McGill, Nevada - 5/30-6/1 - 2024


Thursday, May 30



We Are Scientists

We Are Scientists is an American rock band started in California in 2000 who’ve carried out their last 20 years of art business from a base in New York City. Founding members Keith Murray (guitar) and Chris Cain (bass) have played with guys like Adam, Michael, Andy, Danny, Chris, Matt, and Gary on drums, but for over five years now have had Keith Carne, who looks like he isn’t going anywhere. Their first album, “With Love & Squalor,” was certified gold in the U.K. and enjoyed by dance rock fans in many other countries. Subsequent records like “Brain Thrust Mastery,” “TV en Français,” and “Megaplex” saw the incorporation of more synthesizers, strings, and a horn. Although 2021’s “Huffy” returned to a guitar-driven sound, forthcoming “Lobes,” the band’s eighth studio album, is their synthiest, electronic beatiest collection yet. So, really, who even is We Are Scientists? The release of “Lobes” on January 20, 2023 was celebrated with a very special hometown show at Brooklyn Made, followed by touring in the U. K. and Europe. The band is currently on a run of European shows and festivals this summer. Further U.S. dates follow in the fall.

Over the course of six Man Man albums, bandleader Honus Honus (aka Ryan Kattner) has devoted his career to exploring the uncertainty between life’s extremes: beauty and ugliness, order and chaos. The band's most recent effort was 2020's "Dream Hunting in The Valley of the In-Between," released by Sub Pop. Honus Honus is currently putting the finishing touches on their seventh album for the label, which is due out in June 2024. He also stars in and is the soundtrack composer (along with Brett Morris) for the upcoming horror film "Destroy All Monsters."

The Paranoyds have the kind of connection people only dream of: as non-biological sisters who have known each other longer than they haven't and speak a language that no one else can understand. With a bond that began in preschool, Laila Hashemi (keys/vocals) and Lexi Funston (guitar/vocals) were always inseparable, so when they met Staz Lindes (bass/vocals) in ninth grade, it felt like they had known her all along. After all, they were a “package deal.” In high school, they began making music together in a friend’s laundry room and their relationship just blossomed from there. When it came time to add in a drummer, David Ruiz, who joined the band in 2015, fit in like he had been there all along. It's that special bond that has solidified their relationship as bandmates who connect seamlessly to one another’s energy on stage — and best friends. And it's the one thing that has remained a constant throughout the past two years.

Corridor is returning with their fourth album "Mimi" and it immediately recalls the best of the best when it comes to indie rock. Leaning harder into incorporating electronic textures than on previous records, it is a record bursting with new energy and life, with no limitations when it comes to what is possible. And despite easy comparisons, it remains impossible to pin down from song to song. It is music that is richly detailed, with a sound and style that’s more widescreen and expansive than anything that’s preceded it. A record that feels like a fresh break for a band that’s already established themselves as forward-thinkers.

Viaje Nahual is a Las Vegas-based Latin-psychedelia band, formed during the pandemic in 2021, members set out on a sonic journey to look inward and connect to their roots, combining sounds from all their influences, a charge of electric and tropical sound is created, ranging from Latin to rock and psychedelia, the band is sure to make you move and bend your mind! Named after movement and the mysterious pre-Hispanic shamans from Mexico, Viaje Nahual's goal is to keep connecting with their listeners through their music, sending out a message of love, strength and action! "If you were there last night, you would've experienced their distinctive sound which takes you on a psychedelic journey through their shamanic heritage, taking you through the modern sound of ritual combined with metallic sound and a synchronous spirit." – Priscila Noriega (Sonido sin Limites Podcast)


The Jins

While building off the '90s-crushed guitar rock of The Jins' "Death Wish" EP (2019), with a bit more room to breathe on the upcoming, 10-song "It's a Life" -- recorded in Vancouver with producer Dave Genn (54-40) -- the trio also detour through cello-emboldened fields of Americana ("Clementine"), gloom-laden proto-psych ("Jin Sabbath") and life-contemplating alt-ballads ("Crossroads"). With a new album now on the horizon, The Jins are planning to tour for the first time since Death Wish's "She Said" unexpectedly took off on TikTok and brought the band to an even bigger streaming audience (the song is 7.5 million and counting on Spotify). The Jins are Ben Larsen (vocals, guitar), Hudson Partridge (bass) and Jamie Warnock (drums, vocals).

Spoon Benders is a progressive psych-rock powerhouse that has been relentlessly crisscrossing the United States, leaving a trail of newly acquired fans in their wake. Spoon Benders have become synonymous with an electrifying stage presence that can only be described as loud, controlled chaos. Spoon Benders have been carving their path through the musical landscape since their inception, and are now consistently supporting notable acts such as Frankie and The Witch Fingers, L7, Fuzz, Meatbodies, Deap Vally, Death Valley Girls, and The Paranoyds. In April of this year, Spoon Benders unleashed their sophomore album, "How Things Repeat," upon the eager ears of the public. The album is a testament to the band's artistic evolution and ability to push the boundaries of their sound. "How Things Repeat" has been met with resounding acclaim, cementing Spoon Benders' status as a force to be reckoned with in the psychedelic rock landscape.

Led by guitar-shredding frontwoman Dani Neff, Austin-based psych rock outfit Megafauna has “carved a unique and expansive niche for themselves, playing with a heady mix of garage and grunge textures, ethereal psychedelic washes, muscular guitar work, and layered shoegaze-tinged effects.” (Under the Radar). Olympico, Megafauna's sixth full-length release, produced/engineered by Charles Godfrey (Yeah Yeah Yeahs, …Trail of Dead, Swans, Holy Wave), confidently ventures through elements of doomy stoner rock, sludge and various corners of the heavy, progressive and alternative rock esotera. Jolting from headbanging math rock to a celestial wave of psychedelia and dynamic, fierce guitar riffs balanced by serene, angelic vocals, Megafauna seamlessly blends genres without losing cohesion. Such as their namesake, the band crafts massive, heavy and momentous musical moments but with a beautiful melodic touch. "Like St. Vincent for people who like the Melvins." (Consequence of Sound).

French Cassettes' music is filled with winding melodies that pop up unexpectedly but grab hold and don’t let go … and may leave you asking “who needs hands with hooks like these?” The harmony-driven power-pop quartet’s new LP, "Rolodex" (sophomore LP released on Tender Loving Empire), was conceived beneath a stairwell in the band’s adopted hometown of San Francisco, where frontman Scott Huerta spent months staying up until 4 am, obsessing over elaborate demos that would eventually become his band’s sophomore album. “I adopted the mentality, which was probably unhealthy, that every song I wrote needed to be my favorite song,” he remembers. “I lost my mind so many times in the middle of the night.” The album was self-recorded by lead guitarist Mackenzie Bunch in just about every corner of the Bay Area, and the songs that were eventually stitched together are hook-filled and rooted in pop. But they’re also layered and intricate recordings: complex vocal harmonies and counter-harmonies, Rob Mills’ inventive percussion, Thomas’ (Scott’s brother) honey-coated basslines, and every shade of clean and fuzzy guitars stacked up like an orchestra. These uncommonly majestic, esoteric pop forms serve as the perfect delivery service for Huerta’s playful and verbose lyrics, which are often presented as semi-autobiographical puzzles. Taken together, the eight tracks and 24 minutes that make up "Rolodex" are an epic statement of purpose in a decidedly taut package. One that brought a band back together, more mature and more ambitious than ever.

Friday, May 31



Mercury Rev

Since forming in 1989, Mercury Rev has made a career out of boldly exploring the fringes of artistic perception, channeling colors and sounds and visions that always seem just beyond our mortal reach. The Guardian hailed the group as “a rarity in indie rock: a band who have continually evolved their sound, pushing at the boundaries of what rock music actually means over 25 years, borrowing from jazz, funk, doo-wop, techno, folk and more along the way,” while Rolling Stone praised their “majestic chaos,” and the BBC lauded their “shimmering psychedelic pop, immersive indie-rock, [and] spectacularly engrossing passages of sumptuous instrumentation.” The band’s 1991 debut, ‘Yerself Is Steam,’ landed on Pitchfork ’s rundown of the Best Shoegaze Albums of All Time, and their 1998 breakthrough, ‘Deserter’s Songs,’ was named NME ’s Album of the Year upon its release. Major festival and television performances around the world solidified their status as that rare group capable of straddling the line between mainstream appeal and progressive musical and technological experimentation, but the band’s journey was also a tumultuous one, full of lineup changes, setbacks, and heartbreak.

Since first arriving on the scene in 2009 with blistering inversions of shoegaze, Montreal’s No Joy has always found formidable ways to reinvent itself. Now solely composed of musician Jasamine White-Gluz, No Joy has evolved over the course of four studio albums and five EPs, defying expectation and genre, and cementing itself as something rare: a band without a category. For No Joy’s first full length in five years, White-Gluz took what she learned from synthesis, reincorporated guitars, and produced an album that is not a departure from No Joy’ s early shoegaze, but a stylistically omnivorous expansion that ekes into trip hop, trance and nu-metal. 2020's "Motherhood" is the culmination of years composing outside of her comfort zone, and a return to DIY recording with a leveled-up expertise in production. Touring with genre-divergent artists has honed the band’s comfortably multifarious sound; No Joy picked up post-hardcore fans on the road with Quicksand, and ambient techno fans on gigs with Baths. “As long as people are open minded about music, they can hear different things,” explains White-Gluz, “Maybe because there are a lot of layers.” Once again pulling sonic inspirations from every corner the band had mastered before, "Motherhood" is a staggering and melancholic tapestry of fuzzy, 90s/early 2000s nu metal and trip hop, faithful shoegaze, and bold lyricism -- with blunt meditations on femininity, fertility and mortality -- all while maintaining a sense of humor. It’s no surprise, then, that with 2021's new No Joy EP, "Can My Daughter See Me From Heaven," sees White-Gluz finding new things to mine and explore from "Motherhood." Comprising the tracklisting of "Can My Daughter See Me From Heaven" are four "Motherhood" tracks, all of which were reworked during the COVID-19 pandemic. Mixed by frequent collaborator Jorge Elbrecht, mastered by Heba Kadry, and co-produced by White-Gluz and Tara McLeod (who also lends her guitar work to the recordings), the new takes veer into slower, dreamier territory ... but calling it “softer” would be a disservice. To help re-conceive the tracks under a new light, White-Gluz enlisted a fresh set of collaborators: there’ s booming percussion from Sarah Thawson, a cutting cello from Ouri, delicate harp work by Nailah Hunter, and French horn from Brandi Sidoryk -- who also provides backup and operatic vocals. They settle into a strange and confident harmony, highlighting the urgency of Motherhood’ s themes, as White-Gluz’ s hazy, ethereal vocals soar over the din. Aside from these reimaginings, there’s another delightful surprise: a dusky cover of Deftones’ immortal classic “Teenager” rounds out the five-song EP. It’ s no wonder that a song by Deftones, another band willing to bulldoze through sonic boundaries, would find a home here. There’s a kinship between these artists that makes this cover even more necessary. With "Can My Daughter See Me From Heaven," No Joy continues to conjure an effortless mix of sound, achieving new heights, while playing with the more traditional confines of the shoegaze genre.

The Besnard Lakes have passed through death and they're here to tell the tale. Nearly five years after their last lightning-tinted volley, the magisterial Montreal psych-rock band have sworn off compromise, split with their longstanding label, and completed a searing, 72-minute suite about the darkness of dying and the light on the other side. "The Besnard Lakes Are The Last of the Great Thunderstorm Warnings" is the group's sixth album and the first in more than 15 years to be released away from a certain midwestern American indie record company. After 2016's "A Coliseum Complex Museum" -- which saw Jace Lasek and Olga Goreas attempting shorter, less sprawling songs -- the Besnards and their label decided it was time to go their separate ways; with that decision came a question of whether to even continue the project at all. What use is a band with an instinct for long, tectonic tunes -- rock songs with chthonic heft and ethereal grace, five or 10 or 18 minutes long? How do you sell that in an age of bite-sized streaming? How do you make it relevant? "Who gives a shit!" the Besnard Lakes realized. Ignited by their love for each other, for playing music together, the sextet found themselves unspooling the most uncompromising recording of their career. Despite all its grandeur, "...The Last of the Great Thunderstorm Warnings" honours the very essence of punk rock: the notion that a band need only be relevant to itself. At last The Besnard Lakes have crafted a continuous long-form suite: nine tracks that could be listened together as one, like Spiritualized's "Lazer Guided Melodies" or even "Dark Side of the Moon," overflowing with melody and harmony, drone and dazzle, the group's own unique weather. Here now, The Besnard Lakes finally dispensed with the two/three-year album cycle, taking all the time they needed to conceive, compose, record and mix their opus. Some of its songs were old, resurrected from demos cast aside years ago. Others were literally woodshedded in the cabanon behind Lasek and Goreas's "Rigaud Ranch" -- invented and reinvented, relishing this rougher sound. Some of that distortion makes its way into the final mix: an incandescent crackle that had receded from the Besnards' more recent output. Rightly -- nay, definitively! -- "The Besnard Lakes Are The Last of the Great Thunderstorm Warnings" is a double LP. "Near Death" is the title of the first side. "Death," "After Death," and "Life" follow next. It's literally a journey into (and back from) the brink: the story of The Besnard Lakes' own odyssey but also a remembrance of others', especially the death of Lasek's father in 2019. Being on your deathbed is perhaps the most psychedelic trip you can go on: in Lasek's father's case, he surfaced from a morphine dream to talk about "a window" on his blanket, with "a carpenter inside, making intricate objects." That experience pervades the album, catching fire on the song "Christmas Can Wait"; elsewhere the band pays tribute to the late Mark Hollis and, on "The Father of Time Wakes Up," they mourn the death of Prince. In these scorched and pitted times, as the world smoulders, there might be nothing less trendy than an hour-long psychrock epic by a band of Canadian grandmasters. Then again, there might be nothing we need more. "...The Last of the Great Thunderstorm Warnings" is a bright-blazing requiem: nine tunes that are one tune and six musicians who make one band - unleashed and unconstrained, piercing and technicolour. At the end of the golden day, The Besnard Lakes are right where they should be.

Miki Berenyi began her career as a recording artist in 1989, as co-founder of the band Lush, releasing a series of EPs (Scar, Mad Love and Black Spring compiled as Gala) and LPs (Spooky, Split and Lovelife) on the iconic 4AD label. The band toured extensively, many times in the US — with Ride, Babes in Toyland, Jane's Addiction, Flaming Lips, Weezer and, most notably, as openers on the 1992 Lollapalooza tour. Lush split in 1996, and Miki retired from music, but a 2015-16 Lush reunion tour, which included a Coachella date and release of an EP Blond Spot, revived her enthusiasm and she formed Piroshka, who released two albums on Bella Union: Brickbat (2019) and Love Drips and Gathers (2021). When the global pandemic made touring impossible, Miki spent the lockdown months writing her memoir, Fingers Crossed, released in 2022 to widespread acclaim. To provide some musical accompaniment for the string of book events and signings, Miki Berenyi Trio was formed, with her partner Kevin 'Moose' McKillop on guitar and Oliver Cherer on bass (both had played in Piroshka). The band has developed a momentum of its own and they are now writing new songs, inserted into the set of Lush and Piroshka tracks as they continue to fulfill live bookings, with a plan to record and release an album in 2024. For the US dates, they will be joined by Michael Conroy — also a founder member of Piroshka and Modern English.

The fourth full-length from Wild Pink, ILYSM unfolds with all the fractured beauty of a dreamscape. Over the course of 12 chameleonic tracks, the New York-bred rock band build another world inhabited by ghosts and angels and aliens, inciting a strange and lovely daze as the backdrop shifts from the mundane (subdivisions, highways, hotel parking lots) to the extraordinary (deserts, battlefields, the moon). But within its vast imagination lies a potent truth-telling on the part of singer/guitarist John Ross, whose lyrics closely examine his recent struggle with cancer. The follow-up to 2021’s A Billion Little Lights—a critically acclaimed effort praised by the likes of Pitchfork, NPR, Vulture, and Stereogum, who named it “one of the prettiest rock records of the past decade”—ILYSM emerges as a truly revelatory body of work, transforming the most painful reflection into moments of transcendence. As Ross reveals, ILYSM’s feverish yet fragile intensity has much to do with the unmooring experience of being diagnosed with cancer early in the writing process. Now in the surveillance phase of recovery, Ross explains, “Even though I’d already started working on the record, everything took on new meaning after my diagnosis. I started writing songs that tried to make sense of the whole experience, including the love and support I felt from the people in my life—particularly my wife, which is where the title came from.” Co-produced by Ross with Justin Pizzoferrato (Pixies, Body/Head, Speedy Ortiz) and Peter Silberman of The Antlers, ILYSM finds Wild Pink joining forces with a thrilling lineup of guest musicians, including J Mascis, Julien Baker, Ryley Walker, Yasmin Williams and Samantha Crain. As the most experimental work to date from Wild Pink—whose lineup also includes bassist Arden Yonkers and drummer Dan Keegan—the album embodies a finespun yet mercurial sound embedded with so many unexpected details (e.g., the spirited gang vocals of its title track, the slippery grooves and unearthly narration of “Abducted at the Grief Retreat,” Mascis’s frenetic solo on “See You Better Now”). Mainly recorded at Sonelab in Easthampton, Massachusetts, ILYSM ultimately marks a bold departure from the lush orchestration of A Billion Little Lights, yet still bears an endlessly immersive quality. “I wanted to make a record with more organic elements than the last one,” says Ross. “Playing live in the room together as a band was very important to me—I really leaned on them to bring their talents to the table, which they did.” An album informed by the odd poetry of everyday life, ILYSM opens on “Cahooting The Multiverse”—a gorgeously hazy track encapsulated by Ross as “a stream-of-consciousness tune inspired by watching the light come in through the sugar maples where I live, or taking a walk by the school and seeing this little mountain of cigarettes where the teachers sneak out to smoke behind the cedar trees.” From there, Wild Pink drift into the quiet grandeur of “Hold My Hand” feat. Julien Baker, one of ILYSM’s most profoundly vulnerable moments. “I wrote that song right after my first surgery, about lying on the operating table where a member of the surgical team held my hand right before I went under,” says Ross. “It sounds kind of arbitrary, and like it shouldn’t have been as impactful as it was, but I felt very comforted and wanted to capture that loving feeling in the song.” Featuring the elegant piano work of David Moore (leader of the ambient ensemble Bing & Ruth), the result is a hypnotic piece of chamber-pop, brightened by Baker’s warm and wistful vocals. Graced with the dreamy pedal-steel tones of Mike “Slo-Mo” Brenner (Magnolia Electric Co., Badly Drawn Boy) and the syrupy clarinet of Jeremy Viner (Bing & Ruth), “War on Terror” presents a lonesome and sprawling portrait of wandering the beach at night, once again illuminating the gently jarring effect of Ross’s lyrics (“Stay in the ocean because it’s just me/And the big moon rowing across the sky/Time is always moving to the right/And measured in things like tumor markers”). “There’s a running theme throughout this record of the moon being a constant companion, and I think that comes across in this song the most,” notes Ross. And on “Sucking on the Birdshot,” Wild Pink deliver one of ILYSM’s most devastating tracks: a six-and-a-half-minute epic driven by crashing rhythms and gloriously careening riffs. “I was in Florida and saw a sandhill crane by the side of the road; its partner had been killed by a car, and the bird was mourning and screaming in pain—I’ve never heard anything like it,” says Ross. “They’re these very striking birds that look like dinosaurs, and I came to learn that they mate for life, which is unusual in the animal kingdom. I had that in mind when I wrote this song about a pure expression of love in the natural world, and how your own first love can feel huge in a similar way.” For Ross, the process of bringing ILYSM to life provided a certain sense of escape, even at its most daunting moments. (“I was actually back in another cancer surgery within a week of wrapping up the recording,” he recalls. “It was pretty surreal to record this album knowing I had cancer in my lymph nodes—but since I couldn't have the surgery any sooner, I just stuck with my studio time.”) And with the release of ILYSM, Wild Pink hope the album might supply others with their own outlet for solace and catharsis. “Writing about all this has helped me process my experience, or even just acknowledge that I still don’t completely understand how I feel about it,” says Ross. “It’s been a very confusing, overwhelming time, and hopefully it’ll offer some kind of comfort to anyone else who’s feeling overwhelmed or confused too.”

The Eagle Rock Gospel Singers began as friends getting together. They began as a choir of 15 people who revived the old Gospel spirit with songs like “I Shall Not Be Moved,” “12 Gates,” and “In My Time of Dying.” They evolved into a band of five, committed to the richness found in early 20th century recordings. They are influenced by past Gospel musicians such as The Dixie Hummingbirds, Washington Phillips, and Sister Rosetta Tharpe as well as a number of modern artists from all genres. The band preserves traditional music by echoing the stylings of blues, folk, country, and Gospel music. They push these genres with electricity, modern vocal harmonies, and pop music arrangements. They play a combination of Gothic Americana roots, indie folk rock, rock 'n' roll, and traditional Gospel music.


Molly Lewis

DAIISTAR is a noise-pop / shoegaze band formed in Austin, Texas in the spring of 2020. The band takes their inspiration from the neo-psychedelic era of the 80s and 90s (The Jesus and Mary Chain, Spacemen 3, Primal Scream) and pulls it into the future with modulating synthesizers, heavy guitars, bouncing bass lines, and spiraling hooks, creating a narcotic blend of noise and melody. DAIISTAR recently recorded their first studio album, produced by Alex Maas of The Black Angels and engineered by James Petralli of White Denim. "Tracemaker," their debut single from the album, is also available as a lathe-cut single with a cover of Primal Scream's "Burning Wheel" on the b-side. Their debut album was released in September 2023 on Fuzz Club Records.

When Everyone Is Dirty hits the stage, you're about to have a rude awakening. Expect a velvet hammer to the face in the form of frontwoman Sivan Lioncub wielding a gnarly electric violin that she shreds like Jimi Hendrix. Hailing from the Oakland, CA underground music scene, Everyone Is Dirty shifts from the elegance of Zombies-esque baroque pop into a whirlwind of unrestrained, cathartic punk rock madness. All on a dime. You're in good hands with Lioncub, whose collaboration credits include names like Shannon Shaw (of Shannon & The Clams) and The Residents. So buckle up, grab a spot near the stage, and prepare to be hit with the full force of Everyone Is Dirty's electrifying adventure.

Abronia is a six-piece band based in Portland, Oregon that uses two guitars, pedal steel, tenor saxophone, bass, and one giant drum. The music takes inspiration from Spaghetti Western soundtracks, spiritual free jazz, drone metal, Tuareg guitar bands, 80s goth, outlaw country, Krautrock, and 60s psychedelia, amongst other things. Their first album, Obsidian Visions/Shadowed Lands, was released in 2017 by the Mississippi Records affiliate, Water Wing Records. They have released three more albums since: The Whole of Each Eye (2019), Map of Dawn (2022), and The High Desert Sessions {2023}-all three were a co-release between the Massachusetts based Feeding Tube Records and the UK-based Cardinal Fuzz. Abronia has toured extensively in the USA and Europe and plans to do more of that. They're currently writing what will become their fifth album.

Northern California-based quintet Soft Science is "deeply invested [and] honest in their approach to find something new" (The Chicagoist) while maintaining their pop sensibilities. Once described as having "the potential to become one of the great Left Coast power pop bands" (Popmatters), the band's sonic evolution has led to an exploration of the noisier side of dream pop with glimmers of dark wave on their fourth LP, "Lines" (Shelflife Records - US I Spinout Nuggets - UK I Fastcut Records - Japan). Soft Science began working on their recently completed album "Lines" in 2019, forging the record in their home studios together and at times in isolation from each other during the height of the pandemic, swapping tracks and making adjustments from a distance for what felt like an eternity. Reuniting in person to finalize the mix created a palpable excitement, an energy that can be felt throughout the record. "Lines" addresses living and loving within the complexities and challenges of everyday life in our fast-paced digital world. Formed in 2009 by longtime collaborators Katie Haley (Holiday Flyer, California Oranges) and brothers Ross and Matt Levine (Welt, The Tank, California Oranges), the group was later joined by partners Tony and Becky Cale (English Singles, Arts & Leisure), and Hans Munz. With alluring vocals, two 12-string guitars, bass, drums, and synthesizers, the ensemble layers copious melodies, celestial harmonies, and propulsive rhythms with lush electronic soundscapes to create "a sound built to outlast trends" (Chicago Tribune). "It's not often you hear dream pop that's so devastatingly dynamic and driving" (The Big Takeover). Previous Soft Science recordings include LPs "Maps" (2018), "Detour" (2013), and "Highs and Lows" (2011 ), a few singles, including a split 7" with The Luxembourg Signal (2015), and covers of House of Love's "I Don't Know Why I Love You" and Northern Picture Library's "Paris" (both 2018). Critical acclaim for their recordings led to invitations to perform at the New York Popfest, Paris Popfest, The Big Takeover's 35th Anniversary show, a WFMU show opening for The Chills, KEXP live (2019) and Part-Time Punks sessions, plus additional festivals in the U.S. and Iberian Peninsula.

This Valley Glow is the ever-evolving artistic moniker of Ryan Delvie (guitar, vocals, keyboards), Kevin Delvie (drums) and Seth Russell (bass, keyboards). Over the last two years, This Valley Glow -- based in Salt Lake City -- released their debut full-length album "For Now, Focus Here," alongside a handful of positively received single releases, while actively playing out in well-known Utah venues and being seen on stage at notable regional music festivals. The band is currently working on their sophomore album as well as a special collaborative project with well-known Utah local artists.

Saturday, June 1




Originating in Liverpool, the band, made up of Helen Marnie, Daniel Hunt, Mira Aroyo and Reuben Wu, earned two decades of acclaim by relentlessly pushing boundaries, carving out new sonic and conceptual space and refusing to abide by formula or trend. At the beginning, they were known for shows in unconventional spaces, such as disused banks and bowling alleys, and placed emphasis on countries and cities other than their own. Thus the group’s international recognition quickly grew – playing shows in places where few artists went at that time, such as China and Colombia. Along the way, they twice took their primitive electronics to California’s Coachella Festival, on relentless tours across Europe, Asia, North and South America, and were invited to perform with artists such as Bjork, Nine Inch Nails, and for Brian Eno at the Sydney Opera House. Eno remarked in an interview, “Ladytron are, for me, the best of British pop music. They’re the kind of band that really only appears in Britain, with this funny mixture of eccentric art-school dicking around and dressing up, with a full awareness of what’s happening everywhere musically, which is kind of knitted together and woven into something quite new.” Their minimal lo-fi debut, "604" in 2001, and its successor, 2002’s synth-soaked "Light & Magic," had Ladytron grouped with the so-called Electroclash wave, while 2005’s "Witching Hour" saw them break out and win over a whole new audience. Pitchfork wrote: “Every quantum leap record has a quantum leap single, and in this case, it’s “Destroy Everything You Touch.” With a charging chorus and shivery production that sounds as equally indebted to shoegaze as it does synthpop, this is probably the most confident and menacing thing they’ve ever done.” 2008’s harder, darker "Velocifero" saw them grow further with the iconic singles “Ghosts," “Runaway” and “Tomorrow”. They were then invited by Christina Aguilera to write and produce tracks for her forthcoming album. A decade’s retrospective was released in 2010, featuring a new single “Ace of Hz” and to follow, 2011’s "Gravity the Seducer" took up a cinematic thread which had weaved through the previous albums with “White Elephant,” “Mirage” and standout “White Gold.” After another accompanying world tour that culminated in a euphoric sell out at the Los Angeles Wiltern, the band took a well-earned break. 2019 saw a new chapter open for Ladytron, following an eight-year hiatus between albums. This period saw the group move across hemispheres, experiment with solo projects and new collaborations, after five albums and a succession of world tours over the previous ten-year period. In mid-2016 the band had quietly began to write and record together again, picking up the trail with their songs and raw characteristics taken forward with a new palette of atmospheres and themes. Released by complete surprise, “The Animals” was the first taste that came complete with a remix by electronic pioneer Vince Clarke, and a video clip filmed in the sprawling megalopolis of São Paulo. The track was unmistakably Ladytron, yet hinted at new horizons to come. “It was the first new song we had, and with it we went almost immediately into the studio with Jim Abbiss, who has worked with us previously on “Destroy [Everything You Touch]”…and the Witching Hour album,” says vocalist Helen Marnie “He’s the producer who has really understood us the most.” Finally in 2019 their eponymous sixth full length album was released to critical acclaim, with Q Magazine calling it “Their finest record since 2002’s Light & Magic,” and that “Ladytron achieve near perfection here”; Mojo insisting that in “Dark times, Ladytron soundtrack them beautifully.” GQ described it as “Formidable machine music, full of urgency and menace,” while NPR posited that “Ladytron seems enraptured at the idea of change, and of new beginnings in the face of a possible fiery end.” Blackbook called it simply “Ladytron at their absolutely most sublime.”

When The Raveonettes released their debut album "Whip It On!" in 2002, there was quite a buzz around the Danish duo. With its dogmatic concept a la Lars Von Trier/Dogma ’95 and a razor-sharp sound, "Whip It On!" kicked off the biggest rock event in recent Danish history. After 20 years, "Whip It On!" sounds just as precise and uncompromising. And after a 5-year concert hiatus, Sune and Sharin are once again cracking the whip with a series of anniversary concerts. "... It’s a thrill for us that 'Whip It On!' is still a source of inspiration out there. That album passed the test of time somehow, and it makes us very proud. We’re excited to play it live again in its 21-minute glory. Our own little time travel.” Sune Rose Wagner (guitar and vocals) and Sharin Foo (bass, guitar and vocals) drew inspiration from 1950s American Rock'n'roll, 60s girl groups and the surf guitar sound from California. Back in the Noughties, they were part of the new garage rock movement that featured bands like The Strokes, The Hives and The White Stripes. Their unique contributions were especially Wagner and Foo's 'vocal candy': the compressed, modal, sweet boy / girl harmonies in stark contrast to an explosive and dissonant sound, and that peculiar feeling of surfing in the rain. The Raveonettes have since become a source of inspiration for a large number of bands, and according to NME helped trigger the American pop renaissance that took place in the 10s with bands like Best Coast, The Drums and Dum Dum Girls who found inspiration in Raveonettes' classic pop sensibility. The Raveonettes, who have had a solid and unshakable cult fan base ever since releasing their first album, would like to celebrate the sound that started it all. The duo will hit the road in the key of Bb minor -- which was one of the original dogmas when the band created "Whip It On!" “Recorded in Glorious Bb Minor,” Sune and Sharin are bringing the original live band from 2002, consisting of Manoj Ramdas on guitar and Jakob Høyer on drums.

Sonido Gallo Negro is a band from Mexico City going back to the roots of psychedelic tropical music with guitars, eccentric organs, analog synthesizers, theremin... they mix exotic rarity and esoterism which will alter your perception and force you to dance until you get exhausted. Add to it visual hypnotics and live performance by Dr. Alderete. Since 2010, they have had multiple tours around Europe and America, visited 20 countries and more than 50 cities. Five studio albums later, they became one of the most recognized bands of Mexico City.

What a time to be alive! Life in 2022 can best be described as “dynamic." A confluence of cultures, a global pandemic, fear, hate, love. The world got smaller because of social media. We have access to everything, so much so that it all kind feels like nothing, doesn’t it? Sinkane is a band from Brooklyn, New York. At its center is Ahmed Abdullahi Gallab, a Sudanese-American weirdo who is heavily inspired by the “dynamic” world that we live in. The music quotes themes from the African diaspora: East and West Africa, Jamaica, American soul and funk music. It talks about the black struggle and it’s very, very funky. It’s easy to feel depressed right now, but Sinkane aims to face all of these challenges, all the while dancing. There’s always time for dancing.

When Plague Vendor were about to make their new album "By Night," singer Brandon Blaine didn’t exactly know what he wanted it to sound like, but he did know what he wanted it to look like. “A house that’s falling apart but lit up like crazy,” he says now, six months after finishing a record that captures that exact feeling of ruin and regeneration, of charisma and catastrophe and of slashing at the night with nothing but pure electricity. Where 2016’s "BLOODSWEAT" ended with a to-be-continued moment and Blaine shouting “Romance!” into the silence, "By Night" ends with a second of feedback and noise. It's a perfectly spent finish to an adrenaline rush of a record that asks, “What just happened?” Plague Vendor are already used to making nothing into something. It’s a place where the only way things happen is if you make them happen. A fearless our-way-is-the-hard-way work ethic and famously physical live shows won the band a ferocious fan base, a flash-bang debut album and place of pride on the Epitaph Records roster. When they called that album "BLOODSWEAT," they might’ve just been explaining what it took to make it. (Or they could’ve just been talking about those live shows.) And when they stepped back into the studio in the late summer of 2018, they were ready again to do something new.

The Plastic Cherries began as a home recording project between couple Joseph and Shelby Maddock, making songs on old tape machines that betray an affection for glam, soft rock, shoegaze, Elliott Smith, and their dog. The first iteration of their homemade pop innocence, the album "Sunshine," combines the fun and experimentation of 70s glam rock with a dreamy DIY approach. Together with bandmates Wayne Burdick (drums), Stephen Cox (bass), and Natalie Hamilton (keyboards), they can be found performing regularly in the Salt Lake City area with periodic tours of the Western U.S. A second album is in the works — a sequel to "Sunshine" inspired by the band’s live presence. The glittery theatrics of their show are sure to leave you sparkling the next day.



Through a patchwork of reverb-tinged textures - drone guitars, lingering synths and driving percussion - the Los Angeles-based singer/ songwriter and multi-instrumentalist Matthew Doty weaves together stories of care, frustration and catharsis that ultimately stretch to a gentle resolve. On new album "Every Moment, Everything You Need," Doty chronicles the kind of year we all fear, full of uncertainty, tension and sustained pressure, and transforms it into a celebration of perseverance. It's an essential reminder that we have the power to shape the stories we tell. The LP was mixed by Dave Fridmann (Tame Impala, Mogwai, Interpol), with Beach House and Slowdive producer Chris Coady engineering and co-producing.

Portland’s MØTRIK are “America’s Best Krautrock Band.” Formed in 2012, their live shows have become well known for sprawling sounds and dense clouds of fog emanating from a traffic cone, all pierced by lasers from the eyes of a Unifox. Over the last decade, the group has earned its headliner status at home, performed at Pickathon, Treefort Music Fest, Offbeat Reno, and toured as far as the Deep South. They have shared the stage with artists as diverse as Oh Sees, Drive By Truckers, Träd Gräs Och Stenar, L’Eclair, and Once and Future Band. To date, they have released three full-length albums and assorted EPs on Jealous Butcher Records.

Ritmo Cascabel is a bloody ripper cumbiadelica band hailing from Denver. These legends have created a wicked blend of cumbia, western, and rock and roll. They formed in early 2020 and have been smashing it ever since. Their self-titled, debut album was recorded in CDMX and comes out in Fall 2023. It’s chock-a-block full of tracks that'll have you crook if you're not on your feet.

Anna Hillburg has spent several years making music in the Bay Area. As a singer, songwriter, trumpet, guitar, drum, and bass player, she has contributed to acts such as Shannon and the Clams, The Dodos, The Moore Brothers, Will Sprott, Dream Date, Greg Ashley, Shannon Shaw and Her All Star Band, and more. In 2023, Anna released her third solo album, the chamber pop masterpiece "Tired Girls," on Speakeasy Studios SF. She teamed up with producer Jason Quever (Papercuts, Beach House, Cass McCombs) to create a distinct sonic backdrop to her horn-powered and honeyed-voice songs. Think Herb Alpert meets Christine McVie.

Boise, Idaho trio Mylo Bybee has a polished and hard-hitting alternative/indie rock sound similar to Manchester Orchestra, Silversun Pickups and Death Cab for Cutie. Lead singer Tyler Schlagenhauf evokes melodic symphonies with his crisp vocal delivery, while staying true to an independent sound. Bass player Wes Schlagenhauf and drummer Jason Guadalupe create a deep rhythm section elevating the band's unconventional and energetic style. "The music sweeps you up into the soundscape with the easy vibes of the opening only to enthrall you with a more upbeat chorus" -- The Other Side Reviews. "The vocals sound youthful yet smooth. There's a sense of optimism and freedom that comes with this track" -- Girl At The Rock Shows blog. Mylo Bybee signed with ZMI Arcadia Recordings in 2022 and their debut EP was remastered (by Simon Gibson at Abbey Road Studios) and released worldwide in partnership with ZMI Arcadia Recordings/ lngrooves / Universal Music Group.