The Farewell Season
The Farewell Season plays music made for a long drive down a back highway. The band slides effortlessly from Americana, to folk, to indie and back again. What started as friends passing time across the internet during the pandemic turned into a band that splits time between Omaha and the Twin Cities these days. Formed by frontman Nate Gasaway (The Big Deep) and drummer Taylor Stein (Ten O’Clock Scholars), the lineup is rounded out by Paul Gedbaw on guitar and Justin Crow on bass; both veterans of the Nebraska music scene.
Cryogeyser
Sam Blasucci & Julia Zivic
Sam Blasucci is best known as one half of Mapache, a Southern California roots-rock duo just as instantly recognizable for their elegant, intertwined guitar parts as they are for their devoted, Nudie-Suit wearing fanbase. But when Blasucci was writing the songs that would become his debut solo record, Off My Stars, he found himself less focused on the guitar and more gravitated toward a different instrument: piano. The mother of Clay Finch, his Mapache bandmate, was getting rid of one, and so Blasucci took the piano, carefully transporting it to his home in Ojai, California, with the help of a few strong friends, including Farmer Dave Scher of Beachwood Sparks (and a Mapache collaborator). “Farmer Dave wasn’t even wearing shoes,” Blasucci remembers, laughing. Once the piano was safely in there, he became deeply attached, playing on it multiple hours a day: “It’s changed the way I think about music, having all the keys laid out in front of me,” he explains. “Having that sort of changed everything.” Also inspired by his recent time riding out the pandemic in New Orleans, where the clubs may have closed but the music never stopped, Blasucci used that piano to start writing one of the most inspired batches of songs of his career thus far. New gems like “Turn Yourself Around” and “Sha La La” were developing with a Southern swing and classic songbook sparkle, and when assessing the growing stack of music he was working on, Blasucci realized that there was something about these tunes that wasn’t quite suited for a Mapache record. Infused with an honest, personal perspective about settling into adult life—about developing as a person and a partner and a family member—these songs were straight from the heart, a clear window, recently Windexed, into the life of one of the most talented members of the L.A.-area underground rock scene. __ Julia Zivic’s music walks a tightrope between tenderness, and power, effortlessly captivating audiences with her ability to navigate intricate emotional landscapes with ease. Julia Zivic’s latest album Good Cry (2022) is sonic storytelling, touching on subjects that journey through the spectrum of death, love and gratitude.Julia lends her songwriting and live performance to esteemed projects like Carrtoons, Rae Kahlil, Joey Dosik, Joanna Teters, Pale Jay, Yoh, Marigold, Ghost Funk Orchestra and more. Recently, Julia garnered further recognition on NPR Tiny Desk, lending her vocals, songwriting and performance to collaborator Ben Carr’s performance under the project Carrtoons. When she’s not on tour with one of her many collaborators, Julia is home in the Hudson Valley as the Director of Music and team member for Beacon Open Studios, a yearly cultural event showcasing the power and importance of the local art scene in The Hudson Valley. She’s also a music and events curator at The Yard in Beacon, NY. Julia, a self-proclaimed homebody, enjoys immersing herself in community when she’s not performing elsewhere.
Hangover Ball
Being Dead
Being Dead — the Austin, TX-based duo consisting of Falcon Bitch and Shmoofy — announces its new album, EELS, out September 27th on Bayonet, lead single/video “Firefighters,” and a fall headline tour. Being Dead’s records are mosaics, technicolor incantations, each song its own self-contained little universe. And while the dreamlike EELS probes further into the depths of the duo Being Dead’s psyche, it is, most importantly, a 16-track record that is genuinely unpredictable from one track to the next. It’s a joyous and unexpected trip helmed by two true-blue freak bitch besties holed up in a lil’ house in the heart of Austin, Texas.
Dylan LeBlanc & David Ramirez
Dylan LeBlanc is a singer-songwriter and multi-instrumentalist who often finds himself flirting with the edge — or “dancing on a razor,” as he calls it — as it is all he has ever known. A verdict vagabond since he was a little boy tossed between Texas, Louisiana and Alabama, LeBlanc thrives on the precipice, never staying in one place for too long. It is that nomadic spirit that drew him not only to a life as a touring musician, but also to the beast that titles his newest record: ‘Coyote.’ LeBlanc says he has always related to the insatiable, scavenging nature of the wily coyote. Much like the animal, LeBlanc is a wanderer who knows when to trust his instincts, musically and otherwise. It is a spiritual kinship that runs deep, but he credits one particularly hair-raising face-to-face instance with solidifying his bond with the animal. LeBlanc was in Austin, Texas, climbing the face of a 100-foot cliff, gambling with Mother Nature’s good graces as he pulled himself up by tree branches. Once he reached the top, all that laid ahead of him was a lush treeline. There was a breath of stillness, then the sound of a thunderous rustling that drew closer and closer to him. In a blink, LeBlanc watched as a frenzied raccoon came speeding out of the treeline, trailed by an animal that stopped and stared at him with striking intensity: a coyote. “We’re looking at each other dead in the eyes…and I’m saying — out loud — ‘If it’s you or me, I am going to kick you off the side of this cliff. I’m not going down.’ It was intense, this human-animal moment,” LeBlanc recalls. “I’ve never forgotten that… he was just trying to survive and so was I.” ‘Coyote’ is LeBlanc’s first self-produced release, boasting a cherry-picked lineup of what he calls “killer session players,” such as drummer Fred Eltringham (Ringo Starr, Sheryl Crow), pianist Jim “Moose” Brown (Bob Seger), and bass player Seth Kaufman (Lana Del Rey). Though ‘Coyote’ covers familiar ground for LeBlanc of living on the edge of danger and its many consequences, the record is both autobiographical and a concept album built around the character of Coyote, a man on the run. __ David Ramirez took a little time to get back to himself, and now he’s dead set on making music for himself—for the sake of the music… and nothing else. “I love all the records I’ve made in the past. But in making them, there was always the thought in the back of my mind of where and what it could get me. I made both creative and business decisions with a goal in mind… a goal that often never came. This time it was all about just the joy of making it, about having fun with it.” The Austin, TX-based singer-songwriter—whose decades-long career has seen six fulllength studio albums, three EPs, countless collaborations, and an illustrious supergroup project in Glorietta—spent a season of rest away from his focus on writing songs. In the wake of the end of a long relationship, he wanted to prioritize processing his grief as a human, not as an artist bleeding on the page. “The last thing I wanted was to write a heartbreak record. So I stopped writing altogether, and I just waited until I saw my heart start coming back to life. I wanted the next thing to be hopeful and sweet and beautiful—a testament to music and my love for it.” David’s new record All the Not So Gentle Reminders, which comes out March 21, 2025 via Blue Corn Music is exactly what he was waiting for. The 12-song album is an expansive succession of dreamlike songs that tell his stories, yes—but more than anything lean into the possibilities of the trip that music can take us on.
Carver Jones & The American Dreamers
The Arcadian Wild
The Arcadian Wild is a four-piece indie folk/pop group from Nashville, TN. Ledby songwriters Isaac Horn and Lincoln Mick and Bailey Warren on fiddle, The Arcadian Wild confidently inhabits and explores an intersection of genre, blending the traditional with the contemporary. Combining elements of progressive bluegrass, folk, and formal vocal music, The Arcadian Wild offer up songs of invitation; calls to come and see, to find refuge and rest, to journey and wonder, to laugh and cry, to share joy and community and sing along. The band’s 2023 album Welcome marks the start of a captivating new chapter for the genre-bending trio, who returned to the studio with renewed purpose and insight after devoting the last few years to a series of critically acclaimed singles and EPs. Like much of the band’s catalog, the album blurs the lines between chamber folk and progressive bluegrass, drawing on everything from country and classical to pop and choral music with lush harmonies and dazzling fretwork, but this time around there’s a rawness to the writing, an embrace of candor and simplicity that cuts straight to the heart of things like never before. The result is perhaps the most arresting collection yet from a band known for its ability to stop listeners dead in their tracks, an exquisitely beautiful celebration of community, connection, and the power of belonging that feels tailor-made for these challenging times.
Neva Dinova
Neva Dinova’s reinvigorating full-length Canary features a new lineup, fresh perspective and a sound more urgent than anything they’ve created in the past. Recast after 15 years of inactivity and newly energized by a tour offer from longtime Omaha friends Cursive, songwriter/guitarist/singer Jake Bellows started sending demos to drummer Roger L. Lewis and just-recruited bassist Megan Siebe. They began woodshedding new songs, and the latest incarnation of Neva Dinova was born. After an East Coast run, the band returned to Omaha to record Canary at Make Believe Studios. “I’m trying to cover a lot more space in the band now because there’s only one guitar, so I write a little differently in order to cover that space.” (An understatement considering the previous lineups of the band featured three guitarists.) The result is an album that is more focused while still allowing for the occasional Neil Young-inspired guitar solo or unexpected sonic flourish. The songs on Canary were honed on the road allowing for a largely live recording session that captures the visceral energy of the band. There’s a beauty in the imperfections: The subtle buzzing of the amp, the finger noise on the strings and Bellows’s voice rising above all of it in a way that’s distinctly Neva Dinova. Canary is a raw and unfiltered glimpse of Bellows’s psyche and an electrifying batch of songs — unpretentious, empathetic, weathered, and wizened. It also marks a second act for one of indie rock’s most underrated acts.
Friko
Friko, a trio that’s cemented itself as a stalwart in the Chicago music scene, is frontman Niko Kapetan, and drummer Bailey Minzenberger. Their most recent release, “Crimson To Chrome,” is an anthemic offering, Kapetan’s vocals incendiary. It received glowing praise and attention from Pitchfork, Brooklyn Vegan, and Consequence, who wrote “Friko toggle between loud and quiet, thoughtful and self-deprecating, while never expressing anything less than the unbridled joy of noise.” FLOOD wrote the Chicago-based power-pop group is “certain to stand out among the hundreds of acts gracing the various SXSW stages this year.” And that they did. The band took SXSW 2023 by storm, playing packed showcases over several days that made their Austin-debut a must-see occasion. Bolstered by the unwavering support from Chicago’s music scene, the buzz around new music, and the pure excitement witnessed at SXSW, the interest from labels is voracious and ever-increasing. Friko’s music is complex and dynamic, flickering between explosive rock, chamber pop, and serene sonics. It becomes even more pronounced in their live performances, where a crowd frenzied by wailing guitars finds itself minutes later collectively holding its breath, enamored by hypnotic strings and Kapetan’s emotive vocals. As the band plays out sweeping melodies, held up by thrashing guitar and punchy beats, it feels as if Kapetan sings to you. Crooning about stories you know, memories you had but have somehow forgotten.
