Two Cow Garage‘s label, Suburban Home Records, has just announced a number of details on upcoming Two Cow Garage material. The band will release a limited edition EP on September 10th, which consists of a hand numbered polaroid photo with a download code, limited to 100 copies. The A-Side can be found on the full length record, “Sweet Saint Me“, due out by the end of October. The B-side will be an exclusive track.

The label comments,

The album, “Sweet Saint Me” picks up where “Speaking In Cursive” left off but the album is a lot more focused and the songwriting could not be better. The album mixes rockers and acoustic tracks alike and hits home the fact that Two Cow Garage are becoming one of the greatest albeit underrated rock bands in America.

The tracklisting for Sweet Saint Me can be found below.

1. Sally, I’ve been Shot
2. Sweet Saint Me
3. Lydia
4. Jackson, Don’t you Worry
5. Wanted to be
6. What Dying is for
7. Closer to me
8. Angeline
9. My Great Gatsby
10. Soundtrack to my Summer
11. Lucy and the Butcher Knife
12. Insolent Youth
13. Brothers in Arms

Kurt Cobain famously described the band’s live show in a Rolling Stone interview before his death as, “When I finally got to see them live, I was transformed into a hysterical nine-year-old girl at a Beatles concert.” As a long time fan of the Knife I can confirm the insane glee that follows witnessing one of their gloriously fuzzed out outbursts of pop punk joy. Continue reading for the dates.

Gilbert began releasing free solo material via whatseatinggilbert.com in February. Two of these tracks made the physical release, along with a third previously unreleased track. Appropriately, the release will be on vinyl with a limited pressing of 300 yellow and 700 red 7″ records. Check out the full story at whatseatinggilbert.com and pick up the record at Kings Road Merch.

Check out the video below for more information, including short band interviews, and feedback/hype material from such bands as Set Your Goals, Polar Bear Club, and No Trigger themselves.

11/12 Glasgow, Academy
11/13 Leeds, Academy
11/14 Manchester, Apollo
11/15 Southampton, Guildhall
11/17 London, Brixton Academy
11/19 Nottingham, Rock City
11/20 Birmingham, Academy

Montreal, Quebec’s Sonic Avenues’ debut self-titled LP works like the perfect debut should: it’s downright infectious. The opening track, “Hiding From You” sounds like a mix between early Elvis Costello, The Dickies, and fuzz. “Hiding From You” is so catchy, that you’ll swear you’ve been listening to it for years. It gives off the vibe of a track that you loved in grade school, and years later when you’re old and jaded you find a mix CD and the song just destroys your insides. As simple as it is, the bands chemistry just seeps into the recording, and oozes out your speakers, and an opener like that can’t just be thrown together.

The record continues on with “I Want You Now”, which is largely similar, yet without feeling forced. However it does have the one up on “Hiding From You”, as the harmonies in the chorus are guaranteed to be stuck in your head for days. To be honest, every song on the record has the dirty sounding pop influence that gives it its catchy nature. For this reason alone, you may find this record oddly boring after the first couple tracks. However, this is not a record I turn to when I feel like challenging the left side of my brain. It’s rather one I bust out when I have a group of people over. Sonic Avenues makes the perfect playlist fodder for a night of fun songs to drink to (c’mon, we’ve all made that playlist), fitting perfectly among the likes of other depressing ragers like Black Lips, Dillinger Four, or even Lucero’s whiskey soaked lullabies.

Starting with the B-side’s first track, “On Your Grave”, the band chooses rather to slow the tempo down a little, which by and large sets it apart from the A-side. It almost sounds as if these two batches of songs were written over two very different days in the studio, and the eventual output really shows. Not unlike the Welcome To Reality EP attached to the Adolescents self-titled record, or even the Salad Days EP material on Minor Threat’s Complete Discography, the content is different, yet far from compromising. Although the A-side is far from unlistenable, and the difference between the two is far from substantial, I vastly prefer the B-side. This may be due to the apparent raise of the preverbal bar in musicianship, or perhaps even due to the swooning nature of the songs.

Whichever side you prefer, it’s hard not to commend the band for their efforts, and ability to do in one what most bands do in two or more records. They set the bar high with their initial effort, and rather than let that sit too long with listeners, they end up improving their methods in the very same release. The record is full of (relatively) straightforward power pop gems, with little to no filler.