Mississippi Studios

w/ Methods Body

Colin Stetson

It was at university that Stetson first began playing regularly, “searching, reaching, and exploring the instrument” with Transmission (later Transmission Trio), before heading to San Francisco after graduating and, six years later, Brooklyn. Contributions were made to other artists’ recordings, not least Tom Waits’, and he made his own lowkey records too. It wasn’t, though, until 2007 that his breakthrough album, New History Warfare Vol. 1, was released, and this coincided with his drafting by Arcade Fire, with whom he’d play until 2010. That year he moved to Montreal to join his future (but now ex-) wife, the band’s Sarah Neufeld, with whom he recorded 2015’s Never Were The Way She Was, and the following year he released Sorrow, an extraordinary reimagining of Gorecki’s legendary Symphony of Sorrow. In-between he completed the New History Warfare trilogy, a virtuosic illustration of the “world-building”, as he calls it, that’s critical to much of his solo work, while 2017’s All This I Do for Glory consolidated his reputation, earning multiple nominations for critics’ Album of the Year lists. 

Colin Stetson’s recorded output, not to mention studio and live collaborations – with, among others, Lou Reed, LCD Soundsystem, The National, Chemical Brothers, Bon Iver and Bill Laswell – has proven as prolific as it’s praiseworthy. Since the 21st century’s early years, he’s gained a well-deserved reputation as an exceptional musician, his devotion to craft consummate, his commitment to innovation indisputable. Known for assertive, powerhouse performances on the saxophone – chiefly bass and alto, but also soprano, tenor and baritone – for many years he was a wrestler, a sport whose “insane physical extremes” he credits with his style, alongside, among other things, a love for acts like Pixies and Fugazi. He’s similarly at home, though, whatever the musical context, on clarinet, flute, French Horn and cornet. One might even say he operates in a field all his own.

Methods Body

Methods Body (Portland, OR) creates original sound art using custom tuning systems, polyrhythms, and the cadences of language. John Niekrasz (percussion, voice) and Luke Wyland (keys, electronics, voice) employ musical and technological strategies that force them to break old habits and patterns. Extrinsic song forms and standardized meters fall away, leaving subliminal melodies and deep, uncanny grooves. Methods Body treats time as a physical substance that can be sculpted to alter the listener’s emotional experience. Wyland channels his life-long stutter into a music of broken speech. There are lost languages in this music—it is haunted by artifacts the musicians can’t always explain. Methods Body has released two critically-acclaimed records, Methods Body (2020 New Amsterdam Records/Beacon Sound) and Plural Not Possessive (2023 Beacon Sound), demonstrating the duo's hallmark microtonality, cyclical rhythms, world-building intricacy, and unmistakable collaborative chemistry.



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w/  The Mistons & Black Shelton and The American Dream 



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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.

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The Last Revel is a four-piece folk group from Minneapolis, Minnesota. Utilizing their multi-instrumental abilities, members Lee Henke, Ryan Acker, Vincenzio Donatelle and Lauren Anderson (they / them) bring a full spectrum of modern Americana to life with lush arrangements of four-part vocal harmonies, acoustic guitar, upright bass, fiddle, and 5-string banjo to consistently support impassioned performances of their honest and heartfelt songwriting. Drawing influence from their salt of the earth Midwest ethos the band’s songs so naturally blend the genres of Folk, Old Time String-Band and Indie Rock to create a sound that echoes the current heartbeat of America. 

Their latest release, Dovetail, highlights each member's strength as songwriters and collaborators, and further solidifies their musical foundation after a hiatus beginning in 2019. Self-produced and released under the bands own label, Sheep Sheep Records, Dovetail is the band's fifth studio album. 

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w/ Lily Breshears

 

 

John Jagos began his musical journey in 2009 by experimenting with his own electronic productions in his college dorm room. After uploading a few of his early creations to MySpace, he quickly attracted prominent music blog attention from outlets like Pitchfork and No Pain in Pop and found himself amidst the style of electronic pop sometimes referred to as chillwave. "The music I was already making was fitting into that vibe," he recalls. Eleven years into his career, Jagos has refined his productions and evolved the Brothertiger sound into a blend of hi-fi electronic-indie, new wave and nostalgic synth-pop. 

Jagos released two albums—2012's Golden Years and Future Splendors in 2013—on electronic label Mush, which counts Bibio and Daedelus in its stable; in 2015, Jagos went full-on independent by self-releasing his third album, Out of Touch, which features the stand out “High Tide.” Since then, he's busied himself with touring and releasing a Tears for Fears cover album (of which Tears for Fears said, “His ‘Mothers Talk’ is better than ours”), 2019's A Chain of Islands EP, four instrumental albums (Fundamentals Vol. I-IV) compiled from his bi-monthly livestreams, as well as 2020's Paradise Lost, his first studio full-length in five years. 

2021 was a prolific year for Jagos. New singles “Heaven,” “New Life,” and "Dancer On The Water" showcase a poppier musical direction in contrast to the darker, more self-reflective temperaments of Paradise Lost. A cover of the overlooked ‘80s gem “Torn Open” by Sophie and Peter Johnston arrived in early 2022 with guest vocals from guitar virtuoso Yvette Young. Now with new remixes in by a handful of the most exciting names in electronic and experimental music (CFCF, Fire-Toolz, and Ecovillage), Jagos is teasing at more exciting news on the horizon and proving that he has plenty of unique and tantalizing territories yet to explore.



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w/ NNAMDÏ

 

For nearly three decades, WHY? have thrived in subverting expectations. Across seven unpredictable and adventurous studio albums, the band led by Cincinnati songwriter Yoni Wolf has stretched the fringes of psychedelic pop, hip-hop, and electronic music. No matter the genre experiments and thematic departures, their discography is remarkably consistent, anchored by Wolf’s disarming lyrical transparency. His writing is provocative, self-lacerating, and always considered, coming from a place of blunt emotional openness. The Well I Fell Into, the eighth full-length from WHY?, is Wolf at his most cohesive and poignant. An autopsy of heartbreak, the album charts the ups and downs of a devastating breakup while trading bitterness for healing. Self-released on Waterlines, Wolf's new label that follows in the footsteps of Anticon, the trailblazing artist-run collective he co-founded, its 14 tracks stand as the band’s prettiest and most immediate work yet.

“Making a WHY? album is an opportunity for me to button up a period of my life,” Wolf explains. “I’m bad at realizing how I feel or how something is affecting me in the moment. Things just sit inside me, but writing is a way to really take stock.” Though the dissolution of a years-long relationship inspired Wolf to start writing, he considers The Well I Fell Into autofiction, a chance to interrogate his grief and his journey to acceptance rather than to air out the real-life details of a painful loss or pick at emotional scabs. “This is not a bitter kiss off,” he says. “While the songwriting was cathartic, I can see my life beyond some story or mythology I’ve cornered myself into artistically. I’m not getting stuck in sentiment like I might have in my 20s.”

The songs on The Well I Fell Into often feel like vignettes, jumping around time and offering glimpses into the turbulent emotions that come from personal upheaval. Songs like “Brand New” find Wolf navigating indecision over delicately plucked acoustic guitars as he sings, “Is it me / do I fight or flee? I do /  But I need to be brand new.” Elsewhere, tracks like “When We Do The Dance” capture the bittersweet nostalgia of remembering better times, while the ruminating “Marigold”—which kicks off the record after the intro—ruefully embraces finality. Though most of the material was written between late 2021 and early 2023, the musical origins of grimly loping “Jump” date back at least seven years. Buoyed by a mournful piano arrangement, Wolf sings, “My nowness has waned / It takes valor to change / out of a pattern of shame / extract the air from the flame.” This is an album concerned with losing your sense of self and your attempts to recapture it.



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The Holdup is the musical project of Michael Garmany. Coming from San Jose, CA, he has built

a cult following writing and producing his own brand of groovy, melody driven, pop music,

borrowing influences from R&B, reggae, and hip-hop. Often mistaken for a group, The Holdup

has been a one-man labor in the studio, with Garmany writing, producing, performing and

engineering everything you hear on his albums. His catchy hooks and unapologetic lyrics have

helped him sell out mainstay venues, such as The Roxy & El Rey Theatre, across the U.S. as

well as clock in over 150+ million worldwide streams and counting…

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As acclaimed indie folk band The Ballroom Thieves wrote and recorded their upcoming album, one central question emerged as the theme: “What if we could all just be a little more tender?” The duo – Calin Peters (vocals, cello, bass) and Martin Earley (vocals, guitar) – started to ponder what they could do to be more self-aware of their mental health and of those around them in a world oversaturated by social media, pop-culture, and digital consumption. The result is a personal, lush, 10-track collection of thoughts on the human experience called Sundust.

For more than a decade, Earley and Peters have been combining their thoughts and musical abilities. They’ve toured the US dozens of times, ventured into Europe, Canada, and even managed a journey from Maine to Hawaii to Alaska in one trip, all to play their music for the dedicated fanbase they’ve been steadily growing, person by person. The two have played beautiful theaters like Ozawa Hall at Tanglewood, well-loved festivals like Newport Folk, and legendary rooms like LA’s Troubadour. They’ve been known to power slide across stages on bloody knees with their full band and silence packed rooms for 90 minutes with their lyrics and harmonies, accompanied only by a cello and an acoustic guitar during their more intimate duo shows. 

Their most personal album to date, Sundust is about self-awareness, breaking down walls that trauma creates, and healing from harshness, but it's also about finding the glimmers, the striking beauty of being a person, and a longing for connection with healthy people. Sundust will be released on April 12 via Nettwerk.

 

 

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Reid Genauer is a revered singer-songwriter known for his work with Assembly of Dust and Strangefolk. With a professional music career spanning over two decades, Genauer has established himself as a prominent figure in the folk rock scene, captivating audiences with heartfelt songcraft and soulful performances. Assembly of Dust, formed in the early 2000s, has garnered widespread acclaim for their dynamic live shows and intricate musical stylings, cementing their status as one of the most admired bands in the genre. From acoustic gun slingers to electrifying live performers, Genauer and Assembly of Dust inspire audiences with timeless music and unwavering dedication to their craft.

Assembly of Dust 2024

• Reid Genauer (Vocals/Guitar)
• Scott Law (Guita)
• John Leccese (Bass)
• Dave Diamond (Drums)

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w/ Art School Girlfriend



Marika Hackman

Songwriter and multi-instrumentalist known for her emotionally honest and personal lyrics, Marika Hackman first made a name for herself with a spare, acoustic-oriented approach. Receiving acclaim for her musical talent, lyrical depth, and unique style, Marika has been recognized through interviews, reviews, and profiles in publications like The Independent, The Guardian, Pitchfork, Dazed, The New York Times, KEXP and Stereogum. 

Art School Girlfriend

Hailing from Wrexham, North Wales and currently residing in East London, Polly Mackey has been making music as Art School Girlfriend since her debut EP in 2017. Combining organic instrumental textures with blue-hour tinged electronics, the producer/multi-instrumentalist has released two acclaimed albums. With 2021’s Is It Light Where You Are, Mackey captured a long-term breakup in vast sonic landscapes, skittering beats and diaristic lyrics. She followed this with 2023’s Soft Landing – a gauzy, liminal take on finding joy and contentment, described by Pitchfork as an “intimate and adventurous second album… guitars are processed to sound like synths, synths function like lead guitars, and drums flip between electronic and acoustic”. Mackey spent the last year touring and building her own studio, which has become a creative hub for both her own music making and working with other artists and bands; her third and upcoming record will be a product of her new space, with fresh music expected in Autumn 2024.

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Pixel Grip is resolute in their beliefs and their dynamic exploration of the human experience. Colloquially described as "Club Pop", the band blurs the lines between avant-pop, EBM and minimal wave to construct a sound uniquely their own. Their moody songs push artistic boundaries and challenge the combative conditions of everyday life. Over the last four years, this rising Chicago-based trio has been selling-out clubs and winning over fans with their indelible live performances.



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w/ Daffo & Maddie Ross

After years of uncertainty including label disputes, unpaid royalties and a surprise (and successful) album drop,And she is ready to make some noise.  Her new album Let Me Do One More is three years in the making and Tudzin’s most defiant and accomplished record to date. Let Me Do One More is out now via Snack Shack Tracks (in partnership with Hopeless Records.)

After the success of her debut album, Kiss Yr Frenemies, and coining the term “tenderpunk,” illuminati hotties were on their way to recording and releasing a highly-anticipated sophomore album. However, things at the label started to fall apart, and illuminati hotties found themselves stuck in a contract with a label who didn’t have the infrastructure to put out the album the band had been crafting for months. “It felt like any momentum came to a screeching halt. It felt painful to pick up a guitar, to write, to record any loose ends that needed to happen to wrap up the album,” Sarah recalls. 

With the emotional turmoil and uncertainty building over the label situation, Tudzin turned her focus to a new batch of songs that would become FREE I.H. Funneling all the raw feelings and letting go of any inhibitions, illuminati hotties released the collection of songs, carefully not defined as the “new album.” The critically-acclaimed, fan favorite, release closed the chapter on the label drama, and opened up the band musically to a whole world of possibilities.   




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The day Alisa Amador decided to walk away from her career in music was, ironically enough, the day her career truly began.

"I was burned out and dealing with all this personal grief and trauma, and I finally just came to the conclusion that I couldn't go on the way I was anymore," she reflects. "And then as I was walking through the logistics of how I would break the news to everyone in my life, I got a phone call telling me that I'd won the NPR Tiny Desk Contest."

Now, two years later, Amador is an artist reborn, both spiritually and sonically, with a stunning full-length debut to show for it. Recorded with co-producers Tyler Chester and Daniel Radin, Multitudes finds the bilingual singer/songwriter formally introducing herself with a bold, captivating self-portrait, one that serves not only as a testament to how far she's come, but also as a celebration of where she comes from. Slipping effortlessly between Spanish and English and featuring guest appearances from Gaby Moreno, Madison Cunningham, and Quinn Christopherson, the songs here are raw and vulnerable, at once steeped in devastating loss and uncertainty, but also laced with the hope and resilience of young woman learning to find her voice and stand her ground in the midst of a personal and professional maelstrom. Certainly, Multitudes is a beautiful record — the way Amador's crystalline voice cut through the album's lush synthesizers, dreamy guitars, and cinematic string arrangements is nothing short of spellbinding — but more than that, it's a fierce work of discovery and affirmation that reveals new secrets with each repeated listen, a profound, revelatory meditation on triumph and loss, endings and beginnings, identity and belonging, all delivered by a songwriter convinced she would never write again.

"When NPR called, I genuinely considered asking them to give the honor to someone else," Amador recalls. "I felt like a fraud because after the death of a close friend in 2020, I'd completely stopped writing. But in that moment, it felt like something was telling me to surrender to the reality that music is and always would be my purpose."

Amador's passion for music is no coincidence. Born to a pair of Latin folk artists, she began singing with her parents' band, Sol Y Canto, at the age of five, and spent much of her childhood traveling the country on an endless series of tours along with her twin brother, Zia. She spent extended periods with her grandparents in Puerto Rico and New Mexico, as well, before attending college in Maine, which enabled her to study abroad in Buenos Aires for a semester.

"From a young age, I saw exactly how insane and difficult it was to make a life playing music," Amador recalls. "But I also knew I'd be lying to myself if I tried to do anything else."

Fresh out of school, Amador began touring and recording as a solo artist, releasing a pair of well-received independent EPs and crisscrossing the country just as she had during her childhood. But over time, something about her experiences began to feel off, and the purpose and meaning she'd found in music began slipping through her fingers.

 

 

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