Lozen
"LOZEN are a two-women band named after an Apache warrior woman, whose spirit they attempt to channel through thunderous chug, schizoid dynamics and banshee (definitely not Siouxsie) wails. Certainly a promising premise for some righteous fury. Other, less dead and red spirits channeled here include MELVINS and UNWOUND."

Canyon Canyon
Two piece from Tacoma armed with a Telecaster, a baritone voice, and a drum kit.

Frustrations
Detroit's Frustrations: "their sound is caught somewhere between proto-punk and the early dissonant days of 90s-era hardcore. Relentlessly driving, droning, moaning, and whining, they do their best to avoid any semblance standard rock fare. It's pure rebellion without a cause, and it finds beauty in the noisy ugliness." - Mish Mash

The Mindless Things

Barbara Manning & the Sleaze Tax
"The Sleaze Tax plays only fast songs, kind of punk indie, with no ballads." - Barbara Manning

Woog Riots
In the fast rotating indie-subworld inhabited by the German-Italian Woog Riots, it’s just a quick short-cut from riotpop / garagefolk to twee-rave and dance-punk!

Barn Owl
"Clothed in a fine art sleeve that depicts a four-armed shaman clad in stags horn and wolf-skin, this record is an Ur-howl from the ancestral underworld, a canyon deep Gnostic trip." - Julian Cope

Tecumseh

Squim

Oaxacan

Punk Rock Sideshow w/DJ Tragic & the Duchess of Hazard, every Monday

The Lickets

Caroline Weeks (Bat for Lashes)
"Quite apart from her sidewoman status Weeks is revealed as having a pure, very English folk voice of the type channeled by Sandy Denny, Vashti Bunyan, Karen Dalton and Anne Briggs, most recently exemplified in the gothic fairytales of Weeks’ fellow Brightonian Mary Hampton. It’s all very minimal, almost entirely backed solely by smoky, spare fingerpicked acoustic the better to let the words stand out." - The Line of Best Fit (UK)

Corridor

Buttercream Gang
Physically propulsive mix of 60's pop, psychedelic rock, afrobeat, punk, dub and dance music.

Raised by Robots
"Anthemic choruses amidst dark, atmospheric post-post-rock, pulling the listener through winding, unexpected song structures that offer pop rewards to those who hang on for the ride. Elsewhere, songs spread out over rhythmic pulses alone, stretched into skeletal rock exercises until climaxing with fits of guitar abandon."

New Thrill Parade
"An aggressively sharp mix of screechy noise and throwback ’80s British goth (you know, the stuff that was more about dark sound than dark makeup). Opening track “Ululations” is a vocal powerhouse that’s inappropriate for just about any social gathering except a total freakout, held in somebody’s black-painted basement with half-blown amps and copious amounts of hard liquor. While the overall ambiance is one of decades-old angst, there’s an underlying sense of humor that keeps the moaning vocals sounding approximately modern. “Who Let the Goths Out?” is a cattle stampede of sarcasm; “The Ostrich” playfully bends metaphors around the wailed word sand; “Peace Punch” features poetry slam vocals over a weirdly effective bed of horns before stumbling into gnashing rock. For all the ear-bleeding and distortion, the primal thrust of Universal Shame is not all that far removed from poppy experimenters like Talking Heads—David Byrne flunks math class and goes home to let his rage simmer in depression and acerbic breast-beating." - Good Times Santa Cruz

Al Qaeda (w/Mike Watt)
"Despite its name, San Francisco's al Qaeda is not a terrorist organization of extremists. The three-piece however has strategically rained destruction upon the music map over the last couple of years, spraying the rock landscape with a volley of bomb shrapnel scuzz and drone warfare. In its wake, the last crumbled remnants of the locale are consumed by a gauzy brume of ambient murk and fizzing dust. Bassist Mike Watt (the Minutemen) and drummer Jose Palafox (Swing Kids) join the group on this particular raid." - 96 Hours

Dalmacio Von Diamond and the Enochian Keys
Far from the noisy stuff usually associated with his familiar Smell scene, Von Diamond calls the work "simple pop songs in the vein of Scott Walker or the Divine Comedy."