The track is the second single from daine’s upcoming debut mixtape, following the October release of “cemetery dreams.” 

“IDC” embodies the sound of vengeance and proves cynics wrong with the help of strummed guitars and powerful dark-pop synths.

Read more: 100 gecs release new single “mememe” ahead of upcoming album —listen

The accompanying visual features an unfulfilled daine alone in the cinema.

Playing on the screen is a future version of her being the person she was meant to be.

Within the past year, daine has collaborated with artists such as Danny L Harle, 100 gecs’ Dylan Brady and Bring Me The Horizon’s Oli Sykes, the latter of which was previewed by AltPress.

While an official release date for the debut mixtape is unknown, the rising artist will continue to exceed expectations.

Watch the visual for “IDC” below.

The band, who were Alternative Press’ cover stars for the 100 Artists You Need To Know issue, directed and edited the video themselves. The end product? A cinematic and creative storyline jam-packed with iconic imagery.

Read more: Rina Sawayama and Chase Atlantic redefine alternative in 100 Artists issue

Opening with an introduction of the members of Chase Atlantic—lead vocalist/bassist Mitchel Cave, guitarist/vocalist Clinton Cave and rhythm guitarist/lead vocalist Christian Anthony—the video features piles of money, expensive yachts and luxurious drama. This makes it synonymous with movies such as Blow and The Wolf Of Wall Street, as well as the “fast life” aesthetic of the ’80s and ’90s. There are even hints of Grand Theft Auto: Vice City-inspired moments throughout the video.

“It’s the type of song that allows you to really feel yourself, to actually feel alive,” the band say in a press release. “Yet, at the same time, it provides an escape from reality. Even if it’s just momentarily, you can feel the effect of the song lingering in the brain like audible drugs.”

In true movie fashion, the visual also has a villain, played by the band’s touring guitarist Patrick Wilde. However, toward the end of the video, he meets his demise at the hands of Mitchel’s girlfriend, Jordan Knight, on their yacht.

Read more: Afterlife release “Miles Away” ahead of forthcoming ‘Part Of Me’—watch

“OHMAMI” was initially released earlier this summer and was the first single from the band after they shared their third full-length, BEAUTY IN DEATH, with fans in March 2020. That release followed their previous two albums, 2019’s PHASES and their self-titled 2017 debut.

You can watch the video for “OHMAMI” below. Check out their upcoming fall tour dates to see where they will be playing near you.

Chase Atlantic tour dates:

10/01 – Lawrence, KS @ Granada Theater
10/02 – Minneapolis, MN @ The Fillmore Minneapolis
10/04 – Denver, CO @ Summit
10/06 – Seattle, WA @ The Showbox Sodo
10/08 – San Francisco, CA @ The Regency Ballroom
10/10 – Los Angeles, CA @ The Wiltern
10/12 – San Diego, CA @ SOMA
10/13 – Phoenix, AZ @ The Van Buren
10/15 – San Antonio, TX @ The Aztec Theatre
10/17 – Austin, TX @ Empire Control Room & Garage
10/18 – Dallas, TX @ House of Blues
10/19 – Houston, TX @ House of Blues
10/23 –Orlando, FL @ Plaza Live
10/24 – Ft. Lauderdale, FL @ Revolution
10/26 – Nashville, TN @ Brooklyn Bowl
10/27 – Atlanta, GA @ Tabernacle
10/28 – Charlotte, NC @ Underground
10/29 – Charlotte, NC @ Underground
10/31 – Richmond, VA @ Canal Club
11/01 – Philadelphia, PA @ Theatre of Living Art
11/02 – Norfolk, VA @ The NorVa
11/04 – Brooklyn, NY @ Brooklyn Steel
11/05 – Silver, Spring, MD @ The Fillmore
11/07 – Montclair, NH @ The Wellmont Theater
11/08 –Boston, MA @ Big Night Live
11/10 – Chicago, IL @ Riviera Theatre
11/12 – Cincinnati, OH @ Bogarts
11/14 – Columbus, OH @ Express Live!
11/15 – Detroit, MI @ St. Andrew’s Hall
11/16 – Toronto, ONT @ Phoenix Concert Theatre
11/17 –Toronto, ONT @ Phoenix Concert Theatre

“OHMAMI” lyrics:

Cuban link, diamond cross
I got a Spanish Chiquita “No habla ingles”
Not at all
Cut up three lines like Adidas
She clean that shit up with her nose
And I got a kilo, no Kilimanjaro baby
Just a mountain of coke

OHMAMI
This a new ‘Rari
Hit 150 on the dash, I bent the corner
Then she bent it for me sideways
I might have to fuck her on the highway

OHMAMI
I got blue Molly
I throw Louis V, Supreme on top of Murakami
Bitch, I’m fucking styling
I might say I love her, but I’m lying

Mamacita, I can see the devil in your eyes
Muy bonita
Tu quieres estar, by my side
She might make me stay in for the night, for the night

Call Maria, let’s get drunk,
I haven’t been out for a month
Got a two-liter in the back
And another bottle in the trunk
Columbian gold in the front seat
The foreign girls showing me love
Telling your friends that you hate me
But I know you can’t get enough

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OHMAMI
This a new ‘Rari
Hit 150 on the dash, I bent the corner
ugh now bend it for me sideways
I might have to fuck her on the highway

OHMAMI
I got blue Molly
I throw Louis V, Supreme on top of Murakami
Bitch, I’m fucking styling
I might say I love her, but I’m lying
OHMAMI, this a new ‘Rari
Bitch, I’m fucking styling
I don’t need no stylist
All of my dogs they be whyling

Fuck a double date
Double down on everything I say
You can bring a friend, but she don’t get to stay
Guarantee she’ll end up leaving anyway
Never play, dog watch out
Dark flames when my doors swing out
Switch lanes on a one-way route
Switchblade make your blood pour out
Make it rain in a drought

Hop in and hop out
Motherfucker, get down when I say “down”
Brown duffle bag, I fill it up with 30 clip rounds
Drop shit, pop wheelies, fuck a breakdown
I don’t give a —

Bitch, I’mma slide either way
Please do not try me today
I see the static from a mile away
She wanna fuck me “OK”
She wanna know how it tastes
Yuh

(Fuck all that talking I’m restless)
I pray that I don’t get arrested, pray that she wake up for breakfast
I pray that she wake up for breakfast

Ahead of the release, both MxPx’s Mike Herrera and Wolfe issued special messages to Alternative Press readers, inviting them to check out the new track. Herrera expressed his gratitude to fans, thanking them for listening to the new song.

Read more: Green Day to play surprise performance ahead of Hella Mega tour

“Say Yes” is a bouncy, feel-good pop-punk number, featuring closely intertwined vocals from the two artists. The singers take turns on the verses, their lines layered over a dense web of churning guitar parts and instrumental stabs.

Lyrically, the song builds to a powerful finale with a series of lines set up by the refrain “If you say yes…” The track captures the emotional roller coaster of young summer love, the themes of enthusiasm and anxiety underscored by musical lows and highs.

The new song follows a string of 2021 singles from MxPx. The group released “Can’t Keep Waiting” in April. Herrera, who also performs with Goldfinger and Tumbledown, explained to AltPress that the song spoke to the intense emotions that accompany growth and self-discovery.

Read more: Curtis Waters deep-dives into “BAD MOOD” and “PSYCHO ICON” 

In June, MxPx followed up with the release of “Secret Weapon.” The tune was accompanied by a visual, showcasing the group as they revisit the fast-paced title track of their 2007 album, Secret Weapon.

That video was an outgrowth of the group’s “Between This World And The Next” livestream series. When the COVID-19 shutdown began, MxPx decided they couldn’t wait for concerts to return. The group took advantage of the possibilities of social media and live streaming. The series premiered in October, signaling the group’s first full-band concert since the shutdown began.

In an exclusive discussion with AltPress, Herrera underscored the uniqueness of their approach to livestreaming.

“We wanted these online performances to be different from a regular live in-person show, so we approached it more like live TV,” Herrera says to AltPress. “Not only do we play a live set of songs, but the show is also interactive. Fans can jump into the chat, ask questions, request songs and even help build the many unscripted moments throughout the show in real time. We wanted to make ‘Between This World And The Next,’ our online show series, stand on its own—something new and exciting but different from everything else we have done in the past.”

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Herrera also revealed the way in which their new livestream format is reshaping not only their live performances but also the way they craft their songs. Speaking of “Can’t Keep Waiting,” Herrera said the song developed in dialogue with their audience during the course of live performances.

“We actually played [‘Can’t Keep Waiting’] live on our ‘Between This World And The Next’ series for months before finally recording and releasing it,” he says. “This was the first time we played a song to an audience that was not entirely finished. They got to see ‘Can’t Keep Waiting’ get tweaked each time we played it and develop into the song we released. If you put in the work, good things will come back in ways you cannot quantify. ‘Can’t Keep Waiting’ is our best song. And I know it is said that all songs can’t be good, but why not? My mindset is to put out our best song every time we release something. What a concept, right? We are the best we have ever been!”

“Say Yes” sees MxPx take a more directly collaborative approach, teaming up with RIVALS’ Wolfe to record the new track. RIVALS were also busy this year. In March, the rising dark-pop act dropped their new full-length, Sad Looks Pretty On Me, via Smartpunk Records.

“Say Yes” is available to stream below or via Spotify and other DSPs.

It’s rare for artists to confine themselves to one genre anymore, even on one track. That’s led to a bunch of more specific but still just as confusing genre names we use in an attempt to narrow down the type of music we’re talking about.

Read more: 10 times Poppy proved that genres don’t really exist

An example would be dark pop, which we’d describe as songs that have a pop structure but contain an overall dark, often sad, vibe. These tracks are far from your typical pop songs, implementing elements of electronic, rap, punk and more.

We decided to shine a light on 10 rising dark-pop artists you should listen to, some of which qualify in our 100 Artists You Need To Know issue, out now.

Maggie Lindemann

Maggie Lindemann is an anti-pop star redefining the genre on her own terms. She’s unapologetically herself, addressing relationships, sexuality, female empowerment and more. She just released her debut EP, PARANOIA, at the beginning of this year, filled with alt anthems that are scary relatable. Check out “Crash And Burn” from the new EP or listen to “Pretty Girl,” which propelled her to stardom. 

zeph

zeph is a total DIY artist who makes music that soundtracks your feelings, even the ones you didn’t know you have. Her haunting vocals make every word that comes out of her mouth sound downright beautiful, even if it’s heartbreaking. Take a listen to “Lucky” or her demo “i’ll never fall in love with myself” to get yourself acquainted. 

VÉRITÉ

If you like dreamy, ambient sounds mixed with powerhouse electro-pop vocals, you need to add VÉRITÉ to your playlist. You can hear her artistry in the power behind her delivery in “body in my bed” or her songwriting talent in “Underdressed.” 

GIRLI

The only way to truly describe GIRLI’s music is authoritative because it’s its own enigma. By changing up her style, she’s emerged as a powerhouse pop artist unabashedly inspired by grunge and punk. You can listen to the way the artist proclaims her independence in tracks such as “Hot Mess” or “Passive Aggressive.”

Jack Kays

It doesn’t get more raw and deep than Jack Kays. In his folk meets SoundCloud rap style, he raises awareness about drug addiction, mental health issues and recovery in purely honest tracks. Listen to “MORBID MIND” or “BOTTOM OF THE BOTTLE” and you’ll immediately get what we’re talking about. 

suggi  

If you’re a K-pop fan, you need to check out suggi. The artist gained fame from his YouTube channel, where he posted covers of American and Korean pop songs. Now, he’s started making his own electro-pop-influenced tracks that will completely break your heart. Check out “ur just a fan” or “astroboy.” 

Rina Sawayama

Rina Sawayama is another artist who’s completely redefining pop music. There doesn’t seem to be a genre that Sawayama’s music doesn’t take inspiration from, including R&B, club music, 2000s pop and more. Her music grapples with identity conflicts and complex relationships that can only be understood by listening to her latest album, SAWAYAMA, in full.  

flora cash

Bedroom-pop duo flora cash not only make a great artistic team, but they’re also married. Their dreamy bedroom-pop style takes a stripped-down approach to songs that are guaranteed to put you in your feels. Listen to “Love Is In The Small Things” or “Missing Home” if you just need to have a moment to feel sad. 

Alaina Castillo

Alaina Castillo has many identities. The Mexican-American pop star got her start on YouTube making covers and ASMR videos of all things. Now, she makes emotional bilingual pop tracks with seemingly never-ending influences. If you need a good cry, just put on “i don’t think i love you anymore” and prepare for all the feelings.

The Kid LAROI

The Kid LAROI became popular for his connections to Juice WRLD and is making dark hip-hop that’s all his own. “WITHOUT YOU” and “SO DONE” sound like Post Malone meets Dashboard Confessional meets twenty one pilots but in a totally modern and unique way.

The longtime friends have made musical pursuits their personal raison d’etre. “Newlian” scratches all of the itches for soulful pop and hip-hop cadences, as well as conveying an emotional shock about a broken relationship. The song comes off more sophisticated than the myriad of “dark pop” offerings that get uploaded to Spotify daily. Couple that with their fierce DIY independent streak and you can’t get much more transparent. The men of Bonelang discussed the song, the resonance behind it and how anybody who plays one genre of music is doing it all wrong.

Read more: Here’s what you can expect to hear on Post Malone’s new album

Bonelang duck and weave their way through hip-hop cadences, smooth, soulful grooves and straight-up pop. How did you arrive at this no/all-genres mindset? Is a Bonelang writing session a thing of unfolding or a different experience altogether? And what kind of music do you prefer to stay very far away from, for whatever reason?

SAMY: We’ve made music together since we were little kids in a number of different genres. We started with punk, then emo, then hardcore, then indie, then hip-hop. There’s no “kind” of music we stay away from in our process. It’s all valuable ammo. Lyrically speaking, I’m just as likely to draw inspiration from a Townes Van Zandt song as I am a Lupe Fiasco tune. I think “unfolding” is a good word for our process. Some songs reveal themselves to us quite quickly, [within] a day or two. Some take years.

MATT BONES: Beyond the background Samy mentioned, we can convincingly do jazz, electronic and classical. I have a master’s in composition, which makes it easy for us to achieve whatever we want, harmonically and melodically. I also have a strong production background, which takes care of the rest as far as borrowing from whatever style.

Picking and choosing which characteristics from different genres you’re going to make available to yourself is seriously limiting. To me, the default mode is being stylistically promiscuous. Anyone who narrows their palette is the one who has some explaining to do. “Genre” is a pretty useless concept. [It’s] becoming more useless by the day. 

“Newlian” is the first part of the SAINTMAKER trilogy. Our heroes are in a mountainous region where they chance upon a mysterious woman, another apparition of themselves and a huge grappling hook. Is it surrealism? How do these things factor into the story you want to tell about SAINTMAKER?

SAMY: Surrealism’s a key ingredient for anything Bonelang. In SAINTMAKER’s formative stages, I was writing a lot about rooting out and eliminating my shortcomings. When I had finally managed to scrape away all of my deviance, what would be left would be some kind of “saint.” And then the writing took another turn when I was finding myself making the same mistakes over and over again after having identified the problem. Like telling yourself to take some time away from drinking and then finding yourself at the bottom of a bottle. 

We’re constantly presented with the opportunity to do something we shouldn’t do. Eat those French fries. Drink that scotch. Smoke that blunt. Sleep with that stranger. Watch this porno. It’s all bait. That’s what the hook represents—bait. The trilogy walks through this three-part process: Identifying the pain in your life. Letting it have its way with you. Burying it. 

Is “Newlian” an obsessive love song? The refrain “Can hear you in the creaking of my bedroom’s door hinges” can reflect either mortally wounded heartbreak or toxic obsession.

SAMY: It’s a heartbreak song. It’s about how when someone leaves our lives, we assign sentimental value to inanimate objects. You put on your jacket: “I remember when she wore this jacket to go to the bodega to buy cigarettes.” You brush your teeth: “I remember the first time she slept over and felt comfortable enough to use my toothbrush.” Pretty soon everything in your life reminds you of that person. For me, it was the most lasting effect of heartbreak. This tune took the longest on SAINTMAKER, about two years. 

The beginning of the video leads with images of the big hook, a flower and a cross. What is the significance of these symbols?

BONES: I think we’re both wary to answer that question too specifically. The hook is the most straightforward, and we are pretty open about the bait metaphor, but a lot of the other symbols rely on what you bring to the experience to be interesting. Declaring too specific a meaning from on-high ruins that effect. Religious imagery is inherently powerful that way. Everyone has their own associations that now become mixed in with what we thought we meant at the time. We have our own motivations for using those things, but I don’t think of our interpretation as the canonical interpretation of what those symbols mean in our work. What it says to you is just as valid as what I was trying to say. It’s like a poetic game of telephone. 

SAMY: We use sunflowers in everything because I love them. 

What message do you hope this trilogy will convey? The idea that artists should just follow their minds’ wildest creations? That the work is often its own reward? 

SAMY: I’d tell any young artist trying to make shit happen that the truest reward in this game is the work itself. Process is king. Be present while you create and the work will be forever giving. 

For SAINTMAKER as a whole, I wanted to document/photograph/expose my journey to a life free from addiction. I failed. But I did open up my rib cage and show people what’s inside. And for me, that’s one thing that good art does. So in that sense, I succeeded. We succeeded. This album, this trilogy, is an invitation for people to show the world their scars and tell the story of how they got them, free of shame.

Watch “Newlian” below. Hear some more of SAINTMAKER here.

The six songs on the band’s self-titled debut mini-LP (released April 2) explore electronics from multiple angles. From celestial Beach Boys vibes (“Don’t”) to soulful electro-pop grooves (“Come Talk To Me”) and the foreboding and whimsical “Vicious,” Princess Goes To The Butterfly Museum are creating intersecting hybrids of introspective dark pop and contemporary readings of post-punk. At the center of it is Michael C. Hall’s considerable vocal/psychic range.

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Today AltPress is premiering the video for “Vicious.” It was filmed days before New York imposed stay-at-home orders in response to the pandemic. Michael C. Hall, Yanowitz and Katz-Bohen are frolicking on the subway like nothing’s wrong. But as we all know, that was months ago. We asked the trio some questions about the song, the video and what kind of hindsight they’re feeling right now.

What is “Vicious” about? Is it about the death of innocence, empathy and mindfulness? The old man riding the train in the final sequence seems like a hopeful gesture. Or maybe he signifies that personal joy may be a relic in these troubling times.

MICHAEL C. HALL: Generally speaking, I’m reluctant to say what anything is about. I think this song is about whatever any individual listener thinks and feels it’s about. Though the interpretation contained in your question is a pretty compelling one.

Looking at the video for “Vicious,” does it feel weird that the [relative] world of normalcy captured on the clip has completely disappeared? It feels like a commentary/subtext was being made that wasn’t there in the video in the first place but is quite recognized now via hindsight.

PETER YANOWITZ: We shot the video on March 5 with director Samantha Scaffidi, who did our last video for “Come Talk To Me.” On March 5, nobody knew what was coming. The idea of lockdown and social distancing wasn’t even a thought, and nobody was in a mask. Of course, on March 13, everything changed in New York City, and we could have never made that video after that without being the biggest assholes around.

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And in that sense, we felt really lucky, and we were really grateful to Sam and Maceo Bishop, our incredible DP, and his assistant DP Pierce Robinson—who shot this all on two Bolex cameras using 16mm film and Super 8—for being so down to capture a moment in NYC with Princess. We all went out with the attitude that we didn’t know what was going to happen, and everyone was so down to let it play out. Looking at it now fills me with a lot of emotions and some melancholy. I miss that NYC so much. Is everyone who we saw and interacted with that day still alive? What happened to that incredible subway dancer? He probably got the most germs that day. When will I see my bandmates again?

The members of PGTBM are cavorting on the subway, from typical horseplay to attempts at professional pole dancing. Were the New Yorkers on the ride patently bored, or did anyone actively want the band to get the hell out of their commute?

 MATT KATZ-BOHEN: The reactions ranged from mildly amused to somewhat perturbed. New Yorkers have seen it all on their morning commutes (see: Eric Andre). It takes a lot to ruffle their feathers. I like to think they saw us as being some sort of dream remnant returning to bless them with one last pole dance.

Check out Michael C. Hall and Princess Goes To The Butterfly Museum’s last cavort through the Big Apple and their new music below.

It’s not really a genre, but as we were considering this list, we really thought it should be. Did you ever love a song unconditionally? The kind where you scream the lyrics out at the top of your lungs? Then maybe you look at them online and think, “Uhhh…”? Or maybe you listen to them really closely and then keep yourself awake later that night? It’s OK. We’ve all done it, even your parents. (This is the part in the article where we removed a link to the creepiest song of 1972. Nope. Not gonna do it.)

Read more: Top 10 songs to instantly boost your mood

Our list of 10 positively creepy songs come from artists far and wide on the rock radar. There are tracks from mega-stars, middle-of-the-road units and some relative unknowns. The only thing they really share is the effect they have on you when you go back to listen to them again. What’s funny is that some of them were placed during love scenes in select TV shows. We bet most of them are on your phone, even as you read this.

We hope you enjoy this list of positively creepy songs. Some may shock you, while others might have you landing on Spotify, with your curiosity killing you. If we’re being honest, we think you might just end up wondering “Really” out loud. Honestly, there’s one guy who works here who swears that one song on this list was about a pair of expensive Reeboks.

“I went to write in L.A. briefly in the beginning of my career, and it went horribly for me,” the Brooklyn, New York-based Lee says. “A lot of the people there were just focused on molding me into someone I’m not. They told me that I should stop worrying so much about my lyrics because ‘No one really listens to lyrics anyway.’ When I got back to NYC, I wrote ‘Dirt’ to purge the experience. In the video, I wanted to really portray the absurdity of their words while also expressing how much damage that sentiment can do.”

Read more: Hayley Williams reiterates that “Misery Business” has no place in 2020.

Indeed, the sentiment of Lee’s disdain coupled with her impressive vocal talent and lyrical flow are the kind of pop fix we could use right now. Whether she’s chillin’ in a casket or giving a middle finger to the concept of “social distancing,” Lee has got some things to say. And in a climate where we panic when someone tells us not to touch our faces, Elliot Lee is feeding the worms. We can’t help but think we’re watching a new contender in the world’s dark-pop kingdom.

Check out “Dirt” below. And don’t touch your face…

The new track follows debut single “Wish We Never Met” in June and “Nobody Wins” in August. Staying in line with the theme of healing, the duo opened up about the track’s intent upon release.

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“‘Not The One’ is a song about rushing into intimacy with new people shortly after a breakup,” WhoHurtYou shared on Instagram. “It’s about spreading yourself too thin by moving on sooner than you should all while wondering if your ex is doing the same. It’s a reminder to be true to yourself and take the time you need to heal.”

https://www.instagram.com/p/B3vw5Vbn0AJ/

Check out the new track’s lyric video below.

Read more: Jack Barakat, Kevin Fisher break mental health stigma with WhoHurtYou

WhoHurtYou “Not The One” lyrics

I go out every night
Trying to drink you out of my mind
Distract myself with some pretty girls
That only wanna get high

But when the morning comes
And the thrill is gone
You’re the first and last I see
And if I had my way
You would feel the same
But it ain’t up to me

‘Cause I’m not the one
Who takes you home
No, I’m not the one
Who takes you home
But I still wonder if you think of me too
When you’re laying next to somebody new
‘Cause I’m not the one
Who takes you home
I’m not the one

Read more: Jack Barakat confirms WhoHurtYou project with mental health reflection

Sometimes I worry that there’s someone out there loving you like I did
Ooh, I only mess around to fill
The empty space you used to lie

But when the morning comes
And the thrill is gone
You’re the first and last I see
And if I had my way
You would feel the same
But it ain’t up to me

‘Cause I’m not the one
Who takes you home
No, I’m not the one
Who takes you home
But I still wonder if you think of me too
When you’re laying next to somebody new
‘Cause I’m not the one
Who takes you home
I’m not the one

Takes you home
I’m not the one
Takes you home

But I still wonder if you think of me too
When you’re laying next to somebody new
‘Cause I’m not the one
Who takes you home
I’m not the one

More on WhoHurtYou

WhoHurtYou first began teasing their existence in mid-June with a cryptic video making fans think this was the “somethin’ somethin’” Barakat teased in April at Coachella.

Barakat confirmed the project the following day with a reflective video.

“I’ve always felt that I’ve had to portray myself a certain way online,” Barakat says in the video. “Kind of be this comic relief and someone who’s always in a positive mental state. It’s just not the truth. And it’s not real. And everyone has their ups and downs, and I’ve never really put mine out there.

Read more: Jack Barakat project WhoHurtYou are helping fans erase their exes

“Last year was a really tough year for me. I was going through my first big breakup and handled it all the wrong ways, and I was doing the wrong things. In those moments, I had close friends of mine urge me to see a therapist and turn my life around.”

Barakat goes on to explain Fisher opened up on how songwriting became a therapeutic experience and how both musicians were going through similar things in their lives. As a result, the duo hit the studio and began work on some songs.

https://www.instagram.com/p/By3QpnInAH1/

WhoHurtYou will be playing their first show ever at the end of next month, making their debut at the Moroccan Lounge Nov. 26 with an unnamed “very special guest.”

The band will then join the Maine and Twin XL for two shows in Anaheim and San Diego. Check out the full list of dates and grab tickets here.

Dates:

11/26 – Los Angeles, CA @ The Moroccan Lounge
11/27 – Anaheim, CA @ House Of Blues
11/29 – San Diego, CA @ The Observatory North Park

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