MVTANT announce New Tape/US Tour Dates/Gang of Four Cover

Cover of “Damaged Goods” + Tour Date
Listen to MVTANT’s Animalistic Cover of “Damaged Goods” + Tour Dates
(POST-PUNK.COM)


MVTANT 2023 Tour dates:


Tour dates:

4.28 TULSA – THE WHITTIER BAR
5.2 DENVER – GLOB
5.3 SLC – INTERNATIONAL
5.7 RENO – HOLLAND PROJECT
5.8 CHICO – NAKED LOUNGE
5.12 VANCOUVER – VERBODEN
5.15 OLYMPIA – CRYPTOTROPA
5.17 OAKLAND – GOLDEN BULL
5.18 SAN DIEGO – THE MERROW
5.19 TIJUANA – BLACK BOX
5.21 EL PASO – 101
6.8 NASHVILLE – COBRA
6.9 INDIANAPOLIS – BLACK CIRCLE BREWING $#
6.10 DETROIT – LELAND CITY CLUB $#
6.11 TORONTO- SEE SCAPE #
6.13 BOSTON – O’BRIEN’S PUB $#
6.14 NORTHAMPTON – RED KROSS $#
6.15 KINGSTON – BLACKBIRD INFOSHOP $#
6.16 NEW YORK CITY – ST. VITUS $#
6.17 RICHMOND – FALLOUT $#
6.18 WILMINGTON – ANGIE’S RAINBOW ROOM
6.20 ASHEVILLE – STATIC AGE
6.21 ATLANTA – THE EARL
6.22 GAINESVILLE – PORTAL 4 RECORDS
6.23 TAMPA – NEW WORLD
6.24 MIAMI – GRAMPS
6.25 ORLANDO – WILL’S PUB
6.27 NEW ORLEANS – THE GOAT
6.28 HOUSTON – BLACK MAGIC SOCIAL CLUB

     Something I learned in the process of going back and editing this blog is that the posts about my record label stuff are the least popular!   What was most popular is when I was specifically writing about the local music scene in San Diego because the people in that scene were interested in reading about themselves.  During the Dirty Beaches era there was some national interest and very little local San Diego interest and then after that period it's just been random- I assume the traffic is mostly bots at this point- which is fine but I wish bots would buy stuff. I don't see why they shouldn't.  If you wanted to create a real person on the internet having a bot buy stuff would probably do the trick.

    Anyway- Mvtant was the first Dream project I was involved in- the Gore/Mirrorshade EP.   I thought the sales for that record were good, that the streaming numbers- which had hovered at 1/2k monthly listeners on Spotify for years before a recent jump over 3k a month, were bad and that the "work rate" of the Artist- to borrow a term used to evaluate pro soccer players, was fantastic.  He has a decent social media presence and his touring game is great- he is self sufficient which is almost a must these days at the diy level considering the amount of time it take to get going.

    And, no one was trying to steal him away- which at the DIY level you have to realize that even the smallest success is going to mean other people trying to move in and take the artist to "the next level."  It's an easy pitch, and of course every other label can tell if a record/artist combo is doing well.  So like with The Serfs, when we put out Primal Matter I knew it was a good record and furthermore that anyone else who had a copy of that record and saw them live would be like, "Yeah, this would be good for my label."  Basically the goal is to just hang on to the record you've released by keeping it in print and continuing to sell it.

    For MVTANT- the first thing is this 10 song cover/remix tape cassette, which, the idea is to remix and combine with other artists and then to post one song a week on the streaming services to maximize the reach while selling out the cassette and hammering out weeks of social media posts about each new track.  It is...anti-romantic- all this streaming lore, but that is how things work these days.  One observation I've made is that streaming is actually a parallel universe that sometimes overlaps with "real world" measurements like selling physical media and concert tickets but not always.  It is quite frequent to see a disconnect between low streaming numbers and high real world figures and vice versa.   This goes all the way from the bottom to the top in both directions.