“I’ve been coming a thousand years / you could call me the endless f*ck,” goes the memorable opening line of Rubblebucket’s Earth Worship, a groove-forward, joyously layered collection of songs which work to dissolve the imaginary lines between the natural world and its human inhabitants. The prolific group’s newest record, it’s an album with renewed shimmer, showcasing Rubblebucket’s intricately sparkling beats, hushed-yet-hooky vocals, and irresistible melodic complexity—a celebration of togetherness, environmental curiosity, and the pleasure in doing what you love.

Nick Hakim is a singer, songwriter and producer who has demonstrated that his talent can’t be contained within the restrictions of categorization. After self-releasing the EP series Where Will We Go, Pt. 1 / Where Will We Go, Pt. 2 and steadily building a fan base through his performances, Hakim’s critically-acclaimed debut album, Green Twins, solidified his status as a versatile artist pushing the boundaries of genre and embracing fluidity between R&B, soul, indie, psychedelia and more. The following year, Hakim contributed original music to HBO’s Random Acts of Flyness, directed by long time collaborator, Terence Nance. In 2020, he released the sophomore album WILL THIS MAKE ME GOOD and collaborated with Erykah Badu, contributing to her livestream concert series, ‘Too Sensitive’, in September 2020. A remixed version of WILL THIS MAKE ME GOOD (The Remixes) was released in 2021 with contributions from BadBadNotGood, KeiyaA, Slauson Malone, Pink Siifu and more. His 2021 collaboration with Roy Nathanson (Jazz Passengers, Lounge Lizards), Small Things, received critical acclaim from Rolling Stone.

On The Beths’ new album Expert In A Dying Field, Elizabeth Stokes’ songwriting positions her somewhere between being a novelist and a documentarian. The songs collected here are autobiographical, but they’re also character sketches of relationships and more importantly, their aftermaths. The question that hangs in the air: what do you do with how intimately versed you’ve become in a person, once they’re gone from your life?

The third LP from the New Zealand quartet houses 12 jewels of tight, guitar-heavy songs that worm their way into your head, an incandescent collision of power-pop and skuzz. The album’s title track “Expert In A Dying Field” introduces the thesis for the record: “How does it feel to be an expert in a dying field? How do you know it’s over when you can’t let go?” Stokes asks. “Love is learned over time ‘til you’re an expert in a dying field.”

On The Beths’ new album Expert In A Dying Field, Elizabeth Stokes’ songwriting positions her somewhere between being a novelist and a documentarian. The songs collected here are autobiographical, but they’re also character sketches of relationships and more importantly, their aftermaths. The question that hangs in the air: what do you do with how intimately versed you’ve become in a person, once they’re gone from your life?

The third LP from the New Zealand quartet houses 12 jewels of tight, guitar-heavy songs that worm their way into your head, an incandescent collision of power-pop and skuzz. The album’s title track “Expert In A Dying Field” introduces the thesis for the record: “How does it feel to be an expert in a dying field? How do you know it’s over when you can’t let go?” Stokes asks. “Love is learned over time ‘til you’re an expert in a dying field.”

Mysti Krewe of Nimbus formed in 2010 to celebrate Louisiana Mardi Gras, and bring that spirit of joy to Portland. The Krewe is composed of both former Louisiana residents and many locals who love the food, music, and culture of Louisiana.

Time keeps moving and things keep changing, but that doesn’t mean we can’t fight back. Yo La Tengo have raced time for nearly four decades and, to my ears, they just keep winning. The trio’s latest victory is called This Stupid World, a spellbinding set of reflective songs that resist the ever-ticking clock. This is music that’s not so much timeless as time-defiant. “I want to fall out of time,” Ira Kaplan sings in “Fallout.” “Reach back, unwind.”

Time keeps moving and things keep changing, but that doesn’t mean we can’t fight back. Yo La Tengo have raced time for nearly four decades and, to my ears, they just keep winning. The trio’s latest victory is called This Stupid World, a spellbinding set of reflective songs that resist the ever-ticking clock. This is music that’s not so much timeless as time-defiant. “I want to fall out of time,” Ira Kaplan sings in “Fallout.” “Reach back, unwind.”

A night full of Taylor Swift originals, remixes, lasers, neons, balloons and more.

Nothing but Taylor all night.

There’s a line on Honey, the latest album from Nashville-via-NYC songwriter
Samia, about Aspen Grove, a collection of 40,000 trees in the plains of North
America, all connected by a single expansive root system. There’s no stronger
metaphor for the audience the 25-year-old empathy engine has been generating
since she began releasing music seven years ago. Her songs, her fans, her
friends: one enormous, interconnected ecosystem.

One woman can truly do it all and make the world a better place as she goes. Hawaiian-raised reggae
pop star HIRIE (born Patricia Jetton), boldly paves the way for women across all industries: she performs
musical stages around the world, all the while preaching positivity, enlisting an open ear to those in need
and remaining a loving wife and mother, to boot. HIRIE is the humble superstar who, even after a
landslide of accreditation, still takes the time to thank and honor her loyal supporters, whether that be a
special photo opportunity at a show, an online chat or a spur-of-the-moment meet-and-greet at her
merchandise table.

In his 1942 essay The Myth of Sisyphus, Camus wrote that “All great deeds and all
great thoughts have a ridiculous beginning. Great works are often born on a street
corner or in a restaurant’s revolving door.” 15 years later Richard Wayne Penniman
wrote “Wop bop a loo bop a wop bam boom”, an undeniably powerful vocalization that
on any given Wednesday in any given situation, civilized or otherwise, is still fully
capable of setting somebody’s stuff aflame. Over ten years and seven long players into
their career, White Denim are still in the relentless pursuit of a thread – in other words, a
wick.

Sure, life’s a risk. But FIDLAR have proven that risks are worth taking. Starting out as a group of drunken punks playing gnarly house shows around Los Angeles, their fanbase exploded and congealed into “FIDIOTS.” Fan’s who show their dedication to both the band and their mantra of “fuck it” by etching “FIDLAR” onto their bodies by way of homemade stick-and-poke prison style tattoos.

Formed in 2009, it’s four-piece female punk rock band, Otoboke Beaver, from Kyoto, Japan! After recently selling out the Doug Fir, they’re back!

Comprised of singer Accorinrin, guitarist Yoyoyoshie, bassist Hiro-chan, and drummer Kahokiss, you can’t miss this high energy show!

the year is 2057. teenage slang has unknowingly devolved to an old forgotten eldritch language. suddenly teens have begun casting black magic spells while conversing with their pals. the sky goes black and a portal appears. thousands of black magic elves crawl out and wipe out all of earths population leaving only one man alive. that man is JAWNY fka Johnny Utah.

New Zealand-born pop star and two-time Grammy Award winning tour de force Kimbra is
readying her fourth studio album, A Reckoning. Produced in tandem with Son Lux’s Ryan Lott, A
Reckoning features brand-new singles “Save Me” and “Replay,” which channel heartbreak
amidst a global pandemic into bold new sonic territory.

“Jeffrey Lebowski, it is “The Dude”, Donny Benét, it is “The Don”. Quite simply.”

Praised and panned by critics as “Prince on a serious budget cut”, Donny Benét is best described as the favourite nephew to Uncles Giorgio Moroder, Alan Vega and Michael McDonald.

Why Are The Residents?

The Louisiana-born members of the enigmatic avant-pop collective known as The Residents operate out of a shadowy alternate version of San Francisco. They have no names, no faces, no gender, no age, no race, no identities at all. In a word, they’re FREAKS, yet over the past half century and across roughly 50 albums—from 1972’s Santa Dog to their most recent, 2020’s Metal, Meat & Bone—they’ve thrown the culture into a virtual mixmaster, deconstructing, reconstructing, and reflecting it back at us through an alien prism. While you were looking the other way, they had a radical and profound influence on how we perceive music, video, performance and multimedia.

THE UNRAVELING is not a departure from what got PUP here, really; for all the new breadth, this is still very much the fourth album by the band that has spun songs about The Bad Decisions Lifestyle into scrappy art. The hooks are as bright and barbed as always; the poison threaded through every song is no less potent. But a fourth album should be different from the first, or even the third, and THE UNRAVELING is. “I don’t know that we set out to do new stuff,” Mykula says, of a record on which the band does a great deal of new stuff. “It’s just a band trying to sound as much like themselves as possible. Every record you make, you get closer to that.”

Joyce Manor is a band who have never relied on gimmicks. Since forming in Torrance, California, in 2008, the band—vocalist/guitarist Barry Johnson, bassist Matt Ebert and guitarist Chase Knobbe—have built-up a feverish fanbase by writing catchy, pop-punk songs that seem straight-forward on the surface but teeming with carefully crafted nuances upon multiple listens.

THE UNRAVELING is not a departure from what got PUP here, really; for all the new breadth, this is still very much the fourth album by the band that has spun songs about The Bad Decisions Lifestyle into scrappy art. The hooks are as bright and barbed as always; the poison threaded through every song is no less potent. But a fourth album should be different from the first, or even the third, and THE UNRAVELING is. “I don’t know that we set out to do new stuff,” Mykula says, of a record on which the band does a great deal of new stuff. “It’s just a band trying to sound as much like themselves as possible. Every record you make, you get closer to that.”

Joyce Manor is a band who have never relied on gimmicks. Since forming in Torrance, California, in 2008, the band—vocalist/guitarist Barry Johnson, bassist Matt Ebert and guitarist Chase Knobbe—have built-up a feverish fanbase by writing catchy, pop-punk songs that seem straight-forward on the surface but teeming with carefully crafted nuances upon multiple listens.

Learning a language doesn’t happen all at once. It’s a process, with familiar thoughts and sounds becoming new again in your head before clicking into place and unlocking all sorts of fresh possibilities. For the past six years, Paolo Nutini has been learning how to speak his own language.

Last Night In The Bittersweet is an album of reframed experiences and rewired iconography, where the lurid colours of a neon motel sign or a snatch of dialogue from a movie can mean as much as a heartfelt plea or wrenching goodbye. In its down-the-line drums, guitar drones and euphoric melodic releases, it lives in the moment when, your forehead pressed against a cold car window, the white lines of the central reservation seem to fold into the music fighting its way out of your headphones.

Roscoe is a road dog. The 14-year-old Boston Terrier has been there for the whole ride of Mapache, Clay Finch and Sam Blasucci’s band, which has grown from being the casual project of two longtime buds to one of the most formidable cosmic-folk acts around. “Roscoe’s been through a lot of shit,” says Blasucci, the dog’s formal owner. “He’s been all around the country, come on tour a little bit.” With some bemused pride, Finch points out that, for a few years, he and Blasucci bunked together in a room in the Echo Park neighborhood of Los Angeles that was just big enough to fit two twin beds. “It was the two of us and the dog,” he laughs.

If you need to know anything about Australian-American pop trailblazer Betty Who, it’s that she is a survivor. Born Jessica Newham in Sydney, Australia, the classically trained singer, dancer, and multiinstrumentalist has experienced practically every dimension of pop cultural visibility: going viral on the bombastic strength of 2014 single “Somebody Loves You,” soundtracking Netflix’s Queer Eye reboot with “All Things,” forming deep ties with foundations like GLAAD and the Trevor Project, and becoming an LGBTQ+ icon due to her infectious, always-inclusive artistry. 

Hailing from Dublin, Inhaler are a four piece band who met while they were still at school. 
 They quickly realised their love of dirty bass lines, pounding rhythms and infectious melodies infused with psychedelic soundscapes far outweighed their interest for Pythagoras’s theorem, e=mc², The Merchant Of Venice or Ulysses. 
 Their future would be defined by the mystery, magic and unknown pleasures contained within the grooves of their parents vinyl collections rather than the pages of any torn and tattered textbook. 
 With Robert Keating on Bass, Ryan McMahon on Drums, Josh Jenkinson on Lead and Elijah Hewson on Vocals and Rhythm.

Mysterious, eccentric, good-hearted, and downright talented are all words that have been used to describe actor and musician Creed Bratton. Creed may be best known for starring as a fictional version of himself on nine seasons of the award winning, critically acclaimed NBC series “The Office.” In addition to his long list of acting credits, Creed is also an established musician with a career in music that spans nearly five decades. This year, Creed is slated to release his 9th full-length album “Slightly Altered” featuring 10 brand new tracks produced by Dave Way (Sheryl Crow, Fiona Apple) and Dillon O’Brian.

Theo Katzman brings his staunchly synergistic sober psychedelic seeker-sensitive soul service to a HERE near you, at a NOW near then.

The album is called “Be The Wheel”

Big Heart. High Voice. Strong Song.

The California Honeydrops don’t just play music—they throw parties. Led by dynamic vocalist and multi-instrumentalist Lech Wierzynski, the band draws on diverse musical influences including roots, Bay Area R&B, Southern soul, Delta blues, and New Orleans second line to bring vibrant energy to their shows. Assembling their five core members plus two to three more world-class musicians each show, the Honeydrops deliver an eclectic performance and innovative recording style, evident in the seven studio albums, three live albums, and two cover albums the band has released since forming in 2008. Their highly anticipated forthcoming LP, Soft Spot, is set to release in the fall of 2022, coinciding with a nation

The California Honeydrops don’t just play music—they throw parties. Led by dynamic vocalist and multi-instrumentalist Lech Wierzynski, the band draws on diverse musical influences including roots, Bay Area R&B, Southern soul, Delta blues, and New Orleans second line to bring vibrant energy to their shows. Assembling their five core members plus two to three more world-class musicians each show, the Honeydrops deliver an eclectic performance and innovative recording style, evident in the seven studio albums, three live albums, and two cover albums the band has released since forming in 2008. Their highly anticipated forthcoming LP, Soft Spot, is set to release in the fall of 2022, coinciding with a nation

“Sometimes you’ve got to express yourself because if you don’t you’ll explode,” says songwriter/producer Caroline Rose of their latest album, The Art of Forgetting. “…and I felt like I was going to explode.”

After a series of heartbreaking events, Rose had no desire to make a statement, let alone make a new album. It was a time of contemplation and transformation, a time to slow down. What transpired was what the artist considers a gradual union of reconnection and growth. Memory runs like a current throughout The Art of Forgetting. Prompted by a difficult breakup, Rose began a deep-dive inward, unknowingly digging up long-buried experiences from their childhood.

It’s a pivotal release for Rose teeming with raw, intense emotion and confessional honesty we’ve only caught glimpses of in Rose’s previous work. Layers of vocal arrangements from Balkan-influenced yawps to Gregorian autotune choirs, acoustic instrumentation chopped and mangled like a glitching memory, and dreamlike synths push and pull to create a hugely dynamic soundscape.

Waterparks never sit still. The Houston trio—Awsten Knight [vocals, guitar], Otto Wood [drums], and Geoff Wigington [guitar]—manically move forward, shucking and jiving between fits of rock, alternative, and electronic with pop ambition and hip-hop’s bold and blatant disregard for the rules. In 2020, the boys only pick up the pace as they ready new music after signing a new deal with 300 Entertainment. “You don’t have to stick to one thing,” exclaims Awsten. “Over the years, we’ve gotten better at switching it up. By making moves like getting with 300 (an almost exclusively hiphop oriented label) and not forfeiting our guitars once we signed the deal, I think we’re actually taking steps to help rock. Either way, f*ck genres and expectations.

Swedish audiovisual artist ionnalee (Jonna Lee) has served us a decade of audiovisual work, solo and with her collective ‘iamamiwhoami’. In 2022 she returns with a new audiovisual album by iamamiwhoami entitled ‘Be Here Soon’ (out on To whom it may concern. June 3). Hear the 10 track album unfold and follow its videoseries in 10 episodes on ionnalee.com starting March 31 2022.

When they first appeared in the early 2000s, Ladytron combined the fundamentals of classic synth pop — crystalline melodies enveloped in icy textures and rippling arpeggios — with touches of indie pop, shoegaze, disco, and industrial music, and conjured distinctly different moods on each album, spanning the hook-laden simplicity of 2001’s 604 to the darker feel of 2005’s landmark Witching Hour to 2011’s meditative Gravity the Seducer. They bridged the gap between synth pop’s original ’80s heyday and its renaissance in the 2010s. Following their critically acclaimed debut 604, their Los Angeles recorded follow up, Light & Magic, a darker, more streamlined set of songs including the single Seventeen was released in 2002. It reached number seven on Billboard’s Top Dance/Electronic Albums chart.

Heralded as one of Polynesia’s #1 commercial recording artists, Maoli has been credited with over 21 #1 Regional Island Reggae Hits. Since their debut in 2007 the group has been steadily on the rise, having performed in at least 42 of the 50 states, as well as New Zealand, Australia, Mexico, Guam, and Saipan Territories. Maoli’s music has matured into a sound and style constantly evolving to reflect and meet the eclectic taste of the group themselves and their loving fans. Maoli has developed their own unique sound by fusing the elements of Country, R&B, Soul, Acoustic, Rock & Roll, and Reggae. This “Country Reggae” has been labeled as heartfelt, uplifting, feel-good music with an impressive reach, enabling the group to sell out the largest venues in the state of Hawai’i.

When the bass drops and the confetti blows up: MEUTE breaks the code. The Techno Marching Band combines hypnotic driving techno and expressive brass band music, freeing electronic music from the DJ desk and overhauling the image of marching bands. They started as an experiment and evolved to a world-acclaimed phenomenon in a minimum of time. Just drums and brass, no computers involved, this is all they need to revolutionize techno music and bring it back to its roots at the same time. The eleven musicians in their iconic red jackets have managed to spread their love for hand-made electronic music all over the planet. The videos of their impromptu street gigs regularly attract millions of views.