Ty Segall
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Ty Segall follows 2022’s acoustic introspection opus “Hello, Hi” with a deeper, wilder journey to the center of the self. With Three Bells, he’s created a set of his most ambitious, elastic songs, using his musical vocabulary with ever-increasing sophistication. It’s an obsessive quest for an expression that answers back to the riptide always pulling him subconsciously into the depths. Questions we all ask in our own private mirrors are faced down here—and regardless of what the mysterious “Three Bells” mean in the context of the album’s libretto, you can be assured that Ty’s ringing them for himself, and for the rest of us in turn. It’s a growing up and out of your head parable, but the farther out you get, the farther in you go. The two-headed suggestion of 2012’s Twins has grown ever more complex, as the outside/inside world of perception dissolves into a greater world of the senses—all six or seven of them! Since Ty deals in sounds, Three Bells rings with them most of all: sounds signaling the next phase, ringing to keep you stuck, or to set you free, with guitars like voices, questioning and answering the others in their turn. Since 2008, the singer/guitarist/puzzled panther we call Ty Segall has played out his hunger to be free over a dozen solo LPs and a series of other-named projects. In his music, freedom has taken the form of a rippling eclecticism in songs and production sounds, all of them conversing from album to album in a mad diversity of voices. Across the discograverse, 2014’s Manipulator and 2018’s Freedom’s Goblin precede Three Bells in double-album epicity, each unfurling its own multivarious tapestry in an atmosphere of gleeful octophenia, as Ty throws everything against the wall, delighting in how much he can stick there. With all fifteen songs brimming with perspectives, shape-shifting incessantly, not even waiting for a new song to work into the next idea, Three Bells steps into the shoes of both his previous doubles at the same time, designing finally to do the extended format justice. The acoustic songs of “Hello, Hi” had been a blast of fresh air; wanting another hit of that sweet air, Ty recognized that his body was craving to play the drums. This was a key that let him into the album— the songwriting happening on both guitar and drums. As the songs emerged, Ty pushed them out farther and farther compositionally, challenging the way they’d be played, then playing much of Three Bells in conversation with himself—a decision that further elevates the album’s conception. But you don’t get outside/inside all on your own—for Three Bells, Ty and Denée Segall collaborated on five of the songs. In Ty’s world, Denée forms the second self outside his self. And these selves radiate out into the world through other selves. Co-producer Cooper Crain, whose contributions to Harmonizer and “Hello, Hi” were deep, engineered and mixed most of the album, again bringing his individual vision into the process. Finally, some of the songs as written needed the kind of playing that Ty couldn’t get alone. On some numbers, Emmett Kelly’s bass parts not only addressed that need, but inspired the way the songs eventually went down. So it was when the Freedom Band was called in to play; their contributions transformed the material. Three Bells kind of goes beyond songs. The fifteen of them work together as a mosaic, creating the larger work at the same time as they stand on their own. Composing the album as a piece, Ty formed certain chord shapes over and over again, making thematic material that each song moves through in its own way, building a claustrophobic/paranoia vibe, cycling bold thrusts forward into ego deaths, the one-step-forward, two steps- back patterns framing an overriding ask: what we can do to get past the back-and-forth conversation, to arrive at a place of acceptance. Three Bells takes Ty Segall’s trips so much deeper and farther than they’ve gone before—a masterpiece of personal expression, expressed through words, music and production, parabolically addressing malaise with compassion in a flowing, unstoppable hour-plus of intoxicating sound.

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Spoon Benders

Spoon Benders is a progressive psych-rock powerhouse that has been relentlessly crisscrossing the United States, leaving a trail of newly acquired fans in their wake. Spoon Benders have become synonymous with an electrifying stage presence that can only be described as loud, controlled chaos.

Spoon Benders have been carving their path through the musical landscape since their inception, and are now consistently supporting notable acts such as Frankie and The Witch Fingers, L7, Fuzz, Meatbodies, Deap Vally, Death Valley Girls, and The Paranoyds.

In April of this year, Spoon Benders unleashed their sophomore album, “How Things Repeat,” upon the eager ears of the public. The album is a testament to the band’s artistic evolution and ability to push the boundaries of their sound. “How Things Repeat” has been met with resounding acclaim, cementing Spoon Benders’ status as a force to be reckoned with in the psychedelic rock landscape.


Moon Owl’s Mages

Moon Owl’s Mages is a 5 piece psych/ garage rock band from Boise, Idaho. Forming as Jack Ball’s backing band in 2019, the group took a liking to playing covers by artists like OSEES, Tame Impala, King Gizzard, Ty Segall, Coachwhips and other psych outfits. After several shows around town, they decided to accept a new quest; forming Moon Owl’s Mages. First act of business was to write, record, mix and master an album in two week’s time. Birthing their first album, “Skelly Bones and the Flaming Crown”, a concept record about a skeleton and his nemesis. After a hiatus due to COVID, Moon Owl’s Mages are back in business baby! “Kill The Crackle” was released in September of ‘22 and the band describes it as dog beats, psychobilly space prog, Floyd-funk, spooky tunes, biting music and more! So if you like any of those, you might like them!


Color Green

Color Green is an American Rock and Roll Duo based in Los Angeles, consisting of Noah Kohll (Current Joys, Young Guv, Surf Curse, Dark Tea) and Corey Madden (Richard Rose, Grave Flowers Bongo Band).

Color Green formed in Ridgewood, Queens in 2018. The duo created a 4 song self-titled debut EP released by Maximum Exposure in 2020. Recently signing to ORG records and Aquarium Drunkard, Color Green recorded 2 singles and a full length album that will debut in 2022. Their sound culls from the eternal solitude of working musicians, the feeling of infinite transition, and the need to create a space that transmits the strange sounds of American music.

Pulling from the Allman Brothers, Acetone, the Grateful Dead, and other acts from the dusty storage boxes of their attics, Color Green are searchers for a continuation of classic songwriting through the use of collaboration and close examination of the relics of yesterday’s past, while maintaining the spirit of themselves.



Followed by more than 250,000 fans around the world, their music and videos streamed and viewed by millions, Telula’s shared love of funk is evident in their music. They take inspiration from greats such as Stevie Wonder and modern masters like Vulfpeck, while incorporating their own pop and jazz influences with contemporary twists. Their music is soulful and dynamic, showcasing intricate melodies backed by funky rhythms. Telula’s combination of technical proficiency and artistic expression creates a sound that is both inspiring and energizing. Telula was formed when Lucas Aney and Thomas Jensen met in their first days of college in 2021 and found common ground in their passion for funk music. Over the following year, they built the band and spent countless hours learning how to professionally record, produce, and release music – all out of their dorm. Their dedication and hard work paid off in the creation of a nine-song album, each track showcasing their unique sound and individual proficiency on bass and guitar. Telula released their first album at the early age of 19 and a five-song EP one year later in 2023. Headline and support shows followed late in the year, and in 2024 the band will be featured at major festivals in New York, Texas and Idaho and regional venues around the Northeast US.

Biblioteka In Mexico


Fronted by singer/bassist Mary Robins, Biblioteka seamlessly blends elements of punk, grunge, and garage to craft irresistibly catchy and high-energy rock. Known for their dynamic stage presence, the band has established a reputation for delivering boisterous shows that leave a lasting impression. In 2022, Biblioteka unveiled their debut LP, “Pretty Ugly,” through Seattle’s Freakout Records. Lauded by KEXP for being fiercely personal while not sacrificing the band’s penchant for big melodies, the album showcases Biblioteka’s distinct and captivating musical style. In Fall of 2023, Biblioteka led on their first international tour to Mexico and New York, along with performing their first live KEXP In-Studio session. Biblioteka is currently recording their next full-length record.

Moon Reservoir

Moon Reservoir