Mississippi Studios

w/ JD Pinkus

King Buzzo, the iconic founder and lead vocalist/guitar player for the Melvins, and Mr. Bungle bass player Trevor Dunn, join forces this Summer, teaming up for the “King Dunn Tour.”

“I’ve been waiting a LONG time to do an acoustic tour with Trevor,” Buzz Osborne shares. “He’s a fantastic player, and has the ability to make his bass sound like an oil tanker crashing into a coral reef.”

Osborne and Dunn have collaborated several times over the years, including Dunn’s participation in King Buzzo’s 2020 album, Gift of Sacrifice, as well as both being members of Fantômas, and Dunn’s work as a part of Melvins Lite. On the “King Dunn Tour,” Dunn will will play a stand-up concert bass, while Osborne will sing and play acoustic guitar.

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w/ Marlon Funaki


The Palms–BioStarted in Los Angeles, CA in 2015, The Palms have become a formidable player in today’sIndependent musical landscape. With their signature California sound, an undergroundmodern-day classic in “Push Off,” and an ever growing and beloved fan base and catalogue,they’ve generated 100’s of millions of streams, all while retaining 100% ownership,independence and remaining loyal to their DIY ethos.With a new album on the way, arguably their best work to date, 2024 looks to be a careerdefining year for The Palms.It’s time the world gets their ears on California’s best kept secret."The Palms have shifted toward creating music that is as catchy as pop, yet melded withpoignant elements of blues, hip-hop, rock, and reggae. Rothbard's distinct vocals alsoinvite thelistener into each track, allowing the duo's intended messages to come through whilesimultaneously leaving space for individual interpretations."-Interview Magazine


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Originally formed in 1985 as a Black Flag-influenced hardcore punk band called Virulence, FU MANCHU has since become one of hard rock’s most celebrated names. The band released its first single “Kept Between Trees” in 1990 and in the years following, helped give rise to an iconic style of heavy music born out of the desert and tagged “stoner rock” alongside peers such as Kyuss, Monster Magnet and Sleep.

Since the band’s inception, the quartet has built itself a fanatical army of loyal enthusiasts all drawn to the group’s guitar-driven sound and carefree lyrics centered on “old muscle cars, choppers, vans, skateboarding and science fiction.” Over their career, the band has released 13 albums and has performed to sold out audiences all over the world.

2024 marks another first for the “fuzz rock” pioneers with the release of their 14th album, The Return Of Tomorrow, their first double album of new material. Conceived as vinyl listening experience, the first LP features 7 songs in their iconic heavy fuzz sound including the first single, “Hands Of The Zodiac” and the relentlessly catchy “Loch Ness Wrecking Machine.” The second LP sees the band mellowing out with 6 slower tempo jams including the synth inflected “Solar Baptized” and the title track. Both LPs are 45RPM for the thickest possible sound. Digital listeners need not worry, as the CD, download and streaming versions of the album are mastered specifically for those formats.

In the 6 years since their last album of new material, Scott Hill, Brad Davis, Bob Balch and Scott Reeder released a live album, 6 reissues, 3 new EPs and the soundtrack to Glen E. Friedman’s documentary, A Look Back - Dogtown & Z-Boys, in addition to a rigorous touring schedule. The Kings of The Road aren’t slowing down anytime soon.

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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.

Stetson’s nature is defiantly single-minded, and his dogged focus is always evident, his swooping, circling and soaring motifs displaying as much sensitivity as strength. This is something to which his striking – and diverse – contributions to film, TV and game scores also powerfully attest, including, most recently, 2018’s Hereditary and Red Dead Redemption 2, 2021’s Among The Stars, and 2022’s Texas Chainsaw Massacre and The Menu. As distinguished broadcaster Mary Anne Hobbs once observed, Colin Stetson is “an artist that can change the way you actually think about music.”



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w/  Black Shelton and The American Dream 


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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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“As a child I can remember locking myself in my room with a big old set of headphones and listening to the Band's Music From Big Pink album over and over again,” said Reid Genauer, the lead singer and founder of the New York based quintet Assembly of Dust. “Besides loving the hell out of the music, I was intrigued with the production value in the recordings. As I listened I felt almost like I was there in the room with the Band at a moment of perfection. That intimate listening experience drew me in and is what inspired me to be a musician.”

Drawing on that influence and countless others, over the last ten years Assembly of Dust has crafted a unique sound that recalls the likes of the Band, Traffic and Neil Young. They have taken that early 70's Americana swagger, put their own funky spin on it, and earned comparisons to the next generation of Americana heroes including Ryan Adams, Mumford and Sons and Wilco. Hooky melodies, poetic lyrics, and a profound depth of musicianship promptedUSA Today to say Assembly of Dust has what it takes to "dazzle the Alt-Country universe."

The allure of spacious production value has clung with Genauer his whole life and when he listened to Ray LaMontagne's 2010 album God Willin' & the Creek Don't Rise, he heard something that struck a chord deep within him. After just a few seconds sniffing around the liner notes he found the name he was looking for and within a couple of months Assembly of Dust was in the studio with engineer Ryan Freeland.

With three Grammy's on the shelf and credits that include musical luminaries like Bonnie Raitt, Joe Henry, and Art Garfunkel, Freeland's aesthetic was exactly what Genauer was going for on Assembly of Dust's fourth studio album Sun Shot. "I’ve always had a penchant for acoustic music” said the songwriter. “While Sun Shot isn’t an acoustic record by any stretch of the imagination it has the touch and nuances that allows the listener to be nearer to the music. It’s certainly a mellower record, it’s a vibey record, and it’s the most singer-songwriter record we’ve done."

While the recording processes used on Sun Shot harkens back to an analogue past, the rest of the project was decidedly technology driven. In the summer of 2012, as they struggled with the realities of financing an artistic venture of this scale, the band launched a crowd sourced funding campaign through Kickstarter. Looking back on it Genauer talks about the project as more of a spiritual journey than simply a fund raising exercise.

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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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with special guest Illiterate Light


Mo Lowda & the Humble

Mo Lowda & the Humble are a self-produced indie rock band hailing from Philadelphia. The band just finished up their fourth LP, to be self-titled and released March 3, 2023 with five singles leading up.  Since releasing their debut album in 2013, they’ve vastly expanded the sonic exploration of their recorded material whilst developing a dialed-in, yet energetic live show through persistent touring.  In turn, they’ve built a ravenous and loyal following across the country, selling out clubs and theaters throughout the US each year.  Mo Lowda’s upcoming self-titled album is their most versatile and ambitious work yet.  It visits some previously uncharted sonic territory for the band, while still providing the thoughtful, creative songwriting their fans have grown to love. Visit www.molowda.com for all tickets. 

Illiterate Light

Illiterate Light thrives on subverting expectations. Though just a duo, singer-guitarist Jeff Gorman and drummer Jake Cochran make surprisingly pummeling and catchy alternative rock. Since the band’s 2015 inception, they’ve intently focused on their unorthodox live show with Cochran standing behind his kit and Gorman playing synth bass with his foot as he sings and strums his guitar. Fiercely egalitarian and independent, the two not only split up songwriting duties and arrangement ideas, they even built bike-powered stages: bringing the fans into the live experience and envisioning a greener future for shows.

But with their latest album Sunburned, out January 27 via Thirty Tigers, Gorman and Cochran have turned their attention inward to their songwriting and studio craft. It’s their most fully-realized and ambitious LP yet, one that’s full of immediate songs that update and revolutionize the band’s approach to making music. There are rich keyboard and programmed percussion textures now populating their songs, as well as soaringly anthemic choruses, and hefty doses of fuzz. “On our first record, we were very live-focused and wanted to make sure whatever we were writing was translated in person,” says Gorman. “Without that crutch, we could be more adventurous and take more risks. We definitely weren’t timid in the studio.”

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w/ Mind Shrine


From their inception Cola have expanded on the d.i.y. ethic of the Dischord and SST eras, creating potent sounds from a minimal palette of drums/bass/guitar and lacing their songs with winsome one-liners and societal commentary. What’s another word for commentary? Gloss, apparently. Never basic, the lyrics reward repeated listening for deeper meanings. David Berman’s poetry-via-garage light pennings are an inspiration, as equally so are the lighter side of UK first-wave New Wave and the Dunedin sound. The results are in the pudding: at times sparse and poetic, at others a thrilling, hook-laden good time, as with the cheeky romantic sketch of a one-night stand that is so overflowing with innuendo-cum-journalism talk that it almost teeters over into self-parody. It's an album bursting with energy and wit and ideas–filled to the margins.


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Why am I always expected to do these? I write fiction—questionable fiction at that. This is my third attempt after being told by our manager to do and then redo a bio—I think I am being kind in not pointing out the difference between biography and autobiography. I typed keywords into the computer: Examples Of Band Bios. I certainly gleaned an insight into…self promotion…so this is my final attempt, dont ask again and dont try and edit and improve it to: Appeal to a wider audience. That is not us. I will start—and I wish I could end—by saying, Thirty years, hundreds of songs. Wouldnt it be nice to end right here? But, the internet said I needed to address other ‘fascinating points of interest’. What genre are we? I dont want to be shoehorned anymore, I hope that we have made our own. We helped create The Denver Sound and we continue to experiment and reinvent what we are flattered to be a part of. I am proud that we have taken total control of…everything, and continue to release music and books on our own label SCACUNINCORPORATED. SCAC is releasing the second section of Kinnery Of Lupercalia: Buell Legion. Only SCAC is able to faithfully represent the Buells and their hopes and hates, humors and despairs. I usually dont listen to our albums after we record them, however I might listen to this again. It finally captures the perfect balance between our studio and live sound. Andrew and Dwight have graduated into what I would call, Advanced Placement Recording. Everyone has found their place in SCAC and it shows on this album. George—Emile Cessna’s brother—has joined SCAC on baritone bass and now forms a formidable rhythm section with longtime drummer Andrew—I guess I should mention everyone here. Though she would never say it, Rebecca—my girl— pushes the pedal steel and keyboard into new territory. I now see Dwight cited as a major influence for both banjo and guitar players and he cements those accolades on the Buell Legion. Slim’s voice is honed and better than ever… and Myself, blah blah blah… 

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“The last ten years have been a rollercoaster of deep despair and amazing opportunities that somehow present themselves at the last possible second,” says Eef Barzelay. “During that time, the band bottomed out, I lost my house, and I had to declare bankruptcy. The only way to survive was to try to transcend myself, to find some kind of deeper, spiritual relationship with life. Once I committed to that, all these little miracles started happening.”

 

‘Forever Just Beyond,’ Barzelay’s stunning new album under the Clem Snide moniker, may just be the most miraculous of them all. Produced by Scott Avett, the record is a work of exquisite beauty and profound questioning, a reckoning with faith and reality that rushes headlong into the unknown and the unknowable. The songs here grapple with hope and depression, identity and perception, God and the afterlife, humanizing thorny existential issues and delivering them with the intimate, understated air of a late-night conversation between old friends. Avett’s production is similarly warm and inviting, and the careful, spacious arrangement of gentle guitars and spare percussion carves a wide path for Barzelay’s insightful lyrics and idiosyncratic delivery.

 

“I look up to Eef with total respect and admiration,” says Avett, “and I hope to survive like he survives: with total love for the new and the unknown. Eef’s a crooner and an indie darling by sound and a mystic sage by depth. That’s not common, but it’s beautiful.”

 

Named for a William S. Borroughs character, Clem Snide first emerged from Boston as a three-piece in the early 1990’s, and the group would go on to become a cult and critical favorite, picking up high profile fans from Bon Iver to Ben Folds over the course of three decades and more than a dozen studio albums. NPR highlighted the Israeli-born Barzelay as “the most underrated songwriter in the business today, with a sneakily firm grasp on poignancy and humor,” while Rolling Stone hailed his songwriting as “soulful and incisive,” and The New Yorker praised his music’s “soothing melodies and candid wit.”

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MOSTLY STANDING / LIMITED BALCONY SEATING

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