Olympia, WA-based folk punk group Pigeon Pit is touring in support of the first-ever vinyl pressing of their beloved 2017 cassette release Treehouse out May 19 via Ernest Jenning Record Co. and stopping at The Southgate House Revival on Thursday, May 4th!

Pigeon Pit's Lomes Oleander says, "I wrote treehouse in the wake of the ghost ship, adrift in a sea of unknowing, of raw feeling. I had just come out as trans, I was twenty one years old; I didn’t know what the loss of a friend really meant–someone I looked up to and called openly my sister. I write pieces of music that, looking back, always seem to be tied to places I’ve lived. This was my piece from my life in seattle. I was a young girl on a bike who couldn’t stop getting high to drown out the circling of the drain of loss, of the reality of my gender, of my relationship with society. I buried myself in the people who got me through. This is my journal from that time.”

Also on May 19, the band will release the third pressing of their acclaimed album of Feather River Canyon Blues. On the album, Pigeon Pit’s Lomes Oleander crafts a world of country duets and inhalants, ghosted plans, lysergic fantasies of chosen families, and eyes lit up in porchlight.
 
 Oleander’s folk-punk poetry glitters under gas station lights, weaving together themes of grief, codependency, political struggle, gender, self-love, and adventure. She tells stories that abandon traditional modes of time and linear narrative to reject a reality that is ever-increasingly defined by work, isolation, and detachment. Through the people she loves, she imagines a better place:

Oleander, born in Santa Cruz, California, combines vivid imagery and near-frantic lyrical density in a self-described “journaling of queer survival, trauma, and the labyrinth of experience.” Pigeon Pit’s raw, dream-like songs channel Lucinda Williams and the Mountain Goats, played on a well-worn mix tape in a dark alley that sparkles with shattered glass. Oleander’s performances range from solo acoustic to the six-piece country-influenced instrumentation.