Blasted grassland, the thin ribbon line of the freeway unspooling beneath wheels, skies stretched wide between mountaintop. It is dream music, foggy, atmospheric, the melodies you hear while you gazing out through fingerprint smeared windows into a constantly moving, metamorphing - landscape…. It makes sense then, that BRONCHO, born out of out a film project, its initial incarnation sparked when founder Ryan Lindsey was asked to create music, “to set to an early 80s punk film.” “That’s all I knew about it,” he remembers, “they were looking for songs that touched this era. And songs kept coming to me and turned something on inside of me artistically.” Lindsey found himself in the midst of prolific run of songs and he liked the idea “of starting out there and seeing where it could go.” What’s evolved from those first tracks there has been a steady run of success, critical accolades and two full-length albums; 2011’s Can't Get Past the Lips, 2014’s Just Enough Hip to Be Woman. And beneath it all – the music has been constantly mutating and ceaselessly experimental. From that first inception as a soundtrack in 2010, BRONCHO has taken on a life of its' own – initial inspiration still there, but now pushing far beyond the stiff confines of score. And what began as an ode to ramshackle, high-energy early punk has become something deeper, weirder, and much more nuanced. The undercurrent of early 1980 punk is still there, but The Ramones pogo has been replaced more often by a kind of Love and Rockets inspired, honeyed, cotton-mouthed drift. Double Vanity is Lindsey and band mates Ben King, Nathan Price and Penny Pitchlynn steadily moving ahead, transforming the raw angst of the first record into a sound decidedly more layered and complex. Tracks like “New Karma" or “Two Step" riff off the later explorations of punk, culling up refracted images of John Hughes prom nights, love songs echoing from a boom box held high. "Jenny Loves Jenae" and "Speed Demon" strut with an when 80s met 50s swagger, discord transformed into a jagged, frenetic pop. "Señora Borealis" is all bad boy sneer - sensual, moody, with a sly and predatory swagger. "I Know You" is simultaneously infectious and brooding, somehow both exalting and heartsick. The result is a record that veers gleefully from BRONCHO’s roots, moving from graffiti spray backrooms into a sleeker, plusher sound, a place bright with the polished gleam of chrome and bleached white sunlight. Close your eyes and what you feel is the raw wound pulse of adolescence, what you see behind your lids is suburban shopping mall wastelands, glazed eyes, dead grass, lips glossed in bubblegum pink. There is the burst chest thump of teenage longing, the smell of hairspray and cigarette. There is glow of neon and the glint of streetlight rolling across hood. Double Vanity evokes a shared nostalgia, for the past and for the unknown future, as BRONCHO takes a turn off the wide freeways and into a world of intimate, intricate - but always universal - emotion.

By name alone, The JAG may suggest hard corners and sharp edges, but their baroque moods comprise more winding curves than straight lines.  Founding members Aaron Tyler King, Joe Regan and Gant O’Brien are going on a 10-year history of musical collaboration spanning three bands, originating in the saintly Southern Gothic heat of Jackson, Mississippi.  Finding themselves in Nashville, TN in 2012, the three joined with Scott Harper to form The JAG and have been evolving in fascinating ways ever since. Starting with an informed homage to 60’s acid rock and early glam, the band quickly progressed into a rare mix of influences.  Singer Aaron Tyler King tangos like a bayou David Byrne, calling out opaque aphorisms with the same clarity and conviction.  Highly composed, slanty keyboard hooks and bass lines pay clear respect to the likes of Brian Eno in his famous work on Bowie’s Heroes.  Brooding shoegaze occasionally peeks in the door, Marc Bolan tips his enormous top hat, and the ever-present psychedelic groundwork ties the music with a fancy bow into a compelling whole. This potent mix has garnered significant attention within the Nashville rock scene. After touring with Grace Potter and the Nocturnals and collaborating with Ben Trimble of Fly Golden Eagle, The JAG recorded their sophomore album with the Bomb Shelter’s Andrija Tokic (Alabama Shakes, Hurray for the Riff Raff, Fly Golden Eagle, Benjamin Booker).  Although officially composed of four members, the live lineup fluctuates Brian Jonestown Massacre-style, boasting up to eight members in various configurations. A new full-length record is due to be released early Fall of 2015. Vocals / Aaron Tyler King Bass, Vocals / Gant O'Brien Guitar / Joe Regan Drums / Scott Harper Photographer / Tim Duggan

Ishi was born as an experiment between friends in Dallas, TX. In 2007, JT Mudd & Brad Dale set out to create a sound that would redefine their own voice in modern day music. Their vision was to blend the classic, soulful story-telling and organic instrumentation of traditional folk music, with the infinite sonic possibilities offered through electronic production. Experimentation quickly evolved into a journey of sound that would ultimately lead to Ishi’s debut, Through the Trees, released May of 2010 and Digital Wounds April of 2013. Juno EP was released on September, 16th for the band’s fifth independent release and the third EP of their catalog. The new collection of songs range from funk, nu disco, and indie rock bathed in the gospel of Prince/LCD Sound System. Ishi teamed up again with UK artist James Marsh most known for his creative album concepts with experimental UK band Talk Talk. As musicians who consistently use their music and live shows to uplift and inspire their fans, Ishi has decided to be leaders in the music industry by using their voice to improve the quality of life for those suffering from various cognitive diseases. The release of their new ep, Juno will benefit non-profit Music Is Our Weapon who provides personal music programs for those battling Alzheimer’s and dementia, PTSD, Autism, Parkinson’s and various other cognitive disorders. 50% of all digital sales raised by the EP will go directly to Music Is Our Weapon’s ongoing effort to provide a sustainable source of digital music in healthcare environments to increase life quality. By providing caregivers with the tools and support necessary to serve those in need with access to the music they love, they will be able to simultaneously collect data to further understand the power of music as medicine. Ishi’s ability to successfully walk the line between an ambitious studio act and a multi-sensory live experience allows them to engage their audiences in an uplifting celebration of life. Their subtle undertones of inner-exploration combine to create a concert experience that is unequivocally one-of-a-kind. Each night, Ishi intends to create an entirely unique environment of mysticism, awareness, love and acceptance. Adored by fans and critics alike, there is no denying that Ishi is an immersive experience that everyone should discover.