Chicago-born, Brooklyn-based singer/songwriter and musician Jack Riley can trace the origins of his music career to when he was five and making music on a thrift-store emblazoned with Kurt Cobain‘s name. Riley moved to New […]
Tag: Bowery Ballroom
New Audio: Hello Mary Shares Brooding “Down My Life”
With the release of last year’s sophomore, self-titled album, New York-based indie rock trio Hello Mary — Helena Straight, Stella Wave and Mikaela Oppenheimer — received praise nationally from the likes of Rolling Stone, who wrote that the album was “one of 2023’s sharpest, nosiest debuts.”
Building upon a growing profile, the New York-based trio’s highly-anticipated, Alex Farrar and band co-produced third album Emita Ox will be released September 13, 2024 through Frenchkiss Records. Emita Ox sees the rising New York-based trio pushing harder into heavy dissertation and psychedelic dreamscapes, while they build out their singular universe rooted in a gusty strain of alternative rock. The album also reflects how the band’s musical tastes have expanded from Elliott Smith and Radiohead to encompass experimental post-rock acts like Black Midi and Swans. “This album encompasses a lot of our inspirations,” Hello Mary’s Mikaela Oppenheimer says. “It also shows what we’re like as a trio, collectively.”
Recorded earlier this year, the album’s material reveals a band that’s boldly leveling up as musicians and composers. The trio’s contributions to the material’s creation and production bleed into each other, but the album is also a showcase of their individual strengths and abilities: Straight’s ethereal vocal melodies and gritty guitar riffs, Wave’s emotive vocals and knotty drum patterns, and Oppenheimer’s diabolical basslines and experimentation with electronic production. “We map out all the sections beforehand, we like to write intricate parts that complement each other,” Hello Mary’s Stella Wave says.
Featuring songs that span from 2018 to 2023, the album is also a document of the band’s past five years growing up as bandmates and their arrival into young adulthood. First meeting as teenagers in 2019, the band became fast friends through the pandemic – a global crisis atop a series of crises that made coming of age feel even more weighty and complicated. “This album represents a period of time that’s very meaningful to us. The songs are related to things that we all know about, even if it’s not out on the table for everyone else,” Wave explains. “The songwriting and recording process was a very heavy time that I will never forget.” Although the lyrics touch on serious topics, the band maintains a core sense of play and exploration” jamming is their way of working through difficult and heavy feelings in a way that’s “easy and fun,” Straight says.
Created amid emotions of frustrations and camaraderie, the album finds the trio fearlessly diving into catharsis.
The album’s first single “0%” features thunderously percussive, down-tuned bass, distortion pedaled guitar fuzz, forceful drumming and Stella Wave’s throaty, feral screams within a classic grunge song structure of alternating impossibly loud choruses, quieter verses and a mischievously dreamy breakdown with vibraphone and triangle.
Much like the rest of the album, the song emerged as the trio were jamming in their practice space. After quickly becoming a crowd favorite live, the song really came to live in the studio, becoming the first time that the band’s Stella Wave had screamed on the recording. When she hopped into the recording booth, she felt emboldened to draw out the vocal shouts the band had originally planned, turning them into much longer screams.
The new single emerged as the trio were jamming in their practice space. After quickly become a crowd favorite live, the song really came to life in the studio, becoming the first time that the band’s Stella Wave had ever screamed on a recording. But when she hopped into the recording booth, she felt emboldened to draw out the vocal shouts the band originally planned, turning them into much longer screams.
The song captures a young woman boldly and defiantly expressing existential frustrations — and getting a bit of joy out of the fact of what little she knows and how much she has left to learn.
Emita Ox‘s third and latest single, the brooding “Down My Life” features Helena Straight’s angelic delivery ethereally floating over a Tool-meets-OK Computer-era Radiohead like arrangement of forceful and menacing down-tuned bass, bursts of warped piano, shimmering strummed guitar within a slightly expansive yet classic grunge song structure.
“Down My Life,” is a song that Straight says she wrote after “one of the saddest experiences” of her life. She adds, that “‘Down My Life’ is possibly the most lyrically powerful song for me on the record. The lyrics are somewhat vague, so the meaning behind it is not totally obvious to the listener, which is how I’d like it to be considering the state I was in when I wrote it.”
New Video: GIFT Shares Euphoric “Light Runner”
Earlier this year, Brooklyn-based JOVM mainstays GIFT — TJ Freda (vocals, guitar), multi-instrumentalist Jessica Gurewitz, Kallan Campbell (bass), multi-instrumentalist Justin Hrabovsky and Gabe Camarano (drums) — signed to Captured Tracks, who will be releasing their highly-anticipated sophomore, 11-song album Illuminator on August 23, 2024.
Illuminator reportedly sees the JOVM mainstays firmly cementing their sound with a remarkably mature, self-assuredness for a relatively young band.
Professionally, the members of the rising Brooklyn-based outfit are firmly enmeshed in the local scene as talent buyers, photographers, DJs, audio engineers, art directors, and in the case of Campbell, the owner of Bushwick-based DIY venue Alphaville. The continued melting pot of their combined skills and experiences helps to make the album an even more cohesive listening experience while seeing increasing contributions from each of the band’s members: Gurewitz, a relative newcomer to making music, contributed a host of lyrics and vocal melodies. Hrabovsky, who previously engineered at Asheville, NC-based Drop of Sun Studios and Echo Mountain Recording shared production duties with Freda. And Camarano’s drumming provided the crucial rhythmic underpinning of the album’s material.
“We had a lot more confidence going in,” Freda says. “The main goal was to take a big swing, embrace the pop sounds we love and clear the mist and clouds surrounding the last record to make it a lot punchier.”
Illuminator will feature the previously released:
“Wish Me Away,” a track anchored around a dreamy and hook-driven shoegazer soundscape of glistening, reverb-drenched guitars, woozy synths and a motorik groove paired with propulsive rhythms serving as a lush bed for Freda’s plaintive falsetto, “Wish Me Away” is continuation of the overall aesthetic they established on Momentary Presence and a decided sonic push forward, showcasing where the band is going next. The song also sees the band exploring and expressing a complex array of emotions with a lived-in specificity.
“‘Wish Me Away’ is about giving into the feeling of everything slipping away,” GIFT’s TJ Freda explains. “Just take it all away, put me out of my misery, wish me away. While this all seems daunting and sad, there’s a feeling of optimism in this song, holding on for dear life and refusing to give up hope.”
After nearly losing a loved one, Freda found himself grappling with the fleeting nature of life, and understandably with the inevitability of mortality. “‘Wish Me Away,’ ruminates on the fear and freedom that can come knowing it can all slip away. The line ‘wish me away’ kept coming up, as in ‘take me, not them,’” Freda adds.
“Going In Circles,” an Evil Heat-era Primal Scream take on shoegaze, built around a motorik groove, glistening and atmospheric synths, swirling reverb-soaked guitar textures and Freda’s dreamily plaintive delivery paired with the quintet’s unerring knack for rousingly anthemic hooks and chorus. But underneath the euphoria-inducing nature of the song is a bitter lament of a relationship gone a bit awry.
“This was the first song I wrote for Illuminator that helped me realize the direction of the album,” GIFT’s TJ Freda says. “I wrote the chorus while passively playing guitar and rushed to record the idea. At that moment, something clicked and I realized where the album was going. At our shows from the Momentary Presence tour, people would stand in the crowd wide-eyed without moving. We wanted to get people moving with the new album, so we were really inspired by bands like Primal Scream, Oasis, and Massive Attack. It’s our psych-rock tribute to U.K. rave culture in the ‘90s.
“The song is about the endless cycle of a relationship,” Freda adds, “the back and forth in both euphoria and doubt. The chorus ‘I never told you why’ is about never being able to say how you really feel, not having closure and the cycle continuing.”
The Jessica Gurewitz and TJ Freda co-written “Later,” which may arguably be one of the most brooding and uneasy song of the band’s growing catalog — while also being the most straightforward shoegazer track of the album. Anchored around a swaggering motorik groove, the track finds the band pairing glistening and reverb drenched guitars with Freda’s plaintive falsetto and the band’s unerring knack for rousingly anthemic hooks and choruses.
“While writing Illuminator I found myself clinging to intense emotions, reluctant to release them. ‘Later’ stands out as one of the darkest songs I’ve made,” Freda explains. “Making it was cathartic, diving into darker themes. The song explores surrendering to the overwhelming sensation of life slipping away before my eyes.”
“Light Runner,” Illuminator‘s fourth and latest single sounds — to my ears, at least — like a mind-bending and slickly produced synthesis of Madchester scene, breakbeats, Ray of Light-era Madonna and shoegaze anchored around enormous, buzzy and euphoria inducing hooks and choruses. “Light Runner” also sees the band crafting a hook-driven sound that’s simultaneously dance club and arena rock friendly while retaining the widescreen quality that has won them accolades.
The accompanying video for “Light Runner” was directed by the band’s TJ Freda. “The album and song ‘Ray of Light’ by Madonna was a massive inspiration while recording Illuminator – I wanted to pay homage to the brilliant music video directed by one of my favorite directors Jonas Åkerlund. ‘Light Runner’ celebrates the triumph of emerging from a dark time while acknowledging the transformative power of overcoming it. It’s a testament to the euphoria of personal achievement.In 2023, during our first European tour, we were enthralled by the origins of 90s UK bands like Primal Scream, Massive Attack, and Oasis. Following a show in Glasgow, the promoters treated us to an underground Jungle/DnB rave, blowing our minds wide open.”
New Video: JOVM Mainstays GIFT Shares Brooding “Later”
JOVM mainstays GIFT — TJ Freda (vocals, guitar), multi-instrumentalist Jessica Gurewitz, Kallan Campbell (bass), multi-instrumentalist Justin Hrabovsky and Gabe Camarano (drums) — formed just before the COVID-19 pandemic. And although 2020 wasn’t exactly the most ideal time to start a band, especially for a group of musicians with varying and diverse roots and professional backgrounds, Freda assembled the band by cherry-picking members of some of his favorite local bands, crossed his fingers and hoped for the best. Professionally, the members of the rising Brooklyn-based outfit are firmly enmeshed in the local scene as talent buyers, photographers, DJs, audio engineers, art directors, and in the case of Campbell, the owner of Bushwick-based DIY venue Alphaville.
The JOVM mainstays signed to Captured Tracks, who will be releasing their highly-anticipated sophomore, 11-song album Illuminator on August 23, 2024. The album reportedly sees the quintet firmly cementing their sound with a remarkably mature, self-assuredness for a relatively young band. The continued melting pot of their combined skills and experiences helps make the album an even more cohesive listening experience. The album sees increasing contributions from the band’s members: Gurewitz, a relative newcomer to making music, contributed a host of lyrics and vocal melodies. Hrabovsky, who previously engineered at Asheville, NC-based Drop of Sun Studios and Echo Mountain Recording shared production duties with Freda. And Camarano’s drumming provided the crucial rhythmic underpinning of the album’s material.
“We had a lot more confidence going in,” Freda says. “The main goal was to take a big swing, embrace the pop sounds we love and clear the mist and clouds surrounding the last record to make it a lot punchier.”
Illuminator will feature:
“Wish Me Away,” a track anchored around a dreamy and hook-driven shoegazer soundscape of glistening, reverb-drenched guitars, woozy synths and a motorik groove paired with propulsive rhythms serving as a lush bed for Freda’s plaintive falsetto, “Wish Me Away” is continuation of the overall aesthetic they established on Momentary Presence and a decided sonic push forward, showcasing where the band is going next. The song also sees the band exploring and expressing a complex array of emotions with a lived-in specificity.
“‘Wish Me Away’ is about giving into the feeling of everything slipping away,” GIFT’s TJ Freda explains. “Just take it all away, put me out of my misery, wish me away. While this all seems daunting and sad, there’s a feeling of optimism in this song, holding on for dear life and refusing to give up hope.”
After nearly losing a loved one, Freda found himself grappling with the fleeting nature of life, and understandably with the inevitability of mortality. “‘Wish Me Away,’ ruminates on the fear and freedom that can come knowing it can all slip away. The line ‘wish me away’ kept coming up, as in ‘take me, not them,’” Freda adds.
“Going In Circles,” an Evil Heat-era Primal Scream take on shoegaze, built around a motorik groove, glistening and atmospheric synths, swirling reverb-soaked guitar textures and Freda’s dreamily plaintive delivery paired with the quintet’s unerring knack for rousingly anthemic hooks and chorus. But underneath the euphoria-inducing nature of the song is a bitter lament of a relationship gone a bit awry.
“This was the first song I wrote for Illuminator that helped me realize the direction of the album,” GIFT’s TJ Freda says. “I wrote the chorus while passively playing guitar and rushed to record the idea. At that moment, something clicked and I realized where the album was going. At our shows from the Momentary Presence tour, people would stand in the crowd wide-eyed without moving. We wanted to get people moving with the new album, so we were really inspired by bands like Primal Scream, Oasis, and Massive Attack. It’s our psych-rock tribute to U.K. rave culture in the ‘90s.
“The song is about the endless cycle of a relationship,” Freda adds, “the back and forth in both euphoria and doubt. The chorus ‘I never told you why’ is about never being able to say how you really feel, not having closure and the cycle continuing.”
Illuminator’s third and latest single is the Jessica Gurewitz and TJ Freda co-written “Later.” Arguably one of the more brooding and uneasy songs of the JOVM mainstays’ growing catalog, “Later” is anchored around a swaggering motorik groove, glistening and reverb drenched guitars paired with Freda’s plaintive falsetto and the band’s unerring knack for rousingly anthemic hooks and choruses. But interestingly enough, the new single may also be the more straightforward shoegazer track of the album, as well.
“While writing Illuminator I found myself clinging to intense emotions, reluctant to release them. ‘Later’ stands out as one of the darkest songs I’ve made,” Freda explains. “Making it was cathartic, diving into darker themes. The song explores surrendering to the overwhelming sensation of life slipping away before my eyes.”
Co-directed by Sophia Feuer and the band’s Jessica Gurewitz, “the accompanying video for “Later” continues a remarkable run of cinematic and surreal visuals. We follow the band’s Gurewitz as she embarks on a lengthy journey by foot through the woods, a struggling and run down city — and in some way through time, thanks to the use of some flashbacks with stock footage, old photos and more.
“I wanted to explore the internal confusion that comes with the passage of time. I was reading a lot of horror stories while we shot this and I wanted to bring those to the screen by exploring unknown places and questioning timelines,” Gurewitz says. “Working with Sophia Feuer (Director, DP, Editor) was amazing and she made it possible to bring this vision to life.“
New Video: JOVM Mainstays Los Bitchos Share Blissed Out Beach Bop “Don’t Change”
Acclaimed London-based instrumental outfit and JOVM mainstays Los Bitchos — Australian-born, Serra Petale (guitar); Uruguayan-born Agustina Ruiz (keytar); Swedish-born, Josefine Jonsson (bass) and London-born Nic Crawshaw (drums) — can trace their origins to meeting at various late-night parties and through mutual friends. Inspired by their individual members’ different upbringings and backgrounds, the acclaimed British outfit have firmly established a genre-blurring, retro-futuristic sound that playfully blends elements of Peruvian chica, Argentine cumbia, Turkish psych, surf rock, and the music each individual member grew up with:
- The Uruguayan-born Ruiz had a Latin-American music collection that the members of the band fell in love with
- The Swedish-born Jonsson “brings a touch of out of control pop,” her bandmates often joke
- Aussie-born Petale is deeply inspired by her mother’s 70s Anatolian rock records
- And the London-born Crawshaw played in a number of local punk bands before joining Los Bitchos
“Coming from all these different places,” Los Bitchos’ Serra Petale says, “it means we’re not stuck in one genre and we can rip up the rulebook a bit when it comes to our influences.”
The JOVM mainstays’ Alex Kapranos-produced, critically applauded, full-length debut, 2022’s Let The Festivities Begin! was recorded at Gallery Studios, and saw the band cementing their reputation for crafting playful, lysergic yet party friendly grooves.
The quartet capped off a breakthrough year with two Serra Petale and Javier Weyler-co-produced singles “Tip Tapp” and “Los Chrismos,” their first Christmas-themed composition. Fittingly, “Los Chrismos” is a celebratory party-starting romp built around a psych rock-inspired, dexterous and looping guitar line, atmospheric synths, cumbia rhythms paired with holiday appropriate cheers and shouts. Simply put, the song is a much-needed hope and joy bomb in desperate, uneasy time.
Building upon a growing profile internationally, the London-based JOVM mainstays released 2023’s PAH! EP, a two-track effort that featured a mischievously, rowdy and downright boozy cover of The Champs‘ oft-covered “Tequila,” a song that has become a fan favorite during the band’s live shows and a reworking of King Gizzard and The Lizard Wizard‘s “Trapdoor.”
Today, the London-based instrumental outfit announced that their highly anticipated sophomore album, the Oli Barton-Wood-produced Talkie Talkie is slated for an August 30, 2024 release through City Slang. Deriving its name from a fictional club of the same name, Talkie Talkie is a late-night paradise, brimming with freedom and possibility; a place where partygoers can escape reality by getting caught in the groove and dancing it all away or daydream along to the invigorating soundscape.
Recorded over a short but intense month-long series of sessions at London’s RAK Studios and Lightship 95, sonically, the album will transport the listener into a world where funk, disco, Latin and Turkish rhythms collide in a euphoric fusion fueled by adventurous experimentation and their endearingly puckish spirit. If 2022’s Let The Festivities Begin was the rowdy build up to the big night out with your homies, Talkie Talkie is the equivalent of rocking out to the groove on the dance floor.
The album’s material is anchored in a vivid cinematic universe that takes inspiration from the band’s favorite aesthetic era — the ’80s. Think less self-serious men, gated reverb and more campy, hi-fi pop songwriting that glistens with moxie and verve. The quartet especially wanted to tap into the sonic innovation of the period, where analog and digital techniques collided to create polished texture and depth.
The album will feature the previously released “La Bomba,” a hook-driven 80s Turkish psych pop-inspired bop anchored around a shuffling dance floor rhythm, a twangy and looping guitar line, a disco-influenced bass line, some video game-like beats paired with glistening synths and ecstatic shouts. “‘La Bomba’ is a burst of energy and power! It’s just such a fun song – we started playing it at festivals last summer and the energy felt so good!” The band says in press notes.
“The beginning stabs are what came to me (Serra) first as I was cooking in my kitchen. There’s something quite heroic and powerful about the opening guitar tone and the stabs underneath them. The twangy guitar tone cuts through the chaotic landscape of claps, pumping disco bassline and dreamy swirling synth sounds. The disco era influence is quite evident in this song, and I think the bassline sets the tone perfectly for this. Structurally the song delivers straight into a chorus (as Nile Rodgers said, ‘why wait?’). We wanted to keep this as close to a classic pop structure as possible, everything straight to the point.
“The cherries on top are the little ping pong drum sounds (think Ring My Bell, Anita Ward) – they just make the track go off and totally emulate the feelings of euphoria and pure energy running through it.”
Talkie Talkie’s second and latest single “Don’t Change” is a breezy and blissful jam anchored around a languid and reverb-drenched Spanish-tinged, psych rock-inspired guitar line, stomping percussion, glistening and atmospheric synths and an arpeggiated, funky synth bass line. It’s the perfect soundtrack for frolicking at the beach, of dreaming of heading to the beach with your best pals — or for riding a ferry and dreaming that you were on a super expensive yacht drinking mimosas.
Directed by Tom Mitchell, the accompanying video for “Don’t Change” is a deliriously fun joy bomb that captures the band — fittingly — frolicking in paradise while seemingly on vacation. Can I join y’all?
“‘Don’t Change’ is a pure bliss track; think holiday vibes with ice creams, beach balls, sunsets and margaritas,” the band says of the song and its accompanying video. “It’s feel-good, with sun soaked melodies, vibrant arpeggiator synth bass, and layers of percussion. We had such a fun time making the video, making up little dances and frolicking about in the sand and sea!”
New Video: JOVM Mainstays GIFT Shares Rousingly Euphoric “Going In Circles”
Brooklyn-based psych rock quintet GIFT — TJ Freda (vocals, guitar), multi-instrumentalist Jessica Gurewitz, Kallan Campbell (bass), multi-instrumentalist Justin Hrabovsky and Gabe Camarano (drums) — formed just before the COVID-19 pandemic. And although 2020 wasn’t exactly the most ideal time to start a band, especially for a group of musicians with varying and diverse roots and professional backgrounds, Freda assembled the band by cherry-picking members of some of his favorite local bands, crossed his fingers and hoped for the best. Professionally, the members of the rising Brooklyn-based outfit are firmly enmeshed in the local scene as talent buyers, photographers, DJs, audio engineers, art directors, and in the case of Campbell, the owner of Bushwick-based DIY venue Alphaville.
Inspired by Ram Dass’ 1971 spiritual guide and countercultural landmark Be Here Now, the JOVM mainstays full-length debut, 2022’s Momentary Presencewas a meditation on working through the anxiety and self-doubt that we all, at some point or another, carry. Specifically conceived, written and recorded with the idea of a full-length album being a fully contained work of art, the songs on Momentary Presence featured dense layered productions that feel and sound self-assured, complete, definitive and impermeable. This is rooted in the band’s belief that each moment has richness, complexity and singularity. And once it’s gone, it can’t be recaptured or repeated.
The album asked the listener several key questions: Can you truly be present? Can you open yourself up and appreciate life in its fullness — the ugliness and confusion, as well as the beauty and joy? The members of GIFT believe that the listener can. And their full-length debut is a chronicle of that chase, and a celebration of the eternal now.
The band leaned on their collective experiences in the behind-the-scenes and non-performing aspects of the music business as part of settling on a bold sound — a dizzying blend of early shoegaze, 90s alt rock and modern pop. The album quickly caught the attention of hungry shoegazers and cognoscenti looking for the new thing across the States, Europe and elsewhere.
The JOVM mainstays signed to Captured Tracks, who will be releasing their highly-anticipated sophomore, 11-song album Illuminator on August 23, 2024. The album reportedly sees the quintet firmly cementing their sound with a remarkably mature, self-assuredness for a relatively young band. The continued melting pot of their combined skills and experiences helps make the album an even more cohesive listening experience. The album sees increasing contributions from the band’s members: Gurewitz, a relative newcomer to making music, contributed a host of lyrics and vocal melodies. Hrabovsky, who previously engineered at Asheville, NC-based Drop of Sun Studios and Echo Mountain Recording shared production duties with Freda. And Camarano’s drumming provided the crucial rhythmic underpinning of the album’s material.
“We had a lot more confidence going in,” Freda says. “The main goal was to take a big swing, embrace the pop sounds we love and clear the mist and clouds surrounding the last record to make it a lot punchier.”
Illuminator will feature the previously released single “Wish Me Away.” Anchored around a dreamy and hook-driven shoegazer soundscape of glistening, reverb-drenched guitars, woozy synths and a motorik groove paired with propulsive rhythms serving as a lush bed for Freda’s plaintive falsetto, “Wish Me Away” is continuation of the overall aesthetic they established on Momentary Presence and a decided sonic push forward, showcasing where the band is going next. The song also sees the band exploring and expressing a complex array of emotions with a lived-in specificity.
“‘Wish Me Away’ is about giving into the feeling of everything slipping away,” GIFT’s TJ Freda explains. “Just take it all away, put me out of my misery, wish me away. While this all seems daunting and sad, there’s a feeling of optimism in this song, holding on for dear life and refusing to give up hope.”
After nearly losing a loved one, Freda found himself grappling with the fleeting nature of life, and understandably with the inevitability of mortality. “‘Wish Me Away,’ ruminates on the fear and freedom that can come knowing it can all slip away. The line ‘wish me away’ kept coming up, as in ‘take me, not them,’” Freda adds.
“Going In Circles,” Illumiunator‘s second and latest single is an Evil Heat-era Primal Scream take on shoegaze, built around a motorik groove, glistening and atmospheric synths, swirling reverb-soaked guitar textures and Freda’s dreamily plaintive delivery paired with the quintet’s unerring knack for rousingly anthemic hooks and chorus. But underneath the euphoria-inducing nature of the song is a bitter lament of a relationship gone a bit awry.
“This was the first song I wrote for Illuminator that helped me realize the direction of the album,” GIFT’s TJ Freda says. “I wrote the chorus while passively playing guitar and rushed to record the idea. At that moment, something clicked and I realized where the album was going. At our shows from the Momentary Presence tour, people would stand in the crowd wide-eyed without moving. We wanted to get people moving with the new album, so we were really inspired by bands like Primal Scream, Oasis, and Massive Attack. It’s our psych-rock tribute to U.K. rave culture in the ‘90s.
“The song is about the endless cycle of a relationship,” Freda adds, “the back and forth in both euphoria and doubt. The chorus ‘I never told you why’ is about never being able to say how you really feel, not having closure and the cycle continuing.”
Directed by Dannah Gottlieb, Alexander Baumann and Robert Ruth features some dreamily hazy and intimately shot footage of the band performing the song in a studio. The video becomes increasingly hallucinogenic affair with the band’s members and their instruments morphing and twisting seemingly at will.
New Video: Los Bitchos Share Glittery Visual for Disco-Inspired Romp “La Bomba”
Acclaimed London-based instrumental outfit Los Bitchos — Australian-born, Serra Petale (guitar); Uruguayan-born Agustina Ruiz (keytar); Swedish-born, Josefine Jonsson (bass) and London-born Nic Crawshaw (drums) — can trace their origins to meeting at various late-night parties and through mutual friends. Inspired by their individual members’ different upbringings and backgrounds, the acclaimed British outfit have firmly established a genre-blurring and retro-futuristic sound that blends elements of Peruvian chica, Argentine cumbia, Turkish psych, surf rock, and the music each individual member grew up with:
- The Uruguayan-born Ruiz had a Latin-American music collection that the members of the band fell in love with
- The Swedish-born Jonsson “brings a touch of out of control pop,” her bandmates often joke
- Aussie-born Petale is deeply inspired by her mother’s 70s Anatolian rock records
- And the London-born Crawshaw played in a number of local punk bands before joining Los Bitchos
“Coming from all these different places,” Los Bitchos’ Serra Petale says, “it means we’re not stuck in one genre and we can rip up the rulebook a bit when it comes to our influences.”
Los Bitchos’ Alex Kapranos-produced, critically applauded, full-length debut, 2022’s Let The Festivities Begin! was recorded at Gallery Studios, and saw the band cementing their reputation for crafting playful, lysergic yet party friendly grooves.
The London-based JOVM mainstays capped off a breakthrough year with two Serra Petale and Javier Weyler-co-produced singles “Tip Tapp” and “Los Chrismos,” their first Christmas-themed composition. Fittingly, “Los Chrismos” is a celebratory party-starting romp built around a psych rock-inspired, dexterous and looping guitar line, atmospheric synths, cumbia rhythms paired with holiday appropriate cheers and shouts. Simply put, the song is a much-needed hope and joy bomb in desperate, uneasy time.
The tracks were released digitally and physically on a flexi-disc, bundled with a red vinyl re-pressing of their debut — for that year’s holiday season..
Building upon a growing profile internationally, the London-based JOVM mainstays released 2023’s PAH! EP, a two-track effort that featured a mischievously, rowdy and downright boozy cover of The Champs‘ oft-covered “Tequila,” a song that has become a fan favorite during the band’s live shows. The EP also featured a reworking of King Gizzard and The Lizard Wizard‘s “Trapdoor.”
The British outfit’s latest single, the Oli Barton Wood-produced “La Bomba,” the first bit of new material from the band since last year’s PAH! EP. The track is an hook-driven 80s Turkish psych pop-inspired bop anchored around a shuffling dance floor rhythm, a twangy and looping guitar line, a disco-influenced bass line, some video game-like beats paired with glistening synths and ecstatic shouts.
“‘La Bomba’ is a burst of energy and power! It’s just such a fun song – we started playing it at festivals last summer and the energy felt so good!” The band says in press notes.
“The beginning stabs are what came to me (Serra) first as I was cooking in my kitchen. There’s something quite heroic and powerful about the opening guitar tone and the stabs underneath them. The twangy guitar tone cuts through the chaotic landscape of claps, pumping disco bassline and dreamy swirling synth sounds. The disco era influence is quite evident in this song, and I think the bassline sets the tone perfectly for this. Structurally the song delivers straight into a chorus (as Nile Rodgers said, ‘why wait?’). We wanted to keep this as close to a classic pop structure as possible, everything straight to the point.
“The cherries on top are the little ping pong drum sounds (think Ring My Bell, Anita Ward) – they just make the track go off and totally emulate the feelings of euphoria and pure energy running through it.”
Directed by the band’s long-term artistic collaborator Tom Mitchell, the accompanying video, features some high-energy, glittery visuals that at points playfully nods at Queen’s “Bohemian Rhapsody.”
The band says of the video “As it’s a high energy, pumping song, we needed to have really dynamic visuals to go with that and bring the song to life. The video has lots of shiny, glitterball moments and moves between performance and surreal segments. We had so much fun with make-up and styling for this video. Josefine saw this thing on Tik Tok where you film in a way which gives the illusion you’re riding a horse, so obviously we had a go and put that in the video last minute on set.”
New Video: JOVM Mainstays METZ Share Woozy and Anthemic “Superior Mirage”
Toronto-based JOVM mainstays METZ‘s fifth studio album Up On Gravity Hill is slated for a Friday release on Dine Alone Records in Canada and on Sub Pop for the rest of the world. The album, which is the JOVM mainstays’ first album in four years was engineered by Seth Manchester and features guest appearances from Black Mountain‘s Amber Webber and string arrangements by composer Owen Pallett.
Long known for blowing out eardrums with explosively loud songs of joyous rage, the Canadian JOVM mainstays — Alex Edkins (vocals, guitar), Chris Slorach (bass) and Hayden Menzies (drums) — have, over the course of their past couple of albums have begun exploring ways of turning abrasiveness into atmospherics. The evolution of their sound is not only a reflection of the band’s maturity as humans and as musicians, but also a changed world that demands much more nuance and compassion to comprehend and survive. Up On Gravity Hill reportedly finds the band continuing to bend the raw power of rock music to its most delicate, intricate ends. The album’s material may arguably be their deepest, detailed and unyieldingly personal batch of songs — and their most beautiful to date.
In the lead up to the album’s release later this week, I’ve written about three of its singles. The band specifically spotlighted the evolution of their sound and approach through the release of its first two contrasting singles:
“99,” a stomping and noisy motorik chug of a song built around their long-held penchant for shout along worthy, mosh pit friendly hooks choruses that sounds subtly informed by Edkins’ work with Noble Rot. “Entwined (Street Light Buzz),” a woozy and swooning song that sees the trio retaining their penchant for power chord-driven, enormous, shout along friendly hooks and choruses with a gorgeous and meditative shoegazer-like bridge.
“These two songs couldn’t be more stylistically and thematically dissimilar,” METZ’s Alex Edkins says. “‘Entwined (Street Light Buzz)’ is a song about the deep connection humans can foster with one another and how we carry people with us forever, even after death. ‘99’ is about the scourge of corporate greed and bottom-line thinking that runs rampant in modern society. Anything for a buck is the message being sent to younger generations.”
“Light Your Way Home,” a slow-burning shoegazer-like ballad built around the band’s long-held penchant for feedback-driven power chords, thunderous drums, enormous raise-your-beer-in-the-air-and-shout-along worthy anthemic choruses serving as a dramatic and stormy vehicle for Edkins’ achingly yearning delivery and backing vocals from Black Mountain‘s and Lighting Dust’s Amber Webber. “Light Your Way Home” finds the Toronto-based outfit at their most forcefully earnest with hearts worn proudly on their sleeves, expressing the understandably deep longing for your loved ones — presumably while living the rock n’ roll live on the road. Sonically, the track is a subtle departure from their established sound that sees the band proverbially stretching themselves upward.
“’Light Your Way Home’ is definitely one of our favorites from Up On Gravity Hill. I was listening to lots of Jesu and Low (as I do most winters) when writing this one,” the band’s Alex Edkins says in press notes. “Lyrically, it’s about missing your loved ones to the point of losing your grip on reality. We distorted and added a mechanical slap back to the drums to create a wild and huge sound. I love how big we got the production on this one. It’s like nothing we’ve ever made before, sonically or lyrically. Amber Webber (Black Mountain, Lightning Dust) was so great to work with, and her voice just takes this song to another stratosphere. I think the video by Colin Medley perfectly captures the vibe and intent of the song.”
Up On Gravity Hill’s fourth and latest single, “Superior Mirage” sees the acclaimed Canadian JOVM mainstays pushing their sound into a bold new direction. Anchored around a propulsive boom bap-like beat, reverb soaked bursts of angular guitar and glistening synth oscillations, “Superior Mirage” is a woozy track that sees the band seamlessly blending post-punk, shoegazer textures with their long-held penchant for enormous, rousingly anthemic hooks and choruses. The result is a song that’s still mosh pit friendly yet but arguably one of the more melodic and dreamier songs of their catalog.
“It’s definitely new territory for us, and I really love the sounds we were able to achieve. We blended a Linn Drum with some homemade samples and made this ad-hoc junkyard drum sound that propels the song along,” METZ’s Alex Edkins says of the new single. “We really tried to make the backbeat the defining trait of the song. The lift on the chorus is pretty huge, too. We wanted the wall of guitars to knock you sideways.”
Directed by John Andrews, the animated video for “Superior Mirage” follows two devils speeding through the desert. After stopping to party, they come across a portal to another dimension, where they encounter the members of METZ ripping hard. Evil hasn’t been this childlike or this fun in a while, y’all!
New Video: Akira Galaxy Shares Glittery and Yearning “Silver Shoes”
Born Akira Galaxy Ament, the Seattle-born, Los Angeles-based 20-something singer/songwriter and musician Akira Galaxy grew up steeped in eclectic music by her music-loving family for as long as she could remember. Ament cut her teeth as a musician fronting several high school bands in her hometown — before stepping out into the spotlight as a solo artist.
The Seattle-born artist’s five-song Chris Coady and Sam Westhoff co-produced debut EP What’s Inside You was released earlier this year through Bright Antenna Records. The EP sees the rising artist effortlessly blending rock ‘n’ roll edge with synth textures that channel 80s dream pop while also drawing from the magic and beauty of Seattle and the Pacific Northwest, where Ament often retreats to write. “I moved to LA as a teen to start my endeavor as a musician, but it wasn’t until I hit the pause button and went back to Seattle at 20 that I discovered my musical and lyrical voice,” the rising artist says. “I remember intending to go back for 2 weeks and ending up staying for 7 months. I like to think it was a perfect combination of things—the guitar, my childhood bedroom, and the state of the world. A fire was ignited beneath me, birthing the first song off of the EP, What’s Inside You.
The EP’s material delves into and touches upon themes of love, yearning and disappointment, resulting in a vulnerable yet self-assured debut effort. EP single and closing track “Silver Shoes” is a dreamy and atmospheric Stevie Nicks/Fleetwood Mac-meets-Beach House-like track centered around glistening synth arpeggios, strummed reverb-soaked guitar and steady backbeat serving as lush bed for the Seattle-born artist’s yearning delivery. Throughout the song, its narrator yearns for and attempts to resuscitate a love that has long since died; so at its core, the song is tied into the sort of foolish, desperate and obsessively nostalgic hope of the lovelorn.
Directed by David Black, the accompanying video is a glittering dream that features the rising singer/songwriter and musician in a glittery jumpsuit and glittery faceprint and shot through kaleidoscopic filters and bright lights.
New Video: METZ Teams Up with Amber Webber on Slow-Burning and Stormy “Light Your Way Home”
Toronto-based JOVM mainstays METZ‘s fifth studio album Up on Gravity Hill is slated for an April 12, 2024 release on Dine Alone Records in Canada and on Sub Pop for the rest of the world. The album, which is the JOVM mainstays’ first album in four years was engineered by Seth Manchester and features guest appearances from Black Mountain‘s Amber Webber and string arrangements by composer Owen Pallett.
Long known for blowing out eardrums with explosively loud songs of joyous rage, the Canadian JOVM mainstays — Alex Edkins (vocals, guitar), Chris Slorach (bass) and Hayden Menzies (drums) — have, over the course of their past couple of albums have begun exploring ways of turning abrasiveness into atmospherics. The evolution of their sound is not only a reflection of the band’s maturity as humans and as musicians, but also a changed world that demands much more nuance and compassion to comprehend and survive. Up On Gravity Hill reportedly finds the band continuing to bend the raw power of rock music to its most delicate, intricate ends. The album’s material may arguably be their deepest, detailed and unyieldingly personal batch of songs — and their most beautiful to date.
Last month, the Canadian JOVM mainstays spotlighted the evolution in their sound and approach through the release of two contrasting singles:
“99,” a stomping and noisy motorik chug of a song built around their long-held penchant for shout along worthy, mosh pit friendly hooks choruses that sounds subtly informed by Edkins’ work with Noble Rot. “Entwined (Street Light Buzz),” a woozy and swooning song that sees the trio retaining their penchant for power chord-driven, enormous, shout along friendly hooks and choruses with a gorgeous and meditative shoegazer-like bridge.
“These two songs couldn’t be more stylistically and thematically dissimilar,” METZ’s Alex Edkins says. “‘Entwined (Street Light Buzz)’ is a song about the deep connection humans can foster with one another and how we carry people with us forever, even after death. ‘99’ is about the scourge of corporate greed and bottom-line thinking that runs rampant in modern society. Anything for a buck is the message being sent to younger generations.”
Up On Gravity Hill‘s third and latest single “Light Your Way Home” is a slow-burning shoegazer-like ballad built around the band’s long-held penchant for feedback-driven power chords, thunderous drums, enormous raise-your-beer-in-the-air-and-shout-along worthy anthemic choruses serving as a dramatic and stormy vehicle for Edkins’ achingly yearning delivery and backing vocals from Black Mountain‘s and Lighting Dust’s Amber Webber. “Light Your Way Home” finds the Toronto-based outfit at their most forcefully earnest with hearts worn proudly on their sleeves, expressing the understandably deep longing for your loved ones — presumably while living the rock n’ roll live on the road. Sonically, the track is a subtle departure from their established sound that sees the band proverbially stretching themselves upward.
“’Light Your Way Home’ is definitely one of our favorites from Up On Gravity Hill. I was listening to lots of Jesu and Low (as I do most winters) when writing this one,” the band’s Alex Edkins says in press notes. “Lyrically, it’s about missing your loved ones to the point of losing your grip on reality. We distorted and added a mechanical slap back to the drums to create a wild and huge sound. I love how big we got the production on this one. It’s like nothing we’ve ever made before, sonically or lyrically. Amber Webber (Black Mountain, Lightning Dust) was so great to work with, and her voice just takes this song to another stratosphere. I think the video by Colin Medley perfectly captures the vibe and intent of the song.”
New Video/New Audio: JOVM Mainstays METZ Share Two from Highly-Anticipated New Album
Toronto-based JOVM mainstays METZ‘s fifth studio album Up on Gravity Hill is slated for an April 12, 2024 release on Dine Alone Records in Canada and on Sub Pop for the rest of the world. The album, which is the JOVM mainstays’ first album in four years was engineered by Seth Manchester and features guest appearances from Black Mountain‘s Amber Webber and string arrangements by composer Owen Pallett.
Long known for blowing out eardrums with explosively loud songs of joyous rage, the Canadian JOVM mainstays — Alex Edkins (vocals, guitar), Chris Slorach (bass) and Hayden Menzies (drums) — have, over the course of their past couple of albums have begun exploring ways of turning abrasiveness into atmospherics. The evolution of their sound is not only a reflection of the band’s maturity as humans and as musicians, but also a changed world that demands much more nuance and compassion to comprehend and survive. Up On Gravity Hill reportedly finds the band continuing to bend the raw power of rock music to its most delicate, intricate ends. The album’s material may arguably be their deepest, detailed and unyieldingly personal batch of songs — and their most beautiful to date.
To spotlight this evolution in their sound and approach, the Toronto-based outfit has shared two contrasting singles:
“99,” a stomping and noisy motorik chug of a song built around their long-held penchant for shout along worthy, mosh pit friendly hooks choruses that sounds subtly informed by Edkins’ work with Noble Rot. Directed by John Smith, the accompanying video features the members of the trio performing the song in hazy and scorching VHS fuzz and computer generated 3D renderings. The single and its accompanying video are incisive commentary and criticism on our consumerist hellscape.
“Entwined (Street Light Buzz)” is a woozy and swooning song that sees the trio retaining their penchant for power chord-driven, enormous, shout along friendly hooks and choruses with a gorgeous and meditative shoegazer-like bridge.
“These two songs couldn’t be more stylistically and thematically dissimilar,” METZ’s Alex Edkins says. “‘Entwined (Street Light Buzz)’ is a song about the deep connection humans can foster with one another and how we carry people with us forever, even after death. ‘99’ is about the scourge of corporate greed and bottom-line thinking that runs rampant in modern society. Anything for a buck is the message being sent to younger generations.”
Co-founded back in 2018 by three New York music industry vets and longtime friends, former Lorimer Beacon founder and head Mike Bell, Kanine Records‘ founder and label head Lio Kanine and Kepler Events‘ and Dedstrange Records co-founder Steven Matrick, The New Colossus Festival over the course of the past couple of years has featured several hundred handpicked, emerging indie bands and artists from Canada, the UK, the European Union, Singapore, Hong Kong and of course, the US.
Since its founding, the festival has quickly established itself as the first stop in New York and in the US for a growing number of emerging and buzz worthy for a growing number of emerging and buzz worthy international artists. Notable festival alumni include a number of JOVM mainstays including GIFT, Penelope Isles, The Orielles, Thus Love, as well as Pom Poko, Pom Pom Squad, Sid Simons, Sobs, Water From Your Eyes, Peel Dream Magazine, Kiwi Jr., and a growing list of others.
The festival’s fifth — er fourth? — edition will take place March 6, 2024 – March 10, 2024 in some of the Lower East Side’s best and renowned independent venues including Mercury Lounge, Berlin Under A, Arlene’s Grocery, Bowery Ballroom, The Bowery Electric, Heaven Can Wait, Pianos, and more.
Over the past handful of months, the festival’s organizers have announced several waves of the artists playing this year’s edition. And much like previous editions, 2024 will feature an eclectic array of artists from across the US, Canada, the UK, the European Union and more. Just a little under a month out from the start of the fifth New Colossus Festival, its organizers have announced the festival’s final lineup and schedule. Parties will be presented by BandsdoBK, BrooklynVegan, Dedstrange Records, Exclaim!, FOCUS Wales, Groover, Joyzine, Maker Park Radio, M for Montréal, Planetary Group, Radio Free Brooklyn, The Spanish Wave and Tokyo Calling. You can check out the full lineup and official festival playlist below.
In addition to the festival schedule, New Colossus Festival’s organizers announced the return of their partnership with Ditto, who will present another series of music industry related panel discussions, which will feature representatives from Netflix, VEVO, Music Managers Forum, Chartmetric and more. And they’ll be a performance from Ditto artist min.a. More details on that will be coming soon.
Full 2024 Festival Lineup
- airu (ES)
- BackDrop Cinderella (JP)
- BALACLAVA (US)
- Bells Larsen (CA)
- Big Bliss (US)
- Bloody Knives (US)
- Boy With Apple (SE)
- Bruiser and Bicycle (US)
- Canned Pineapple (UK)
- Carinae (US)
- CHAII (NZ)
- Chavez Cartel (AU)
- church crush (US)
- Coral Moons (US)
- Crystal Canyon (US)
- Cucamaras (UK)
- Currls (UK)
- DD Island (US)
- Diary (US)
- Dirty Sound Magnet (CH)
- Dream Nails (UK)
- Dresser (CA)
- Dropper (US)
- Ducks Ltd. (CA)
- Durian Silo (US)
- DYE CRAP (FR)
- Earth Dad (US)
- Eclectic Charango Beats (US)
- Empty Nesters (CA)
- Factual Brains (US)
- flirting. (UK)
- Flowers for the Dead (US)
- FRANKIIE (CA/US)
- Friend of a Friend (US)
- Georgie Boyd (UK)
- GOKUMON (JP)
- Hadda Be (UK)
- Hause Plants (PT)
- Head North (US)
- Heffner (US)
- Hiding Places (US)
- High. (US)
- Hippie Hourrah (CA)
- Holiday Ghosts (UK)
- Hollows (UK)
- Hot Garbage (CA)
- Hotel Lux (UK)
- Hotel Mira (CA)
- Housewife (CA)
- HUGMYND (US)
- Iceblynk (US)
- Idle Hours (UK)
- iskwē (CA)
- Island Moons (US)
- Jelly Kelly (US)
- Keegan Powell (CA)
- Keep (US)
- King Bug (US)
- Kingfisher (SE)
- KT Laine (CA)
- La Sécurité (CA)
- Langkamer (UK)
- Last Waltzon (CA)
- Lavender Blush (US)
- Los Premios (ES)
- Love Language (CA)
- Loveseat Pete (US)
- LOW-RES (SE)
- Lucy Kruger & The Lost Boys (DE)
- Luge (CA)
- Mary Shelley (US)
- Meagre Martin (DE)
- Melody Fields (SE)
- min.a (US)
- MINAS (Wales)
- Moon Walker (US)
- Mother Tongues (CA)
- Mr Floyd Larry (US)
- MX Lonely (US)
- My Favorite (US)
- Nara’s Room (US)
- Nicole Yun (US)
- Niño Disco (US)
- NOBRO (CA)
- O. Wake (US)
- Oceans (AU)
- Orange Doors (US)
- Orchestra Gold (US)
- OSKA (AT) Outer Shapes (US)
- P.H.0 (US) Palomino Blond (US)
- PANIK FLOWER (US)
- Paper Lady (US)
- PAPISA (BR)
- partygirl (US)
- Petite League (US)
- Phantom Handshakes (US)
- Phantom Signals (US) Phantom Wave (US)
- poolblood (CA)
- Pop Music Fever Dream (US)
- POSTDATA (CA)
- Prewn (US)
- Programmique (US)
- Radio Trapani (IT/NL)
- Reme (ES/UK)
- Retrofile (CA)
- RIP Dunes (US)
- Roost.World (US)
- Rosier (CA)
- Saloon Dion Sara Parigi (IT)
- Sarakiniko (FR)
- Sasha Cay (CA)
- Scrounge (UK)
- Sham Family (CA)
- Shelf Lives (UK)
- Shunk (CA)
- Sick Joy (UK)
- Silent Mass (US)
- Silver Liz (US)
- Slash Need (CA)
- Spyres (Scotland)
- Starcleaner Reunion (US)
- Stuck In The Sound (FR)
- Subsonic Eye (SG)
- Sugar For The Pill (GR)
- Sun Entire (CA)
- sunnsetter (CA)
- Swutscher (DE)
- Tagua Tagua (BR)
- Talking to Shadows (US)
- Teddy Hunter (Wales)
- Telula (US)
- Tennis Courts (US)
- The Band Cope (US)
- The Gulps (UK)
- The National Honor Society (US)
- The Wesleys (CA)
- Them Airs (US)
- Two-Man Giant Squid (US)
- Ultra Q (US)
- Vera Ellen (NZ)
- Vox Rea (CA)
- WAN (PE)
- William The Conqueror (UK)
- Wince (US)
- Winona Forever (CA)
- yael s. copeland (US)
- ZOLA (US)
Wednesday, March 6, 2024: https://www.newcolossusfestival.com/march-6th-schedule
Thursday, March 7, 2024: https://www.newcolossusfestival.com/march-7th-schedule
Friday, March 8, 2024: https://www.newcolossusfestival.com/march-8th-schedule
Saturday, March 9, 2024: https://www.newcolossusfestival.com/march-9th-schedule
Sunday, March 10, 2024: https://www.newcolossusfestival.com/copy-of-march-9th-schedule
You can purchase a festival badge here.
Co-founded back in 2018 by three New York music industry vets and longtime friends, former Lorimer Beacon founder and head Mike Bell, Kanine Records‘ founder and label head Lio Kanine and Kepler Events‘ and Dedstrange Records co-founder Steven Matrick, The New Colossus Festival over the course of the past couple of years has featured several hundred handpicked, emerging indie bands and artists from Canada, the UK, the European Union, Singapore, Hong Kong and of course, the US.
Since its founding, the festival has quickly established itself as the first stop in New York and in the US for a growing number of emerging and buzz worthy for a growing number of emerging and buzz worthy international artists. Notable festival alumni include a number of JOVM mainstays including GIFT, Penelope Isles, The Orielles, Thus Love, as well as Pom Poko, Pom Pom Squad, Sid Simons, Sobs, Water From Your Eyes, Peel Dream Magazine, Kiwi Jr., and a growing list of others.
The festival’s fifth — er fourth? — edition will take place March 6, 2024 – March 10, 2024 in some of the Lower East Side’s best and renowned independent venues including Mercury Lounge, Berlin Under A, Arlene’s Grocery, Bowery Ballroom, The Bowery Electric, Heaven Can Wait, Pianos, and more. The festival’s organizers announced the first wave of artists that will be playing at next year’s festival, a highly curated collection of artists and bands from across the world — and the first wave bands and artists are below, along with a playlist featuring songs from those artists:
AY WING & CHUUWEE (DE/CH/US)
Bells Larsen (CA)
Bruiser and Bicycle (US)
Canned Pineapple (UK)
CHAII (NZ)
Chavez Cartel (AU)
church crush (US)CLT DRP (UK)
Coral Moons (US)
Crows (UK)Crystal Canyon (US)
Cucamaras (UK)
Data Animal (DE)
DD Island (US)
Diary (US)
Dirty Sound Magnet (CH)
Durian Silo (US)
DYE CRAP (FR)
Factual Brains (US)
Family Jools (UK)
flirting. (UK)
Flowers for the Dead (US)
FRANKIIE (CA)
Getdown Services (UK)
Head North (US)
Heffner (US)
Hiding Places (US)
Holiday Ghosts (UK)
Hollows (UK)
HUGMYND (UK)
Housewife (CA)
Human Colonies (IT)
Iceblynk (US)
Idle Hours (UK)
iskwē (CA)
Jelly Kelly (US)
Keep (US)
King Bug (US)
Kingfisher (SE)
KT Laine (CA)
Langkamer (UK)
Last Waltzon (CA)
Lavender Blush (US)
Los Premios (ES)
Love Language (CA)
Loveseat Pete (US)
Loviet (CA)
LOW-RES (SE)
Lucy Kruger & The Lost Boys (DE)
Luge (CA)
Moon Walker (US)
Nara’s Room (US)
Niño Disco (US)
NOBRO (CA)
Oceans (AU)
Orange Doors (US)
Orchestra Gold (US)
OSKA (AT)
Palomino Blond (US)
PANIK FLOWER (US)
Petite League (US)
P.H.0 (US)
Phantom Handshakes (US)
Phantom Signals (US)
Phantom Wave (US)
Prewn (US)
Programmique (US)
Radio Trapani (IT/NL)
Raue (US)
Retrofile (CA)
Rip Pop Mutant (CA)
Roost.World (US)
Rosier (CA)
Ruby Tingle (UK)
Saloon Dion (UK)
Sasha Cay (CA)
Scrounge (UK)
Sham Family (CA)
Shelf Lives (UK)
Shunk (CA)
Silent Mass (US)
Silver Liz (US)
Slash Need (CA)
Spyres (UK)
Starcleaner Reunion (US)
Strawberry Launch (US)
Subsonic Eye (SG)
Sugar For The Pill (GR)
Sun Entire (CA)
sunnsetter (CA)
Swutscher (DE)
Talking to Shadows (US)
Teddy Hunter (UK)
Telula (US)
The Band Cope (US)
The National Honor Society (US)
The Tazers (ZA)
The Wesleys (CA)
Two-Man Giant Squid (US)
Ugly (UK)
Uninvited (UK)
Venus Grrrls (UK)
Vox Rea (CA)
WAN (PE)
Winona Forever (CA)
MORE TBA!