Photo credit: Simona Dalla Valle, Simo Valley PhotographyFor the last decade-and-change, NYC institution White Hills have been on a productive record-a-year skedd, vomiting up intense noise slabs chock full of psychedelic space-rock. Orgasmic sludge feasts like the recent So You Are… So You'll Be (2013) and Frying On This Rock (2012) were mind-friers, relentless in its bleeding of arena-sized Hawkwind-ian riffage and proto-punk-influenced sleaze.But for White Hills’ core duo—guitarist/singer Dave W and bassist/vocalist Ego Sensation, along with a revolving door of drummers—it was high time for a metamorphosis. For the upcoming Walks with Motorists (due April 7 via Thrill Jockey), they traded in their usual dingy Brooklyn recording digs, like Martin Bisi’s Gowanus-based B.C. Studios, for a sprawling estate in Bethesda, Wales bordering the Snowdonia National Forest. They bagged a big-time producer in David Wrench, whose resume includes Caribou, Bear in Heaven and FKA Twigs, and changed up their sound—sort of.On the synth-dipped and contagious Walks With Motorists (the title swiped from a book from the 1950s about walks for motorists in the Snowdonia National Forest), White Hills have emerged from its deep sheets of psychedelia and smoke machine-cascading haze, glaring lights and all-out noise for a sinister beast of minimalist psych grooves and seductive dance-ibility. However, no need to panic, White Hills fanatics. While Walks for Motorists features a less-noise-cluttered, more pronounced and melodic sound, it’s no less pedal-happy killer, as their huge stoner-meets-Kraut rock riffs still seep from underneath the sonic din.The sangria was flowing as we caught up with Dave W and Ego Sensation at one of their fave NYC haunts, iconic Spanish restaurant El Quijote, to talk about the new record, touring with The Cult and their cameo in famed director Jim Jarmusch’s art-house vampire flick, Only Lovers Left Alive.So…the new record, Walks For Motorists. It’s a totally new sound.
Dave W: That was the whole point behind this one. It’s the first record that I didn’t produce. We worked with a producer, David Wrench. We just got to a point where we felt like we needed to put everything in the blender and turn it on high. Try something different.Were you getting tired of the bathed-in-noise sound?
Dave W: I never really wanted the band to feel like it was just a rock band. I felt like it was becoming just a rock band. I didn’t want that. That’s like making the same album over and over again. Even though I wanted it to be more like succinct songs, I still wanted there to be a flow to it. I think that was achieved, and I think we were able to achieve that through a variety of songs that are on the record, one. Two, the variety as far as the way David mixed in the songs. I still think that the record has a nice flow, and in some ways has a better flow than physically bridging all the songs together like I had done before. So I acknowledged what the problems were and dealt with them.Which were?
Dave W: Well, one was the way that we had gone about writing material. We had always gone about it in a certain kind of a way, and that wasn’t working anymore. The last two records were really rushed.You’ve had, like, a record a year for ten years.
Dave W: Almost. The last two records were really rushed because we were touring a lot. The material wasn’t rehearsed well and there was no attention paid to what the right tempo the song should be played at. No attention to the intricacies of it, having parts be really intense and then parts be really low. None of those things. To me, what ended up happening is it just became this one tempo and one volume. It was really confrontational. The other thing is, with touring so much, I started to notice that people were kind of in awe of the power. The power was kind of debilitating. People in the audience would be wide-eyed and freaked out instead of shaking their ass. One of my goals of putting this band together was to make groove-oriented spacey music. I felt the aspect of there being some kind of a groove to it got lost. So that was my biggest thing with this record. I really wanted to bring back a groove, I wanted to create some type of music that would make people want to get up and dance.It’s definitely super-heavy on the bass and synth grooves.
Dave W: When we demoed it, we didn’t even demo with guitar. We demoed with just bass, keyboards, and drum machines. All guitar on this record was an afterthought. That’s the other thing, I felt I didn’t want to compose on a guitar.Ego: It was just a different way of working because our other albums we really did by just going in and playing.What was different about recording Walks with Motorists versus previous albums?
Dave W: For the other albums, we’d maybe have two days in a studio. There really wasn’t thinking about a specific song and what was right for the specific song like “What kind of tone should we get out of the guitar on this? What kind of tone should we get out of the bass for this song? What’s right? What’s the right tempo?” Just recording as many songs as we possibly could in like a ten-hour period. This time it wasn’t like that at all. We spent a week in the studio, but the week was just tracking. We spent the first couple of days tracking, then a few days doing some over-dubs and vocals. Then we tracked a couple of more songs towards the end. But we had 24-hour access to this amazing studio in Wales. Even the producer was staying in the guest house with us. So we were this tight knit unit for the entire week.How did it come about working with David Wrench?
Dave W: David became familiar with us through his work with Julian Cope (who reissued our They’ve Got Blood Like We’ve Got Blood on his Fuck Off and Di label) in the past. David knew who White Hills was a few years ago. When he was in New York recording Bear In Heaven and when he was here in the studio, he and I hooked up and met face to face. When we started to talk about this record, I said I wanted to work with a producer and we put together a list of names of people that we’d wanna work with.Wrench was on that list?
Dave W: He wasn’t on the list in the beginning, but then I started thinking about it and I was like, “I should probably just have David do it.” People really know of David through his work with Caribou and FKA Twigs. He typically does a lot of dance-oriented stuff.And you wanted people to shake their asses off.
Ego: It was more like we wanted to mix things up and do something interesting, make a different record. It was just one way that we thought, “Well, this would be interesting.”Dave W: Yeah, it’s like people who know David’s work would be like, “Woah, who’s this band and what are they about?” And in the same respect, it hopefully opens up doors for David to do heavier albums, which he has done before. People just don't think of him in that respect. Through spending time with David and talking with him, I know he understands where I’m coming from and he understands the music. I knew that he would be able to translate what our vision was.Ego: It’s just good to have somebody interpret your music in a different way.Are you into the stuff David has produced like Caribou and FKA Twigs?
Dave W: Yeah, I can listen to FKA Twigs. You see her face everywhere. It’s heavy electronic R&B.As far as producers go, you’ve worked with Martin Bisi, who’s manned the boards over seminal records for Sonic Youth, Swans and Helmet, amongst tons of other cool shit.
Dave W: Never worked with a producer. People think that when we worked with Martin Bisi. They think Martin produced those records because his name is on there. But what Martin did was record on there.You appeared in that documentary with Martin about his studio in Gowanus, right?
Ego: Oh, yeah. Sound and Chaos: The Story of BC Studio. They only showed it two days in New York in July. They’ve been doing screenings in LA, Portland, Philly and Norway. They need to do another New York screening. It was great!Dave W: There’s a bunch of footage of us in there recording Frying On This Rock. We love Martin.What did Wrench do differently in the studio than, say, Bisi?
Dave W: I just wanted someone else’s ears. But David’s the kind of guy that will only say something when he needs to say something. In that respect, I think I was expecting there to be some more of that and he did do it.
Ego: David made some suggestions but ultimately he wanted to work with us because he likes the band. He wasn’t out to shake the sound. It was more about having someone else mix it. When you’re done recording and mix it yourself, like Dave has always done, it’s hard to have perspective.
Dave W: You’re too close to it. I always have this vision of what I want it to be, and ultimately it never is that vision. Then you start beating your head against the wall.Do you plan on revamping your live set since Walks with Motorists is short on the noise compared to the older stuff?
Dave W: The first time we’ll play the majority of them live is when we play with The Black Ryder in March. The whole goal is to change things up. We’ve always played our “greatest hits.” I think this touring is gonna concentrate more on new material with some throwing in of old things.But you’ll still crank it up?
Dave W: Yeah. That aspect is there.
Ego: There’s gonna be more contrast, which I think certainly as a listener would be nice. To have a real variety of sounds.
Dave W: What we’ve decided to do now is the older material that we’re gonna play in the set are things that we may have never ever played before. Or things that we have not played in the last two years. It keeps it fresh.
Ego: You can’t keep playing the same set. Not that we have. I mean, we have a lot of albums to take off from. But at a certain point, you feel like the last two albums had very similar elements even though they were different. You gotta take chances and do something different or else there’s nothing to differentiate your albums or your periods of writing. I don’t like to hear the same album from a band; I want to hear something different.What do you hope to achieve with your new, short-on-the-noise sound?
Dave W: Achieve? [Laughs] I think our audience is fairly eclectic, you know? There’s people who are totally into metal that are into us, there’s psych hippie freaks whatever that are into it. People that are into fringe music, experimental. We have a wide variety of people that listen to us and I think that there’s very specific things about what they like about us. What do I want? What do I expect? I want to bring new people into the fold. But I wouldn’t say that was why we were like, “Let’s change our sound to get new people!” It was more like, “Let’s change our sound because I don’t wanna feel like I’m making the same record over and over again.”
Photo credit: Marylene MeySo you toured with The Cult recently? That must have been a trip.
Ego: That was fun!
Dave W: That was great! For like a month and half.
Ego: A six-week tour in the US.Wow. Did you do that tour in the lap of luxury? [Laughs]
Ego: They were!
Dave W: In our Chevy Impala?! [Laughing] They were actually really great. They carried our gear in their trailer. We literally did that tour in a Chevy Impala. We would drive up to the back stage and Billy Duffy would be like, “Who’s Impala?”Was it a vintage Impala?
Dave W: It was a new one. We don’t own a car, we just rented it.
Ego: It was like a mom car. Which is great when you’re on tour because you call no attention to yourself. It was like “There’s a family in the Chevy Impala.”So you’re just driving the Impala and all your gear is in The Cult’s bus?
Ego: Yeah, their trailer. We’d just pull up behind these two big buses.Is that the tour where The Cult played Electric?
Ego: Yeah, yeah.
Dave W: That whole experience was great. All those guys and their whole crew were really nice.Did you grow up listening to The Cult?
Dave W: Yeah, both of us listened to The Cult. I wouldn’t necessarily say I grew up on them.How did you score a slot on that tour?
Dave W: Ian (Astbury). Any band that goes on the road with them, it’s Ian. It’s Ian’s choice.Did you get a call from Ian asking you to open for them?
Dave W: No, we didn’t get that call. We were on tour with Kylesa and our agent called us up and said, “So, you think you wanna go on tour with The Cult after this tour?” And we were like, “Get out!” So we got off the phone and he got in touch with their agent. They also asked Psychic Ills and The Psychic Paramount, as well.Woah. Ian has good taste.
Dave W: Our understanding is that we were the first band to get back to them. And then they offered us a certain amount of money, we asked for more, and then they agreed to the more.So you hit the jackpot touring with The Cult, huh?
Dave W: It was fine, you know? But, nah, you don’t usually make a lot of money doing shows like that.Did you hang and party after with them after gigs?
Dave W: They’re sober! [Laughs] Ian and Billy are.
Ego: The bass player, the drummer, the second guitar player. They would all come into our room.
Dave W: Because our room had the booze! They would hang out.So Ian and Billy were boring. [Laughs]
Dave W: No, I wouldn’t say that. We did have our moments of hanging with Billy and hanging with Ian. That was great.Would you chill with those dudes?
Dave W: They would just be backstage sitting there; Ian would come into our dressing room every now and again. Sometimes there weren’t really separate dressing rooms but one large space backstage. One night Billy told us the whole story of them working with Rick Rubin and recording. He told us the whole nine yards, which was really cool to hear. We got to talking about Ayahuasca, too, and the guy does his meditations before he performs.That tour and also being in Jim Jarmusch’s Only Lovers Left Alive must have been killer, too.
Dave W: Yeah. That was amazing. I mean, what can you say, really? Besides it being amazing, Jim is such a great guy, as well. Really down to earth.Did you know Jarmusch before?
Dave W: No. We met him when he curated All Tomorrows Parties in 2010. But it was literally when we finished playing, he jumped on stage, and was like, “Hi, I’m Jim! I’m so happy you guys played this show!” And then that was it. Then I would send him the new records after that when they would come out. Just send them to his office. It wasn’t that long after I sent him Frying on this Rock that he got in touch with our agent. He was like, “Might they be available?” It was the same situation (as the Cult tour). We were on tour and our agent calls and is like, “So…how do you feel about being in a Jim Jarmusch film?”
Ego: That’s why we’re trying to get back on tour because all those good things happen to us when we’re on tour.Walks for Motorists is out April 7 via Thrill Jockey. Do yourself a favor and catch WHITE HILLS on tour here:Tue Mar 10 New York, NY - Mercury Lounge w/ Black Ryder
Fri Apr 3 Brooklyn, NY - The Bell House w/ Nude Beach
Thu Apr 9 Manchester, UK - Islington Mill
Fri Apr 10 London, UK - Birthdays
Sun Apr 12 Tilburg, The Netherlands - 013 (Roadburn Festival)
Mon Apr 13 Hamburg, Germany - Molotow Club
Tue Apr 14 Copenhagen, Denmark - Loppen
Wed Apr 15 Gothenburg, Sweden - Truck Stop Alaska
Thu Apr 16 Malmö, Sweden - Inkonst
Fri Apr 17 Aarhus, Denmark - Radar
Sat Apr 18 Berlin, Germany - Urban Spree
Sun Apr 19 Dresden, Germany - Groovestation
Mon Apr 20 Pilsen, Czech Republic - Papirna Plzen
Wed Apr 22 Feldkirch, Austria - Graf Hugo
Thu Apr 23 Madonna Dell'Albero, Italy - Bronson
Fri Apr 24 Colle Val D'Elsa, Italy - Sonar
Sat Apr 25 Mezzago, Italy - Bloom
Sun Apr 26 Savona, Italy - Raindogs
Tue Apr 28 Karlsruhe, Germany - Kohl Kutlur Raum
Wed Apr 29 Munster, Germany - Gleis 22
Thu Apr 30 Leipzig, Germany - UT Connewitz
Fri May 1 Brussels, Belgium - Magasin 4
Sat May 2 Rouen, France - 106 Club w/ Mudhoney, Barton Carroll
Sat May 9 Yverdon-des Bains, Switzerland - Swiss Psych Festival
Wed May 13 Prague, Czech Republic - Lucenra Music Bar w/ Mudhoney, Barton Carroll
Thu May 14 Vienna, Austria - Arena Big Hall w/ Mudhoney, Barton Carroll
Sat May 16 Rome, Italy - Sinister Club
Tue May 19 Schaffhausen, Switzerland - Kammgarn w/ Mudhoney, Barton Carroll
Wed May 20 Geneva, Switzerland - L'Usine w/ Mudhoney, Barton Carroll
Thu May 21 Zug, Switzerland - Chollerhalle w/ Mudhoney, Barton Carroll
Fri May 22 Feyzin, France - L’Epicerie Moderne w/ Mudhoney, Barton Carroll
Sat May 23 Lille, France - Aeronef w/ Mudhoney, Barton Carroll
Mon May 25 Gladbeck, Germany - Reuhrpott Rodeo Festival
Fri May 29 Barcelona, Spain - Primavera Festival
Thu Jul 2 Keflavik, Iceland - Asbru w/ Godspeed You! Black Emperor, Mudhoney
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Dave W: That was the whole point behind this one. It’s the first record that I didn’t produce. We worked with a producer, David Wrench. We just got to a point where we felt like we needed to put everything in the blender and turn it on high. Try something different.Were you getting tired of the bathed-in-noise sound?
Dave W: I never really wanted the band to feel like it was just a rock band. I felt like it was becoming just a rock band. I didn’t want that. That’s like making the same album over and over again. Even though I wanted it to be more like succinct songs, I still wanted there to be a flow to it. I think that was achieved, and I think we were able to achieve that through a variety of songs that are on the record, one. Two, the variety as far as the way David mixed in the songs. I still think that the record has a nice flow, and in some ways has a better flow than physically bridging all the songs together like I had done before. So I acknowledged what the problems were and dealt with them.Which were?
Dave W: Well, one was the way that we had gone about writing material. We had always gone about it in a certain kind of a way, and that wasn’t working anymore. The last two records were really rushed.You’ve had, like, a record a year for ten years.
Dave W: Almost. The last two records were really rushed because we were touring a lot. The material wasn’t rehearsed well and there was no attention paid to what the right tempo the song should be played at. No attention to the intricacies of it, having parts be really intense and then parts be really low. None of those things. To me, what ended up happening is it just became this one tempo and one volume. It was really confrontational. The other thing is, with touring so much, I started to notice that people were kind of in awe of the power. The power was kind of debilitating. People in the audience would be wide-eyed and freaked out instead of shaking their ass. One of my goals of putting this band together was to make groove-oriented spacey music. I felt the aspect of there being some kind of a groove to it got lost. So that was my biggest thing with this record. I really wanted to bring back a groove, I wanted to create some type of music that would make people want to get up and dance.
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Dave W: When we demoed it, we didn’t even demo with guitar. We demoed with just bass, keyboards, and drum machines. All guitar on this record was an afterthought. That’s the other thing, I felt I didn’t want to compose on a guitar.Ego: It was just a different way of working because our other albums we really did by just going in and playing.What was different about recording Walks with Motorists versus previous albums?
Dave W: For the other albums, we’d maybe have two days in a studio. There really wasn’t thinking about a specific song and what was right for the specific song like “What kind of tone should we get out of the guitar on this? What kind of tone should we get out of the bass for this song? What’s right? What’s the right tempo?” Just recording as many songs as we possibly could in like a ten-hour period. This time it wasn’t like that at all. We spent a week in the studio, but the week was just tracking. We spent the first couple of days tracking, then a few days doing some over-dubs and vocals. Then we tracked a couple of more songs towards the end. But we had 24-hour access to this amazing studio in Wales. Even the producer was staying in the guest house with us. So we were this tight knit unit for the entire week.How did it come about working with David Wrench?
Dave W: David became familiar with us through his work with Julian Cope (who reissued our They’ve Got Blood Like We’ve Got Blood on his Fuck Off and Di label) in the past. David knew who White Hills was a few years ago. When he was in New York recording Bear In Heaven and when he was here in the studio, he and I hooked up and met face to face. When we started to talk about this record, I said I wanted to work with a producer and we put together a list of names of people that we’d wanna work with.
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Dave W: He wasn’t on the list in the beginning, but then I started thinking about it and I was like, “I should probably just have David do it.” People really know of David through his work with Caribou and FKA Twigs. He typically does a lot of dance-oriented stuff.And you wanted people to shake their asses off.
Ego: It was more like we wanted to mix things up and do something interesting, make a different record. It was just one way that we thought, “Well, this would be interesting.”Dave W: Yeah, it’s like people who know David’s work would be like, “Woah, who’s this band and what are they about?” And in the same respect, it hopefully opens up doors for David to do heavier albums, which he has done before. People just don't think of him in that respect. Through spending time with David and talking with him, I know he understands where I’m coming from and he understands the music. I knew that he would be able to translate what our vision was.Ego: It’s just good to have somebody interpret your music in a different way.Are you into the stuff David has produced like Caribou and FKA Twigs?
Dave W: Yeah, I can listen to FKA Twigs. You see her face everywhere. It’s heavy electronic R&B.As far as producers go, you’ve worked with Martin Bisi, who’s manned the boards over seminal records for Sonic Youth, Swans and Helmet, amongst tons of other cool shit.
Dave W: Never worked with a producer. People think that when we worked with Martin Bisi. They think Martin produced those records because his name is on there. But what Martin did was record on there.
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Ego: Oh, yeah. Sound and Chaos: The Story of BC Studio. They only showed it two days in New York in July. They’ve been doing screenings in LA, Portland, Philly and Norway. They need to do another New York screening. It was great!Dave W: There’s a bunch of footage of us in there recording Frying On This Rock. We love Martin.What did Wrench do differently in the studio than, say, Bisi?
Dave W: I just wanted someone else’s ears. But David’s the kind of guy that will only say something when he needs to say something. In that respect, I think I was expecting there to be some more of that and he did do it.
Ego: David made some suggestions but ultimately he wanted to work with us because he likes the band. He wasn’t out to shake the sound. It was more about having someone else mix it. When you’re done recording and mix it yourself, like Dave has always done, it’s hard to have perspective.
Dave W: You’re too close to it. I always have this vision of what I want it to be, and ultimately it never is that vision. Then you start beating your head against the wall.Do you plan on revamping your live set since Walks with Motorists is short on the noise compared to the older stuff?
Dave W: The first time we’ll play the majority of them live is when we play with The Black Ryder in March. The whole goal is to change things up. We’ve always played our “greatest hits.” I think this touring is gonna concentrate more on new material with some throwing in of old things.
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Dave W: Yeah. That aspect is there.
Ego: There’s gonna be more contrast, which I think certainly as a listener would be nice. To have a real variety of sounds.
Dave W: What we’ve decided to do now is the older material that we’re gonna play in the set are things that we may have never ever played before. Or things that we have not played in the last two years. It keeps it fresh.
Ego: You can’t keep playing the same set. Not that we have. I mean, we have a lot of albums to take off from. But at a certain point, you feel like the last two albums had very similar elements even though they were different. You gotta take chances and do something different or else there’s nothing to differentiate your albums or your periods of writing. I don’t like to hear the same album from a band; I want to hear something different.What do you hope to achieve with your new, short-on-the-noise sound?
Dave W: Achieve? [Laughs] I think our audience is fairly eclectic, you know? There’s people who are totally into metal that are into us, there’s psych hippie freaks whatever that are into it. People that are into fringe music, experimental. We have a wide variety of people that listen to us and I think that there’s very specific things about what they like about us. What do I want? What do I expect? I want to bring new people into the fold. But I wouldn’t say that was why we were like, “Let’s change our sound to get new people!” It was more like, “Let’s change our sound because I don’t wanna feel like I’m making the same record over and over again.”
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Ego: That was fun!
Dave W: That was great! For like a month and half.
Ego: A six-week tour in the US.Wow. Did you do that tour in the lap of luxury? [Laughs]
Ego: They were!
Dave W: In our Chevy Impala?! [Laughing] They were actually really great. They carried our gear in their trailer. We literally did that tour in a Chevy Impala. We would drive up to the back stage and Billy Duffy would be like, “Who’s Impala?”Was it a vintage Impala?
Dave W: It was a new one. We don’t own a car, we just rented it.
Ego: It was like a mom car. Which is great when you’re on tour because you call no attention to yourself. It was like “There’s a family in the Chevy Impala.”So you’re just driving the Impala and all your gear is in The Cult’s bus?
Ego: Yeah, their trailer. We’d just pull up behind these two big buses.Is that the tour where The Cult played Electric?
Ego: Yeah, yeah.
Dave W: That whole experience was great. All those guys and their whole crew were really nice.Did you grow up listening to The Cult?
Dave W: Yeah, both of us listened to The Cult. I wouldn’t necessarily say I grew up on them.How did you score a slot on that tour?
Dave W: Ian (Astbury). Any band that goes on the road with them, it’s Ian. It’s Ian’s choice.Did you get a call from Ian asking you to open for them?
Dave W: No, we didn’t get that call. We were on tour with Kylesa and our agent called us up and said, “So, you think you wanna go on tour with The Cult after this tour?” And we were like, “Get out!” So we got off the phone and he got in touch with their agent. They also asked Psychic Ills and The Psychic Paramount, as well.
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Dave W: Our understanding is that we were the first band to get back to them. And then they offered us a certain amount of money, we asked for more, and then they agreed to the more.So you hit the jackpot touring with The Cult, huh?
Dave W: It was fine, you know? But, nah, you don’t usually make a lot of money doing shows like that.Did you hang and party after with them after gigs?
Dave W: They’re sober! [Laughs] Ian and Billy are.
Ego: The bass player, the drummer, the second guitar player. They would all come into our room.
Dave W: Because our room had the booze! They would hang out.So Ian and Billy were boring. [Laughs]
Dave W: No, I wouldn’t say that. We did have our moments of hanging with Billy and hanging with Ian. That was great.Would you chill with those dudes?
Dave W: They would just be backstage sitting there; Ian would come into our dressing room every now and again. Sometimes there weren’t really separate dressing rooms but one large space backstage. One night Billy told us the whole story of them working with Rick Rubin and recording. He told us the whole nine yards, which was really cool to hear. We got to talking about Ayahuasca, too, and the guy does his meditations before he performs.That tour and also being in Jim Jarmusch’s Only Lovers Left Alive must have been killer, too.
Dave W: Yeah. That was amazing. I mean, what can you say, really? Besides it being amazing, Jim is such a great guy, as well. Really down to earth.Did you know Jarmusch before?
Dave W: No. We met him when he curated All Tomorrows Parties in 2010. But it was literally when we finished playing, he jumped on stage, and was like, “Hi, I’m Jim! I’m so happy you guys played this show!” And then that was it. Then I would send him the new records after that when they would come out. Just send them to his office. It wasn’t that long after I sent him Frying on this Rock that he got in touch with our agent. He was like, “Might they be available?” It was the same situation (as the Cult tour). We were on tour and our agent calls and is like, “So…how do you feel about being in a Jim Jarmusch film?”
Ego: That’s why we’re trying to get back on tour because all those good things happen to us when we’re on tour.Walks for Motorists is out April 7 via Thrill Jockey. Do yourself a favor and catch WHITE HILLS on tour here:Tue Mar 10 New York, NY - Mercury Lounge w/ Black Ryder
Fri Apr 3 Brooklyn, NY - The Bell House w/ Nude Beach
Thu Apr 9 Manchester, UK - Islington Mill
Fri Apr 10 London, UK - Birthdays
Sun Apr 12 Tilburg, The Netherlands - 013 (Roadburn Festival)
Mon Apr 13 Hamburg, Germany - Molotow Club
Tue Apr 14 Copenhagen, Denmark - Loppen
Wed Apr 15 Gothenburg, Sweden - Truck Stop Alaska
Thu Apr 16 Malmö, Sweden - Inkonst
Fri Apr 17 Aarhus, Denmark - Radar
Sat Apr 18 Berlin, Germany - Urban Spree
Sun Apr 19 Dresden, Germany - Groovestation
Mon Apr 20 Pilsen, Czech Republic - Papirna Plzen
Wed Apr 22 Feldkirch, Austria - Graf Hugo
Thu Apr 23 Madonna Dell'Albero, Italy - Bronson
Fri Apr 24 Colle Val D'Elsa, Italy - Sonar
Sat Apr 25 Mezzago, Italy - Bloom
Sun Apr 26 Savona, Italy - Raindogs
Tue Apr 28 Karlsruhe, Germany - Kohl Kutlur Raum
Wed Apr 29 Munster, Germany - Gleis 22
Thu Apr 30 Leipzig, Germany - UT Connewitz
Fri May 1 Brussels, Belgium - Magasin 4
Sat May 2 Rouen, France - 106 Club w/ Mudhoney, Barton Carroll
Sat May 9 Yverdon-des Bains, Switzerland - Swiss Psych Festival
Wed May 13 Prague, Czech Republic - Lucenra Music Bar w/ Mudhoney, Barton Carroll
Thu May 14 Vienna, Austria - Arena Big Hall w/ Mudhoney, Barton Carroll
Sat May 16 Rome, Italy - Sinister Club
Tue May 19 Schaffhausen, Switzerland - Kammgarn w/ Mudhoney, Barton Carroll
Wed May 20 Geneva, Switzerland - L'Usine w/ Mudhoney, Barton Carroll
Thu May 21 Zug, Switzerland - Chollerhalle w/ Mudhoney, Barton Carroll
Fri May 22 Feyzin, France - L’Epicerie Moderne w/ Mudhoney, Barton Carroll
Sat May 23 Lille, France - Aeronef w/ Mudhoney, Barton Carroll
Mon May 25 Gladbeck, Germany - Reuhrpott Rodeo Festival
Fri May 29 Barcelona, Spain - Primavera Festival
Thu Jul 2 Keflavik, Iceland - Asbru w/ Godspeed You! Black Emperor, Mudhoney