Today marks the premiere of “Up and Down,” a collaboration between Culture Abuse and WAVVES. A two-minute burst of garage pop, “Up and Down” combines bouncy guitar melodies and punchy lyrics to instantly catchy effect.

Hailing from the Bay Area, Cultre Abuse signed to Epitaph Records earlier this year. The band formed in 2013, releasing their debut album Peach in late 2016. Infusing its distortion-heavy garage punk with keyboard melodies and the occasional string arrangement, Peach fully embodies the Culture Abuse mission of “being free, enjoying life, and sharing love.”

Culture Abuse is currently in the studio working on their sophomore album, to be released by Epitaph in 2018.

WAVVES’ sixth album You’re Welcome arrived in May on Ghost Ramp. It was praised by the AV Club as “Wavves’ finest moment to date.” Throughout the album, WAVVES singer/songwriter Nathan Williams explores his obsessions with everything from doo-wop to Cambodian pop to South American psychedelia.

WAVVES recently embarked on a co-headlining run with Epitaph’s own Joyce Manor, who are touring in continued support of their critically acclaimed fourth studio album Cody. Starting tonight in New Orleans, Culture Abuse will join the tour as support.

JOYCE MANOR + WAVVES CO-HEADLINING TOUR DATES:
10/30 New Orleans, LA The Joy Theater
10/31 Mobile, AL Merry Widow
11/2 Orlando, FL The Beacham Theater
11/3 Ponte Vedra Beach, FL Ponte Vedra Concert Hall
11/4 Charleston, SC The Music Farm
11/5 Carrboro, NC Cat’s Cradle
11/6 Baltimore, MD Baltimore Sound Stage
11/7 Philadelphia, PA Union Transfer
11/8 Boston, MA Paradise Rock Club
11/9 Brooklyn, NY Brooklyn Steel
11/11 Morgantown, WV Mainstage Morgantown
11/13 Toronto, ON Danforth Music Hall
11/14 Detroit, MI Magic Stick
11/15 Chicago, IL Concord Music Hall
11/16 St. Louis, MO The Ready Room
11/17 Lawrence, KS The Bottleneck
11/18 Lincoln, NE Vega
11/19 Denver, CO Summit Music Hall
11/20 Salt Lake City, UT In The Venue
11/22 Berkeley, CA The UC Theatre
10/30-11/22 with Culture Abuse as support

Photo credit Alice Baxley

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