“Masana” is a fictional word created by Kikagaku Moyo to express a Utopian feeling; an existence where everything can interact harmoniously and offer inspiration and understanding. Their fourth album Masana Temples radiates this vision, architecting a vibrating world that isn’t confined to the known limits of what came before it. Kikagaku Moyo progressed from early days in Tokyo’s experimental scene to traveling the world with their mind-bending sounds, exploring different facets of psychedelia on each new release and blowing minds with a live show that was just as searching as their records. The shifting dimensions of Masana Temples are informed by various experiences the band had with traveling through life together, ranging from the months spent on tour to making a pilgrimage to Lisbon to record the album with jazz musician Bruno Pernadas. The songs came together in the wake of the band breaking up the communal house most of them had shared in Tokyo, with some members relocating to Amsterdam, and others moving to different parts of Japan. Transitioning from being based in the scene they had roots in to scattering around various locales made for an even more enhanced understanding of how mystically connected the sum of their parts were when the band reunited to record new material. The music is the product of time spent in motion and all of the bending mindsets that come with it. The band sought out Pernadas both out of admiration for his music and in an intentional move to work with a producer who came from a wildly different background. With Masana Temples, the band wanted to challenge their own concepts of what psychedelic music could be. Elements of both the attentive folk and wild-eyed rocking sides of the band are still intact throughout Masana Temples, but they’re sharper and more defined. Without sacrificing any of their experimental impulses, songs are more composed and cohesive. Pernadas’ bright production meets with nearly telepathically locked-in performances, on both lazy cloud-like jaunts like “Nazo Nazo” or fuzzed-out expeditions like lead single “Gatherings”. Drummer/vocalist Go Kurosawa, guitarist/vocalist Tomo Katsurada, bassist Kotsuguy, sitar and keyboard player Ryu Kurosawa and guitarist Daoud Popal Akira act as a unit, with an intuitive attention to space and dynamics that could only come from years of playing together in every imaginable setting. More than the literal interpretation of being on a journey, the album’s always changing sonic panorama reflects the spiritual connection of the band moving through this all together. Life for a traveling band is a series of constant metamorphoses, with languages, cultures, climates and vibes changing with each new town. The only constant for Kikagaku Moyo throughout their travels were the five band members always together moving through it all, but each of them taking everything in from very different perspectives. Inspecting the harmonies and disparities between these perspectives, the group reflects the emotional impact of their nomadic paths. Coming together in a way more deliberate than the beautifully floating improvisations of their Stone Garden EP or the sometimes hushed dreamstate of 2016 album House In The Tall Grass, Masana Temples is focused and clear in its vision in a way that feels unlike any of Kikagaku Moyo’s earlier sounds. Links: Website | Facebook| Bandcamp

Robyn Hitchcock is one of England’s most enduring contemporary singer/songwriters and live performers. A surrealist poet, talented guitarist, cult artist and musician’s musician, Hitchcock is among alternative rock’s father figures and is the closest thing the genre has to a Bob Dylan (not coincidentally his biggest musical inspiration). Since founding the art-rock band The Soft Boys in 1976, Robyn has recorded more than 20 albums as well as starred in ‘Storefront Hitchcock’ an in concert film recorded in New York and directed by Jonathan Demme. Blending folk and psychedelia with a wry British nihilism, Robyn describes his songs as ‘paintings you can listen to’. His most recent album is self-titled and marks his 21st release as a solo artist. Out on April 21 2017, the album is produced by Brendan Benson (The Raconteurs). Hitchcock describes it as a “ecstatic work of negativity with nary a dreary groove.” It has received rave reviews from UNCUT, Rolling Stone, Paste, Tidal and more. “A gifted melodist, Hitchcock nests engaging lyrics in some of the most bracing, rainbow-hued pop this side of Revolver. He wrests inspiration not from ordinary life but from extraordinary imaginings…” – Rolling Stone “These 10 gems slither, rock, roll, glide and shapeshift, coalescing around Hitchcock’s typically anxious, strained but striking and immediately identifiable vocals.” – American Songwriter “Beloved of everyone from Led Zeppelin to REM, Hitchcock has only enhanced his status with this wonderful outing.” – Hot Press “Witty, moving and seriously catchy, Robyn Hitchcock is a glorious return for a man who wasn’t really gone in the first place.” – Paste Magazine Links: Website | Facebook | Instagram | Twitter DJANGO HASKINS A songwriter based in North Carolina, Django Haskins has fronted the pop-noir band, The Old Ceremony, since 2004. He also forms one half of the psych-folk duo Au Pair with the Jayhawks’ Gary Louris. He has toured. He has been written about. In 2016 he received the NC Arts Council’s Artist Grant in recognition of his extensive creative exertions. He has been a part of the traveling circus known as Big Star’s Third since its inception in 2011. He has released a dozen albums of his songs in various guises. Links: Website

Turnover Links: Website | Facebook | Twitter | Instagram | Bandcamp | Spotify | Apple Music–> Men I Trust Links: Website | Facebook | Tumblr | Bandcamp | YouTube Renata Zeiguer Links: Facebook | Instagram | Bandcamp

You can hear black midi’s rehearsal space from the other end of the road. A rhythmic racket blasts from behind the iron lion knocker on the door of a dilapidated Georgian townhouse in south west London. It’s only when they’ve finished playing that they can hear it bang and let you in… Inside, the energy only lessens a notch. Geordie Greep, black midi’s curiously voiced singer, and guitarist Matt Kwasniewski-Kelvin sit with guitars on their laps, occasionally flickering out riffs to illustrate a point. The repartee between the pair, and bassist Cameron Picton and drummer Morgan Simpson, is quiet but quick and laconic. It’s a connection reflected in the intensely focused and driven live shows with which black midi have made their name, Over the past year or so, this fearsomely youthful group – Greep and Picton are 19, Simpson and Kelvin just a year older – have built a reputation for fierce, uncompromising and ever-evolving live shows that, though they’ve drawn comparisons to the likes of Shellac, sound like nothing else around at the moment. After a series of early gigs at Brixton’s Windmill, their increasing reputation led to requests for support slots with Shame, and a debut American tour that saw them win over new fans at SXSW and beyond. black midi bonded over shared musical enthusiasms, or “liking messed up things” as Kelvin puts it, including an appreciation for rapper Danny Brown, Death Grips, Deerhoof, Miles Davis and Talking Heads, who they like so much they called a song… Talking Heads. Greep says that “we’ve always tried to make it heavy but danceable, melodic but good rhythms. It is accessible music, there are experimental aspects that we’ve taken from when we went crazy at the beginning, we’ve just reigned it in to make something that is pop music.” It feels like an explosion from a group of young men who have long been steeped in making music. Morgan Simpson grew up in a church and took up the drums when he was two. Greep started out playing along to the likes of Franz Ferdinand’s Take Me Out and Black Sabbath on “the OG” Guitar Hero. “I was like ‘this is badass’, I thought the songs were sick so I borrowed CDs of my dad, I got into that music and thought ‘now let’s learn the real guitar'”, he says. The foursome all met at the Brit School, the music college that has turned out the likes of Adele, and are full of praise for their education and teachers for giving them a vital grounding in musical collaboration. While studying, the group paid their way by teaching music and doing sessions for friends, and Greep and Kelvin would go busking in Bromley. This actually ended up giving them one of their best songs, Ducter. “Back when we were kids, well three years ago, but when you’re a kid, busking is a chill way to make money. Some days versions of Jimi Hendrix’ ‘Purple Haze’ and blues and soul tracks might yield a couple of hundred quid, others were less lucrative. Sometimes we got £5,” says Greep. “It was one of those days when we got £5 and we thought, ‘let’s just jam our own stuff.’ People were saying ‘what’s going on?'” When the group began, they had far more rules and regulations about what should and shouldn’t be done. This evolved, says Greep, into an “anything goes” policy of experimentation, “if it works, if we keep thinking about it, just do it. If it doesn’t fit then who cares?” At first, the music they were making was “an ambient, droning, noisy thing” as Greep describes it, mutating into something reminiscent of Swans or the Boredoms, before songs like bmbmbm and Speedway started to take shape. Links: Facebook | Twitter | Instagram | Bandcamp

Links: Website | Facebook | Twitter | Instagram

In honor of late drummer, friend, son, brother and father Eddie Watkins, his family created EddieFest, the first in 2017. A benefit to bring awareness about suicide and suicide prevention. Music, art, laughter. For Eddie. Ok, folks, here’s the line-up for 2019, so far: Hammer No More The Fingers Triple X Snaxxx John Howie Jr. Secret Monkey Weekend Elvis Division Nikki Meets the Hibachi Lud Oort Patrol Tha Materials Yung Polvo JAMM Tha Nubian Whiz The Kid Zone Links: Facebook

AdHoc Presents Crumb is the collaboration of Brooklyn-based musicians Lila Ramani (guitar, vocals), Brian Aronow (synth, keys, sax), Jesse Brotter (bass), and Jonathan Gilad (drums). The friends came together in 2016 with the goal of developing and recording a collection of songs Ramani had written in high school and college, the work ultimately resulting in the band’s first two EPs, 2016’s “Crumb” and 2017’s “Locket.” Encouraged by the warm reception online and at shows, the band evolved into a full time touring and recording project. In June 2019, Crumb will release Jinx, their first full-length album and best distillation to date of their singular blend of psych-rock and jazz. On Jinx, Ramani continues to helm the songwriting, with Aronow, Brotter, and Gilad each bringing distinctive ideas to match her ethereal, intimate vocals and luminous guitar lines. Informed by two years of nearly non-stop touring, the songs sweep and swell to capture the beguiling live spirit of Crumb shows, while taking listeners one step further down the band’s dizzying, hypnotic path. Crumb has partnered with PLUS1 so that $1 from each ticket sold will go to Partners In Health and their work saving lives, revitalizing communities, and transforming global health, and to the Florence Project and their work providing direct legal and social services for detained adults and children under threat of deportation. Links: Website | Facebook | Twitter | Instagram

Guardin Links: Facebook | SoundCloud | Spotify *NOTE – McCafferty will no longer be performing at this show.

Anna Tivel and Maya de Vitry are teaming up for two months of touring with dates spanning the Northeast, Midwest, and West Coast. Tivel is touring behind her release The Question, which NPR called “one of the most ambitious folk albums of 2019.” Earlier this year, Maya de Vitry released her debut solo album Adaptations. Rolling Stone Country lauded the effort by saying, “de Vitry’s songwriting balances her intensely personal, microscopic style of storytelling with a straightforward, accessible delivery.” Anna Tivel Links: Website Maya de Vitry Links: Website

San Fermin’s third studio album, Belong, marks a shift in songwriting perspective for bandleader Ellis Ludwig-Leone. “In the past I’d usually write through characters from books or movies, as a way to try to distance myself from what I was writing about,” says the Brooklyn-based artist. “As I’ve become more confident as a songwriter, I decided that I could drop some of the artifice and write something more direct.” In bringing a more personal slant to his music, Ludwig-Leone found himself confronting such matters as disconnection, displacement, and-perhaps most significantly-everyday anxiety. “Anxiety is something I’ve dealt with since I was a kid, but on this album I talked about it more explicitly than I ever had before,” he points out. Produced by Ludwig-Leone and brought to life by his fellow performers-lead vocalists Charlene Kaye and Allen Tate, trumpet player John Brandon, saxophonist Stephen Chen, violinist Rebekah Durham, drummer Michael Hanf, and guitarists Tyler McDiarmid and Aki Ishiguro-Belong unfolds in warm, intoxicating textures that both contrast and intensify that sense of unrest. The album’s hypnotic sound is embodied in “No Promises,” a shimmering pop opus about the fear of disappointing those who’ve placed their trust in you. On the quietly frenetic “Bride,” San Fermin conveys a fear of commitment by juxtaposing the idyllic imagery of wedding flowers with a detailed account of suffering a panic attack. And with “Dead” (a song about “not wanting anybody to depend on you,” according to Ludwig-Leone), the band telegraphs defiance in a gorgeously jagged arrangement built on clattering rhythms and Kaye’s penetrating vocal performance. Elsewhere on Belong, San Fermin explores the intersection of desire and danger (on the subtly sinister “August”) and paints a tender portrait of self-destruction (on “Perfume,” a sweeping and cinematic track laced with piercing lines like “You can lose anything that you put your mind to”). On the brightly charged and bravely candid “Better Company,” meanwhile, Tate’s intimate vocals meet with stomping beats and furious strings. “That song is about my lifestyle when I’m not on tour, how I just sit in the basement and work on music and the house is kind of a wreck,” says Ludwig-Leone. “It’s recognizing how I don’t always keep myself the best company.” One of the album’s most powerful tracks, the slow-building “Belong” finds Tate and Kaye trading off verses to conjure up moments of gentle devastation. “‘Belong’ is about loving someone really deeply but also having the sad realization that you’re not always present with them,” says Ludwig-Leone. “But at the same time it’s also saying that that’s not necessarily wrong. It’s about acknowledging the isolation within love.” Throughout Belong, San Fermin brings both elegance and raw passion to their performance, an achievement that Ludwig-Leone attributes to the band’s increasingly potent chemistry. “One of the nice things about this record was that, for the first time, I was writing for people I know super well and have performed with hundreds of times,” he says. “I feel like I really understand these musicians now and know what they want to do.” Links: Website | Facebook | Instagram | Twitter | YouTube

“King Buffalo is a psychedelic trio in the classic format of bass, drums, and guitar, whose expansive and thunderous music is anything but easily definable. Formed by three long-standing members of the blooming Rochester, NY rock scene, King Buffalo gathered in September of 2013 to start working on a new musical collaboration in a heavy rock vein. Their efforts spawned a demo release and several splits and one-offs which, coupled with their impressive live show, quickly gained them an international audience. Nearly exactly three years after their formation, written during and out of jam sessions, (King Buffalo released Orion)… nine tracks that are texturally rich and oozing with psychedelic goodness, yet honed and driving in the next blink of an eye. Lush, shimmering melodies á la Dead Meadow and free-flowing grooves… with the full force of fuzzed-out stoner rock riffs, all coinciding organically. Impressively, King Buffalo’s focus extends beyond composition and into the technical realm; Orion was recorded entirely by the band in the very same rehearsal room that played host to the songs’ creation.” – Sludgelord “The question of how… heavy psych upstart trio King Buffalo will follow-up their debut full-length, Orion, is answered in the form of the three-track Repeater EP. In the year-plus since the album’s first, (self-)release in 2016, the three-piece of guitarist/vocalist Sean McVay, bassist Dan Reynolds and drummer Scott Donaldson signed to Stickman Records and oversaw an official issue of the record and have toured Stateside with All Them Witches and in Europe alongside labelmates Elder, and the EP brings three new cuts that represent the first new music they’ve produced following this productive time. It is 24 minutes of material, and more than 13 of that resides within the opening title-track (also the longest of the set; immediate points), but in terms of flow and conveying a sense of how their progression is unfolding, Repeater feels like the first chapter in a larger story more than a standalone offering. That is to say, the vibe is more mini-album than single-song showcase for throwaways or “extras” from a recording session. Part of that may of course owe to the fluidity in King Buffalo’s approach overall, which was certainly a factor on Orion and just as certainly hasn’t at all been diminished by the stretches of time they’ve spent on the road, but there’s a perceptible resounding in the molten aspects of “Repeater,” “Too Little too Late” and “Centurion” that underlines the purposefulness with which King Buffalo engage such an open feel in what they do. Jamming is a crucial part of it at their foundation, but as far out as they go, their chemistry is put to use in servicing a song, even in something as vast as “Repeater” itself, which is their longest single track to-date. I don’t know and won’t try to speculate where King Buffalo might go with their sophomore full-length when the time comes for it, how they might continue to grow, what they might push toward in terms of arrangements or execution or general sound, but Repeater finds them brimming with confidence both as individuals and as a unit, and their songwriting here hits a new level of craftsmanship that only raises one’s hopes even after such an impressive debut long-player. The question isn’t so much whether King Buffalo are prepared for their next step as it is whether their audience is ready to realize the special moment playing out in front of them.” – The Obelisk Links: Website | Facebook | Twitter | Instagram | Bandcamp

Raleigh-based Thirsty Curses is garage rock outfit formed in 2017 as a vehicle for singer-songwriter Wilson Getchell’s material. Thirsty Curses is comprised of Wilson Getchell (vocals, guitar, piano) and Kelley Otwell (lead guitar), Phillip Harrington (drums), and Claytron Herring(bass). Thirsty Curses’ sound covers a fast array of rock ‘n roll subgenres including punk, folk, country, prog rock, 90s alternative, and pop. 
 Indeed, as was noted by Alternative Addiction in their review of the band’s sophomore record All Shook Up (2018), “the band has an eclectic sound that touches on everything from punk rock to folk. They sound like a cross between the Avett Brothers and Rise Against. On their new album that diverse sound is delightfully all over the place.” Dying Scene online music mag similarly raved
 “As schizophrenic as their genre influences seems to be, the one common denominator is that I dig every single track I’m hearing.” Thirsty Curses Links: Website | Facebook Sick Ride Links: Website | Facebook Housterino Links: Facebook

Songwriters. Singers. Multi-instrumentalists. Brothers. At only 26, twins Eric Travers and Kyle Travers have been writing songs and stunning live audiences for well over half their lifetime. Presenting soulful, bluesy, rock n’ roll spun in psychedelic jam, Travers Brothership; also including singer, bassist, songwriter, Josh Clark, and keyboardist, songwriter, percussionist, Ian McIsaac, create a fierce and balanced team, strengthened by the 13 years they’ve spent together on and off the road. The band first met in 2007 on a school bus in the Blue Ridge Mountains of Western North Carolina. Soon after the Travers twins were invited by Josh and Ian to get off at their bus stop for a jam in Josh’s garage, little did they know this was history in the making. After numerous jams and a few lessons from Eric and Kyle’s father (and veteran touring musician) “Hurricane” Bob Travers, Travers Brothership was formed in 2012. With over 400+ shows across the United States and Europe under their belts, the band has become a well oiled machine, performing alongside acts such as; Gov’t Mule, Taj Mahal, J.J. Grey & Mofro, Moe., Kyle Hollingsworth Band, Blues Traveler, Charles Bradley, Leftover Salmon,The Marcus King Band, Dr. John, and many more. Travers Brothership are consummate musicians and live music aficionados with a deep understanding of their preferred genres. Utilizing the band’s unmatched live energy, they create a concert atmosphere that transforms an audience into a community and their enthusiasm, gusto, and talents carry the day. In 2018 Travers Brothership brought their instrumental prowess and tasteful songwriting to Echo Mountain Recording Studios and The Eagle Room in their hometown of Asheville, NC. The result, “Let The World Decide” adds to their already abundant catalogue, and sets a new bar for the band musically. “Travers Brothership ripped into seemingly every stage at FloydFest, with guitarist Kyle Travers displaying raw talent and six-string exploration in equal measure. Alongside his twin brother, drummer Eric Travers, the siblings and their two childhood friends revealed a mature sense of self.” – Rolling Stone (2019) “Travers Brothership, is captivating audiences across the United States.” – Relix Magazine (2017) Links: Website | Facebook | Twitter | Instagram | YouTube

Office Hours is a dance party and live video performance from a collective of disc-jockeys, wave technicians and visual artists at UNC-Chapel Hill. 10% of proceeds will benefit the Compass Center. Starting as the final assignment for an independent study within UNC’s Media and Journalism school, this experimental audio-visual performance was the brainchild of producer Nicholas Byrne. Bridging his early musical background with professional experience as a video editor for record labels, Nicholas envisioned a live show in which musical and visual elements were crafted side-by-side, complementing and reacting to each other for a more holistic sensory experience. Artists Scott Diekema, Elinor Walker, and Webb Hinton joined Nicholas to develop Office Hours’ unique visual style. Scott, Nicholas, and fellow VJs John Vance and Maxwell Bryn use video synthesizers to mix and distort the show’s live camera feeds with VHS and digital animations. Audio reactive analog visuals are painted onto a network of CRT televisions that invite audience participation. The team’s expertise in animation, live video software, and stage design allow for Office Hours to experiment with emerging and legacy technologies simultaneously. Collaborators include Elinor Walker, Amy Vaughn, Roi Plotkin, James Creissen, Michael Gu, Maxwell Bryn, John Vance, Austin Robichaud, Gentry Fitch, Karma, J Dasani, and Funeral. By blurring audio-visual boundaries, Office Hours aims to create a fun and immersive concert experience. If you have any questions, just come to Office Hours. Line-up: 9:30-10:15: DJ New Camper 10:15-11:00: Pixel Princess 11:00-11:45: DJ Tex 11:45-12:30: Amy Daytona + DJ River Rat 12:30-1:15: ARTS+CRAFTS 1:15-2:00: DJ Chooch Instagram: @officehours.tv

Beach Bunny is the singer-songwriter project and stage name of Lili Trifilio, with tunes reminiscent of alt-pop and “sadgirl” music, beginning in 2015. Adding musicians Matt Henkels (guitar), Jon Alvarado (drums), and Anthony Vaccaro (bass) to her live performances in 2017, Beach Bunny is a Chicago act you don’t want to miss. From people falling head over heels for Lili’s sweet voice and catchy composition style, her latest release Crybaby took Chicago by storm. Drawing inspiration from heartache, her brother fighting cancer, struggles of being a female in the scene, and everyday obstacles – you can listen to Beach Bunny on almost every streaming platform. Described as “Zooey-Deschanel-meets-the-Beach-Boys-type vibe” by Crafted, stay tuned for what’s to come from Beach Bunny this year.

Links: Website | Facebook | Twitter | Instagram | Spotify | YouTube | Apple Music

La Dispute has never been a band prone to settling. The five-piece from Grand Rapids, Michigan, is responsible for some of the most uncompromising, experimental hardcore music of the last decade. From their 2008 debut (in their current formation) Somewhere at the Bottom of the River Between Vega and Altair, to 2011’s Wildlife, to 2015’s Rooms of the House, La Dispute have continually pushed themselves to find new ways to portray some of the most difficult and universally affecting subject matters. Casting a wide stylistic net that includes – but isn’t limited to – jazz, blues, spoken word, screamo and prog rock, La Dispute have developed a sound that, while constantly evolving, is unmistakably theirs. A lot of structural change has taken place around the band since Rooms of the House that has forced them to adapt. La Dispute has always kept a tight grip on their own reins. Their first two records came out on Californian independent label No Sleep – trusted home to many of the bands they cut their teeth alongside – while Rooms of the House was released through their own label, a subsidiary of Vagrant records. After Vagrant was bought out by BMG in 2014, the band found themselves looking for a new home, ultimately finding one in Epitaph. Their fourth full-length, Panorama, is the first fruit of this new relationship. Recorded between November 2017 and August 2018, Panorama is in many ways a continuation on a theme. It’s a highly ambitious and deeply affecting body of work that filters narrative storytelling through a personal lens, like a set of Joan Didion essays set to music. It’s heavier and weirder than previous efforts, taking the intensity of Wildlife and the patience of Rooms of the House and using them as pillars upon which to build something new. And, in doing so, they have broken through their own ceiling and set a new one. Panorama has not been without its challenges, both creatively and practically. Only three members were living in Michigan when they started writing, with drummer Bradley Vander Lugt now living in Australia. Out of necessity, the incubation period for ideas began with back and forth over the internet, but the bulk of the writing had to be done together in their hometown of Grand Rapids. So, finding a time when Brad could make the trip with his family, they blocked three months off to write and rented a studio space to work 9-5 through the week. For over two months, they worked in separate rooms on individual tracks based on a rough concept and outline that Jordan had put together. They had around seven tracks finished when they came to the decision that no one was happy with them. With only the weeks before Brad was due to fly back to Australia left to work with, they scrapped everything and started all over again. “In general, I think working apart when we were all there together was a waste, but I think we had it in our heads that there was a direction we should be going. That we needed to pick up where the last record left off and push further in the direction of quieter, more structured songs, but that never felt right,” Jordan says in retrospect. “Feels a bit silly to say, but when we started over we all more or less just went by instinct. What happened felt right, and that’s really where the record started.” Links: Website | Facebook | Twitter | Instagram

Zebbler Encanti Experience (aka “ZEE”) is an audio/visual collaboration between video artist Zebbler and electronic music producer Encanti, based out of Boston, USA and Valencia, Spain. The Experience is an immersive performance of mapped visuals on three custom winged projection screens, synchronized with heavy peak-hour psychedelic bass music, resulting in the creation of a fantasy world for audiences to lose themselves in. ZEE have seen a considerable amount of road time in the last few years, serving as integral members of multiple tour teams. The architect behind the projection mapped projects for Shpongle and EOTO, and assisting with Infected Mushroom’s stage construction, Zebbler has toured the United States nonstop producing visual shows and performing as a VJ at hundreds of high profile events. In addition to ZEE performing as direct touring support for EOTO in venues throughout the country, and performing in Shpongle Live band during their first few shows in the United States, Encanti has carved out some time to teach electronic music production to graduate students in Valencia, Spain wing of Berklee College of Music. Links: Website | Facebook | Instagram | SoundCloud

Uniontown — The Honey Pumpkins — Idle Hand No cover, but donations are encouraged