SPRINGTIME CARNIVORE ANNOUNCES 2017 HEADLINING DATES
+ SHOWS WITH THE HEAD AND THE HEART & FRUIT BATS
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Photo credit: Lenae Day
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Springtime Carnivore is excited to announce a run of headlining dates in March of 2017. The tour will follow previously announced shows opening for The Head and the Heart in New England and Fruit Bats in the Pacific Northwest. New headlining dates are listed in bold below. Tickets for support dates are available here; tickets for headlining dates are on sale this Friday here.
Springtime Carnivore 2017 Tour
* w/ Fruit Bats
^ w/ The Head and the Heart
1/12: Tractor Tavern - Seattle, WA *
1/13: The Cobalt - Vancouver, BC *
1/14: Revolution Hall - Portland, OR *
3/02: SUNY Buffalo (UB Center for the Arts) - Buffalo, NY ^
3/04: State Theater of Ithaca - Ithaca, NY ^
3/05: Flynn Theatre - Burlington, VT ^
3/06 - State Theatre - Portland, ME ^
3/07: Mercury Lounge - New York, NY
3/09: Milkboy - Philadelphia, PA
3/10: Grog Shop - Cleveland, OH
3/12: Empty Bottle - Chicago, IL
3/13: Marble Bar - Detroit, MI
Springtime Carnivore's second record Midnight Room is out now on Autumn Tone Records, streaming on Spotify, Apple Music, and Bandcamp. (Please just reply if you'd like a download).
Praise for Midnight Room:
"A dignified and mystically verbose articulation of failed love." -
Stereogum
"Measured, glossy dream pop, polished with smooth, lush electronics and chilled with airy acoustic tones." - AV Club
"A summery dream." - The Fader
"Dreamy... and heavy with Morgan's gorgeous lyrics and emotional melodies." - Buzzfeed
"What Morgan lost in sleep and sanity while writing the album, she made up for with her strongest material to date." - Consequence of Sound
"Wistful and nostalgic all at once." - Nylon
Springtime Carnivore, Midnight Room
You know the curious, almost out-of-body feeling you sometimes get when you wake up in the middle of the night, where everything seems a bit fuzzy and you're not sure if maybe you're still dreaming? It's a state Greta Morgan perpetually revisited during the second half of 2015, when she was writing and recording the new Springtime Carnivore album, Midnight Room. "I was on a really jagged sleep schedule," says the Los Angeles-based singer-songwriter, describing the months during which she worked on the follow-up to her critically adored 2014 debut. "It was the first time I'd ever lived by myself, and there was this bizarre feeling at night of the house being so quiet and being so totally alone. And Midnight Room came out of that."
Earlier in the year, Morgan went through one of those break-ups that completely topples your world. Though it was as amicable as those things can be, the twenty-eight year-old musician felt shattered. She began working on songs for Midnight Room during those strange waking interludes last summer, finding an abundance of beautiful melodies in the melancholy ether. "A lot of lyrics on the record are collaged or don't necessarily make sense next to each other," she says. "But I guess my whole headspace was like that for a few months. I felt like I couldn't trust my memory completely - like i was space cadeting through the weird space between sleeping and dreaming and waking and reality."
The melodies came easily, but the words were initially harder to find. So she tried a new approach for Midnight Room's lyrics, inspired by her own disjointed thinking during those months. When an intriguing phrase or evocative image occurred to her, she wrote it down on a piece of index card. Sitting with the dozens of scraps on the floor in front of her, Morgan would rearrange the fragments until she found a way to make sense of it all. "A lot of the themes are, like, 'How do you lovingly change a relationship?,'" she says. "How do you say good-bye to someone in a certain way and still keep him or her in your life? I feel like I was asking a lot of questions during the making of the record that I still don't really have answers to, but at least some of the songs were exploring that territory."
In the interest of achieving a more cohesive sound for Midnight Room, Morgan reached out to producer Chris Coady, whose work with Future Islands, Beach House and The Orwells she'd admired. "To me, Chris's greatest gift as a producer is creating a sonic palette for an album that really brings their songs to life," she says. "I wanted the whole thing to feel like you're looking through a cobalt blue glass, and to get textures that almost feel like being able to see stars in the sky. I wanted it to have this very velvety midnight blue purity to the sound, and I feel like the synthesizers that we used and a lot of the guitar tones we used evoked that kind of visual texture."
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