waveform*, They Are Gutting A Body of Water, Teethe
On Last Room, the third album from the Connecticut-based waveform*,, there’s a purposeful hollowness. It’s a record you can fall into, a collection of music that’s unafraid to venture into emotion, exploring the gaping distance that develops in some relationships, the constant confusion that accompanies self-discovery, and the darkness that accompanies abandonment.Nothing is said outright on Last Room. There’s no declaration of material certainty that allows you to fully discover every secret or moment of meaning on this recording, but the duo comprised of Jarett Denner and Dan Poppa intended it to be that way. They want you to step into their cavernous auditory journey, to lose yourself in a state of wandering as you find your own story, creating a personal narrative gleaned from their collection of mysteries.Recorded on a laptop in Jarett’s bedroom, the album comes with a discernible feeling of intimacy. Despite their close proximity to one another, Jarett and Dan chose to complete much of the album apart, exchanging ideas and finishing bits of music through email. They traded off responsibilities, one focusing on a song’s structure, while another considered the emotional details and coloring.”Hello Goodbye” is the only of the album’s singles that waveform* considers to be collaborative, as the two worked on it together before it was recorded. It’s also among the record’s most poignant and reflective, a back-and-forth of admitted unease placed between continued pleas for someone to stay are set against lush, light guitar. Its final moments are one of admittance, as a repetition lyrical confession (“I can’t relax at all”) is left to linger.That same rare moment of confession is also etched within the charge of “Blue Disaster.” It’s a track that sways between two energies, trading out an electric beginning and a calamitous conclusion for the occasional quiet that punctuates devastatingly honest lyrics: “I was on a tightrope all the time/had a blue disaster but it’s fine/there was something i was reaching for/but that’s no more.”Formed while still in high school, waveform* was created out of the pair’s mutual appreciation for music. Over the last few years, waveform* has continued to grow, attributing an increasing interest in fans to an era dominated by Internet discovery and streaming. A sound comparable to Melania Kol, Alex G., Title Fight, Have a Nice Life, and Teen Suicide, the band has also performed live with Strange Ranger, Beach Bunny, Pince Daddy and the Hyena, and Lomelda. Their previous releases — Shooting Star and Library — were released in 2018 and 2019. Last Room, released in 2020, is being rereleased through Run for Cover Records.Website | Instagram | Twitter | FacebookThey Are Gutting A Body of WaterFrom the pits of heaven.Bandcamp | Instagram | SpotifyTeetheBandcamp | Instagram
Altin Gün
Hailing from Amsterdam but coming from various backgrounds, Altın Gün has captured the world’s imagination with an indelible fusion, for over five years now. The band combines psychedelic rock, deep funk, synthpop, cosmic reggae, and more with the rich and incredibly diverse traditions of Anatolian and Turkish folk music. Debut album On (2018) quickly captured the world’s attention and a year later the band earned a prestigious GRAMMY® Award nomination for “Best World Album” with it’s sophomore LP Gece (2019). “This much raw virtuoso – without any sign of showing off – gets the audience going immediately” – 3voor12 vpro (freely translated from Dutch)After two years of recording separately from home during the pandemic and releasing Âlem and Yol (2021) as a result, the band members of Altın Gün now recorded a live album in the studio again, called Aşk. This album sees Altın Gün swinging away from the electronic, synth-drenched sound of their home-recorded albums, to capture all the infectious power and urgency of the band’s famously, propulsive live performances. Aşk (2023) therefore marks a new start for the band, that is ready to tour the world again. Recorded using vintage equipment and techniques, the ten groundbreaking tracks on Aşk all represent visionary new readings of traditional Turkish folk tunes, revealing how these ancient songs remain eternally resonant and ripe for reinterpretation. This results in an exuberant return to the 70s Anatolian folk-rock sound that has characterized Altın Gün’s first two albums.“Much like Gorillaz, Altın Gün concoct their improbable musical fusions in the service of pop music’s joys, rather than eat-your-greens musical worth” – Pitchfork Renowned for their dizzyingly hypnotic live performances, Altın Gün has been lighting up stages all around the world, including sold out headline tours in North America, Europe, and the UK, along with show-stopping sets at top international festivals like Coachella (US), Lowlands (NL), Primavera Sound (SP), Fuji Rock (JP) and Iceland Airwaves (IS), to name but a few.“Altın Gün delighted us with its Anatolian sounds, transporting us to other destinations that probably have the same heat as was felt on the dance floor” – Grapevine ISAltın Gün is: Merve Daşdemir (vocals and keyboards), Erdinç Ecevit (vocals and keyboards), Thijs Elzinga (guitar), Jasper Verhulst (bass), Daniel Smienk (drums), Chris Bruining (percussion).Website | Facebook | Instagram | Twitter | YouTube | Spotify
Bell Witch
Nothing’s bigger than life. All vastnesses — expanding space, infinite time — crouch inside of consciousness. On a historical scale, to say nothing of a cosmic one, the individual human life vanishes, and yet it’s the only aperture any of us get into reality. It’s barely there, and it’s all there is.That’s the paradox Bell Witch drives at. For more than a decade, the Pacific Northwestern doom metal band has sent tides surging over the seawalls of the song form, unraveling conventional expectations about the ways music stations itself in time to absorb a listener’s attention. Rather than seek catharsis, the duo’s songs heave themselves through time at a glacial pace, staving off resolution in favor of a trancelike capsule eternity. Invoking both boundlessness and claustrophobia in the same charged gesture, Bell Witch cultivates a sense of time outside of time, an oasis inside an increasingly frenetic media culture.For their new album, The Clandestine Gate, bassist Dylan Desmond and drummer Jesse Shreibman exploded Bell Witch’s bounds. Like 2017’s lauded Mirror Reaper, The Clandestine Gate is a single 83-minute track — a composition that pulses and breathes on a filmic timeframe. It constitutes the first chapter in a planned triptych of longform albums, collectively called Future’s Shadow.Bandcamp | Instagram | Twitter | Facebook
GEEKED, Kal Marks, Cor de Lux, Tongues of Fire
GEEKEDInstagram | Bandcamp | Facebook | YouTubeCOR DE LUX grew out of the music scene of North Carolina’s Outer Banks in 2018. The band found each other over a by chance conversation about a love of music between its two founding members (guitarist Tim Lusk, and guitarist and vocalist, Dawn Moraga) while Moraga waited for a phone repair in Tim’s shop. This turned out to be the catalyst for their band’s formation, with John Bliven quickly added on bass and Thomas McNeely stepping in for founding member and drummer Dana Quinn in early 2022. Their music (a mixture of post-punk, goth-tinged pop and shoegaze) has earned the tongue-in-cheek nickname ‘Shoe-Gazi’ by friends.The past year has seen COR DE LUX steadily tour the eastern US coast, fitting DIY and club shows in-between opening slots for Archers of Loaf, LA Witch, COLA (Ex-Ought), Hammered Hulls (Dischord), Sweeping Promises, Bass Drum of Death, and Deserta.Instagram | Bandcamp
It Came from Aquarius Records
This is a seated event.Followed by an in-person Q+A and Discussion with Kenneth Thomas (the Director), John Darnielle (The Mountain Goats), and Emil Amos (Grails, Om, Holy Sons).The award-winning, third music documentary in Kenneth Thomas’ trilogy about indie music culture, IT CAME FROM AQUARIUS RECORDS explores the San Francisco-based independent record shop that helped shape the tastes of Bay Area residents and beyond for nearly a half a century.If you are a fan of any independently released music — indie rock, psychedelic, folk, krautrock, weirdo Finnish prog rock, Japanese noise, glitchy black metal, or anything that makes you feel like you’ve discovered a musical diamond in the rough — there’s a chance you directly or indirectly found out about it through Aquarius Records.The idea of walking into a shop and unexpectedly getting your mind blown by something playing on the speakers is something to be treasured — and it’s places like Aquarius Records that made that experience a reality for people who were lucky enough to either walk though their doors or who subscribed to their encyclopaedic bi-weekly email list of new release reviews.The store influenced and enriched countless peoples’ musical tastes with their curated selections — but this film also shows the realities of an indie record store trying to survive in an increasingly difficult market of brick-and-mortar music shops, especially in the ever-changing and price-gouging Mission District of San Francisco. The store closed in 2016 after 47 years of championing underground and experimental sounds and turning the world onto sound and music of limitless varieties, some of which ended up exploding in popularity out of multiple independent music scenes.Over 60 interviews were conducted for this film: all of the store owners dating back to 1970, other record store owners from around the world, musicians, label heads, music journalists, and INTENSE music collectors. A few of these folks include Matt Groening (The Simpsons), Wayne Coyne (Flaming Lips), John Darnielle (The Mountain Goats), Emil Amos (Grails, Om, Holy Sons), Ty Segall, Howie Klein, and Liz Harris (Grouper).Six years in the making, the film has a very personal angle, with lots of behind-the-scenes footage (and drama) that shows both the joy and excruciating stress that comes with running — and closing — a store like this.Poster Design by Savage PencilWebsite | Trailer | Instagram | Facebook | First 8 minutes of filmKenneth Thomas is a music documentarian and sound production professor, living in Los Angeles. He has spent most of his spare time from the past 17 years documenting independent music culture that he finds important to include as part of music history.John Darnielle is an American musician, novelist, and actor best known as the primary, and originally sole, member of the American band the Mountain Goats, for which he is the writer, composer, guitarist, pianist, and vocalist. He has written three novels: Wolf in White Van (2014), Universal Harvester (2017), and Devil House (2022).Emil Amos has made over 50 records on various esteemed labels such as Thrill Jockey, Drag City and Temporary Residence. His podcast, Drifter’s Sympathy, just finished its fifth season and has been widely lauded by outlets from NPR to Wire Magazine. He has written pieces for Dangerous Minds, reviewed records for Ugly Things, and now writes exclusively for Creem Magazine.
Stop Light Observations
Stop Light Observations is a dynamic five-piece hailing from Charleston, South Carolina. Their sound is a unique blend of rock, pop, and indie, infused with electronic beats and soulful vocals. From songs like “2young” to “Trajic Majic,” their music is a true reflection of their unique personalities, and their live shows are a testament to their authenticity and raw talent.Website | Instagram | Twitter | Facebook | Spotify | YouTube
Joy Oladokun: Living Proof Tour
Each ticket includes a $1 Charity Fee for PLUS 1.Joy Oladokun documents her life in songs. For as much as she examines her place in the world as the first-generation daughter of Nigerian immigrants and a proud queer Black person, she also celebrates the little details and the simple pleasures of being alive. Of course, the narrator’s humble demeanor belies the gravity of her extraordinary accomplishments thus far—from captivating audiences on sold out tours and late-night television to finding herself with a guitar in hand on the White House lawn in celebration of equality. After grinding it out for years, she reached critical mass with her 2021 major label debut, in defense of my own happiness. It graced countless year-end lists and led Vanity Fair to declare, “Her name is both prescient and redundant. She oozes energy that shifts a room’s center of gravity and makes you happy for it. It is charisma and she has it in spades. It’s the way she approaches her craft too.” Along the way, she’s delivered unforgettable performances on The Late Show with Stephen Colbert, The Tonight Show Starring Jimmy Fallon, PBS’s Austin City Limits and NPR Music’s Tiny Desk (Home) Concert and more and captivated festivalgoers at Bonnaroo, Hangout, Lollapalooza, Newport Folk Festival and Ohana Festival. Not to mention, she’s also appeared on HULU’s Your Attention Please: The Concert and landed prominent syncs on CSI: Vegas, This Is Us, Grey’s Anatomy, And Just Like That and Station 19, to name a few. Plus, she has joined forces with the likes of Chris Stapleton, Brandi Carlile, Maren Morris, Lucie Silvas, Noah Kahan and Jason Isbell for collaborations. Now, she takes stock of the trip so far on her highly anticipated forthcoming full-length album, Proof of Life [Amigo Records/Verve Forecast/Republic Records].Website | Instagram | Twitter | Facebook | Spotify | YouTube | TikTok
Andrew Marlin Quartet
Andrew Marlin is a songwriter and multi-instrumentalist based out of Chapel Hill, NC. He’s known for his captivating songwriting, presented both lyrically with his band Watchhouse (formerly known as Mandolin Orange) and instrumentally under his own name. During the COVID-19 lockdowns of 2020, Marlin recorded two dynamic, instrumental albums, Witching Hour and Fable & Fire, which followed up 2018’s Buried in a Cape. Witching Hour, which was released February 5, 2021, is redolent of bluegrass and American roots music soundscapes; rich fiddle and mandolin weave through powerful, coursing tunes. Folk Alley said the record “showcase(s) Marlin’s ingenious ways of dwelling in a tune and turning it inside out, grounding it in tradition but carrying it out to new heights through brilliant innovation.” Fable & Fire, which was released two short weeks after Witching Hour, draws more from the sounds of Irish roots music and is reminiscent of the melodies that came over from the Emerald Isle to early Appalachia. Red Line Roots called the album a “masterpiece.” Each album was recorded in a different recording studio but largely had the same crew of instrumentalists, all of whom are close friends and trusted collaborators. Nashville guitarist Jordan Tice and fiddler Christian Sedelmyer have worked closely with Marlin before, as have guitarist Josh Oliver and bassist Clint Mullican, both of whom tour and record in Watchhouse. Award winning fiddler Brittany Haas joined up for a tune on Witching Hour, and Fable and Fire features cellist Nat Smith on every track. Marlin will be joined by Sedelmyer, Mullican, and Oliver on this May tour. Marlin has produced six albums of original works of American roots music with Watchhouse and regularly contributes instrumental performances to other artists and albums. Recent work includes playing mandolin on recordings for Tyler Childers, Waxahatchee, Dead Tongues and Phil Cook. Marlin is also an in-demand producer, and has produced albums for artists including Mipso, Kate Rhudy, Rachel Baiman and Ismay. Over the last decade, he has toured with Watchhouse throughout the U.S and Europe and appeared on high profile programs such CBS This Morning’s Saturday Morning Sessions and NPR’s Tiny Desk Concert. Website | Facebook | InstagramJosh Kimbrough is a fingerstyle guitarist and composer from Chapel Hill, NC. He learned to play guitar studying Freddie King instrumentals and Fernando Sor classical guitar pieces. His 2020 Tompkins Square Records debut, Slither, Soar & Disappear, has been called “Utterly Moving” by Record Crates United, and “A Triumph” by Folk Radio UK. Facebook | Instagram | Bandcamp
Into The Fog
Into The Fog is a string band out of Wilmington, NC that encompasses a wide array of genres from bluegrass to country to folk to rock n’ roll. The band is made up of Brian Stephenson on Vocals and Guitar, Winston Mitchell on Vocals and Dobro/Mandolin, and Derek Lane on Vocals and Bass.Website | Bandcamp | Instagram | Facebook | YouTube
Hannah Jadagu
Fresh out of high school, Hannah Jadagu released her debut EP, What Is Going On?, a collection of intimate bedroom pop tracks recorded entirely on an iPhone 7, which was, at the time, Jadagu’s most accessible mode of production. An off-the-cuff approach to music making and instinctive ability to write unforgettable hooks belied the intensity of Jadagu’s subject matter. In a short run time, What Is Going On? confronts some of the nation’s most urgent struggles all through Jadagu’s compassionate perspective. “I want my songs to be both super intimate and still universally relatable,” Jadagu says. “With the EP, so many people told me that the songs resonated with them on a personal level, and that’s what I’m always hoping for.”Resonate it did; What Is Going On? is Jadagu’s first Sub Pop release, but she’d been putting out music on SoundCloud for years, garnering a small online fanbase as she settled into an aesthetic, and recognition from a broader audience was overdue. “It really took off when I became a percussionist in my middle school’s band,” she says. “Writing songs started as a hobby and quickly became a passion to the point that I spent all my free time recording.”On May 19th, 2023 Jadagu premieres Aperture, her first LP and most ambitious work to date. Written in the years between graduating from high school in Mesquite, TX and her sophomore year of college in New York, Aperture finds Jadagu in a state of transition. “Where I grew up, everyone is Christian; even if you don’t go to church, you’re still practicing in some form,” Jadagu says, laughing. “Moving out of my small hometown has made me reflect on how embedded Christianity is in the culture down there, and though I’ve been questioning my relationship to the church since high school, it’s definitely a theme on this album, but so is family.”As a kid, Jadagu followed her older sister – a major source of inspiration who she refers to as “the blueprint” – to a local children’s chorus, where she received choral training. “I hated it,” Jadagu admits. “But it taught me how to harmonize, how to discover my tone, how to recognize and write melody.” The aching single “Admit It” is dedicated to Jadagu’s sister, whose boundless love and impeccable taste has been a constant for Jadagu ever since she was a kid. At home, the siblings were raised on mom’s Young Money mixtapes and the Black Eyed Peas (to whom she credits her love of vocoder) but it was in the sanctity of her sister’s car that Jadagu discovered indie artists who would go on to inspire her work.“Lose” showcases Jadagu’s love of contemporary indie auteurs as it weaves a spare and unpretentious guitar riff with barebones piano chords all while Jadagu sings about the thrill and underlying fear that comes with beginning a new relationship. It is, in her words, a “classic pop song.” “The things we haven’t done/ Play out in my mind/ Would you just give me time?” she sings, nearing the end, as the skittering drumbeat propels the song from a place of contemplative yearning to defiance. “Every track on this album, except for “Admit It”, was written first on guitar, which is an instrumental throughline,” Jadagu says. “But the blanket of synths I use throughout helps me move between sensibilities. There’s rock Hannah, there’s hip-hop Hannah, and so on. I didn’t want any of the songs to sound too alike.”Instagram | Twitter | Facebook
