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Squid’s new album Cowards is about evil. Nine stories whose protagonists reckon with cults, charisma and apathy. Real and imagined characters wading into the dark ocean between right and wrong. Singer and drummer Ollie Judge explains that he used to notice “real life things that I saw on the street. People I knew and people that I’d met” but somewhere between their last album and today, this lived social commentary gave way to an imagined world that felt more real. An avid reader, Judge was drawn more and more to the cult fiction section of book shops, falling into “bleak books about horrid murderers” such as Lapvona by Ottessa Moshfegh, or In The Miso Soup by Ryū Murakami. The smokescreen of digital narcissism is present here, as Judge adds “a lot of the album deals with the idea of sleepwalking into a world of complacency”

NNAMDÏ has never been able to stay in one place. The Chicago multi-instrumentalist and songwriter set a blistering pace in 2020 with his critically acclaimed genre-fusing LP Brat, a punk EP Black Plight, and Krazy Karl, a full-length tribute to Looney Tunes composer Carl Stalling. Add in his role as co-owner of label Sooper Records, as well as recent tours with Wilco, Sleater-Kinney, black midi, and Jeff Rosenstock and it’s an overwhelming schedule. However, his latest album, Please Have A Seat (out 10/07/22 via Secretly Canadian / Sooper Records), is the result of a much-needed pause. “I realized I never take time to just sit and take in where I’m at,” says NNAMDÏ. “It’s just nice to not be on ‘Go, Go, Go!’ mode, and reevaluate where I wanted to go musically.” This period of reflection allowed him to take stock of his life and his relationships. “I wanted to be present,” he says. “Each song came from a moment of clarity.” Please Have A Seat serves as an invitation to listen. It’s a request to sit down, be present, and take in a moment. With this quiet introspection, NNAMDÏ found inspiration in silence and nuance.

For a band that seems to thrive on collapse, it’s simply amazing that this US/Japanese quartet is now celebrating their 31st year. Though Deerhoof long ago established itself as one of the greatest rock groups ever to stride the earth—and if you think that’s hyperbole, you haven’t seen them live—the furiously inventive quartet releases new albums on the schedule of a young band still hungry for its first break. Each one discovers some previously unknown combination of candy-coated hard-rock riffs and free-jazz percussive freakouts, sideways J-pop hooks and fearsome dissonance, trenchant social commentary and surrealist humor. Fronting it all is Satomi Matsuzaki’s inimitable alto, whose plainspoken calm can seem strangely outside of the band’s maelstrom. This music is joyful and foreboding, cybernetic and deeply human, carrying an implicit note of defiant optimism in their refusal to bow to convention or received wisdom. Deerhoof is defined by such paradoxes.

... is a band. But what is a band? A band, perhaps, can be thought of as a body, a corpus, in which physically discrete lifeforms comprise a chimera that shrieks with one voice. In this particular band, which is one of millions in the world today, four players selflessly merge, become musical, and emit rock ‘n’ roll that is familiar but new, warm but icy, melodic but Sphinx-like in its seductive and subtle riddles... essentially, The Hard Quartet has leveled, cultivated, and made lush an entirely new steppe in the ecosystem of guitar-bass-drums-voice agriculture.

Your Neighbors is headed by an insecure, low rent, drunken has-been with high expectations and a damning sense of self-awareness. He hires world-class producers and extremely talented musicians to make up for his lack of instrumental prowess and shallow lyrics. From Dad Rock to Hip-Hop, he hopes to find a foothold in the music world by throwing anything and everything at the wall hoping something will stick. Almost monthly, he plans on releasing new songs inspired by artists who are miles ahead of him creatively. If you don't like the most recent release, don't worry! He will probably do a 180 and ruin another genre for you next month. Come along for the journey and find out if he'll succeed or wash up and turn out like 99.9% of artists and musicians in the world today.

In the jade-cultivating climes of online rock journalism, the angle of “band has new album,” is about as interesting as watching Instagram reels of your brother-in-law’s recent bathroom remodel. But when a band decides to follow up their last album from over 26 years ago? That’s high on testicular fortitude and as dumb as fidget spinners. Yet, when that band is the Jesus Lizard, everything in your pathetic cultural dystopia suddenly falls away and the air smells like Heaven… Their seventh studio album, Rack, produced by Paul Allen, and slated for release on September 13 via Ipecac Recordings, features 11 tracks of brisk guitar rock you haven’t heard since… the last time the Jesus Lizard took over a stage in your town. The Jesus Lizard — vocalist David Yow, guitarist Duane Denison, bassist David Wm. Sims, and drummer Mac McNeilly — have returned with a record teeming with the kind of madness needed to beat down today’s AOR mediocrity and piss-perfect pop drivel alike

Immerse yourself in a night of rich musical heritage and cross-cultural rhythms, featuring the legendary Ghanaian guitarist, composer, and producer Ebo Taylor. With a career spanning over half a century, Taylor's influence on African music is undeniable, from his early days with highlife bands like the Stargazers to collaborations with Afrobeat pioneer Fela Kuti. Taylor's innovative blend of traditional Ghanaian music with jazz, funk, and Afrobeat creates a signature sound showcased in albums like "Ebo Taylor & the Pelikans" and "Tower Nyame." Experience the evolution of Taylor's musical journey, from his pioneering horn arrangements to his timeless classics like "Heaven," as he takes the audience on a soul-stirring exploration of African rhythms and melodies. This special evening celebrates Taylor's enduring legacy and contributions to the global music scene, promising an unforgettable fusion of sounds and cultures.

The Wooten brothers’ first public performance occurred in Hawaii in 1966 and established their identity as prodigies. Regi, the eldest son of Elijah "Pete" and Dorothy, was born in 1956. The first three sons arrived just a year apart—Roy in ’57, Rudy in ’58. Joseph was born in ’61, and three years later, in '64, Victor came. Victor learned to talk and play music at the same time. 

 Fast forward six years. 
REGI, still the leader of the family band, is 13 years old and Victor, the youngest, is 5, when the Wooten Brothers began opening a series of shows for R & B legends, “War”, and two years later for Curtis Mayfield, and many other national acts.

Self-described "Brass House" trio Too Many Zooz make manically kinetic instrumental music that combines avant-garde jazz, EDM, punk rock, and sundry other traditions into their own distinctive brand of high-energy dance music. A viral sensation since they first emerged as New York subway buskers in 2013, Too Many Zooz have evolved into a globally recognized phenomenon who tour often and produce YouTube videos that have garnered millions of views.

You show up at a bar or music venue. You grab a drink and within minutes you’re singing the hell out of your favorite rock song with a hundred other folks and - wait for it - a live band of nationally known musicians. In three-part harmony, no less! Wait, what just happened? Welcome to the Low Bar Chorale and what we all not-so-secretly wish singing could be. We’re drop-in only: no auditions, rehearsals or commitments ever. We sing rock, alt-indie and pop music like Bowie, Lady Gaga, Yacht Rock, or Michael Kiwanuka. We’ve got an incredible band, and we’ve performed with some amazing acts - Built To Spill, Portugal. The Man, Storm Large, and others.