Fiddlehead
ALL AGESSTANDING ROOM ONLYFIDDLEHEAD Formed with the most modest of expectations, Fiddlehead has unexpectedly become one of the most vital groups in rock music. Their fervent audience responds to the urgency of their music, but also the intensely human exploration of loss that’s colored so much of the band’s output. Fiddlehead’s previous albums, 2018’s Springtime and Blind and 2021’s Between The Richness, dealt heavily with grief from different perspectives, and now their latest album, Death Is Nothing To Us, feels like a de facto culmination, drawing together many of the catalog’s through-lines sonically and lyrically. The album finds Fiddlehead so deeply delving into the pain, confusion, nuances, and contradictions of sadness–so willingly wrapping their arms around a concept as existentially baffling as death itself–that they’ve created an album that is truly life-affirming. “I don’t want people to romanticize grief and depression, myself included,” vocalist Patrick Flynn explains. “But I wanted to write about the way loss can perpetuate this feeling of sadness in your life. I didn’t intend to make some kind of thematic trilogy but there is this connection to the first two records, and this album sort of rounds out some of the stages of grief that weren’t addressed previously–especially this feeling of stickiness that a depressive attitude can have.” This is the mental space where Death Is Nothing To Us exists, with Flynn observing the confounding allure of sorrow and the difficulty of holding onto so many conflicting internal and external hurts at once. He approaches this subject matter with a deftness and intensity that can only be matched by that of the music itself. Since forming in 2014, Fiddlehead–Flynn, drummer Shawn Costa, guitarists Alex Henery and Alex Dow, and bassist Nick Hinsch–have been honing their unique sound, bringing together the energy of hardcore, the anthemic melodies of ‘90s alternative, the unbridled passion of Revolution Summer era emo. For Death Is Nothing To Us, the band again teamed with producer/engineer Chris Teti, and his punchy production captures the spark of Fiddlehead’s live show while doing justice to the massive guitars and undeniable catchiness that makes their music so immensely satisfying. The album’s concise 27 minutes sound like a natural extension of all of the band’s strengths, embracing the more melodic sensibilities of Between The Richness while maintaining the visceral bite of Springtime and Blind. “We knew we wanted to do something a little more aggressive sounding,” explains Henery. “That kind of stuff grounds the band. I think maybe people would have expected us to go cleaner with this LP but I see this as a real mix of the first two.” GELMILLY GUMM
Built To Spill: “There’s Nothing Wrong With Love” 30th Anniversary Tour
ALL AGESSTANDING ROOM ONLYBUILT TO SPILL Built to Spill is an indie rock band from Boise, ID, formed in 1992 by guitarist/vocalist Doug Martsch. In 2024 they celebrate 30 years of “There’s’ Nothing Wrong with Love, their second full-length album, performing it in its entirely. For this celebration tour the band also brings the recording’s original cello player, John McMahon. Known as well for their rotating line up, Built to Spill currently counts with Melanie Radford on bass and Teresa Esguerra on drums miniaturizedBorn in 2022 from members of some of the city’s most cherished acts (Pinback, Rocket From the Crypt, No Knife, Buckfast Superbee), San Diego-based miniaturized was initially formed as a one-off project for a MusiCares charity show honoring Tom Petty. Indie-rock bard/frontman Timothy Joseph found inspiration from dissecting Petty’s songwriting, coming to revelations about his own work as a musician in the process. With a sudden fresh perspective, he began composing all original material that would shape the future of the band into something all its own. miniaturized is, at its core, a rock band. Still, the sound is so sweeping and vibrant that it overflows, spilling into the more nuanced realms of pop and indie rock and nods to iconic alternative rock of decades past such as Pixies, Built to Spill, The Cure, Jesus and Mary Chain, and early R.E.M.With their live performances on the west coast garnering them a fervent following, the band has burst into the public eye as something completely new. Their sound has blurred the lines between the angular, edgy sonics of the members’ previous efforts and emotional, connective song- craft. The earnest assertion of singer Timothy Joseph’s voice and lyrics draws listeners in with uncertain familiarity. On top of their live appearances so far, their singles ‘Cave in’ and ‘miniaturized’ have captured significant media attention , the latter in regular rotation on 91X FM.
Brijean
ALL AGESSTANDING ROOM ONLYBRIJEAN Brijean is the duo of percussionist and singer-songwriter Brijean Murphy and multi-instrumentalist and producer Doug Stuart, and together they make dance music for the mind, body and soul, evoking 70s disco, 90s house and sly pop sensibilities. Their debut album Feelings arrived via Ghostly International in February 2021, a golden-hued dream pop tropicalia of dazzling beats and honeyed vocals; remixes from Buscabulla, Sam Gendel, DRAMA and Rick Wade followed. In August of 2022 they released Angelo — an EP, named after Murphy’s recently purchased 1981 Toyota Celica, featuring nine songs Brijean have crafted and carried with them through a period of profound change, loss, and relocation. It finds them processing the impossible the only way they know how: through rhythm and movement. The months surrounding Feelings, which celebrated tender self-reflection and new possibilities, rang bittersweet with the absence of touring and the sudden passing of Murphy’s father and both of Stuart’s parents. In a haze of heartache, the duo left the Bay Area to be near family, resetting in four cities in under two years. Their to-go rig became their traveling studio and these tracks, along with Angelo, became their few constants. Whereas Feelings formed over collaborative jams with friends, Angelo’s sessions presented Murphy and Stuart a chance to record at their most intimate, “to get us out of our grief and into our bodies,” says Murphy. They explored new moods and styles, reaching for effervescent dance tempos and technicolor backdrops, vibrant hues in contrast to their more somber human experiences. Angelo beams with positivity and creative renewal — a resourceful, collective answer to “what happens now?” COLLOBOH Colloboh (a portmanteau of Collins Oboh) is a Nigerian-born, Los Angeles-based experimental producer and composer who has spent the past several years cultivating genre-spanning modular wizardry. A self-taught synthesist, Colloboh’s DIY recording diaries (still archived on Instagram) quickly amassed a dedicated online following, eventually catching the eye of Leaving Records founder, MatthewDavid, who wasted no time tapping the then-twenty-six-year-old to perform at the monthly Leaving showcase, Listen to Music Outside In The Daylight Under a Tree. In 2021, Colloboh permanently relocated to Los Angeles from Baltimore, dedicating himself to music full-time, and quickly becoming a fixture of the city’s vibrant experimental scene. Whereas Colloboh’s debut EP Entity Relation (released that same year) dove headlong into club beats, Saana Sahel, out May 5th 2023 on Leaving Records, showcases the breadth of the fledgling composer’s ambitions.
OUTPOST: Five Door Sedan + Wim Tapley
– ALL AGES- STANDING ROOM ONLY- RAIN OR SHINE Five Door Sedan is an indie rock group from Charleston, SC. Their new sound blends the improvisation and raw emotion of psychedelic rock with a modern feel of carefully orchestrated, catchy indie rock music. Tight rhythms, deep lyrics, and passionate playing make this band a powerhouse of musicality. The 5 piece band, (formerly Dacota Muckey and The Trip) brings a unique twist with sultry saxophone and layers of melodic synths. Wim Tapley is based in Athens, GA, and has been touring the east coast with his band, the Cannons, since 2021. Wim’s original music is a crowd pleasing mix of Rock, Pop, Folk, and Americana that provides something for everyone (Wim Tapley Spotify). Wim and his band have played some historic venues in the southeast including a sold out Georgia Theatre and the 40 Watt Club, the latter of which he has headlined multiple times. He has also opened for notable acts such as the Vegabonds and Flipturn.With local support from The Old Futures.
Pedro The Lion
ALL AGESSTANDING ROOM ONLYPEDRO THE LIONEarly into Santa Cruz, the poignant third album in David Bazan’s ongoing musical memoir of his sometimes-uncanny life, he discovers the Beatles. He is the new kid from Arizona in a new school in the famous California coastal town where his dad has accepted another post at a Bible college. He and his first friend there, Matt, are sitting on the carpet in Matt’s little bedroom, flipping through the records bequeathed by his father, when Bazan spots a familiar cover—The White Album, known only from a church documentary that warned children of the Satanic secrets of “Revolution 9.” Play it backwards, the propaganda said, and it would offer a command: “Turn me on, dead man.”So, of course, the kids played it forward and were fascinated by the sound, by the imagination, by the act of consecrated creativity far outside of Christian rock. Bazan was 13. “Treading water on the open ocean/Then you threw me out a life ring,” he sings, the smile obvious just through the sound as the beat picks up like a racing pulse, more than three decades later. “All I needed was a little help from a friend.” That is the moment where, in many ways, the remarkable songs of Pedro the Lion begin to take shape.In 2019, after a 15-year break filled with solo records and side-projects, Bazan returned to the moniker under which he had become one of indie rock’s most identifiable voices and incisive songwriters, Pedro the Lion. He sort of stumbled into 2019’s Phoenix, a charged chronicle of his childhood there, while spending the night with his grandparents during a tour stop. But he soon understood that unpacking his peripatetic youth, where his music minister father shifted around the country like a Marine moving bases, was helpful, healing, and maybe even interesting. The gripping Havasu followed in 2022. Bazan was onto something, untangling all the ways his past had both shaped and misshaped his present inside some of his best songs ever.That past truly begins to become the present on Santa Cruz, the most fraught and frank album yet in a planned five-album arc; this one covers a little less than a decade, from just after he turned 13 until he turns toward adulthood around 21. These songs ripple with the anxiety and energy of teenage awakening—of hearing rock ’n’ roll, of understanding that independent music exists, of making out with an older schoolmate in deepest secret, of falling in love, of finally starting to understand that in order to be yourself you’re going to need to be something other than your parents’ vision of you. It is the rawest, most affecting and affirming album Pedro the Lion has ever made.FLOCK OF DIMESJenn Wasner is a multi-instrumentalist, vocalist, producer, and songwriter based in Durham, North Carolina by way of Baltimore. She releases solo music under the name Flock of Dimes, and as half of beloved duo Wye Oak. Wasner is also a member of Bon Iver, and ofSylvan Esso’s extended live lineup. Over the years, Wasner has collaborated with Future Islands, Helado Negro, Sharon Van Etten, Deerhoof, Shearwater, William Brittelle, and many other artists. She also produced Madeline Kenney’s Sucker’s Lunch (2020) and Perfect Shapes (2018). Flock of Dimes’ latest solo LP, ‘Head of Roses,’ (Sub Pop, 2021) follows a winding thread of intuition into the unknown and into healing, led by gut feelings and the near-spiritual experience of visceral songwriting.
Mildlife
ALL AGESSTANDING ROOM ONLYMILDLIFEADAM HALLIWELL
PATIO: Polly Panic
ALL AGES LIMITED PATIO SEATING IS FIRST COME FIRST SERVEPOLLY PANICJenette Mackie is creator and frontwoman of cello shredding rock duo Polly Panic. Built on the back of distorted and often looped cello, drums, and powerful vocals, Mackie and drummer/backing vocalist Chris Medrano are not to be missed in this era of cellos coming to the front. Polly Panic is one of the longest standing cello Art rock forces out there…”References abound, P J Harvey’s bleak and angsty soundscapes, Tori Amos dark dreaming, Apocalyptica’s classical-rock attitudes, Tom Waits belligerence, but whilst you catch fleeting sights of those past glories, Polly Panic creates something totally her own, something wonderfully unique, where classical grunge meets baroque ’n’roll!” (Dave Franklin, Dancing About Architecture, on Losing Form)
Wisp
ALL AGESSTANDING ROOM ONLYWISPWisp is a 19 year-old Shoegaze artist based in San Francisco. Inspired by the likes of Whirr and Deftones, she has released two singles — the first of which, ‘Your face,’ having now generated over 19m streams on Spotify since April release. Proficient at numerous instruments including violin, guitar, and piano, Wisp has quickly become the fastest growing Shoegaze artist in the streaming era, and is in the process of recording her debut project slated for early 2024 release.PHOTOGRAPHIC MEMORY
OUTPOST: Summer like the Season
– ALL AGES- STANDING ROOM ONLY- RAIN OR SHINE “Summer Like The Season is an indie/art rock band based out of Detroit, MI. A brainchild of multi-instrumentalist and producer Summer Krinsky, the tunes explore a hazy line where live instrumentation and modern electronics meld into one fluid sonic playground. Inspired by artists like tUnE-yArDs, St. Vincent, and Animal Collective, Summer’s sound is characterized by poppy vocals mingling with unique harmonies, breakbeats, and ethereal soundscapes. Summer Like The Season has played on bills with Soccer Mommy, Dan Deacon DJ, Speedy Ortiz and Bent Knee. For the live show Summer plays drum kit and sings alongside electronics/synth musician Scott Murphy, and guitarist Liam McNitt”” Mary Metal is based in Asheville, NC and includes band members Charlie Graham, Max Kline, Alex Cain, Lucas Ross andHaven Hager. Indie/Alternative Rock/DreamPop.”Acid Jo “On rare and horrific occaisions the other side breaks through”
of Montreal
ALL AGESSTANDING ROOM ONLYOF MONTREAL Kevin Barnes did not believe they could ever leave Georgia. Barnes arrived in the erstwhile college-rock hub of Athens around 1996, a pop four-tracker in their early twenties with permissive images of Bowie, Prince, and Iggy Pop prancing through their head. Almost immediately, of Montreal became a signal flare for a slowly changing South. Barnes, who will answer to any pronoun you proffer, bent gender and genre through complicated and ever-delightful records, trouble and woe fueling kinetic tunes of radical incandescence. But there is only so much energy one can expend on the vanguard, living in a town that often felt like a frat house suffused with regressive notions of race, sexuality, and decency. It all exhausted Barnes.They had, however, built a life there—a home, a family, a studio, a reputation. Could Barnes ever really exit? The new Lady On The Cusp is not only a rapturous synthesis of most everything of Montreal has ever done but also Barnes’ final transmission from Athens, as they’re now a fresh Southern expatriate delighted to be living among the snowy peaks and progressive politics of southern Vermont. Written and recorded in the months when Barnes and partner, musician Christina Schneider, prepared to leave, Lady On The Cusp combines a keen reckoning with the past with hopeful glimpses of the future, all clad in Barnes’ purposefully scattershot pop kaleidoscopes. The glittering trauma confrontation of “PI$$ PI$$,” the devotional R&B surrealist fantasy of “Soporific Cell,” the nuevo jazz lamentation of “Sea Mines That Mr Gone”: These 10 tracks—funny and sad, sexy and brooding, playful and serious—find Barnes finding new paths ahead. Barnes is moving both from situations that felt suffocating and toward musical ideas that feel evermore freeing. Barnes and Schneider met nearly seven years ago, when of Montreal and Schneider’s Locate S,1, shared a tour. They fell in love on the road, and she relocated to Athens to begin their life together there. Barnes had certainly contemplated leaving the South but worried about the existential anxieties: Where would they go, for instance, and how would they make friends wherever that was? Easier just to stay in place, right? But the couple began visiting Vermont together, slowly seeing every season in the state where Schneider had gone to school. Barnes imagined another way to exist. What’s more, Schneider—whose own band was in part a vehicle for confronting childhood damage—encouraged Barnes to engage with the wreckage of their past, to grow beyond it in a way they admit they never had. “Christina has been extremely helpful,” Barnes says with more than a touch of relief, “in realizing that who you’ve been doesn’t make you who you are.” Nostalgia is not Barnes’ thing, never really has been. While of Montreal’s peers from mid-’00s indie bloom have often circled back for seemingly endless reissues, reunions, and retreads, Barnes mostly hasn’t, choosing instead to press for novel ways to make the kind of jubilant but tumultuous tunes they have long loved. With its views of the past not as a crutch but as a cage, its nods to what’s next, and sounds that tinker with the idea of what it means to make pop at all, Lady On The Cusp is a compelling reintroduction to of Montreal—a project that has never stalled but has here found and used several new wellsprings of inspiration, all at once.TELE NOVELLA
