FOR TICKETS: http://intoitoverit.com/tours
- 1/23/2014 - Minneapolis, MN @ 7th Street Entry
- 1/24/2014 - Lawrence, KS @ Jackpot Music Hall
- 1/25/2014 - Denver, CO @ Marquis Theater
- 1/26/2014 - Salt Lake City, UT @ The Shred Shed
- 1/28/2014 - Seattle, WA @ The Vera Project
- 1/29/2014 - Portland, OR @ Branx
- 1/30/2014 - San Francisco @ Bottom Of The Hill
- 1/31/2014 - Ventura, CA @ Ventura Theatre Upper Deck
- 2/1/2014 - Los Angeles, CA @ The Echo
- 2/3/2014 - San Diego @ Che Cafe
- 2/4/2014 - Scottsdale, AZ @ Pub Rock
- 2/6/2014 - Austin, TX @ Red 7
- 2/7/2014 - Dallas, TX @ Sons of Hermann Hall
- 2/8/2014 - Houston, TX @ Fitzgerald’s
- 2/9/2014 - Baton Rouge, LA @ Spanish Moon
- 2/11/2014 - Atlanta, GA @ The Drunken Unicorn
- 2/12/2014 - Gainesville, FL @ High Dive
- 2/13/2014 - Pembroke Pines, FL @ The Talent Farm
- 2/14/2014 - Orlando, FL @ Backbooth
- 2/15/2014 - Chapel Hill, NC @ Local 506
- 2/16/2014 - Richmond, VA @ Strange Matter
- 2/18/2014 - Washington, DC @ DC9
- 2/19/2014 - Asbury Park, NJ @ Asbury Lanes
- 2/20/2014 - Cambridge, MA @ The Sinclair
- 2/21/2014 - New York, NY @ The Bowery Ballroom
- 2/22/2014 - Philadelphia, PA @ Union Transfer
- 2/23/2014 - New Haven, CT @ Toad’s Place
- 2/25/2014 - Buffalo, NY @ The Waiting Room
- 2/26/2014 - Cleveland, OH @ Grog Shop
- 2/27/2014 - Columbus, OH @ The Basement
- 2/28/2014 - Detroit, MI @ Pike Room @ The Crofoot
- 3/1/2014 - Chicago, IL @ The Bottom Lounge
I’m INCREDIBLY EXCITED to announce that I will be apart of the Polyvinyl Record Company 4-Track Singles Series! Other bands participating include Cloud Nothings,Foxygen's Diane Coffee, Efterklang, John Vanderslice, Matt Pryor, Mikal Cronin, Thao & The Get Down Stay Down and more! We all recorded our songs on the same 4-track recorder and mailed on to the next artist.
Only 500 subscriptions available!! Sign up here -http://polyvinylrecords.com/singlesseries
Tickets for the full band, full US winter headline tour are on sale NOW. Support announcement coming soon!
Head to http://intoitoverit.com/tours for links and more info!
Into It. Over It. (full band) will be heading out on their first full US headline tour this winter!
A limited number of a pre-sale tickets have been held and will be available exclusively via Ducat King. By buying tickets through the pre-sale, you will be able to get your tickets before anyone else AND save some money on service charges!
Head HERE to grab a ticket!
Jan 23 - Minneapolis, MN @ 7th Street Entry
Jan 24 - Lawrence, KS @ Jackpot Music Hall
Jan 25 - Denver, CO @ Marquis Theater
Jan 26 - Salt Lake City, UT @ The Shred Shed
Jan 28 - Seattle, WA @ The Vera Project
Jan 29 - Portland, OR @ Branx
Jan 30 - San Francisco @ Bottom Of The Hill
Jan 31 - Ventura, CA @ Ventura Theatre Upper Deck
Feb 1 - Los Angeles, CA @ The Echo
Feb 3 - San Diego @ Che Cafe
Feb 4 - Scottsdale, AZ @ Pub Rock
Feb 6 - Austin, TX @ Red 7
Feb 7 - Dallas, TX @ Sons of Hermann Hall
Feb 8 - Houston, TX @ Fitzgerald’s
Feb 9 - Baton Rouge, LA @ Spanish Moon
Feb 11 - Atlanta, GA @ The Drunken Unicorn
Feb 12 - Gainesville, FL @ High Dive
Feb 13 - Pembroke Pines, FL @ The Talent Farm
Feb 14 - Orlando, FL @ Backbooth
Feb 15 - Chapel Hill, NC @ Local 506
Feb 16 - Richmond, VA @ Strange Matter
Feb 18 - Washington, DC @ DC9
Feb 19 - Asbury Park, NJ @ Asbury Lanes
Feb 20 - Cambridge, MA @ The Sinclair
Feb 21 - New York, NY @ The Bowery Ballroom
Feb 22 - Philadelphia, PA @ Union Transfer
Feb 23 - New Haven, CT @ Toad’s Place
Feb 25 - Buffalo, NY @ The Waiting Room
Feb 26 - Cleveland, OH @ Grog Shop
Feb 27 - Columbus, OH @ The Basement
Feb 28 - Detroit, MI @ Pike Room @ The Crofoot
Mar 1 - Chicago, IL @ The Bottom Lounge
Check out the new ‘Making of Intersections’ Mini Documentary below:
Watch via YouTube HERE
Thanks for the kind words Chicago Magazine!
Big thanks to the Chicago Reader for writing a preview of tomorrow’s show at Schuba’s along with putting my ugly mug on the cover!
Check out this very fun conversation I had with a very old friend of mine while at Riot Fest for Alternative Press.
“On the very first line of Intersections, Evan Weiss informs us he’s “traded tobacco for new north side air,” like he’s a familiar friend who can dispense with formalities, just checking in to shoot the shit. This charming and occasionally exasperating quality plays a big part in defining his quasi-solo project Into It. Over It. But if you’re new to Weiss’ output, the backstory is worth relating—prior to his 2011 debut Proper, he’d gained notoriety around Chicago for starting seemingly dozens of bands and serving as a liaison between the upperclassmen of Midwestern emo (Their/They’re/There with Mike Kinsella) and the younger kids establishing the new vanguard. He lived in a van for a spell, playing pretty much every basement and house party that would have him and spent 2007 writing a new song every week. The 52 Weeks collection was finally released in 2009 and many of these songs were titled with the kind of breathtaking mundanity (“Friday At Brian’s (I Have to Be Up in Four Hours)”, “Dude-A-Form (Dude Uniform)” and geographical obsessiveness (“Rapid Shitty, SD”) that presumably went the way of the Get Up Kids.
As a result, Proper often sounded like a record from a guy too deep in the game, “thinking simple and putting life to ink,” as Weiss puts it on Intersections highlight “Obsessive Compulsive Distraction”, an album of sharply written songs that were often dulled by snark and an assumption that you got all the inside jokes and cared about scene politics as much as he did. So like most of IIOI’s work, the proper nouns are less important than the underlying emotion in the mission statement of “New North-Side Air”. On Intersections, it’s “new air” that matters, regardless of its source, and with the assistance of Brian Deck’s production, Weiss’ world opens up in every way and becomes a much more welcoming place to visit.
If not explicitly stated, the aforementioned fresh air registers as an autumn breeze, as the music itself has the physiological feel of a transition season—the crisp brightness and soft-focus melodies make a lot more sense now than they did when I first heard them in summer. And the places referenced by Weiss throughout—suburban Philadelphia, upstate New York and New Haven, CT—evoke college campuses, the turning of foliage and a perpetual amber hue. Deck’s sympathetic production leaves plenty of room for a draft to come through, or, mostly a chill. The songs here anticipate relationships headed towards a bitter frost rather than springing into torrid passion.
Then again, most of the conflicts promised by the title of Intersections play out within Weiss, “just spinning wheels, spinning thread and my spinning head.” It’s cerebral music in that way, where most conversations appear to be one-sided and happening after the fact. And musically, Weiss hears completely logical structure in his head, whereas the listeners encounters all kinds of obtuse turns and strange bridges even within a loose verse-chorus template. This was by design: in an effort to avoid falling back on the pop-punk tropes that otherwise propped up Proper, Weiss plays without a pick on Intersections and drummer Nick Wakim disassembled much of his cymbal setup.
The result is just familiar enough to be referential without becoming derivative—Weiss’ deft, rambling fingerpicked patterns bear a strong influence of Tim Kinsella’s Owen, though IIOI is far more melodic and compact. In his softer vocal register, there’s a boyish and bookish cloaking of mean-spirited sentiments that recalls Ben Gibbard. You’re not gonna mistake Intersections for Deck’s work with Califone or Modest Mouse, though you can hear his influence in how it sounds more rustic and more electronic than Proper—the clacking percussion, ringing guitars and looped vocals in “Contractual Obligations” and “A Curse Worth Believing” stand out as Weiss’ most complex studio productions by a good margin.
But Intersections is also cerebral is the way one might translate as “too smart for its own good.” Weiss hasn’t lost his taste for breakup songs that foreground the narrator’s clever observations as a means of giving him the upper hand. On “Spatial Exploration”, Weiss reminds an ex of the “after hours trading X-rated favors” before asking “what is this new person you’ve become?” She’s getting her shit together in a suburban kind of way, and Weiss doesn’t even allow the possibility that she could be in a happier place. Later during “Upstate Blues”, he warns someone to leave a cozy town where drinkers “soak their twenties into tens/ it’s like their twenties never end.” It’s seemingly compassionate, though lyrics like “upstate blues they could paint your room/ cold and gray like New York and you” reveal a passive-aggressiveness behind it. It’s a standard emo pitfall that can mar otherwise exceedingly melodic and cleverly structured songs, and while perversely satisfying in the correct doses, but the oft accusatory tone of Intersections might unintentionally cause you to see things from the other person’s side.
Above all other transitions invoked on Intersections, the most crucial occurs in the second half where Weiss evolves into more compassionate narrator. “No Amount of Sound” is his riskiest song, a slowcore lament for a hospitalized friend that drops any semblance of humor for incapacitating despondence. Meanwhile, the first half of “The Shaking of Leaves” could be mistaken for a relationship post-mortem where Weiss feels actual sadness rather than justified resentment. Instead, it’s a sequel to Proper’s “Connecticut Steps”, where Weiss tried to process the murder of his friend Mitch Dubey, a musician and cyclist in New Haven. The news surrounding Dubey’s murderraised a lot of uncomfortable questions about race and economics in a very stratified city and makes the concerns of Intersections, as big as they are in the moment of experiencing them, feel pretty damn minute.
And yet, with so much to untangle, “The Shaking of Leaves” finds Weiss deferring for a simple mourning, at his most concise and his most powerful. In a melody that could pass for an Irish drinking song, he feels relief, even joy when the New Haven newspaper says that a killer’s been named. And then he recoils in disgust when it’s revealed the accused gunman is 19 (Tashaun Fair was found not guilty after what many criticized as a botched investigation). About ten minutes later, Weiss is back in his most literal depiction of an overactive mind (“Obsessive Compulsive Distraction”), but when Weiss manages to get outside himself, Intersections uses emo as a step towards something more resonant.”