Outfitted with lived-in and loud vintage gear, shaped equally by 21st-century alternative and classic rock, and proudly born in New York City, King Falcon revs up raw and raucous anthems with attitude and a whole lot of emotion. Recently, they gained notable recognition with their new radio charting single, "Plastic Crown," written by Michael Rubin, Jared Weeks (Saving Abel), and Skidd Mills. The track exemplifies their evolving sound and has furthered their presence on the airwaves.

CINEMA STEREO is a high-energy alternative rock band with an affinity for writing infectious music with an original sound. Originally from Orlando, FL, and now based in Nashville, TN, the band draws from a diverse range of influences. Known for their raw emotion in their music, driving rhythms, and captivating lyrics, CINEMA STEREO is constantly evolving, drawing from diverse genres to craft a sound that’s uniquely their own. CINEMA STEREO consists of 2 unique individuals: lead vocalist, bassist & keyboard player Ian Rayha and guitarist Sebastian Borysek. With a fearless approach to creativity, they’re making their mark as one of the most exciting new voices in rock music today

Initially forged from the experimental soundwork of Pasha Petrosyan (vocals/guitar), Flash Flash Comfort emerged from Chicago's fertile psych/post-punk scene in 2014 as its own distinctive amalgam. The first iteration of the project yielded the band's debut album, Chill Night (2016), followed by the EP Reverse Resolution (2018). After a seven-year dormancy, Flash Flash 2.0—featuring Al Kolot on synths, Luke MacRoberts on bass, and Ben Karas on drums—found its way back into the city's circuit of live music bars and DIY venues. Since 2025, the four-piece has brought its propulsive and hypnotic soundscapes to live audiences across Chicagoland, from Psych Night appearances at Café Mustache to CHIRP Radio's monthly showcase at The Whistler. Central to the mix are Kolot's shape-shifting synths that transform the scenery in real-time—one moment scintillating, the next hazy and full-bodied—and Karas' long, ritualistic builds that let patterns fracture and bloom. Constrained within MacRoberts' clean, Aksak-inspired basslines, Petrosyan's baritone flirts with spoken word: confessional and emotionally bare, yearning yet omniscient, like a narrator reflecting on a past life. The result is a high-voltage industrial-jungle atmosphere—brutalist yet vividly alive—where rhythm and melody quietly bend the room itself.