Viagra Boys are a band that weaponizes absurdity—tossing firecrackers into the middle of the room and standing around to see the reaction. Led by frontman Sebastian Murphy, whose voice is a compelling blend of impish smirk and smoker's rasp, the band is known for its seething satire and darkly comic edge, encapsulating a unique blend of grit and sleaze. Murphy's lyrics often reflect on the absurdity and backwardness of the modern world, though he avoids prescribing beliefs or taking sides. Therefore, the band's music is marked by a playful yet incisive critique of societal follies and contradictions, set to heavy-weight, explosive production. Viagra Boys have garnered significant success and acclaim, performing sold-out shows worldwide, including prestigious gigs at Coachella and Jimmy Kimmel. The band has received high ratings from Pitchfork, NME and Kerrang!, and notable recognitions, including album of the year from The Needle Drop. Their impact extends to the Swedish music scene, where they've won awards such as Album of the Year and Best Live Act at the Swedish Grammis & P3 Guld Awards, highlighting their widespread appeal and influence.

Atlanta's beloved sons the Black Lips (Jared, Ian, Cole, and Joe) entered last year through a screaming cloud of sweat, smoke, blood, and beer mist. After a spring and summer of exciting audiences across the world, the Lips embarked on a month-long fall tour of the Middle East. They were tailed by Georgia rock-doc royalty Bill Cody, of Athens, GA - Inside/Out fame, who filmed the band playing for Egypt who had just overthrown their government, kids in Iraq who barely have a government, and kids in Dubai who finally get to see a band that isn't in the top 40. As Cody assembled his footage into the feature Kids Like You and Me, the band returned home from the New Year's maelstrom and began settling into album mode.  Recording for Underneath the Rainbow was split between New York with Thomas Brenneck, who was recommended by Arabia Mountain producer Mark Ronson, and Nashville with the the Black Keys' Patrick Carney, who offered to help produce in a Mexico city hotel room just before dawn.  "It was one of those super-late-night/super-early-morning drunk-talk sort of situations, so we weren't sure if he meant it," explains Jared. "People do that all the time." Early internet conjecture pegged Underneath the Rainbow's sound as a blend of southern rock with throwback C&W and blues, based on the lead single 'Boys in the Wood', which is a weird description for a record containing the first Black Lips' song with a prominent synth ("Funny"), and even less apt for an overall album that owes just as much to the kiwi pop of New Zealand's South Island and the Chicago South Side's Crucial Conflict as it does the standard American South. It never strays far from the traditional roots music that has always found a comfortable home with the Black Lips, but invites enough curiosity with its approach to attract even the most unlikely listener. 'Underneath the Rainbow' can only guarantee one thing; that the kids will be Smiling, Waiting for the Dandelion Dust to make things Funny at the Dorner Party while the Boys in the Wood Make You Mine as they Do the Vibrate. The morning will break and the passenger will say, "Drive-By, Buddy… I don't wanna go home. Damn these dog years…"