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
KIM GORDON
ALL AGESSTANDING ROOM ONLYKIM GORDONThere was a space in Kim Gordon’s No Home Record. It might not have been a home and it might not have been a record, but I seem to recall there was a space. Boulevards, bedrooms, instruments were played, recorded, the voice and its utterances, straining a way through the rhythms and the chords, threaded in some shared place, we met there, the guitar came too, there fell a peal of cymbals, driving on the music. We listened, we turned our back to the walls, slithered through the city at night. Kim Gordon’s words in our ears, her eyes, she saw, she knew, she remembered, she liked. We were moving somewhere. No home record. Moving. Now I’m listening to The Collective. And I’m thinking, what has been done to this space, how has she treated it, it’s not here the same way, not quite. I mean, not at all. On this evidence, it splintered, glittered, crashed and burned. It’s dark here. Can I love you with my eyes open? “It’s Dark Inside.” Haunted by synthesised voices bodiless. Planes of projections. Mirrors get your gun and the echo of a well-known tune, comes in liminal, yet never not hanging around, part of the atmosphere, fading in and out, like she says – Grinding at the edges. Grinding at us all, grinding us away. Hurting, scraping. Sediments, layers, of recorded emissions, mined, twisted, refracted. That makes the music. This shimmering, airless geology, agitated, quarried, cries made in data, bounced down underground tunnels, reaching our ears We recalled it – but not as a memory, more like how you recall a product, when it’s flawed. She sings “Shelf Warmer” so it sounds like shelf life, it sounds radioactive, inside our relationships, juddering, the beats chattering, edgy, the pain of love in the gift shop, assembled in hollow booms, in scratching claps. Non-reciprocal gift giving, there is a return policy. But – novel idea – A hand and a kiss. How about that. Disruption. I would say that Kim Gordon is thinking about how thinking is, now. Conceptual artists do that, did that. “I Don’t Miss My Mind.” The record opens with a list, but the list is under the title “BYE BYE.” The list says milk thistle, dog sitter…. And much more. She’s leaving. Why is the list anxious? How divisive is mascara? It’s on the list. I am packing, listening to the list. Is it mine, or hers. She began seeking images from behind her closed eyes. Putting them to music. But I need to keep my eyes open as I walk the streets, with noise canceled by the airbuds rammed in my ears. quiet, aware, quiet, aware, they chant at me. What could be going through Kim’s head as she goes through mine? -Written by English artist Josephine PrydeBILL NACE
Cloud Nothings
ALL AGESSTANDING ROOM ONLYCLOUD NOTHINGSSome bands never miss. This rare breed consistently puts out great records every couple years, avoiding the lengthy hiatuses or egregious sonic missteps that often come with achieving longevity. It’s an often unsung reliability, as few realize how truly remarkable it is to put art into the world at this rate without letting the quality slip. For nearly 15 years, Cloud Nothings have continued to hit the target, steadily becoming a part of the fabric of modern indie rock as we know it with a run of fantastic albums. This streak continues unabated with their latest full-length, Final Summer–an album that’s so assured, so instantly satisfying, that it forces you to pause and realize you’re listening to one of the great American rock bands in their prime.Formed in 2009 by guitarist/vocalist Dylan Baldi, Cloud Nothings evolved over the years from a one-man lo-fi project into a finely tuned unit also composed of drummer Jayson Gerycz and bassist Chris Brown. Cloud Nothings, over so many years and so many records (nine or ten “depending on how you look at it,” laughs Baldi), have existed long enough to witness all sorts of musical moments come and go, but the secret to their endurance isn’t about savvily navigating trends. “We’ve just never felt inclined to stop,” Baldi explains. “It’s not like this makes us millions of dollars, but it’s a great gig, it’s what we love to do.” Gerycz adds, “It’s just still so fun every time we do it, every time we go get in the basement and start writing.”And it shows. Recorded with Jeff Zeigler (Kurt Vile, The War On Drugs, Torres, Purling Hiss), mixed by Sarah Tudzin (Porches, Tim Hiedecker, Pom Pom Squad), and mastered by Jack Callahan (Ryley Walker, Merchandise, Wolf Eyes), Final Summer is bursting with the unbridled joy that only comes from playing guitars and drums loudly. This is not the work of a scrappy new band cramming all of their ideas into a debut album or grizzled veterans grinding through another release: it’s one of the tightest and most invigorating rock bands active today, driven to make the best version of themselves. Very few bands take listeners on that kind of journey within a hooky rock song as effectively as Cloud Nothings, and the album’s opening title track proves exactly why. A wash of crackling synths sets the scene before the band roars to life with a cutting riff and Gerycz’s driving beat. From there, it’s layer after layer of interlocking melodies and guitar lines, all rising action while Baldi lays out the album’s overarching lyrical ideas. “It’s about feeling alright in the moment,” Baldi says. “A lot of these songs sort of ended up being about getting by or trying to keep improving despite everything.”On Final Summer closer “Common Mistake,” Baldi sings, “This is your life, it’s a common mistake. We’ll be alright, just give more than you take.” It’s the kind of deceptively direct lyric that he excels at, a clear and real sentiment filtered through a melody that’s stuck in your head before the end of the first chorus. The line could almost be an accidental mission statement for the band itself: a group that creates with a workman-likecommitment, providing listeners with something authentic and artful at an unflinching pace. Cloud Nothings don’t miss, and you won’t want to miss them either.WIND CULTS
Homeshake
ALL AGESSTANDING ROOM ONLYHOMESHAKEIt’s the early 2000’s. A music video plays on a nearby loop on the Much Music TV channel. A man stands in a room, the background is nothing, non existent, as if in a void. The camera rolls and does not stop. He is shirtless. Sparse guitars begin as the camera sways effortlessly through the abyss, never taking its omnipotent gaze off the man. He is shirtless, cut from stone like a statue from antiquity. Flawless in all regards, but we have not seen everything yet. The music ungulates towards an apex as the camera begins to lower its gaze. Revealed are two lines few have seen before. Angular muscles beginning at the navel and ending at the thighs. A new style of music video is formed, a unique take of R&B is created, the artistry of D’angelo is now truly whole. Peter sits at home transfixed to the screen. He is amazed as his perception of what is possible in music has changed. Peter is now on the precipice of a new dawn. Morning has broken. “Wake up, grandma why don’t you put on a little makeup.” Or so he thought the lyrics went to the new music video playing. Chop Suey by System of a Down. Peter is flabbergasted again. More new styles of music, more new guitar riffs! He sits, mouth open, with a copy of Guitar World magazine open to the tablature of Chop Suey. Reading the fine print with a magnifying glass he is now completely stunned, knocked flat onto his back, when he learns a guitar can be tuned much lower than he had expected! Drop C in fact. A tuning he uses to this day. “Time to go to school young man. This essay isn’t going to read itself,” he thinks to himself clutching his homework. At school a classmate of Peter reads his essay aloud for marks. They stumble through the quote “Be careful when staring into the abyss because the abyss will stare back into you.” After class, amazed at his friend’s penmanship, Peter does a secret handshake with the author to celebrate the success of the essay. A ‘home-shake.’ That was the moment he Realized how to unite his new inspirations. An artist is born. -written by an interested third party FREAK HEAT WAVESFreak Heat Waves make a highly anticipated return with their fifth LP, Mondo Tempo, courtesy of Vancouver’s esteemed Mood Hut label. The duo, consisting of Steven Lind and Thomas DiNinno, has been exploring a sonic landscape that defies easy categorization since the release oftheir self-titled debut in 2012. With Mondo Tempo Freak Heat Waves have tastefully infused dancehall grooves, ambient textures, trance mantras and midi smoothness. The sonic result is a heady cocktail that seamlessly blends elements of post-punk, psych, dub, ambient, house, and techno. With their latest release the Freaks deliver their most alluring output to date, solidifying their reputation as one of the most unpredictable and exciting acts around.
Mates of State
ALL AGESSTANDING ROOM ONLYMATES OF STATE Mates of State, the iconic indie band featuring married couple Jason and Kori, today announce a 17-show tour for this summer 2024 in conjunction with going back into the studio to record all new songs. Mates garnered a rabid following beginning in 1998 and toured nearly non-stop for 15 years, performing all over the world including runs with NPR’s This American Life, The Postal Service, The Strokes, Jimmy Eat World, Santigold and Death Cab for Cutie. They’ve also been seen on David Letterman, Coachella, Lollapalooza, Conan O’Brien, and Yo Gabba Gabba. Since 2000, Mates’ have released 7 full length albums (on labels including Barsuk and Polyvinyl) while simultaneously starting a family of 3 daughters(!) who travelled the world with them on tour. The Mates’ paused touring for a minute to “give their girls a bit of an anchor through their teenage years”, while continuing to write and explore to find their next musical phase. This new direction is coming to light and Mates are hitting the road hard with 17 shows in 17 days, no days off. They also are currently recording a full-length album with long-time collaborator, producer Peter Katis, at Tarquin Studios in Bridgeport, CT. AL MENNE Al Menne has spent a lot of time driving in cars. Whether taking trips up and down the West Coast, touring in a van, or working as a delivery driver, they’ve become intimate with the possibility, at any moment, of disaster. “At the end of a very long driving shift,” Menne says, “there’s a moment when you realize, I shouldn’t be driving right now. Anything can happen. You really can’t be in control of everything that’s happening around you.” Freak Accident, their debut solo album, probes this feeling as it unfurls with the patient ease of a passing landscape while harboring the kinetic weight of life’s chaos at its core. Menne came up in the music scene as the lead singer of Seattle-based rock band Great Grandpa. In this outfit, Menne’s remarkable voice was on full display, despite not being the primary songwriter. When Great Grandpa took a break in 2019 due to various life circumstances, Menne was free to explore new musical pockets and step into their own as a songwriter, which precipitated a move from their lifelong home in Seattle to Los Angeles in 2021. There, they connected with an impressive cast of collaborators and friends that helped bring Freak Accident to life, including producer Christian Lee Hutson, engineer and mixer Melina Duterte (Jay Som), and guitarist Meg Duffy (Hand Habits). Menne’s songs are filled with clever melodies and honeyed, homespun rock arrangements that showcase their taut songwriting. They manage to collapse a maze of gnarled emotions into clear, direct, and inviting pathways, often using humor as an access point to something more profound. On lead single “Kill Me,” for instance, Menne turns the sarcastic eye-roll of the phrase “kill me now” into a heartfelt plea for love, while the acerbic refrain of the title track reshapes a faintly ominous admission into a mantra that seems to embrace all of life’s whims: “I’m a freak accident / head-on collision just waiting to happen.”
