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Chunky Shrapnel

Chunky Shrapnel

CHUNKY SHRAPNEL is a feature-length live music documentary from King Gizzard & The Lizard Wizard, directed by John Angus Stewart. Literally bringing the audience onto the stages of their 2019 tour across Europe and the UK, CHUNKY SHRAPNEL offers a uniquely immersive experience never before captured on film,  a musical road movie dipped in turpentine. […]

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Artist Updates

Ten Tour Tips from John Dwyer of OSEES
Bandcamp

As far as playing live and touring goes, Dwyer’s decades of experience automatically qualify him to give advice. I almost have to tell him this directly, since he reflexively doubts his own authority—“Who the fuck am I to talk?”—and immediately checks his established act privilege: nightly hotels, a comfortable sprinter van, a merch person. Eventually he doubles back, reassuring us both that he can give advice since the comparative luxury Osees now enjoy was earned over years of touring. “I have been there, sleeping on the floor and waking up with cat litter stuck to my face,” he muses. “So I can speak.”

How King Gizzard Conquered the World — While Staying DIY
Rolling Stone

On this tour, Mackenzie is giving up a bit of the creative control in order to livestream each show on YouTube — something he’d considered for years but that took time to fall into place. Documentary filmmakers Jackson Devereux and Allen Dobbins record each performance in real time, with the sound mix (helmed by longtime King Gizzard audio engineer Sam Joseph) coming straight from the live mix of the show. It’s not a traditional way to livestream — most acts would make sure to have a separate sound mix going out to the stream — but it’s one that fits in with their DIY approach. “I think a lot of people would look at this operation and be like, ‘You guys are absolutely insane,’” Mackenzie says. “That is not what you’re supposed to do. So many things could go wrong at any moment, but I think making it free allows you to have a few teething problems along the way, and figure it out in good faith.”

City Of Olympia Declares Today Bikini Kill Day
Stereogum

“The city of Olympia in Washington has declared today, August 23, “Bikini Kill Day,” in honor of the foundational riot grrrl band, which famously formed in 1990 with members Kathleen Hanna, Billy Karren, Kathi Wilcox, and Tobi Vail. (The current lineup includes Hanna, Wilcox, Vail, and touring guitarist Sara Landeau.) The honor is another feather in the band’s 2024 cap; earlier this year, Hanna released her memoir Rebel Girl: My Life As A Feminist Punk, Bikini Kill made their late-night TV debut on Colbert, and the band is currently on tour”

Ty Segall – ‘Love Rudiments’ album review: instrumental experimentation from a creative genius
Far Out Magazine

The multi-instrumentalist has always shown his talents, but on Love Rudiments, Segall proves he can make a compelling record without wielding the instruments (including his voice) he is typically associated with. The drums are joined by instruments like vibraphone, which gives the album a mysterious and curious quality, enticing and hypnotising listeners with every note.

Bikini Kill Are Still Rebels on Stage
Los Angeles Magazine

Looking around the theater, Hanna was spot-on in terms who Bikini Kill fans are in 2024: a glorious and giddy cross-section of women, girls, men and gender non-conforming fans both young and old, who clearly resonate with the Olympia, Washington rockers’ buoyant and badass rants and anthems, over three decades and counting.

Watch OSEES’ play their new album ‘SORCS 80’ live on top of a skyscraper in LA
Brooklyn Vegan

OSEES released their 28th album SORCS 80 last week. It’s unusual in their discography in that there are no guitars on the album, with two synth samples being the only sounds other than bass, drums and frontman John Dwyer’s vocals. It’s a terrific mutant punk record and today they’ve shared a video of them playing the album in full on a helipad atop a skyscraper in DTLA. Directed by Delaney Schenker, it’s pretty awesome and you can watch the whole thing below.

Listen to OSEES’ no-guitars synth-punk album ‘SORCS 80’
Brooklyn Vegan

SORCS 80 hits you upside the head from the first second of opening volley “Look at the Sky,” and you are barely given a chance to get your bearings before being pummeled again. So it goes for the whole shebang that leaves you punchdrunk and giddy. This is OSEES‘ 28th full-length and following last year’s immediate, near-poppy Intercepted Message, he’s devolved the band’s sound, diving into the primordial ooze for an album of bashing caveman punk. Albeit one with NO GUITARS, and only two two synth sounds in their place.

Osees Discuss the Pared-Down Synth-Punk of SORCS 80
Flood

Basically I wrote the demos at home using a synthesizer. I did it on a four-track cassette, which was really fun. Every song was just drum loops, bass, keys, and vocals. One day, me and Tom [Dolas, keyboards] sat down and picked a sound each. I picked a thin, aggressive tone and he picked a more round one with less attack. Then we took those tones and ran them into Pro Tools and into a three-octave keyboard. Then we loaded the songs I’d written into these Roland SPD-SX’s so we could play them like drums, but tonally. The idea initially was that all four of us could be on stage playing them, with Tim Hellman holding down bass guitar. There is bass on the record, but I’m not playing guitar. I originally wanted Tim to play sampler, but we ran out of time for this stupid idea we were running with. But it was interesting to write an entire record using just one sound, but affecting it with guitar amplification.

Inside the Cult of King Gizzard & the Lizard Wizard
Exclaim

What sounds like a swift descent into madness or preface for a cult escape thinkpiece is actually pretty standard behaviour for a passionate King Gizzard fan. Why I and many others readily spend a month’s rent on dozens of concert tickets is difficult to pinpoint, and something that escapes the Melbourne rock band’s comprehension as well.

“Hell no!” exclaims singer-guitarist Stu Mackenzie when I ask if he had ever expected the Grateful Dead-esque fandom surrounding the band. Speaking by phone on the eve of the summer solstice, his wide-eyed gratitude is palpable as he pieces together the puzzle.

I understand his disbelief. Following King Gizzard to cities I have trouble placing on a map was more of a culture that absorbed me at its onset than a conscious lifestyle choice. “It was definitely not part of the game plan. I mean, I’m not sure we ever really had a solid game plan,” admits Mackenzie.

King Gizzard and the Lizard Wizard: Flight b741 review – a cheerfully rocking album about global collapse
The Guardian

The rollicking feel of Flight b741 masks some of the band’s most plainly dark lyrics to date, exploring dissociation, suicidal ideation and global collapse in a casual, conversational style – it’s one of the most cheerful doomer records in recent memory. The title of eight-minute closer Daily Blues is a pun, referring to its frenzied blues workout as well as its chorus of “gettin’ fucked up daily”. On Le Risque, the band – vocals are shared across the album, and on many songs they all take a shot at singing – crave “something to thin the blood,” imagining daredevil stunts as a way to get shaken out of a stupor. “I’m feeling like a horse on ket,” on Field of Vision, is a silly image, but in this context it refers to moving through the world in a depressive haze.

Going Their Own Way — Two more acts who have followed unconventional paths to building loyal fandoms.
New York Times

A catalog that refuses to be pinned down to any single genre. One album may give off Tame Impala aesthetics (the Moog-heavy “The Silver Cord” from last year), while its predecessor, “PetroDragonic Apocalypse,” is a thrash-heavy metal record akin to early Mastodon. The group has made pastoral folk pop (“Paper Mâché Dream Balloon” from 2015), and fuzzier, psychedelic garage and surf rock (“Willoughby’s Beach” from 2011). When you’re listening to “the Gizz,” the only constant is change. “Every single record is reflective of whatever phase of life we’re in, whatever made us creatively most inspired at the time,” Mackenzie said in an interview.

a/s/l: Jess Cornelius
Birthday Cake For Breakfast

This Week: Off the back of releasing her new album ‘CARE​/​TAKING’ (out NOW via Tender Loving Empire Records), New Zealand-raised, Los Angeles-based artist Jess Cornelius answers a series of inane questions!

King Gizzard & The Lizard Wizard share documentary about upcoming album & new single “Hog Calling Contest”
Brooklyn Vegan

King Gizzard & The Lizard Wizard have shared a second song from their soon-to-be-released 26th album Flight b741. “Hog Calling Contest” definitely has a honky tonk twang to it, in the band’s own inimitable way. “While recording Flight b741, we occasionally had these ultra inspired tune-up/warm-up jams,” say the band. “Of course, we were never actually recording during these moments though. Lost to time. Except one time; This time. We learnt to record these moments; ‘Daily Blues’ came together this way too. But ‘Hog Calling Contest’ retains a unique unhinged-ness that only comes when you’re fooling around with your mates and you don’t think you’re being recorded. Happy in mud!”

Also out today is Oink Oink Flight b741: The Making of… which is a 15 minute mini documentary about the new album. Says director Guy Tyzak, “We were tasked with capturing the band make an album from scratch in two weeks, they purposefully didn’t prepare much for the recordings so it was very difficult for me to plan what to film,” Tyzack says. “I just knew they’d be in one room and three of them might drop out at any moment because they were expecting babies. The room looked brown and boring so I painted it like the sky to match the theme of the album in one 17hr stretch with three friends and a slab of mids.”

Jess Cornelius — CARE/TAKING
Double J

“It’s always a treat to check in on Jess Cornelius’ and her sonic evolution every few years. And despite her recent rollercoaster ride, it’s encouraging to hear her artistry continue to grow as she faces her ongoing journey with resilience and sincerity”

The 42 Best Albums of 2024 So Far
Treble

“Three Bells, is one of [Ty’s] most ambitious to date, a progressive psychedelic opus that’s at times playful and freewheeling, but invariably returns to moments of more intricate sprawl

Three Bells finds [Ty] properly flexing his most creative muscles, following flights of fancy into weird and exciting places”

New Music Discoveries May 10th
The AU Review

We fell in love with Jess Cornelius in her former band, Teeth & Tongue, and she is on the cusp of releasing her second solo album,  CARE/TAKING out June 14th. “Laps In The Drugstore”, is the latest single from Jess, and features her beautiful melodies, a cativating guitar line, stabbing piano keys and has a cracking video as well.

King Gizzard Crown New Label With Jay Watson/Ambrose Kenny-Smith LP
SPIN

Australian sextet King Gizzard and the Lizard Wizard are folding their own KGLW label into a new entity, (p)doom Records, which will not only put out their new and archival music moving forward but also that of their individual band members, friends and collaborators. First out of the gate on July 19 will be Ill Times, the debut pairing of Tame Impala/Pond/GUM principal Jay Watson and Gizzard multi-instrumentalist Ambrose Kenny-Smith. The title track is available now

The 63 Most Anticipated Tours of 2024
Pitchfork

BIKINI KILL: 

Punk icons Bikini Kill will hit the road starting this summer for a North American tour. It will follow the release of lead singer Kathleen Hanna’s memoir, Rebel Girl: My Life as a Feminist Punk, which hits shelves in May. The tour begins in Los Angeles this August and includes stops in San Francisco, Toronto, Brooklyn, and more, with support from Comet Gain, Big Joanie, Tropical Fuck Storm, Snoozers, and R.Aggs.

 

KING GIZZARD & THE LIZARD WIZARD: 

The beloved and prolific Australian weirdos King Gizzard & the Lizard Wizard are touring a lot this year in support of their latest album, The Silver Chord. After a successful string of March festival dates in South America, the band has dates slated for May with Grace Cummings across the United Kingdom and Europe. Then, the group will head to North America for shows in August, September, and November. Crowds in Forest Hills, New York, on August 17; Chicago, Illinois, on September 1; Quincy, Washington, on September 14; and Austin, Texas, on November 15 are also getting the band’s famous three-hour “marathon shows.”

Ty Segall, Among Others
Bandcamp

Were Ty Segall to start his entire career over again, he might not do it under the name Ty Segall.

It’s a bit late for that now, well over a decade since he emerged as the princeling of San Francisco’s garage rock revival. Back then, he was a college student in a city vibrating with the heady optimism of Obama’s first term, where you could still rent a house in the Mission with your friends and without being employed by Google. The goal was to be successful, not recognizable. Now, at least within the context of independent music, he is both. It has made him aware of recognition’s discontents, or at least how it can get in the way of being a regular person dealing with people in a regular way. And he is, he claims, a regular person in his mid-30s with a wife and daughter who just so happens to have a double-digit number of albums to his name.

Bikini Kill Announce 2024 North American Tour Dates
Consequence

Bikini Kill have expanded their 2024 tour dates with a newly-announced run of shows in North America.

The riot grrrl legends will kick off their 2024 tour dates in Mexico City on March 3rd, making stops across South America and Europe before returning to the United States with a show in Los Angeles on August 15th. From there, they’ll hit cities including San Fransisco, Denver, Chicago, Toronto, and more, before wrapping up in Baltimore on September 11th.

Bikini Kill announce summer North American tour
Brooklyn Vegan

Bikini Kill have announced a new round of North American tour dates for 2024. The outing follows their March shows in Mexico and South America and a tour of Europe and the UK in June, beginning in Los Angeles on August 15 and running through September 11 in Baltimore. See all dates below.

About Panache

Michelle Cable founded Panache in 1998 in Eureka, CA. Panache has existed as many different entities in the music industry since then. We originated as a music zine, born out of the pure love of discovering bands that both inspired and shook your soul. Interviewing bands led to promoting shows in Humboldt County, CA, and then in San Francisco. Panache evolved into a North American booking agency when we started organizing tours for bands nationwide. While in NY, after existing as an agency for over a decade, Panache expanded into music management to help our artists find the guidance they needed to develop their art into sustainable, healthy, long-lasting careers.

At Panache, we are a collective of independent-minded music lovers who pride ourselves on thinking outside the box as we focus on creative production. Our artists are part of our family as we work closely to promote, share and expand their art. We bridge the gap between DIY ethos and commercial success while always keeping an artist’s best interest and integrity to heart. Our worldwide management roster now includes Mac DeMarco, King Gizzard & the Lizard Wizard, Ty Segall, SPELLLING, The Murlocs, and Jess Cornelius.

Over the years, Panache has focused on utilizing our resources to perform philanthropic acts for organizations like Planned Parenthood, Noise For Now, Elizabeth House & many others. We strive to be innovative in doing our part to help make this world a better place.

Michelle Cable
Photo by Ebru Yildiz

Contact

Artist Manager/Agent

Michelle Cable

(415) 246-5405 (phone)
(718) 679-9582 (fax)
michelle@panacherock.com

Project Manager

Sarah Hopkins

sarah@panacherock.com

Executive Assistant

Maddy Murphy

maddy@panacherock.com

Mailing Address

Panache Management/Booking
4516 1/2 Eagle Rock Blvd
Los Angeles, CA 90041