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Wedl delivers sweetly lilting country one minute, and crashing rock the next, ringing out with jangling brightness at times and introspective in hushed acoustic guitar picking elsewhere. Her knack for encapsulating the moment has been apparent since co-founding the teen Boston band Dazey & The Scouts in 2017 and through their viral resurgence in 2020 as a new audience found themselves drawn to the allure of their self-described “hormonal freak show”.

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Funk guitars, liquid synths and a rush of euphoria fuse together on the experimental pop of Brooklyn’s Psymon Spine. Formed by members of dreamy pop outfit Barrie, 2021’s psychedelic trip Charismatic Megafauna (which the band remixed entirely in 2022) combines bursts of punk, techno and dance.

Kingston's Open Head are coming off a blazing showing down in Austin for SXSW, and their new record on Wharf Cat is one of the year’s best.

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North American artist Josephine Foster (b. 1974): singer, multi-instrumentalist, song composer. Known to breathe new life into archaic forms, embodying the cultural archaeology of Harry Smith’s old weird America, she has lent her warbling mezzo-soprano and interpretive wit to nearly two decades of self-produced recordings.

As Jarry said, anachronism, the crossing of different times, produces eternity, and anachronic is an apt arch-adjective to describe Foster’s singular songbook, one that began in the Mountain West (where at age 15 she had her first gig delivering hymns at a log cabin church). Her uncanny timbre imparts a paradoxically rustic glamour, despite a certain stage shyness.

In her 20’s, submerged into Chicago’s fringe rock and free jazz periphery, frayed vestiges of her abandoned operatic aspirations wore away; she then crossed the Atlantic for over a decade, grounding herself in the earthen glaze of rural Spain. A glitter of Nashville recording residencies helped shape her prolific output, solo and band album releases, leading a variety of ensembles on the road around the world and in the studio.

Foster draws from spiritual wells beyond limits of space and time, her performances mesmeric. An oneiric voice which entwines with her own swelling guitar, piano, harp and autoharp gestures, folk-art songs spun in surprising musical design, are often playfully unravelled. And while she favors the piano or organ, she will probably play whatever guitar is handed to her.

The sophomore effort from Gray/Smith refines their petroleum-based, hard-lullaby sound with a decidedly dusty precision. Formed in the outer-edges of Kings and Richmond counties circa 2020, Gray/Smith is something of an East-coast involution. L. Gray (guitar and vocals) and Rob Smith (drums, guitar and vocals) are both trusty veterans of “band’s bands” like Pigeons, No-Neck Blues Band, Rhyton, and the Suntanama, freewheeling groups known for mining from polyglot sources: rough-hewn folk and the spiritual avant-garde, bargain-bin hard rock and and collector’s-choice psychedelia alike. On their first, self-released LP Gray/Smith, serendipitously recorded at Gary’s Electric at the top of 2021, the pair trained their assured chops onto the great American song-form, honing a murky but tight approach that variously cribs “urban cowboy” and finger-picked primitivism.

To call this pair’s brand of country-rock détournement “cosmic” would be too breezy: L. Gray and Rob Smith prefer to stare into sunken depths, channeling their recondite affections for lay-by mauve zones and red-dirt guitar wanderings. Heels in the Aisle is the slipshod, burnt-out, mid-’70s unter-prog comedown to their debut’s backwoods, bushy-tailed, early-’70s, country-rock meanderings. For fans of Meat Puppets, Ronnie Milsap, Traffic’s John Barleycorn Must Die, the oceanic ebullience of the sacred, and the salty tang of the profane.

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Long celebrated as the frontwoman of Canadian post-punk outfit FRIGS and as a vocalist in Orville Peck’s band for the last 5 years, Salmena culminates her artistic evolution on Big Dog. Anchored by her commanding voice—alternately tender, raw, and defiant—the album traverses the terrain of vulnerability and connection, marking the arrival of an artist boldly coming into her own.

Big Dog’s sound hovers between worlds, it takes elements of hypnotic krautrock and shimmery shoegaze, opulent goth and pulsing darkwave, with a smearing of electronic textures for a sophisticated and often uncanny sound. Amidst this vast sonic landscape, Salmena’s potent lyrical imagery and vocals stand dead center, perfectly in focus.

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Horse Jumper of Love drift effortlessly between hazy slowcore and introspective folk on their easy-on-the-ears, hard-on-the-heart singles. Live, the Boston trio strum their way through a cathartic catalogue of love songs at a glacial pace.

Boo Boo Spoiler are a shoegazey band from Philly.

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J. Robbins is an independent music lifer. Starting out at the end of the 1980s playing bass in the final and longest-tenured lineup of DC hardcore mainstays Government Issue, he went on to gain prominence in the 90s as the singer/ guitarist of the prolific and widely-traveled indie rock band Jawbox. That band’s sound developed to become a template for most of J’s later work: passionate and tuneful vocals set to driven guitars that swing between melody and clashing dissonance, atop complex and driving rhythms, abrasive post punk and melodic guitar pop influences in an always uneasy alliance greater than the sum of its parts.

Hudson Valley indie rockers Sweet Harm kick it off (and kick it out!)

LP RELEASE SHOW!
DOORS 7 // MUSIC 8
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On Bull Market on Corn, New Orthodox (Nicholas Merz) makes music that responds to the American expanse with plain-spoken thought. The pedal steel player’s songs paint pictures of the fractured ideologies that shape life in this country through the melodic haze of his instrument, the comedy of his lyrics, and the surreal choreography that accompanies his performances. The music is both intimate and grand, charged and claustrophobic, taking the tools of country and spinning them out of context.

Bull Market on Corn marks the debut of the project New Orthodox, but represents a continuation of many of the themes that have colored Merz’s songwriting. The album was recorded with Steve Albini, whose musical output, principled ethic, and honest production served as an early inspiration for Merz. With Bull Market, he wanted to keep in extraneous sounds to provide perspective to the recording space; like the click of his foot as he plays, almost nod to some Shellac tracks. That attention to detail lends to the album’s intimacy, the close range from which it explores Merz’s playing and American life.

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In the 15 years that Canada’s Freak Heat Waves have been making music, they have channeled a welter of influences: post-punk, shoegaze, dub, goth, Detroit techno, Japanese synth pop, German prog. Drop the needle at random on one of their records and you might be reminded of Black Dice or Gary Numan, Can or Tones on Tail, Seefeel or Brian Eno. Freak Heat Waves’ music represents not so much a style as a sensibility: druggy, unkempt, and a little bit dangerous, a souped-up ride whose wheels could fall off at any moment.

Freak Heat Waves last passed through Tubby's with Cindy Lee (Patrick Flegel). Flegel collaborated with Freak Heat Waves on their 2023 single In A Moment Divine. Flegel also performed as a live member of Freak Heat Waves in 2015 as well as during their 2023/2024 co-headlining North American tours. Steven Lind from Freak Heat Waves also collaborated with Flegel on Diamond Jubilee, co-writing Baby Blue as well as performing production and mixing duties on the record and contributing various instrumentation throughout the record.

Jack J is a musician from Sydney, Australia and based in Vancouver, Canada. He is one half of Pender Street Steppers and member of the Mood Hut collective.

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Chimbita formed in 2016 as a loose combination of friends and bandmates, many of whom had played together in other groups, all of whom were products of the Colombian diaspora who ended up as first generation New Yorkers making their way in the city’s fertile music scene. Through a year-long residency at Brooklyn’s iconic venue Barbès, an incubator for countless musical talents, the group’s sound evolved, mutated, and gradually came into focus. What had once been a casual jam session now clearly showed signs of real synergy, the kind of thing that demanded a dedicated approach to reveal where it would go. El Corredor Del Jaguar, an EP recorded in the infamous hangout known as El Bunker, was the result, and it showed the roots of all that would come ahead: the crackling rhythms of Dilemastronauta, Niño Lento’s razor sharp guitar, Prince of Queen’s cosmic synths, and above it all the mesmerizing vocals and propulsive guacharaca of Carolina Oliveros. 2017’s full length Abya Yala followed, with successive LPs dropping bi-annually after that (2019’s Ahomale and 2021’s Ire). Throughout it all, the band has toured relentlessly, developing a live show that is impossible to ignore. Whether it is the individual musicianship of the band, an evolving and intricate interplay of instrumentation that manages to be both tight and laser-focused as well as expansive and psychedelic, often in the space of a single song — or the shamanic intensity of Oliveros’s performance, always theatrical and fierce to the utmost, Combo Chimbita is forging their own unique musical path, one that is well worth following.

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Carl Stone is one of the pioneers of live computer music, and has used computers in live performance since 1986. He has been hailed by the Village Voice as “the king of sampling.” and “one of the best composers living in (the USA) today.”. Akaihirume is a young Japanese singer whose ear is always tuned to the world’s sounds, which she keeps as materials in her shell. Carl Stone and Akaihirume began their collaboration in 2015 in Tokyo, and have since performed around Japan, Singapore, the US and Canada. In writing about the recent New York performance, critic Nick Zurko has written: “What unfolded onstage was both sonically accessible and temporally exhaustive as Akaihirume and Stone entered into what could be described as an esoteric and aural courting dance that entranced the entire audience.”

Local Midnight Dental will screw and chop you up

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No other solo American guitarist this century has impacted that fecund scene quite like William Tyler. After crucial stints in Silver Jews and Lambchop, this adopted son of Nashville emerged at the dawn of the last decade with a string of inquisitive albums that paired the measure of his country rearing and classical enthusiasm with his ardor for postmodern experimentation, field recordings and static drifts folded beneath exquisite melodies. Tyler dug Chet Atkins and Gavin Bryars, electroacoustic abstraction and endless boogie. His productive little enclave of instrumental music has increasingly followed such catholic tastes, not only ushering new sounds and textures into the form but also critical new voices and perspectives.

And on the brilliant, bracing, and inexorably beautiful Time Indefinite, Tyler’s first solo album in five years, he steps at last into the widening gyre he helped create. The guitar serves as a starting point for an album that will make you reconsider not only Tyler but also the possibilities and reach of an entire field. A vortex of noise and harmony, ghosts and dreams, anguish and hope, Time Indefinite is not a great guitar record. It is a stunning record—a masterpiece of our collectively anxious time, really—by a great guitarist.

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TAKAAT (pronounced tuh-cot), meaning “noise” in the Tuareg language Tamashek, is the trio of Ahmoudou Madassane (Mdou Moctar, Les Filles De Illighadad), Mikey Coltun, and Souleymane Ibrahim, also known as the rhythm section of Mdou Moctar. TAKAAT is sonic chaos, improvisation, freedom of exploration, and the punk styles of bands such as Fugazi and Unwound, all mixed together with the guitar music from the Sahel.

TAKAAT started during soundchecks while on the road with Mdou Moctar when the trio indulged their shared love for amps cranked to 11 and the sound of blown out speakers. Towards the end of 2023, the three started writing music together, inspired by their shared experiences with the sounds and energy of Hausa bar bands, gritty soukous, and 2000s post-punk. The music of TAKAAT is intense, dark, and energetic. Deeply inspired by the DIY ethos of punk, Ahmoudou, Mikey, and Souleymane capture that thrill of the new and the ecstasy of togetherness in these heavy rockers. TAKAAT follows in the spirit of the independent music culture that birthed hardcore basement shows, bedroom tape labels, and generator-powered pick-up wedding bands.

Record release show for... History Dog A new supergroup featuring trumpeter Chris Williams (he/him), drummer Lesley Mok (they/them), bass guitarist Luke Stewart (he/him) and vocalist Shara Lunon (she/they). Each one is an active presence in New York’s music community, who, having established their individual practices in/around the jazz tradition, has chosen to travel far beyond its prescribed borders. Their expansive interests have led them to embrace electronics, to reconsider the roles of their primary instruments, and to embrace a decidedly post-genre attitude. The weight of their collective chops and credits reveal a high cultural standing. Yet if they’re not touring with jazz legends and arts notables, or contributing to kunsthalle programming somewhere around the world, you’ll find them around Brooklyn’s various DIY haunts, playing with one another, or any number of friends and colleagues.

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Luah record release show!

Baltimore-based polyrhythmic instrumental band Crying Laughing was formed in 2024 and combines the rhythmic sensibility of Moondog, the bass/drum interplay of post-punk, and the polymetric explorations of Steve Reich. The band eschews vocals in favor of a double saxophone lead from Christian Best (Smoke Bellow) and Rose Burt (Bedlam Brass, The Compositions), supported by Steve Strohmeier (Midnight Sun) on keys, Marc Miller (Oxes, Microkingdom) on bass, and Jen Kirby (Smoke Bellow, Strange Times People Band) on a modified drum kit. The musical landscapes they create are surreal and shifting, but shaped by precise arrangements and tight transitions; this is music for Moondog's dog walkers.

The Kingston supergroup of Booker Stardrum/Ben Vida/Will Epstein joins in on the shenanigans.

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Another installment of SWDYT? Shoutout Rocket No 9 for the sponsorship of this series.

Bark Culture is a Philadelphia-based trio led by vibraphonist Victor Vieira-Branco, featuring Joey Sullivan on drums and John Moran on bass. The group just released their first  album “Warm Wisdom” on Vieira-Branco’s label Temperphantom, with an accompanying 20 date tour through the United States. Warm Wisdom was included on Bandcamp’s “Best Jazz of September 2024”, and acclaimed jazz writer and critic Hank Shteamer listed the album as his Debut Release of 2024.

Victor Vieira-Branco is a Brazilian/American vibraphonist, having spent the 2010s in the vibrant São Paulo music scene. While Bark Culture is Vieira-Branco’s primary vehicle as a leader, his performances include work with Rob Mazurek’s Exploding Star Orchestra, the Chad Taylor Quintet, Daniel Villarreal Trio, and as active as an improviser  in the northeast region of the United States.

Joey Sullivan is a drummer and organizer based in Philadelphia focusing on free improvisation. He plays drums in groups like Bark Culture, The Ghost, Florry, Violet Salon III, and often works with improvisers such as  Michael Foster, Webb Crawford, Victor Vieira-Branco, Brandon Lopez, TJ Borden, and others.

John Moran is a Philadelphia-based bassist and multi-instrumentalist whose projects include Bark Culture, The Ghost, Terracotta, Daniel Villarreal Trio and others.  He often works with Ben Hall, Webb Crawford,  Michael Foster, and others.

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LEGENDARY SHOW ALERT! With a long and successful career, FRENTE CUMBIERO has become one of the biggest representatives in the exploration of cumbia’s sonic identity in Latin America. Headed by Colombian songwriter and producer Mario Galeano Toro (also founding member of Ondatrópica and Los Pirañas), Frente Cumbiero is recognized as a spearhead of Colombia’s new cumbia movement.

Among Frente’s most remarkable live appearances they have played New York’s MoMA, Festival Estéreo Picnic, Roskilde Festival, Womad, Womadelaide, Womex, Sónar, and Fuji Rock. They have toured across Latin America, Africa, Europe, the U.S., Russia, Japan, Australia and New Zealand. They have released vinyl records in the UK, the U.S., Spain, Japan and Mexico.

Frente Cumbiero’s catalogue has had successful contributions with legendary musicians such as Mad Professor (UK 2011), the Kronos Quartet (U.S. 2017 and 2019), Orquesta La Delio Valdez (Argentina 2018), and Minyo Crusaders (Japan 2020, proving to expand the frontiers of cumbia and Latin folk music. As a live band, Frente Cumbiero performs in a quartet format, which focuses on delivering a powerhouse tropical sound to the dance floor by combining 2 wind instruments, live percussion and electronic sounds/dubbed sequences.

In 2020 they released the critically acclaimed EP “Minyo Cumbiero: From Tokyo To Bogota” with the Japanese band Minyo Crusaders, and their second album “Cera Perdida”. Both albums were released in Europe/UK, Latin America, and Japan.

Active for over a decade, and going way beyond the concept of cumbia as fashion, Frente Cumbiero are the true followers of the guacharaca calling.

El Michels Affair DJ set 5-7 to celebrate Val’s birthday too!!

This show is sold out
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MUSIC 8

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Record release show for Brooklyn-based musician Matthew Danger Lippman.

Legendary singer-songwriter Frank Hurricane and Hudson Valley rising star Storey Littleton round it out.

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Walt McClements is an accordionist, multi-instrumentalist and composer based in Los Angeles. His solo compositions focus on processed accordion, creating patient and emotional meditations that nod to drone and ambient music.

Based in New Orleans/Kingston, Ruth Mascelli is one quarter of the no wave/glam/industrial outfit Special Interest, providing drum machine and electronic textures to their anthemic songs. In 2023 Ruth released his second solo record for the London based Disciples imprint. "Non-Stop Healing Frequency" is a clear progression from the grimy, pulse-racing bathhouse beats of his earlier releases.

Matt McBane is a composer, electronic musician and violinist whose music draws on classical minimalism and studio production techniques; analog synthesizers and fiddle music; orchestras and found percussion; complex patterns and emotional nuance. He has been described as “a natural composer, a fresh voice” by the Los Angeles Times and praised for his “unpredictable and utterly charming musical inventions” by Bloomberg News.

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BLOODX3 - (Troy Post-Punk / Dark Synth) is a high energy duo whose music cover the horrors of technology, anxiety, loss and despair over broken beats.

Hell 2’ is not the first album from Austin’s Blank Hellscape, but it’s certainly the most fully-realized. OK, at least it’s the LONGEST. The three-piece nightmare band knocked around the claustrophobic end of the house show circuit for a longish spell but right around pre-‘dermic times, the trio of Ethan Billips, Max Deems and Andrew Nogay have morphed into a multi-dimensional synapse-snapper with little regard for genre nor their own self-preservation.

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'Squirrel Flower is the witch rock project of Ella Williams. Currently based in Chicago, by way of Iowa and Boston, Ella crafts songs from silk threads, weaving layers of vocal arrangements and sparse, sometimes distorted guitar with sentient observations about internal and external worlds.'

Babehoven in a duo format will kick this one off.

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Two rising stars out of the Backwoods Studioz universe join us for a night of hip-hop.

Layering thoughtful bars over jazz-soaked beats, Brooklyn’s AKAI SOLO has been creating his brand of laid-back lo-fi hip-hop since 2019. The head of progressive creative collective Tase Grip, the rapper’s influences range from anime and video games to the political climate in the US. With collaborations alongside fellow soul rappers Pink Siifu and billy woods, Pitchfork described 2022’s Spirit Roaming as an album “anchored by muted samples and soul-baring soliloquies”.

Sharif doesn’t look at his performances with the traditional lens that a normal rapper does, bukt treats the live show as a spiritual experience where Sharif and the crowd become married through raging and serenity. With being inspired as a child by Nine Inch Nails, White Zombie, and Parliament Funkadelic it’s hard to put Fatboi in a box. Grit over glamour is the name of his game. Production wise, once he finds the right instrumental that speaks to him in his language, he’ll sit with it for a few weeks and sleep to it on repeat. he’ll dream and see certain visions, colors, and shapes that create an image on top of the production canvas. This keeps his music everlasting.

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OHYUNG aka Lia Ouyang Rusli describes their new album as “my trans self and my former self in conversation, from both perspectives.” The record represents their lengthy, complicated, but crucial journey between lives, strewn with both doubt and excitement. It is an ecstatic, pop-oriented shift in direction from an artist primarily known for noise, experimental hip-hop, and ambient music, but carried with sleek confidence, maturity, and a silvery, hallucinogenic shimmer that reveals Rusli’s experimental background. It is, writes Rusli, “sometimes written from a dark place and other times from a place of happiness.” Throughout, darkness and light rise and fall in layers of phased strings, trip-hop drum production, and earworming vocal lines.

Also a film score composer, Rusli’s songwriting craft is meticulous and nuanced. You Are Always On My Mind was, perhaps surprisingly, formed primarily from processed “generic string loops” found in online sample packs - a strange and wilfully jarring reminder that what seems to be is not always what is. Recontextualised, these string loops enshadow the simplicity of their origins and reveal a grace and purposefulness perhaps not even imagined by their authors, subtly drawing out euphoria and tension in equal balance.

Rusli also writes of the influence of rave culture central to their transition, and of the record’s production and theme. “It’s a declaration of love for raves and the dark hazy rooms that helped me to be free and true with myself— seeing other people who are so free and beautiful and thinking that one day that can be me— that’s me in the future.” But there is also a fear and unease present. Key moment “no good” explores “the worst version of myself as a trans person, feeding doubt to my pre-transition self” with its core lyric anyone can see / I’m no good for you, delivered over a relentless beat, swooning strings, and glistening synthesis.

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Psych-Electro-Cumbia y Digital Folklore

Terror/Cactus is the musical project of producer and multi-instrumentalist Martín Selasco. Born in Argentina and based in Seattle, he creates a hypnotic fusion of Latin American folk traditions with deep electronic beats, psychedelic textures, and immersive visuals. His live performances blend pulsing rhythms, field recordings, and vibrant guitar work, creating an atmosphere that is both otherworldly and deeply rooted in tradition.

Through his music, Terror/Cactus bridges cultural landscapes, offering a sonic journey that resonates with both modern Latin communities and global audiences. His work has been featured on platforms such as KEXP and Remezcla, and he has performed across the U.S., Mexico, and Argentina, including stages at THING Festival, Offbeat, Timber, Departament, & Teatro Margarita Xirgu.

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Multi-generational, gender, genre non-conforming amalgam of Black culture, Mourning [A] BLKstar, is dedicated to sharing stories and songs of America’s unfolding apocalypse. Their music melds live instrumentation with hip-hop production creating sonic frequencies that illuminate the African Diaspora. Founded in Cleveland, the US-based Afrofuturist collective continues touring their music globally across Europe and the US, playing festivals from Crossing Border in Berlin with Lonnie Holley to Big Ears Festival and Le Guess Who? in Utrecht.

Founded in Cleveland, Ohio. 

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TICKETS ON SALE 1PM 2/24

Tickets on sale 4/3 at noon
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Songwriter and recording artist Linda Smith has a gentle but unconventional experimental style that continues to evolve as she adds new entries to her storied catalog. Her work with four-track production in the late '80s found her at the beginning of a home-recording movement that would set the pace for decades of indie rock that followed. During her most active times, Smith's music was limited mostly to obscure cassette and 7" releases, but her early approach to bedroom pop was revisited on the 2021 compilation Til Another Time (1988-1996).

Cindy is a key part of the San Francisco/Bay Area dream pop, fogpop, lo-fi scene. Led by Karina Gill, the band is Will Smith of Now, Staizsh Rodrigues of Children Maybe Later and Oli Lipton of Now and Violent Change. The songs are hazy and nostalgic pop-craft with lyrical backbone.

Chronophage are tough, tender, precise and unconstrained. Can you envision a midpoint between Big Star and the Homosexuals? Imagine Nick Lowe constructing defiant rejections of the civil structure? Chronophage’s unconstrained melodies and gleefully imaginative structures enact such original, liberatory music.

Chronophage began five years ago in Austin, Texas. Stout participants in the transgressive DIY punk community patchworked throughout the world, the band have released two LPs and a handful of cassettes, always demonstrating a kind of risk-taking that feels both gleeful and dire. It’s clear that they delight in making hard, unexpected decisions, but there’s a colder sense that their existence depends on this daring.

THIS SHOW IS SOLD OUT
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Formed in Boston in 1993 by Geoff Farina, Eamonn Vitt and Gavin McCarthy, Karate added Jeff Goddard on bass in 1995. The band released six studio albums, two EPs, numerous singles, and split 7”s between 1994 and 2005. From punk roots, the band ventured widely—veering into jazz-rock, post-rock and a unique version of slowcore in its progressive indie experimentation.

The band re-emerges in Fall 2024 with Make It Fit, its first new studio record since 2004’s Pockets. Make It Fit, the band’s first album in 20 years, doesn’t try to recapture a youthful, DIY-era magic. Instead, it picks up where Karate’s three musicians are today: with a deeper skillset, adult angst cut through with moments of joy, punctuated with searing instrumental performances.

Make It Fit is the opposite of a cynical cash-in. It’s daring, requiring a full commitment from band and audience. And Karate’s reunion is soaking in gratitude. This time around, Farina says he appreciates it all more. “I appreciate that I’m playing a show. I used to get up on stage and be annoyed at this and be annoyed at that. Now I get up on stage and feel incredibly lucky. Just being able to do it again is so much fun. Just hearing us together on stage feels so right.

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A night of industrial, goth, post punk, and darkwave!

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Girls Against Boys is a New York City based noise rock band. Initially begun as a studio project in Washington, DC, the band solidified as a band with the release of their 1992 album Tropic of Scorpio. The went on to release 3 records on Touch & Go, 1 record on DGC records, 1 on Jade Tree and an EP on Epitonic Records. They have toured through most of the world

The Brain Child of Afro-Brazilian Bassist, Composer And Vocalist Flora Lucini,(The 1865 band/Mass Appeal Records) "MAAFA" Seeks To Expand The Sound Of Hardcore-Punk By Infusing Into Their Music The Rhythms & Percussive Instrumentation Found Throughout The African Diaspora. Creating What Flora Calls "Afro-Progressive Hardcore."

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Psychedelic rock group TEKE::TEKE are intimately familiar with duality, of splitting reality between past and present, complex melodies and hushed interludes, intense action and lingering response. After building their sound through careful assembly of countless splinters of Japanese folk, psychedelia, Brazilian surf rock, and other far-flung touchstones, the Montreal-based seven-piece indulged in and learned from stretching out in free-floating experimentation on the road. Now releasing their sophomore album, Hagata (due June 9th via Kill Rock Stars), TEKE::TEKE move fully in the space between, embracing the power of mythic pairings and identities lived at once.

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Steve Marion, the critically acclaimed–and completely wordless–songwriter and guitarist known as Delicate Steve, has unveiled a new album called Delicate Steve Sings. Is the album title a reference to the instantly recognizable “voice” of his guitar? Does he actually sing this time? Has he not been singing all along? That’s the crux of Sings—Marion is the rare guitarist where you can put on any of his records and know exactly who’s playing. In an indie rock landscape stuffed end-to-end with guitars and amplifiers, nobody else sounds like this.

That unique voice has kept Steve busy in an unpredictable variety of settings. The sheer spread of his work outside his own records—collaborating with Miley Cyrus and Paul Simon, playing in Amen Dunes and the Black Keys, and being sampled by Kanye—doesn’t mean Steve’s a chameleon. It means he’s singular.

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After an 8 years hiatus, psychedelic cumbia group Chicha Libre is back with a new EP - Tequila y Aguardiente, a collaboration with Mexico’s Son Rompe Pera and Colombia’s La Sonora Mazuren - and just played a series of shows in Mexico City including an epic show for Dia de Los Muertos Son Rompe Pera and legendary chicha band Los Mirlos.

Chicha Libre is probably the first non Peruvian band to disseminate Chicha and psychedelic cumbia outside of Peru. The group started out in 2007 as a tribute to Peruvian pioneers but quickly evolved into an original project. Chicha Libre's music draws from all of its members' backgrounds. The 6 musicians hail from Mexico, Venezuela, France, Puerto Rico and the US and use synth sounds, treated guitars, French songs, classical music and pop debris from three continents all contribute for its freeform take on tropical genres.

The band has proven especially popular in South America and Mexico but has also toured extensively in Europe and North America.

One of the world's preeminent Tropical Psychedelic band. MTV

Tickets on sale Friday March 28 at 10am

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Join us for a special SWDYT evening with... William Hooker, Alan Braufman, and James Brandon Lewis performing the recently unearthed 1977 album “A Time Within”

Featuring William Hooker (drums), David S. Ware (tenor saxophone), and Alan Braufman (alto saxophone), this recording captures a rare and electrifying moment in time. Recorded live at the New York Jazz Museum on January 14, 1977, the album has been newly mastered by Joe Lambert and is now released for the first time on March 28, 2025 via Valley of Search.

This album was recorded at a pivotal moment in each musician's career. William Hooker, already recognized as one of the most innovative drummers on the free jazz scene, was forging new paths with his fiercely creative compositions and collaborations. David S. Ware was on the verge of debuting as a bandleader with Birth of a Being (Hathut), foreshadowing the spiritually charged and deeply expressive playing that would define his influential career. And Alan Braufman had recently released his debut album, Valley of Search (India Navigation), establishing himself as a key figure in the loft jazz movement.

Together, they created a dynamic, raw expression of New York City free jazz at its purest—urgent, unfiltered, and brimming with the energy of the era. The trio's collective histories include collaborations with Cecil Taylor, Matthew Shipp, Cooper-Moore, William Parker, and Thurston Moore, underscoring their deep roots in the avant-garde jazz tradition.

William Hooker and Alan Braufman continue to perform and release music, bringing their uncompromising artistry to audiences worldwide. David S. Ware, who passed away in 2012, left an enduring legacy as one of the most revered saxophonists of his generation. This recording stands as a testament to their shared vision and a vital piece of jazz history.

Shoutout to Rocket Number Nine for the Sponsorship

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DOORS 7 // MUSIC 8
John Carroll Kirby is a producer, composer and keyboardist from Los Angeles. Though Kirby's background is steeped in jazz, his signature sound blends genres and styles. An in-demand collaborator for artists ranging from superstars Solange, Frank Ocean and Harry Styles to beloved indie musicians Connan Mockasin and Liv.e, and many more, Kirby has lately focused on his own prolific solo output, releasing five LPs on Stones Throw Records in a little over two years.

My Garden (2020), a blend of jazz and exotica, was praised by Pitchfork, The Fader, LA Times, Q, and Mojo. The same year, Kirby released Conflict, a calming piano album in response to the year’s chaos. Following his first film score for the animated feature Cryptozoo, Kirby’s 2021 jazz-fusion release Septet marked a return to ensemble playing, while Dance Ancestral (2022) with additional production from Canadian artist YuSu, saw him take a more electronic-forward approach.

Alongside these albums, Kirby has released episodes of Kirby’s Gold, a web series inspired by Huell Howser’s California Gold. In the series, Kirby chats and improvises with artists ranging from a painter to an Eastern European choir and Costa Rican calypso band. Most recently, Kirby received a Grammy nod for his work on Steve Lacy’s smash hit “Bad Habit”. In 2023 he released an album-length collaboration with R&B singer Eddie Chacon entitled Sundown and a new solo album Blowout which one the LiberamAward for best Jazz Album.

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DOORS 7 // MUSIC 8

Julie Doiron’s musical journey spans decades, marked by her distinct voice, raw vulnerability, and unwavering commitment to make authentic and deeply personal music. She is a beloved and influential figure in Canada’s indie music scene having been a founding member of Eric’s Trip, the first Canadian act signed to Sub Pop, and recipient of 2017’s Polaris Prize Heritage Award. In 1993 she co-founded Sappy Records and in 2006 she co-founded Atlantic Canada’s Sappyfest, cementing her role as a passionate advocate and supporter of independent music

Julie’s solo career launched with Broken Girl in 1996 and has spanned nearly three decades, including Polaris-nominated and Juno-winning releases like Woke Myself Up, So Many Days, and 2021’s I Thought Of You. Along the way she’s made two full length albums with Mount Eerie, recorded for labels like Numero Group, Sub Pop, Jagjaguwar, and You’ve Changed, and collaborated with Gord Downie, Herman Düne, and Daniel Romano.

Caged Animals is the recording project of songwriter Vin Cacchione. Born in a bedroom in the DIY haze of early 2010’s Brooklyn, Caged Animals' lo-fi roots led them to release records on Lucky Number Music, tour internationally, and share stages with DIIV, Darwin Deez, The Rapture, Blood Orange, and Mac Demarco. In 2011 “Teflon Heart” became a top 10 single in Germany and their songs have been used in film,TV, and podcasts. Vin recently co-composed the score for The Space Within which stars Jessica Chastain.

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DOORS 7 // MUSIC 8

Music for sleeping and waking, walking and driving, hunting and fishing, for loitering outside a roadhouse on the haunted tundra. Okay in elevators, not great for dinner. On Caveman Wakes Up Friendship’s new album and second for Merge Records, the band’s historically capacious definition of country music grows wider still. Shambolic guitars are offset by flute pads, bleary poetry is set against a Motown rhythm section, a song about Jerry Garcia and First Lady Betty Ford fades out with a drum solo, like if Talk Talk came from a dingy Philadelphia basement, and was fronted by James Tate. Songwriter Dan Wriggins’ ragged baritone cuts through eleven murky, swirling country-rock songs with profound lyrical substance and sincerity. Like an alarm clock incorporated into the edge of a dream, Caveman Wakes Up belongs equally to the conscious and subconscious mind, fraught with background, steeped in reference and experimentation, delivered casually and as a dire warning, dedicated, above all, to music’s creative soul.

Over the years, dedication has paid off. Friendship has become a kind of reverse supergroup, wherein the band itself and each individual member is located centrally in an increasingly prominent scene of young folk and country musicians and songwriters. Drummer Michael Cormier O’Leary leads the instrumental collective Hour and, along with bassist Jon Samuels, run Dear Life Records, home to friends and peers who count Friendship as a major influence, including MJ Lenderman, Florry, and Fust. (Samuels also plays lead guitar in MJ Lenderman and the Wind). Guitarist Peter Gill’s band 2nd Grade records prolifically. Wriggins began writing the songs of Caveman Wakes Up on a downtuned classical guitar of Lenderman’s, and finished on a barely-tuned piano in an apartment he shared with Sadurn’s G DeGroot.

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Doors 6 // Music 7

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DOORS 7 // MUSIC 8

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Doors 7 // Music 8
Kyle Field is a visual artist and the songwriter behind the 25-years-running group Little Wings. Over the course of more than a dozen albums, he has written a classic cannon of songs that continues to gain listenership to this day. Working without the help of powerful record companies, the songs have earned their place viscerally, person by person, creating a cherished and loyal following around the world. Little Wings continues to release records at an incredible clip and shows no signs of slowing, the songs keep growing. His latest and greatest High on the Glade was recorded with legendary producer Kramer. It’s due out June 7th on Perpetual Doom.

Lina Tullgren’s first record came in 2016, a homemade, under-the-skin set of laments. Subsequent LPs and constant touring cemented Tullgren’s reputation as a composer of “wide-eyed wonder paired with a resonant despair.” 2019’s Free Cell showed Tullgren lingering in the margins of their songs, finding places both aloof and spare. Floodgates opened; Tullgren spent the subsequent years exploring deep listening, improvised music, and extended technique. They developed a patience and faith in cooperation that ranged at the far edge of song.

Collaborations with Mayo Thompson and Claire Rousay furthered this development. This was not a break with the past for Tullgren, rather it was an opportunity to see how far a song could go. And from that distance, deep in a landscape of drone and tension, Tullgren returned to the bright vulnerability of a lyric and a hook. Weaving together the affective and the radical, Tullgren took the quiet isolation of a shoreline cabin to write the songs that would become Decide Which Way The Eyes Are Looking.

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DOORS 7 // MUSIC 8

Tropical Fuck Storm are an Australian rock band and supergroup from Melbourne, Victoria, formed by Gareth Liddiard and Fiona Kitschin from The Drones. Lauren Hammel, from the band High Tension, plays drums, and Erica Dunn, from the bands Mod Con, Harmony, and Palm Springs, plays guitars, keyboards, and other instruments. Their sound is characterised by elements of art punk, noise rock and experimental rock.

Known for his work touring with the Australian guitar pop band Thigh Master and the late, brilliantly eccentric guitarist Charlie Megira, currently the focus of a number of reissues by the Numero Group, Beach is the architect of a sound that is both well-built and ramshackle, straightforward and indeterminably complex, out of the norm yet familiar in all the best ways.