vocalist Fenne Kuppens was kind enough to indulge us with answers to a few of our favourite questions.

What are you listening to right now?

The new record by Daughters (You Won’t Get What You Want). Pretty intense stuff.

What was the first LP/tape/CD you remember owning?

The Sex Pistols – Never Mind The Bollocks, on CD.

Vinyl or CD/Digital?

Digital to discover music and vinyl to keep it.

What are your favourite bands?

That changes all the time. One of my all-time favourites is Felt. Or Xiu Xiu, who are releasing a new record next year; really looking forward to that!

Whispering Sons – photo by Francis Vanhee

Why do you live where you do?

Because I would be bored stiff if I lived in a small town. I love the dynamic of the city; it has become a necessity.

What is your favourite journey?

Sitting in the tour van, reading a book, going someplace you’ve never been before and being able to play music there.

What’s your idea of a perfect Sunday?

Sleeping in, a nice breakfast, some music, a book, and nothing to worry or think about. Never happens though.

What essentials do you take on a plane or tour bus?

Books and headphones.

What is your dream vacation if money was no object?

Japan is highest on my list at the moment.

What do you do with 4 hours to yourself in a new city?

Probably find the nearest record shop or bookstore and go digging. And after that, walk around some more, go get some coffee and observe the passersby.

What inspired you to take up music?

I’ve seen shows that really made me feel alive. And that’s something I also wanted to be able to do.

Whispering Sons – photo by Tim Theo Deceuninck

What was your most memorable day job?

I once had to take little pots of salsa sauce out of one box and put them in another. Very life-changing.

What advice should you have taken but didn’t?

“Take some rest”, every day for the last 3 years.

Who’s your ideal dinner guest, living or dead, and what would the menu be?

I feel very uncomfortable eating with people I don’t know, so my ideal dinner guests are my friends and we’d probably make pizzas.

Who is your favourite hero of fiction?

Special Agent Dale Cooper 😉

What was the best live gig or music festival you attended (as a fan or artist)?

Difficult question. I’ve seen Slowdive twice, both times it was magical. Otherwise I love a good Savages gig once in a while, because that energy is addictive.

Editors note: We agree about the magic of Slowdive!

What are your “must” read magazines, news, websites, blogs?

I don’t really read any magazines; just trying to keep up with the local news. The rest are fragmented stories on Facebook and Instagram. I do read my horoscope daily though.

Name something you consider a mind-altering work of art.

Just Kids by Patti Smith gave me a boost of motivation and inspiration. Same for the exhibition of Anton Corbijn I saw a while ago. I started taking black and white photos with my phone after that, but I guess I lack some photographic talent. Blue by Joni Mitchell also did something with me which I can’t explain.

What does the next 6 months look like for you?

Playing a lot of shows.

Which musician rule do you agree with? Always meet your heroes or never meet your heroes?

Never meet your heroes. There’s obviously so many things I want to ask them, but I wouldn’t like to spoil the ideal image I have of them.

Thank you Fenne! Check out Whispering Sons on their SoundCloud page HERE.

Wild Arrows – Tell Everyone

Wild Arrows
Tell Everyone
Black Vinyl (Gotta Groove Records)

Wild Arrows, the Brooklyn Alternative/Dream-Pop duo once consisting of Mike Law (vocals and other instruments) and Shiori Takenoshita (drums) released Tell Everyone in 2014, an album that was planned for release two years earlier, but had been cut dead by the devastating arrival of Hurricane Sandy. The band’s instruments, recording equipment, the studio itself, and all the countless hours of time invested in the album were wiped out by the ruthless winds and rain. Amazingly, Law and Takenoshita persevered and overcame these overwhelming obstacles to ensure Tell Everything saw the light of day.

It’s an interesting and complex album both lyrically and sonically. Musically, the album floats in and around Alternative, Post-Punk, New Wave, Dream Pop and even Psych-Rock aesthetics without losing any cohesiveness. Album opener “Ruiner” sets the dark lyrical tone that is consistent throughout the entire record.


Despite the obvious angst in both the lyrics and Law’s vocals, they are offset and complimented by the warm jangle of guitars and background wash of synths. Takenoshita’s drumming is a driving force throughout, adding yet another layer of contrast to the warmer sounds coming from Law’s instruments that are unrushed despite the urgency of the percussion.


Without knowing the backstory of how the album came to be, it’s still perceptible upon listening that Tell Everyone was a labour of love. There is care, purpose, and meaning infused into the record that bears repeat listening sessions to fully appreciate.

Stand-out songs:  “Ruiner” “Hey Liar”, “All Of You”, “Disease”

(We will soon follow this piece up with a review of the band’s newest release, Dreamlike Dream.)

Dave MacIntyre

The Foreign Resort Canadian Tour

Think about foreign resorts. For many, a budget escape from the office grind. For others, something to be avoided, for reasons moral or cultural. In foreign resorts, in Mexico and the Caribbean, for example, visitors are strongly encouraged not to stray offsite without a guide. These professional entertainers and servants, forced into ridiculous stiff formal uniforms lest they be mistaken for one of us, exist in a state of strained smiles and subtle but present security keeping people both inside and outside the walls. They are fortresses; islands removed from their uniqueness as beautiful, interesting, culturally rich places and are dulled, corporatized. We drink and eat our shame away at the paper thin veil of fairness they afford. We sneak people good tips and can hope only to be good tourists. Never more.

The Foreign Resort, the band, are the opposite of all the confusion, artifice and strain associated with the other sense of the words. Their music, their ideology, and their focus are all full of life and honesty. Questions and criticism. Intelligence and respect. Dripping with authenticity. And musically epic.

There is something foreign about them though. Something wondrous. Instead of place, it’s a sense of time. They exploded into our consciousness, here at DISARM, one autumn day with the genuine feeling of rare, rare discovery that music heads everywhere live for. The treasure at the back of that record bin. The sideways evening where amid a universe of jaded industry types you make a real friend and drop your guard, all the way. The film that makes you laugh, cry, think, and forget your troubles. The impossibly talented band who comes from far away and finds your city worth a stop. The stop being the very next day after you’ve first heard them, stumbled across them on Soundcloud. Meant to be. And for once, we are in the exactly right place and at the right time.

The Foreign Resort are on the forefront of a new sort of boundary-less, border-less, timeless new Post-punk, Darkwave and a label we’d like to restore to glory again, Alternative music. Modern Rock. The music was modern in 1979 and 1983 and 1992 and still is, still ahead of the masses and always outside, above, and going around the mainstream, aside from a few glorious chart anomalies that threaten the status quo of robo-pop once a decade or so. Modern Rock and Post-punk is still modern and is still on the cutting edge, fresh and experimental, mostly uncorruptable, beautifully misunderstood, and so, pure from evil forces. The Foreign Resort’s unique brand of Post-punk is pure and uncut: concerned with real issues and real feelings and real music, and capable of articulating all of this with beauty and excitement. The Danish trio have been active for several years and bring a deep musical vocabulary and an innate feeling of true mission and message that is rare.

As cool as it is to see bands on their early North American tours in the smaller clubs that are essential, as special as it is to actually get to say hello and share a toast and get an album signed, after seeing them even once we knew that we want to forfeit that specialness because The Foreign Resort are destined for the biggest stages, before a sea of their T-shirts, and their music deserves to find the masses who need to know. They need it. People need this. And we are not afraid to say that The Foreign Resort are fresh new musical blood the world needs to save us. Just as Post-punk saved us once before, whatever we called it then. Whatever we call it now. It’s real music with heart, guts, and ragged beauty, the best kind. And they are ready and up to the task, having already shared bills with Slowdive, Swervedriver, DIIV, Minor Victories and Cold Cave. And the strong Alternative music press notices have underscored this truth.

The music speaks for itself, and it speaks well. There are themes of “Suburban Depression” which remind us that there is nothing foreign about the universal feeling of isolation and malaise that exists everywhere people live as hubs of big urban centers. Too many move away and rarely return, cutting themselves off, cocooning themselves and their fragile families from not only the smog and the guns and the crowds, but also the good parts of urban life: the food from many countries. The people different from you. The chance to see great live music any night of the week. There is smart, critical commentary about America from a band who has toured the place and experienced it the only way you can, on a real road trip. America can perhaps only be fairly assessed from the outside, especially these days.

None of these songs and themes are dour or preachy, mind you. The music is transcendent, shimmery, full-bodied (you’d never believe it was a three piece, as instruments are handed back and forth seamlessly, and an impossibly tight drum beat from Morten Hansen keeps the gig moving like a steam train). The messages are delivered in the best way we who know like to get our news, the only way, the only source we trust: in the voice of one of our kind. One of our tribe. Mikkel Borbjerg Jakobsen’s voice is riveting, with a real range that easily crosses the band’s versatile catalog. It’s the kind of voice of which you never tire, the kind we haven’t heard in a long, long time, especially in our favourite kind of music.

The music has true versatility in tempo and theme. Cohesive, but with an impressive range. “Dead Leaves”, off the band’s full album release New Frontiers, sounds right out of a great b-side from the early synth-pop giants, deeply sad lyrics held up by a delicate riff that is intoxicating. It could slip into an 80s John Hughes film, or an indie film of today looking for the 80s feelings we all miss (even those born in the 90s). Brand new single “She is Lost” is an urgent anthem that captures TFR’s range perfectly and gives a taste of just what they are capable of. It is music that deserves to chart. To change the charts. As happens every decade or so, organically, from the ground up, rising from the concrete like steam. From the kids, not the suits telling the kids what to like and what to buy. We used to know to never trust anyone in a suit. And to only trust musicians.

Having had the chance to see The Foreign Resort live twice now (first in November 2016 and this week as they performed two shows at Canadian Music Week at the start of their Canadian tour) (the last in the gorgeously outfitted new location for The Hideout) we can say that you must go and find them. We hope someone will get a few live recordings from the soundboard and add a couple of live tracks to a future release (or video) because as excellent and well mixed as the tracks are their live show has a dark magic of its own and tends to blossom in unexpected ways, the highs higher and the lows deeper, with ease spilling out into pure rock guitar riffs or pulling it back to the delicious control of Post-punk with its sense of angst that is still tough as hell and will not be played (again). Fans will become bigger fans, because it just doesn’t get better than this.

It’s astounding to hear how the songs come to life, how impossibly Joy Division’s / New Order’s legendary, game-changing Peter Hook’s bass sound is right there in the room in the hands of Steffan Petersen (and we know that sound intimately and would never say that lightly) how none of us (save for one brave, lovely, and equally smitten journalist) give into our urge to 80s dance because we didn’t pre-drink and we need those gross and long-gone dry ice machines to swan through and it’s not yet the witching hour. But oh, how we long to. How our silent prayers are answered: we’ve finally heard a band of this moment channel and pay respect to the masters. Fans of The Cure, the deep fans who know the Cure from 1977 to 1984 as well as the later albums, will be drawn to this band and will not be disappointed. Be it popular or obscure, British or American, or an original cocktail made in Denmark, the vault of Post-punk offers endless inspiration. But a great band makes all of that into new shapes.

The future looks bright again.

The Foreign Resort on Soundcloud: here, Official site: here, Bandcamp: here.

Jacqueline Howell & Dave MacIntyre 

Peter Hook & The Light Live in Toronto

Peter Hook & The Light at the Danforth Music Hall, Tuesday November 29, Toronto

Peter Hook and the Light take the stage at Toronto’s best, most special and most fun venue, early, at 8:20, and with no opener. They’ve made a good number of Toronto stops in their just four years touring Hooky’s Joy Division and New Order music, with increasing buzz each time. In a tremendous reversal of what a lot of new music today does, or gets to do, Hook’s new work grows all by itself through authenticity and real, old fashioned, word-of-mouth. It doesn’t hurt that the music was developed over the last great musical era, in the most fertile place in all of Europe, by the most innovative band who was unafraid to experiment and take risks, even after early success and terrible loss under another name.

But it’s not name recognition or love of this iconic music that’s made this tour a sellout, conquering US city after US city like a modern day Viking before a lovely finish in Montreal and then, here, the dessert: Toronto, where someone deserving is welcomed like a god for bloody once.  Hook’s performance honed over more than 30 dates in two months is utter musical reinvention and reclamation, the purity and clarity of stripping down something monstrous- a worldwide famous household name brand- to its essence by a genius with an ear unlike any other, different than the other geniuses out there wielding an ax, but no less a guitar god than whoever in Metal is so often named. It’s now Peter Hook’s reading of New Order and Joy Division that matters. Like Johnny Marr’s recent solo efforts, it is much more these days than the sum of its parts was, and better by miles than the competition. It’s streamlined, a killer beast, majestic, lithe, the top of the food chain, rogue, punk. It’s punk again. It’s anti-establishment. And it sings.

We are told that Peter Hook and the Light, made up of members of one-time side-project Monaco with the addition of Hook’s son Jack Bates, have done 400 gigs as of tonight. More than New Order did in 40 years. Not just shade, this fact is deeply significant. It illustrates the point about stripping down, packing light, and taking only what you can carry. Like Renton escaping his groundhog day life at the end of Trainspotting. The stage is spare, no banner or flag, everything heaped in the center, musicians around it, nothing frivolous or decorative. (How often does a venue staffer say that it was an easy set up, when a legend is in town?) It looks like a jam in someone’s house. Hooky’s house.

Trust me when I tell you, Toronto doesn’t let loose unless they mean it. Tonight was the wildest, most open -hearted night of strangers we’ve ever seen, and been part of, in all these years. That I can ever remember. It was, in fact, the closest three hours to Shiiine we’ll ever find here. And all of us there helped make it so, led by the visionary co-creator and bassist of the best album of singles of the last 40 years, played live, cut for cut. After just a few minutes break, a tour of Joy Division’s works, music that demands to be played and heard, is played for another full hour. No one dares to budge. No one will succeed in pushing to the front now. Tonight, those at the front have earned it.

New Order live was never like this; beholden to machines, maybe, on big, cold, faraway stages, in the crummy sports arenas of our lo-fi youth, something sterile in the mix got in the way of the beauty of their creations, there were too many cooks. But this is raw, alive, sweaty, loud, uncut rock and roll, unashamed love and life itself. And even on the bigger stages will remain so, now-we can attest. We know every note, every beat, and yet it’s better than the records, it jumps off the records, and it simply shorts out whatever circuitry is left in the mockery of music in this era of the digital file, in the homes and heads of people who have no stereos anymore. We betrayed ourselves for pocket convenience. We’ve been conned. We betrayed our art, our own gods, this. Guys, we have to go back.

Our fandom, here in Toronto, of New Order, was strong, but very remote indeed. Toronto in the eighties felt to us like (and was) an island far away from the world we loved, Britain, where we sometimes got music a few years too late. But we’d caught up by 1987, and you see, when we got it, it stayed with us forever and forever and forever.

It is 25 years later.

We are telling people we are newly acquainted with, good, fun, interesting people, who’ve been at the gig in different places around the happiest room we can ever remember, alone, together, about our trip down to Shiiine On Weekender in the UK to see Peter Hook last year. The Kaleidoscope is flipped. For this night alone, Toronto is the center of the world. And a corner of England and a festival that, in this group, only we know about is a faraway, unknown thing. 

Peter Hook and the Light know about Shiiine,  though, they (very much) helped make it historic, and it was. He’s headlining a two night mini-cruise that’s the next Shiiine project, with two different set lists for the most devoted, in March. We know our place, but feel part of a larger Shiiine Family that extends all the way to Hooky himself, something unbreakable and special. Something new, tailor made for this new era of iconic tunes. We can’t help but tell our friends, only late at night, about what we saw and felt, there, in the afterglow of what has happened here tonight.

But the truth, that I only dare whisper to my partner and my Shiiine friends in private messages is that tonight is even better. The rest is all agog stunned incoherence, like we felt when Marr came in 2014.

Once the gig ends about 11:00 we move the night to a nearby pub we frequent for vinyl night. This is among our patch of haunts now in a new life we’ve made, and we love it. We spin our own copy of Low-Life for ourselves and everyone else with us, or not with us who’ve come rushing in for late night drinks we don’t need but conversation and understanding that we all do, will bank for regular chilly Toronto days with our blank runway stares that we wear all the rest of the year. We run into the girl who caught Peter Hook’s T-shirt. She fought a few guys for it, she tells me. I love that. Later, when the socializing is over and the night goes silent, last up as usual, it will be teary stillness and late night secret messages to early risers across an ocean, who understand this. Even though this music has never left our lives, something ricochets back to age sixteen with Substance 1987 (/2016) tonight, to that mess of tangled, knotted Christmas lights inside me. To hit the ground at 4 am, full of operatic regret, and write to a faraway friend, just daring them to respond: “It’s the sound of a time that never happened. Like the world was our oyster. It wasn’t. It sounds like fuel enough to conquer the world. I didn’t.” He rises to this unreasonableness. So, never happy, I press on “this is decidedly anti-nostalgia. I am course-correcting that stupid girl-” Well, I’m sorry, but that’s the power of music like this. From this source. Across an ocean. Across 25 years. Across a lifetime. Across the human heart. Beautifully stubborn. Evergreen. Essential. Unstoppable.

Up, down, turn around, please don’t let me hit the ground. Tonight I think I’ll walk alone, I’ll find my soul as I go home.

But two hours earlier, just before we leave, still up, never down, the bartender/DJ stops us. Wait! Wait! Don’t go. He’s young, encouraging, he started this vinyl thing last summer and he is interested in history, in histories, in music, in liner notes,  gets the wonderful absurdity in Kenny Rogers’ trajectory and the deep, obscure religion that is Elvis, celebrates with us that early period Tom Petty is deeply unsung, and much more, in a hodge podge of a roommate’s vinyl, with newer, classy items handpicked just lately, welcoming all to join in, free of judgement, erasing the usual biases buried in music snobbery; in near-downtown bars. He takes us back to the happiness of discovery & sharing a listener experience that was so important once, and the funny little details that only happen in the artwork of vinyl records of certain ages and origins. In people. Even in us. He mans the whole bar, a kind and funny word for everyone, and runs to catch the skips that happen even on the overpriced “mint condition” vinyl we all buy nearby, that we can’t afford but need to save. That we have no way to play, except for here and now. I wonder if he knows about the Peter Saville pure works of art that the New Order sleeves are, probably, he does.

He gives us hope; he brings his record player across town every single week on public transit. He wanted to go to Hooky, he gets it, but he had to work, he is needed. He stops us. He forgot to play it before, he was saving it- just today he picked up a Joy Division single of Love Will Tear Us Apart. We’ve never even held this single in our hands or seen it, and it’s from our own youth, when records were shared and special, when we thought we’d always have the friends whose bedroom floors we lounged on like cats, whose houses stood close to our own, mirrors, we imagined were our own, that have been demolished now, most cruelly, like a beating heart. In a glowing, vivid night that can simply not get any better, he plays it very loud at 2:30 a.m. just for us. We rattle apart like cheap speakers, we fly to pieces like wooden picture frames hung on finishing nails in first apartments, we feel like we’ll never be able to speak or write another word.

Words by Jacqueline Howell, gentle prodding and photos by Dave MacIntyre

The Jesus and Mary Chain to celebrate 30th anniversary of Psychocandy at Canadian Music Week


Today at 10:55 a.m. was one of those rare, special “refresh refresh refresh” moments as Toronto (and visiting) fans of the one and only Jesus and Mary Chain waited for tickets to go on sale  at 11:00. The just announced May 1st show at the Phoenix Concert Theatre in Toronto, Canada as part of Canadian Music Week’s program, was the biggest surprise in a  diverse and strong program this year.

Tickets can be found at Ticket Web and will sell out fast.

Click here to go to Ticket Web link

It is expected that JAMC will be playing their stellar 1985 debut record, Psychocandy, in full as part of their U.K. /U.S./ Canadian tour.

The Phoenix, as one of Toronto’s mid sized venues (less than stadium sized but bigger than many rock clubs) has a capacity of just 1,350 so tickets will be extremely limited.

We are so excited to have gotten our tickets (after much “refreshing”) and will have more coverage of the show and other notables on the CMW program to come in the months ahead.

Now, on with the celebration!

For as you already know,  “The Hardest Walk you could ever take is the walk you take from A to B….to C”

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