This show is sold out
DOORS 7 / MUSIC 8

Acopia is a band from Naarm/Melbourne, formed in 2018 by Kate Durman, Lachlan McGeehan, and Morgan Wright. Working with restraint and atmosphere, their music unfolds slowly and deliberately, guided by instinct and emotion. Their debut album Chances was released in 2022 on Melbourne imprint Companion, followed by a self-titled, self-released LP in 2023. Since then, they’ve sold out headline shows across the UK, Europe, and Australia, performed at festivals including Wide Awake (UK), Les Nuits Botanique (BE), and Golden Plains (AUS), and shared the stage with artists such as Bar Italia, Tirzah, and Raisa K.

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DOORS 7 / MUSIC 8
In the spring of 2026 Chuck Johnson will be presenting live renditions of a new work titled Caoineadh. This series of performances and live mixes shared online seeks new pathways into composition and improvisation and draws from DJ techniques, wordless voices, voiceless laments, and pulses suggested by negative spaces. 

Performing on cello with effects pedals, Clarice Jensen presents music from hernew album, "In holiday clothing, out of the great darkness."  Her fourth full length album, it was released on FatCat/130701 Records in October 2025, and draws abstract inspiration from the Suites of JS Bach, placing the rich sonority of the cello at the fore but carefully treating and layering the timbres to create a "kaleidoscopic, surging cathedral of sound" as described by NPR's Tom Huizinga. 

“Hand on the Bay” is a new collaborative project for Jensen and Johnson. The work is organized by a graphic score that renders the harmonic material of 16 bars of Willie Nelson's Red Headed Stranger over the course of 24 minutes. 

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DOORS 7 / MUSIC 8
Not far off two years from the day, Bristol's Tara Clerkin Trio return to World of Echo and the EP format for a five song collection of quixotic, emotional redolence. But do not mistake their absence for inertia. If their musical output has been a little sparse during those in-between years, limited to a few solo ventures and an astonishing ten minute long piece as a trio, their time has otherwise been richly spent: continuous writing and recording, extensive live performances across Europe and Japan, a cultivation of local and more far-flung artistic connections (musical and otherwise), and a monthly NTS show that, through the voice of others, speaks most obviously to their own unorthodox interests.

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DOORS 7 / MUSIC 8

Ambient country supergroup of Pat Irwin (B-52s), Bob Holmes (Rubber Rodeo), and Jonathan Gregg (The Linemen) ...

New York-based instrumental group SUSS plays a distinctive form of instrumental music sometimes referred to as “ambient country,” emphasizing the droning qualities of country music and Western film scores. Combining the high-lonesome sound of pedal steel guitars and harmonicas with meditative synthesizers and loops, the group's music owes as much to Brian Eno's collaborations with Daniel Lanois as to the film scores of Ennio Morricone and Ry Cooder. The band's self-released 2018 debut, Ghost Box, became a surprise underground hit and a staple of ambient playlists, leading to the band's signing with Northern Spy. The group continued expanding on their signature sound with numerous additional releases on the label, including the 2024 release of Birds & Beasts.

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Optic Sink (Memphis) is the post-punk project from Natalie Hoffmann (NOTS), Ben Bauermeister, and Keith Cooper.

Spain is a new Hudson Valley group and they rule.

Free tickets starting at 4pm

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DOORS 7 / MUSIC 8
Hold on Whale! zine release Party with Bill Baird + The Sisters + Brian McCarthy

Saturday, March 28, 2026
7:00 PM  11:00 PM

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DOORS 7 / MUSIC 8

Come celebrate the release of HOLD ON WHALE! Issue 04. With live performances by the supremely talented BILL BAIRD, THE SISTERS and the debut of a new song by BRIAN MCCARTHY.

THE MAGAZINE:

Hold on Whale! an indie zine, was born from the global pandemic in an attempt to stay connected and make something beautiful during dark times. The world continues to tumble and we continue to make this zine in an effort to find joy and meaning however we can.

This year’s theme is all about TIME. Huge, expansive Time. 32 international artists contributed their writing, art, poetry & music. Come zoom out of our everyday lives and celebrate that we exist on this orbiting rock. Together we made something rad!

THE MUSIC:

Bill Baird is a musician and writer who’s released albums through Capitol, Secretly, Moon Glyph, Dangerbird, and SonyRed, as well as dozens of micro- and self-releases.  He’s been insulted by famous people, crashed on couches in every corner of the nation, and has lived to tell the tale.  He’s currently writing a book about the 1968 World’s Fair for Texas A&M Press.

The Sisters - original songs, unoriginal songs, stolen songs, good songs, bad songs, and very little in-between.  Folky, bluesy, swampy, in two-part harmony. The Sisters are a duo from Northern VA and they are hopelessly in love with you.  For now.

Brian McCarthy is an actor, writer, visual artist, and music dabbler. He’s performing a song especially written for this issue. His last live music performance was in high school, so let’s hope he doesn’t mess this up.

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DOORS 7 / MUSIC 8

TAKAAT (pronounced tuh-cot), meaning "noise" in the Tuareg language Tamashek, for this tour is the duo of Ahmoudou Madassane & Mikey Coltun (ioined by a blown out drum machine). Also known as the rhythm section of Mdou Moclar.

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 Sahe... think Sunn O))) meets Tinariwen.

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DOORS 7 / MUSIC 8

Have you ever felt like you were trapped riding shotgun in a car spinning out of control? Stuck know the feeling well. This nightmarish joyride with a malicious stranger at the wheel comes straight from the lyrics of “gg”, the closing track on the Chicago post-punk group’s latest full-length Optimizer, their second release for Exploding in Sound and third album overall. The feeling of being unable to stop a machine hurtling toward danger by its own momentum pervades across the whole record. Optimizer reports live from the front lines of a society on the decline, where every attempt toward self-improvement only locks you into a more efficient downward spiral.

As with every release from the trio, comprised of Greg Obis (vocals, guitar), David Algrim (bass), and Tim Green (drums), the central theme flows through every aspect, from the art to the music. Optimizer’s cover, designed as always by Green, depicts a classical statue trapped in buffering hell while the album’s title below it sinks along a declining trajectory. Obis’ lyrics trace the same futility, taking stock not just of the delusional patterns around him but the diminishing returns of sticking to your guns with nothing but air left in the chambers. Turning his eye for political lyrics instead to more directly social subjects, Obis sees the world as one big commercial gym packed to the gills with debt-ridden and desperate marks who only tear their gaze away from the mirror to watch the latest pitch from the latest digital huckster promising a better you at a reasonable fee. Obis doesn’t spare himself either. Written directly on the heels of the band’s tour for 2023’s Freak Frequency, the album also grapples with the personal costs of devoting your life to music while the music industry crumbles around you.

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Drummer / Percussionist / Composer 
Villarreal is celebrated for his irresistibly groovy instrumental sets, seamlessly weaving together elements of psychedelic funk, soul, and jazz with the rich textures of traditional Latin American folk music. His performances are a captivating fusion of rhythm and genre, reflecting his deep passion for both innovation and cultural heritage. Whether behind the drum kit or spinning records, Daniel Villarreal continues to push the boundaries of music, creating a sound that is both timeless and forward-thinking.

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Container is my favorite artist working in the world of electronics. Broken and deranged just like me. "Container is the solo project of American-born, London-based musician Ren Schofield, who over the last decade has refined a signature sound combining his background in drumming and lo-fi noise with techno and rhythmic electronics, cementing himself as a distinctive and disorderly force in modern electronic music."

Expensive $hit aka Paul Quattrone (of Osees) incorporates vintage electronic drum pads, samplers, and an array of distortion & delay pedals mixed with acoustic drums to create a rhythm/noise hybrid worthy of a generator-powered sonidero party in a parking lot. Echoes of afrobeat, krautrock, dub and harsh noise abound.⁠

Rose Club, the newly carved project from Guy Weltchek, stares deeply into the stone, trimming the rose that grows between the rocks. With electro cuts so deep you’ll be betting on red - and dancing all night. Hudson based and booty bassed. Hardware for soft souls.

NICK MALKIN is an artist and musician based in Woodstock, NY. His practice focuses primarily on the interplay between found sound, field recordings and electronic Instrumentation.

Over the past ten years, Malkin has released numerous recordings that occupy a unique space between several musical traditions: musique concrète, electronic ambient, jazz and modern compositional. His work articulates how an amalgamation of disparate, de-contextualized sounds can suggest hypothetical landscapes and environments — abstracted 'non-spaces’ that convey an elusive sonic familiarity and explore sensory notions of what is “real” and “natural.”

He currently hosts Post-Geography, a long-running radio show on NTS and operates a small imprint of the same name with a focus on idiosyncratic electronic music..⁠

THIS SHOW IS SOLD OUT

DOORS 7 / MUSIC 8

Canadian quartet Holy Fuck have always been happy to plow a distinctly lone furrow. Never ones to chase the limelight or hop on any genre-wagon that happens to be passing by, they’ve played by their own rules for the best part of 20 years and five albums. It’s for that reason that they’ve become one of the country’s finest and most influential exports, with their widescreen technicolour, crescendo-heavy and highly danceable sound often finding itself imitated, but never bettered.

Even after attracting mainstream attention thanks to appearing on the soundtracks to Breaking Bad, The Substance, Mr Robot, Chemical Hearts, Good Girls, Cheaters and Invincible (the latter producing viral hit ‘Tom Tom’), the band has continued to go against the grain in a cultural landscape that prioritises and lionises the safe and predictable over the marginal and single-minded.

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DOORS 7 / MUSIC 8
We have a press release writing we'd like to add to Tubby's site for the event. Could you please cut n paste this in? Thanks!

On Saturday April 11, 2026, Tubby's in Kingston, New York will present a rare evening of Darkwave, Goth, Post-punk, Electronic music with NOIR, ANCIENT MY ENEMY and SHIPS IN THE NIGHT with special guest DJs MIDNA MAYHEM and HUEMAN. Doors at 7pm, music starts at 8. This dark event is brought to you by Scott Harris and Athan M. from NOIR. Advance tickets available on DICE now! $12 adv/$15 DOS.

Metropolis Recordings artists NOIR are a sophisticated electronic dark pop outfit based in both New York City as well as the Catskills. Featuring veteran vocalist Athan Maroulis (Spahn Ranch, Black Tape for a Blue Girl, Executive Slacks), NOIR's forthcoming EP is entitled "Breath and Taxes." The UK outlet Blitzed Magazine recently stated, "Maroulis has a voice and vision that sits somewhere between post-punk anthems and dark synth bangers...a beat-drive darkness that fans of Clan of Xymox, WINGTIPS, and early iterations of The Human League will find of particular interest."

The Woodstock, NY-based ANCIENT MY ENEMY has had a lot to do with the exploding scene for dark music in the Hudson Valley. Having just released their acclaimed EP entitled "Crater of Grief," the female-fronted ANCIENT MY ENEMY features Ti-Ti (vocals), Tommy Grenas (guitars. bass, keys) and Scott Harris (drums, programming, synth bass/keys). The band draws on influences such as Killing Joke, Bow Wow Wow, Alien Sex Fiend, Siouxsie and the Banshees and Christian Death. With a sound of their own, driven by pounding electronic tribal beats, ethereal guitars, driving fuzz bass, new wave/blitz club period-sounding synths and the magic of Ti-Ti's vocal stylings.

The Charlottesville, VA-based Metropolis Records artists SHIPS IN THE NIGHT offer an electrifying mix of haunting, dark electronic and ethereal, ambient lullabies. Alethea Leventhal's magnetic solo project pulls from dreams, memories and echoes from the outer world to paint an atmospheric landscape with sweeping waves of synths and kinetic beats.

This show is sold out
DOORS 7 / MUSIC 8
I got my Tascam 388 fixed, the same tape machine I had used to record my first album, King Tuff Was Dead. It had been sitting in my parent’s house in Vermont for the past 14 years, but I had finally dragged it out to LA. The first song I recorded on it was “Twisted On A Train”, and I was shocked by how instantly I sounded, and felt, like myself again. In fact, I wrote and recorded the whole dang song in the span of a few hours, which was basically the opposite of how I had been working in the computer. Spending hours moving waveforms around like a zombie, comping vocals, second guessing, trying to make things sound not lifeless, trying to make anything sound good at all, took months. But here on the tape it was so much more alive. More like painting or collaging. More like making actual music. Every move I made stuck like super glue. It was effortless. It was pure joy.

I stopped caring if there were mistakes. There’s not enough mistakes. I played my old, blue, Gibson SG, Jazijoo, and she spewed mangled electrified gold. For once, I sang and I didn’t hate my voice. I played the drums badly and bounced them in mono to one track and it sounded like glorious shit.

I wish it sounded even worse.

Rock & Roll is the music of rodents and bugs. It should sound like it crept from a decrepit trashcan or a crypt or a toilet. It is not chill or vibey, autotuned or on the grid. It is not perfect, which is why it’s perfect. And I don’t care if it’s dead or alive, cool or uncool: when I hear it, and when I play it, as a chubby and balding 43 year old punk weirdo, I FEEL ENERGIZED.

THIS SHOW IS SOLD OUT
DOORS 7 / MUSIC 8

The follow-up to 2021’s rustic, folk-tingedGreen to Gold,Blight asks many questions without offering easy answers. Over the course of nine new songs, the Antlers’ founder and primary songwriter Silberman reckons with our passively destructive tendencies–absent-minded pollution, unwitting wastefulness, and the inadvertent devastation of the natural world. But despite its heavy themes,Blight is far from a punishing listen. With its adventurous arrangements and persistent momentum, it plays more like an iridescent odyssey.The album was recorded over the course of a few years, with the lion’s share tracked and produced in Silberman’s home studio in upstate New York, a compact outbuilding perched at theedge of a neighbor’s sprawling hayfield.

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Art of the Unseen Infinity Machine, Allegra Krieger’s second full-length album with Double Double Whammy, is a collection of 12 songs that pick at the fragile membrane between life and death. The titular ‘infinity machine,’ as Krieger puts it, “is an accumulation of interlocking forces that propel humanity forward through a persistent passage of time.”

Jackie West is releasing her sophomore record on Ruination Records and the singles have received praise from Uncut Magazine, PopMatters and Aquarium Drunkard. Kristin recently released a record on Orindal Records, with features on NPR, WXPN and airplay on KEXP.

FREE SHOW SPONSORED BY OUR FRIENDS AT LIVE MUSIC SOCIETY

DOORS 7 / MUSIC 8
Whitney Johnson, Lia Kohl, and Macie Stewart are a trio who utilize string instruments, voices, and manual tape effect processing to craft compositions from alternately tranquil and disquieting improvised music. The three musicians are individually rooted in deep sound exploration, multi-disciplinary composition, and all manner of cross-genre collaboration. The musical ground covered by their solo practices is correspondingly expansive, and their individual recording and performance credits read as a veritable who’s who, ranging from DIY darlings to household names of experimental avant-garde, electronic, indie rock, and more.

The trio’s collective sound is based in improvisation—automatic, intuitive composition via their three voices and three string instruments (viola, cello, and violin, respectively). Their influences are vast—dispatched with more playful ease than a trio of string instruments is typically approached with, and just as likely to be found in the cloud-obscured mountains of Donegal, the low-rent cacophony of a midwestern basement, or the revelatory expanse of the Nurse With Wound list as in the storied halls of the academy.

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DOORS 7 /MUSIC 8

It’s impossible to talk about Wicca Phase Springs Eternal without talking about transformation. For over a decade the singer, songwriter and producer Adam Andrzejewski has used the moniker as a wide creative umbrella, under which he’s made a vast body of work that’s as consistently compelling as it is constantly changing. This deft ability to blend sounds and styles has become his calling card, but no matter the genre signifiers–from rap beats, to new wave synths, to goth atmospherics–the beating heart of WPSE is Andrzejewski’s singular voice and esoteric-yet-emotional lyricism. Those key elements have centered the project through musical explorations, and now on his latest full-length, Mossy Oak Shadow, Andrzejewski really puts them to the test. Shedding thumping 808s and intricate production in favor of a no-frills band and sparse live recording, the album is a stirring collection of hazy folk rock songs that prove Wicca Phase Springs Eternal can truly be anything. “I always kind of thought that as long as I have the Wicca Phase Springs Eternal name that I can do whatever I want,” Andrzejewski explains. “The name provides a framework for the lyrics and aesthetics of the project–my songwriting with a mystical overlay to it–and as long as I can make something work within that, then the genre doesn’t totally matter.” That daring creative mentality is what steered Andrzejewski when he first started the WPSE project, through his work as a co-founder of the influential GothBoiClique collective, or as member of Thraxxhouse and Misery Club, and even with his punk side project, Pay For Pain. Still, few could have guessed that the new proper Wicca Phase Springs Eternal release would be a set of country-leaning folk songs performed without a wink in sight. As with all things Wicca Phase, Mossy Oak Shadow finds Andrzejewski fully committed. “There’s always been acoustic songs on my records but usually they’re in the context of a beat-based Wicca Phase album. I think the idea here was to just kind of start fresh and go hard in this other direction,” he says. “The temptation is to call it a country record, I don't really think it’s that–but there’s acoustic guitar and slide guitar, and I think my interests and themes do have elements of country in sort of an archetypical way.” It’s certainly not hard to imagine the narrators of any number of WSPE songs as stoic loners walking into a troubled town with a guitar slung over their shoulder, and in many ways Mossy Oak Shadow feels like it’s simply leaning harder into parts of Andrzejewski’s musical DNA that have always been there. “I’ve loved Bob Dylan since I was ten years old,” he says. “I had an uncle who gave me his entire catalog on data discs and I just fell in love. I even love how he’s always reinterpreting his work to this day and I try to keep that in mind–especially for this album. That spirit, that freedom, was very influential to me with writing this record. I felt like I didn't have to think about too many specifics outside of writing lyrics and chords and whatever comes out comes out, genre be damned.” Andrzejewski teamed with producer/engineer Ben Greenberg (Depeche Mode, Drab Majesty, Show Me The Body) and brought the songs to the studio in a purposely looser form, intentionally leaving space for a live band to flesh the songs out. That band turned out to be McIlwee singing and playing guitar, Greenberg on bass, and session players Ryan Jewell and David Moore on drums and keys. “Dave and Ryan were guys Ben had worked with, but I’d never met them,” Andrzejewski says. “When we got there, I had lyrics, chords, and demos–we’d listen to the demo once, Ben would make some suggestions, and then we’d try it. I would literally ask ‘do I need to teach these guys the songs...’ and Ben would say ‘no they’d figure it out’–and they did! There was no discussion, they just got it. They were so perfect, Ben included, that it was no different than just singing over a beat or something I'd created.” The band setup alone would have been a significantly different approach for a Wicca Phase Springs Eternal recording, but tracking the vast majority of the album live added another wrinkle. “I didn’t know we were going to be recording live until I got there,” Andrzejewski says. “At first I thought we were just practicing and didn't even know we were doing takes. I had no idea and it was probably best that I didn't.” The result is an album that lives and breathes, with every unvarnished performance overflowing with feeling and pathos. Opener “Rough Roads” is nothing but Andrzejewski’s lone voice and guitar, a dusty welcome into the latest dimension that Wicca Phase Springs Eternal has conjured. It’s followed by “Horseback” and “Enchantment,” songs that you can instantly imagine being performed in a smoky Western saloon or on stage at The Roadhouse in an episode of Twin Peaks. Mossy Oak Shadow might seem like a drastic pivot for the Wicca Phase Springs Eternal fans who got on board through his beat-driven modern classic albums, like 2016’s Secret Boy or 2018’s Suffer On–but it shouldn’t come as a total surprise. WPSE releases have always dabbled in stripped-down acoustic songs, and even further back there’s Andrzejewski’s earlier work as a member of emo/indie stalwarts Tigers Jaw. When he left that band to focus on Wicca Phase in 2013, he was met with skepticism from listeners who were hesitant to embrace his new persona and experimental trap sound. Ironically now Andrzejewski has so thoroughly established Wicca Phase Springs Eternal that he’s once again challenging his fans with a stark sonic shift–but this time by returning to the guitar-oriented songwriting he’d set aside. “Dylan, Will Oldman, Richard Thompson–what I like most about those songwriters is that I'm able to trust them,” Andrzejewski explains. “If they do something that’s totally strange I trust that they know what they’re doing because it’s coming from the same person that wrote all these other songs that I love. So even if it might take some time for me to get where they are, I want to try.” And the sheer force of Andrzejewski’s unwavering vision is more than enough to steady listeners and win them over with the same thing he’s always provided: phenomenal songwriting. Whether it’s with the lush majesty of songs like “Magic Moment,” or the stirring spareness of Ethel Cain duet “Meet Me Anywhere,” Mossy Oak Shadow highlights Andrzejewski’s ability to blend deeply human longing with otherworldly splendor–and the moody gothic country atmosphere only amplifies this enticing dichotomy. “Settler’s Bend” and “I Get It” are powered by shuffling drums, timeless chord changes, and Andrzejewski’s warm croon, but they’re cast with WPSE’s intangible spell that turns the mundane into the magical. The album comes to a close with “I Was A Runner Once,” a haunting and nostalgic track that brings a dark romance to long lost moments. It’s beautiful and discomfiting all at once, somehow sounding at once uncharted territory for Wicca Phase Springs Eternal and totally of a piece with McIlwee’s larger songwriting project. It’s the sound of achieving the artistic freedom that he found so inspiring in the work of his formative songwriting heroes. “That song kind of wrote itself,” he says, “It ends the album on an ominous note but it means I can do anything I want next.”

Fanclubwallet is the indie rock project of cartoonist-turned-musician Hannah Judge, a longtime champion of Ottawa’s local music scene. Even before making music herself, Hannah was immersed in the community; sharing mix CDs, cold-emailing bands for opening slots, and building friendships wherever she could. In 2020, she began quietly recording demos in her bedroom, eventually launching fanclubwallet at the height of the pandemic. What started as a lo-fi bedroom pop project quickly gained traction, with her breakout track “Car Crash In G Major” racking up over 14 million streams.

This show is sold out

DOORS 7 / MUSIC 8
Deface the Currency, the new second collaborative album from the Messthetics and James Brandon Lewis, grew out of a simple intuition. The group — with saxophonist Lewis joining the core Messthetics lineup of Brendan Canty on drums, Joe Lally on bass and Anthony Pirog on guitar — was on tour in the summer of 2025 when Canty knew it was time to go back into the studio.

This configuration of the band had debuted on record the year prior, releasing an acclaimed self-titled album via Impulse!, the legendary jazz label. But as the quartet logged serious time on the road, the drummer felt their chemistry evolving, so he called up engineer Don Godwin and booked a couple of days at Tonal Park in Takoma Park, Maryland, where The Messthetics and James Brandon Lewis was recorded.

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DOORS 7 /MUSIC 8

For just over a decade, EXEK has very quietly become one of the most hypnotic bands on the planet, mutating and growing from record to record, gradually opening themselves up without ever losing that strange, inscrutable, altogether essential quality that’s made them so great—so EXEK-y.

On 27 February, the Melbourne post-punk outfit—vocalist and chief architect Albert Wolski, guitarist Jai Morris-Smith, drummer Chris Stephenson, synth specialist Andrew Brocchi, trumpet-brandishing vocalist Valya YL Hooi, and bassist Ben Hepworth—will release Prove The Mountains Move, their seventh album and first for DFA. It is, as Wolski says, “a bit more 'epic’” than anything he’s recorded to date, a lush and unabashedly melodic set of surrealist pop that luxuriates in contradiction. “This record is experimental in its craft,” Wolski says, “but it may not necessarily sound experimental.”

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DOORS 7 / MUSIC 8
No Need To Be Lonely, the latest from Philadelphia band Gladie, is serene, but for only just a moment. For a moment it’s a swirling dream, like paper dancing in the wind, as Augusta Koch’s voice filters in all calm and measured with words that crack the surface of the heart. “Small dose of humiliation/it keeps me humble/it keeps me waiting,” she sings. And then a snap as incandescent rhythms arrive like wolves at the gate, all guitar and drums like a whirling storm, and the crack on the heart tears until it becomes an ocean.

Each minute on No Need To Be Lonely is a memory carried out on the nerves of the body, unshakable melodies that become blood in the veins. There is something about a good and perfect song that lives in your bones, as if it has become a part of you. What has long been the unshakable core of Gladie’s prowess is Koch’s indelible strength as a songwriter, a craft that has only been honed with time, creating inalienable hits that will burrow in and never leave the core of your memories.

NOUN is a new project from Marissa Paternoster (the former lead singer and guitarist of the band Screaming Females)

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Sluice, now a four-piece band from Durham, North Carolina—with Morris on guitar and vocals, Oliver Child-Lanning on bass and various instruments, Avery Sullivan on drums, and Libby Rodenbough on fiddle—return with Companion, their third album and Mtn Laurel Recording Co. debut. It follows 2023’s Radial Gate, the quietly beloved record Morris made after fleeing NewYork for a Craigslist house in Hillsborough with then-stranger Child-Lanning, tracking songs at Sylvan Esso’s studio Betty’s while working carpentry jobs and wondering, as he sings on “What The Fuck?,” if he should do something else like “go back to school.” Radial Gate caught him halfway out the door of music, steeped in a hermit-like loneliness of rivers, dams, and floodgates. Instead, its release brought the dream back, but it looked different than it did to the “kid reading in a bunk” on a tour bus, crying and asking, “What happened to it all feeling so good?” that he sings about in “Vegas.” Companion begins where that disenchanted loneliness leaves off. Recorded with producer/engineer Alli Rogers at Betty’s in the winter of 2024 and slowly tended over two years, it sounds like someone deciding there may yet be a dream of music worth struggling for—and that the point of that dream isn’t stardom or escape, but companionship.

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DOORS 7 / MUSIC 8

Mexico City based band Mint Field is one of these bands that make it shine. Guided by Estrella del Sol and Sebastian Neyra. Mint Field creates a unique blend of avant dream pop and shoegaze with some touches of trip hop that explores the nostalgia and melancholy of daily life with strong guitars and voices that are like sighs. Intrumentation and atmospheres are accompanied by delicate, harmonious and ethereal voices that are fundamental part of the sound.

With releases such as their debut album Pasar de las Luces (2018), Sentimiento Mundial (2020) and their most recent album Aprender a Ser (2023) and Aprender a Ser : Extended (2024). Their sound has evolved over the course of these years of touring all over the world.

In 2020 the band started fleshing out their latest album Aprender a Ser the follow-up to 2020’s minimalist psych/shoegaze album, Sentimiento Mundial.

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DOORS 7 / MUSIC 8
MEMORIALS, the duo consisting of Verity Susman and Matthew Simms (previously of Electrelane and Wire), create panoramic pop that draws on both the familiar and the strange, while also treading new ground. With their playful and experimental style, combined with a love of good tunes, they sit comfortably alongside Broadcast, Portishead, Arthur Russell, The Velvet Underground, Yo La Tengo and Tortoise.

‘Memorial Waterslides’ is the debut album from MEMORIALS. This is an otherworldly, surrealist pop record that is both timeless and timely, displaying a rare mix of classic songwriting and avant-garde attitudes.

The album is awash with imagery evoking a lost future, a veiled present and a daydreamed past, each song playing a role in creating a swirling, widescreen atmosphere, the listener taken along for the ride. Produced entirely by the two of them, the sound of the record was inspired by the reel-to-reel tape experiments they first played around with onstage as they began to develop their multi-layered recordings for live performances as a duo.

Following their acclaimed 2023 soundtracks ‘Women Against The Bomb’ and ‘Tramps!’, a European tour with Stereolab (they’ve been called “Stereolab’s evil twin”) and a new music commission from the Centre Pompidou in Paris, Verity and Matthew arrived at MEMORIALS in reverse, escaping their soundtracking day jobs to create cosmic journeys through the garden shed into psychedelic rock, far-out folk and wild analogue electronics.

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John Andrews has spent the past few years tucked away in Red Hook, Brooklyn—a neighborhood that sits just beyond the natural drift of the city. Once shaped by maritime industry and later a haven for artists in search of vast warehouse space, its history and isolation give it a quiet magnetism. Streetsweeper, the fifth album by John Andrews & The Yawns, reflects that vantage point—tranquil, self-contained, and curious about the movements most people overlook.

Sarah La Puerta is an artist, musician, and calligrapher who works in different dimensions. She was born in New Orleans, raised in Texas and now lives in rural upstate New York. Her favorite tree is the weeping willow, and her favorite flowers are water lilies.

Tubbys is happy to have our friend Andy Weaver/ruby of thanks back again!

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DOORS 7 / MUSIC 8
Pinpointing the specific catalyst for an avalanche can be slippery — any combination of classic elements, human interference, or freak accident can trigger disaster — and documenting these precise moments often rests on serendipitous reflexes. On Two Wheels Move the Soul, Robber Robber offer themselves as ignition and capture every sound in the wake. Involuntarily thrust into the throws of rootless nomadism, Robber Robber ringleader Nina Cates collects a series of pressurized vignettes to assemble the Burlington quartet’s thrillingly explosive sophomore album.

Two Wheels Move the Soul was written and recorded throughout the winter of 2024 and 2025, a season of Cates’ life characterized by near-constant upheaval. In January of 2025, Cates (and Robber Robber co-founder) Zack James were displaced from their longtime home at the behest of a landlord’s call to have their building demolished. In a moment’s notice — and amidst a particularly brutal Vermont winter — Cates and James were left to fend for themselves. Luckily, the two were able to tap a deep well of support within their community, finding respite on the couches of Lily Seabird, Greg Freeman, and Thus Love’s Echo Mars. An unused attic provided their longest arrangement.

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DOORS 7 / MUSIC 8

My New Band Believe, led by Cameron Picton, bassist and sometime frontman of black midi, with whom he practiced an explosive form of musical world-building, weaving complex storytelling through thrilling passages of controlled chaos. The moniker serves as an open invitation, a subtle nod to listeners willing to meet the music on its own terms, to reap the rewards of taking a flying leap into the dark. Picton leads his band so that each track forms, scatters and re-groups, the uplift of one song crashing head-long into the rush of another. Inspired by Bert Jansch’s hypnotic, hard-driving guitar, Judee Sill’s panoramic pop, and the terrifying possibility of dance music, My New Band Believe is both all-encompassing and constantly in flux.

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DOORS 7 / MUSIC 8
Marisa Anderson channels the history of the guitar and stretches the boundaries of tradition. Her playing is fluid, emotional, and masterful, featuring compositions and improvisations that re-imagine the landscape of American music. The New Yorker calls Anderson ‘one of the most distinctive guitar players of her generation’, and NPR refers to her as among ‘this era’s most powerful players’. Her music has been featured in Rolling Stone, NPR, The New York Times, Pitchfork, the BBC and The Wire. Festival appearances include Big Ears, Pitchfork Midwinter, Le Guess Who and the Copenhagen Jazz Festival. Anderson is the recipient of the 2025 Spark Award for Oregon Artists presented by the James F. and Marion L. Miller Foundation.

In addition to her solo work, Anderson is sought after as a collaborator and composer. Swallowtail, her second record in duo with drummer Jim White was released May 2024 on Thrill Jockey Records. 2024 also saw the release of the feature film score ‘ A Perfect Day For Caribou’, as well as appearances on records by Charlie Parr, Myriam Gendron and Big|Brave. In addition to multiple solo releases, past projects include 2021’s Lost Futures with guitarist William Tyler, and contributions to recordings by Matmos, Tara Jane O’Neil, Beth Ditto, Sharon Van Etten and Circuit Des Yeux, among others.

Classically trained, Anderson honed her skills playing in country, jazz and circus bands. Her current work is focused on a mid-20th century archive of recorded music from the Islamic world, Southeast Asia and the Soviet Union.

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DOORS 7 / MUSIC 8
Sydney’s Party Dozen (saxophonist Kirsty Tickle and percussionist Jonathan Boulet) are back with a new album Crime In Australia, the follow-up to 2022’s The Real Work. The Real Work proved to be an international breakthrough for the group. Tracks such as the Nick Cave-featuring “Macca The Mutt”, the radio-friendly skronk of “Fruits Of Labour” and the epic string-drenched beauty of “Risky Behaviour” won fans far and wide, enabling the group to take their wild and intense live show across four continents.

As with its predecessor, Crime In Australia was written, recorded, produced and mixed by the duo themselves in their studio in Marrickville, Sydney. This time, the location was more of an influence than on previous occasions:

“Marrickville in the 1960s-70s was a notorious crime hot spot. If a car was stolen, or someone was missing, they’d look for them in Marrickville. Since then, the area has been highly gentrified and slowly the once grimy industrial warehouse lined streets are being swapped for monstrous apartment blocks with palm trees.

We began without any theme in mind, just the beginnings of some song ideas. As we were discovering the songs for this album, each song felt more and more at home in an old cop tv series’ soundtrack. The Crime theme quickly became apparent.

The record feels split into two contrasting sides. The first half is ‘order’, being as listenable as Party Dozen has ever been. Each song is law abiding and dignified in its own place. The second half is ‘disorder,’ becoming more unlawful, unhinged, louder and noisier.”

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DOORS 7 / MUSIC 8
If We Could, Would We is the latest effort from Kingston / Brooklyn-based duo Gracie and Rachel (Gracie Coates and Rachel Ruggles), who have become known for their innovative brand of elevated indie-pop, complete with baroque string work and piercingly spare song structures. After releasing their self-titled debut to critical acclaim in 2017, Gracie and Rachel have been seen on stages opening for Ani DiFranco, Tori Amos, Julien Baker, Lucy Dacus, and others. They have performed two NPR Tiny Desk Concerts and been praised by the outlet to “mix pop and classical in stark, infectious ways and make unforgettable, surprising music.” Their 2025 single “WTF” earned praise from The Line of Best Fit who raved, “Gracie and Rachel Deliver Folk-Pop for the Future on “WTF,”’” and Rolling Stone which named it a “Song You Need To Know.”

The most personal and daring album of their career thus far, If We Could, Would We asks important questions about potential regret and openness, ultimately concluding that the only way out is through. It also finds Gracie and Rachel sharing space again after coming to a crossroads in their personal and professional lives. After the release of their 2023 EP Nowhere Now Here, Gracie spent part of the next year working on solo material, a journey that eventually led her back to Rachel, who was working through the end of a long-term relationship.

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DOORS 7 / MUSIC 8

If Izzy Hagerup’s new album, System, feels immediately uncompromising it’s because it was never really designed for public consumption. Released under her Prewn moniker, Hagerup describes the album as a “private journal made public.” The arresting nine songs on System chronicle a deeply personal journey through the darkness of depression, but one that’s always undercut by moments of humor as well as selfishness and self-reflection–a push-and-pull that feels wholly distinctive.

Following on Prewn’s 2023’s debut album Through The Window–a collection of songs that Pitchfork hailed as a “striking example of Hagerup’s ability to sit with ugliness”– System finds her crawling even deeper into the dense folds of the night. Hagerup alone wrote and recorded the album, mostly in long stretches of bedroom sessions that found her working through the night until she began to hear birdsong. System reckons with a lot of the thoughts that tend to needle in during those small hours: guilt, shame, and self-absorption, as well as the societal pressures that sit at the root of such things.

“This new album comes from a much more self-centered place, the stagnant aftermath of intensity and emotion,” Hagerup says. “I think it came from a period of time that was more numb, hollow, and confused. More disassociated from heartfelt pain, more entrenched in a frustrating and aimless discomfort.”

One of her generation's finest songwriters, Official Claire hails from the Chicagoland area. The Chicago Reader praised her “incisive, witty lyrics", while the Singleman Affair calls her a "stunning bliss/drone sorceress." Claire has been invited to perform at this year's Solid Sound Festival, where she'll be accompanied by former Wilco-ite LeRoy Bach, as well as Quin Kirchner and Brooks Palmer.