Slaughter Beach, Dog and The Sidekicks Announce A Series Of Solo Performances

December 22, 2018
Photo Credit: Jess Flynn

Slaughter Beach, Dog and The Sidekicks Announce A Series Of Solo Performances
March 2019

Slaughter Beach, Dog’s Motorcycle.LPG Available Now via Lame-O Records

Slaughter Beach, Dog, the americana-tinged indie project from Jake Ewald (formerly ofModern Baseball), has just announced a series of solo performances with The Sidekicksin March of 2019. Tickets for the tour are available now. Slaughter Beach, Dog will be touring off of his 2017 full length Birdie, and the recently released Motorcycle.LPG, a 12″ vinyl re-press of his 2017 EP Motorcycle.jpg. The re-press, which features a remastered version of the EP on the A-side, and a vinyl exclusive, 12 minute live version of “104 Degrees” on the b-side, is available now through Lame-O Records.

Tickets for Slaughter Beach, Dog and The Sidekicks solo March tour available now

Tour Dates:
3/16 – Pittsburgh, PA – Mr. Roboto Project
3/17 – Cleveland, OH – Mahalls
3/19 – Columbus, OH – Big Room Bar
3/20 – Indianapolis, IN – Hoosier Dome
3/21 – Nashville, TN – The Basement
3/22 – Atlanta, GA – Masquerade
3/23 – Chapel Hill, NC – Local 506
3/24 – Richmond, VA – Gallery 5
3/25 – Washington, DC – Songbyrd
3/27 – Lancaster, PA – The Kaleidoscope
3/28 – Asbury Park, NJ – Asbury Park Brewery

Motorcycle.LPG Tracklisting:
1. Your Cat
2. Glowing
3. 104 Degrees
4. Building The Ark
5. 104 Degrees (Live At The Metal Shop)

Biography:Few bands can say they were born out of necessity, but Slaughter Beach, Dog can. In 2015, Jake Ewald, in the midst of trying to write songs for his other band Modern Baseball (which has since gone on hiatus), hit a patch of writer’s block. To get himself back in action, Ewald decided to move the focus off of himself, stitching together a loose narrative surrounding a motley cast of characters. Before he knew it, he’d written an entire album, and Slaughter Beach, Dog was no longer an exercise, it was a full-fledged band. 

“When I gave myself the specific goal to write these kinds of songs and figure out how to do it, it just broke me open in a way I really needed.” What came pouring out of Ewald wasWelcome, a 10-track debut that showed his ability to create a world of his own making, all the while blurring the line between fiction and reality. At times, he’d be singing about people and situations he invented, but the songs were still personal, often informed by experiences deep in his past, excavated for the purpose of expanding his songwriting vocabulary. 

Slaughter Beach, Dog’s new album Birdie expands upon the framework Ewald built onWelcome and the recent EP Motorcycle .jpg, retaining the hallmarks of Slaughter Beach, Dog while pushing into brave new territories. A single listen to Birdie shows how much Ewald has grown as a songwriter, embellishing every detail in his songs without losing his homespun charms. 

Where Welcome felt based in rock’s grand tradition, Birdie is at once more expansive and more intimate. Songs ebb and flow in the way of The Weakerthans, still rocking, but in a more scholarly way. “I took [Motorcycle .jpg] as an opportunity to get a little bit weirder than usual,” said Ewald, and it’s clear that the EP was a signpost for where he’d be taking Slaughter Beach, Dog on Birdie. “Gold And Green” sees Ewald skirt the lines between half a dozen genres, creating a song that’s able to mine vintage genres like folk and country in order to make something contemporary. Strumming an acoustic guitar, Ewald spins a narrative flush with details, boasting lyrics that are, depending on your reading, either wildly impressionistic and or plain as day. 

Ewald plays into this ambiguity expertly, offering songs that use a lilting bounce to obscure the darkness of the world he’s building. “Fish Fry” is a prime example, utilizing a simple backbeat, a chugging guitar riff, and a ruminative vocal melody, the song allows Ewald to toss out references to his past work for those paying close attention. Much like onMotorcycle.jpg’s “Building The Ark,” Ewald once again finds himself dreaming of a convenience store, inviting fans to dig into his lyrics to unfurl every subplot running beneath his gooey melodies. Similarly, “Acolyte” closes the record but simultaneously opens a door, showing Ewald at his most introspectively ambitious. The song sprawls out, expanding slowly and deliberately, completing Birdie’s arch without providing any definitive answers. 

Though Slaughter Beach, Dog may have started as a project for Ewald to get past a mental block, it’s grown into something more. Under this moniker Ewald has built a rich, vibrant world, one that invites thoughtful analysis from fans, and continues to expand past its initial intent. Birdie is bountiful in its scope, with songs that pile on layers of instruments and suck you into the world of Slaughter Beach, Dog. And once you’re there, you never want to leave. 

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