District Music Hall Weekly Round-Up: Twin Tribes and Murder by Death
District Music Hall announced Twin Tribes, Chameleons w/ Vandal Moon and Murder By Death and Laura Jane Grace this week. Tickets are on sale now at districtmusichall.com
Twin Tribes, Chameleons w/ Vandal Moon
District Music Hall – 71 Wall Street, Norwalk CT 06850
May 2, 2025
Tickets go on are on sale now via districtmusichall.com
Twin Tribes
Hailing from Texas, Twin Tribes is an emerging force in the darkwave scene, turning heads in 2018 with the release of their debut album “Shadows” that featured dark melodic sounds, synthesizers, lyrics about the undead, and the occult and parallel universes. They returned in 2020 with the ten-track album “Ceremony” with an evolved sound that explored love and loss while showcasing their progression as a band. Band members, Luis Navarro and Joel Niño, Jr., are set to release their newest offering, “Pendulum”, in January of 2024.
With songs that are both dynamic and introspective, they balance the darker shades of the emotional spectrum with an energy and momentum that gives their music a powerful sense of urgency and drama. Their lyrics dig deep into the personal turmoil of love, life and loss, and have forged a new aesthetic that fuses the gothic with the romantic, viewing emotional themes through a darker lens.
As their music gains increasing critical and commercial attention, these pillars of the independent music scene continue to re-define what genres such as darkwave and post-punk mean in 2024.
Chameleons
The legacy of The Chameleons dates all the way back to 1981 when the band were discovered by the legendary BBC Radio host John Peel. Following their debut single ‘In Shreds’ for Epic Records in 1982, the band released three seminal albums in the 1980’s: the widely acclaimed ‘Script of the Bridge’ (1983), cited by many sources to be a masterpiece way ahead of its time, the follow up ‘What Does Anything Mean? Basically!’ (1984) and for US-based Geffen Records ‘Strange Times’ (1986). Their unique sound quickly captivated the public through their very own mix of melancholic, yet energetic and powerful tunes, hypnotic ethereal riffs and the potent, timeless lyrical style. The Chameleons are considered to be one of the most influential guitar bands of the 80’s and 90’s, contributing substantially to the post-punk, shoegaze and indie scenes and are often regarded as one of the most underrated bands ever to emerge from the era.
The Chameleons disbanded in 1987 only to re-emerge in 2000 with the independently released ‘Why Call It Anything?’ and toured widely across Europe and the United States. However, following the tragic death of their drummer, John Lever, and the departure of another founding member, guitarist Dave Fielding, the group disbanded once more. The Chameleons reformed in 2021 with founders and principal writers: guitarist Reg Smithies and bassist, vocalist & lyricist Mark Burgess, joined by guitarist Stephen Rice, Danny Ashberry on keyboards, and Todd Demma on drums.
Over the decades the popularity and reputation of the band continued to grow, leading them to share the stage with the likes of U2, Killing Joke, Bauhaus, Simple Minds, Talk Talk, and The Cure amongst others. The Chameleons regard themselves primarily as a ‘live band’, which has earned the fan’s loyalty and respect for decades with their effortlessly intense and emotionally charged performances. They have been touring extensively in the EU, UK, US and as far abroad as Australia, South America and China.
In 2024 the Chameleons released their first single in over a decade ‘Where Are You?’ on Metropolis Records in conjunction with Strange Times Entertainment and they are currently working on the brand-new album ‘Arctic Moon’. In addition, further tours during 2024 will see the band revisit the United States, Europe, Australia, South America, and the Middle East.
Murder By Death with Laura Jane Grace
District Music Hall – 71 Wall Street, Norwalk CT 06850
June 25, 2025
Tickets go on are on sale now via districtmusichall.com
Murder By Death
This band has always been a jumble of contradictions. On the one hand, we’ve had a long-running career where we got to make art for a living. But on the other hand, we have always eluded any kind of traditional success.
We weren’t covered much in the press, we never had a song that had a lot of radio play, nothing ever went viral, we didn’t have a big social media presence, we never played a good festival spot where there was a sea of people in the audience, not once opened an arena or even a big shell auditorium show or tour. We constantly lost opportunities because of the band name and were somehow always treated like nobodies or yesterday’s news by most of the industry. But you, you gosh dang wonderful audience, managed to keep us growing, and we never had a career slump.
When we were our busiest — playing over 200 shows a year — we were chronically underpaid and always barely scraping by. But people kept writing to us or telling us how much we mattered and kept showing up, and we started to believe it a little. And then over the years, we grew to a more manageable place and it seemed possible to carve out a niche in this massive, mean world of entertainment.
When I reflect on how good our career was and how lucky we were, I’m left with just gratitude for the small team of folks who have worked with the band and this grassroots fan following that has lifted us up the entire time. I feel like we owe any and all our success to you.
I never called us DIY — despite taking on much of the work ourselves — because there are always people behind the scenes helping: it takes a village. Thank you to the promoters, clubs, bands, managers, agents, artists, publishers, lawyers, publicists, crews, etc. etc. etc. who believed in us and everyone who made this work for so long. An enormous thank you to those of you who helped us through the many difficult periods.
Thank you for your relentless support, your passionate listening, and your generosity.
It’s been the honor of my life to write, record, sing and perform for you. We are currently in the studio pouring ourselves into a new album — stay tuned for it. After this tour, we plan to continue to do our cave shows so we can have a way to meet up once a year, but that’s it. Excited to see you all on this last trip out. —Adam Turla & Murder By Death
Laura Jane Grace
“These are songs of late night madness and loneliness, orphan songs that came wandering in looking to feed like insects,” Laura Jane Grace says of her new EP.
Half recorded at Grace’s TinyQuietStudio in Chicago and half recorded at Electric Eel in St. Louis, and mixed by her Devouring Mothers bandmate Marc Hudson, At War With The Silverfish finds Grace in a range of stripped-back, poignant modes that amount to an honest and holistic account of our shared humanity. Unafraid to spotlight open wounds and tangled feelings, Grace conveys the distinctive pluck that has defined her work with Against Me! and The Devouring Mothers, but with the intimate energy of home recording with an acoustic guitar. The album is not a clarion call, but a tender invitation. It is a necessary capsule of a woman’s artistic pulse; love, longing and loneliness told in affecting turns of phrase.
“Three of hearts/Two of them are broken/One of them is gold/All of them are worthless,” she sings on opener “Three of Hearts,” admitting later that she’s the “…surest sucker that you’ll ever see.” This vulnerable posture drives much of that album, like on “Lolo 13,” where Grace pines for a love she never had, and on “Yesterday Pt. II,” where she remembers a lover’s goodbye with visceral intensity. “I know I sound insane,” she repeats three times on the latter, imparting anxiety and resolve at once. It’s a device she employs through the record, deftly illustrating the mental gymnastics on the roads to self doubt and self acceptance.
Amid the emotional outpouring are piercing scenes of isolated domestic life — the endless cups of reheated java (“Day Old Coffee”), the relief of reconnecting with an old friend (“Electro-Static Sweep”). And then there is her old friend, Chicago, a city by now her home but not without its pain points. “Way out here on the edge of oblivion/May as well be Skokie, you’d have been so lucky for Berwyn,” she sings on “Long Dark Night,” surveying the landscape of her new Northside home, not the “hip” part of town but one vital to its cultural diversity.
Reflecting on the album’s interiority, Grace acknowledges the universal nature of many of its themes — how her highly personal accounts bloom into broader human connection. “I’ve learned that if you share your experience with good intentions that the universe will always surprise you with abundant return,” she says. “Every song is an act of faith; you don’t necessarily know why you’re singing it other than you know you’ve got to sing it.”
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