PAINT is the radical recording/live project of New York-based musician, visual artist, and writer Pedrum Siadatian (Allah-Las). His efforts examine the tonal textures of electronic ecstasy and digital dissonance that echo the excitement of NYC’s “No Wave” and the East L.A. Backyard Party Scene of the 1980s. After his 2018 self-titled debut, the multidisciplinary artist has set out on a melodic mission to capture the electrifying emotion and sonic sequence of the past while embodying that sonic shadow of contemporary characters. His most recent effort, “Whip Of An Ear,” takes listeners on a journey through the visceral vacuum of space, where you can hear the harmonies of our solar system vibrate across the great beyond.

After the release of her 2021 debut album “Leftovers,” Canadian-based artist and singer-songwriter Le Ren (Lauren Spear), raised in Nexwlélexm, Bowen Island, BC, where the Squamish people once dwelled) has returned to the sacred soil of her beloved country for her highly anticipated sophomore release “Don’t Be Funny Without Me.” Like a delightful dream from the “Great White North,” Ren’s soothing sound and precious poetry burn off the primitive peaks of Colline de la Croix like a melodic mist. “Love, always love. I don’t think I’ll ever stop writing about it,” says Ren, and in this carefully curated and cruel world, we need this now more than ever.

Burlington, Vermont-based trio LaMP, a portmanteau of each member’s last name, has been on the spiritual jam scene for quite some time. Consisting of members Russ Lawton (Trey Anastasio Trio), Scott Metzger (Joe Russo’s Almost Dead), and Ray Paczkowski (The Undectet/Soule Monde), whom we had the pleasure of chatting with for this interview, the group has a cosmic connection, but it goes beyond just concealing creative chemistry; it’s a “lifetime of listening, feeling, learning, and striving to be in the music that moves you.” LaMP balances this analog atmosphere against the backdrop of an oversaturated digital display, while their transcendental tones bring listeners closer to the essence of exploration.

For well over a decade, LA-based electronic and multi-dimensional artist Christ Stewart has carefully conjured the sonic spiritualism found in the ancient analog atmosphere of the beloved cold wave and synth-pop project Black Marble. Originally hailing from the concrete jungles of New York, where its creative chambers birthed the likes of Suicide and the “no wave” scene, to name a few, the meditative music of Black Marble has become somewhat of an institution for a whole new generation of digital dabblers and muses of the matrix over the years, and Stewart’s cosmic communication has only become clearer with time. Following up 2021’s “Fast Idol” with the highly anticipated “Life In Small Places,” Stewart’s latest effort smashes through the world’s windows, while simultaneously knocking on nearby doors for alchemical access into the eyes and ears of listeners both new and old.

For the last two decades, LA-based singer-songwriter Dent May has been carefully cultivating his craft since the release of his joyous full-length debut “The Good Feeling Music of Dent May & His Magnificent Ukulele”, and with each new album, the musician has only become clearer in translating his vision of the vibrant vegetation that makes up his expressive ecosystem. His latest effort, “The Big One,” takes listeners through the familiar backstreets of the city’s creative climate while exploring the enduring themes of community, age, and poetic perseverance.

New Rochelle, New York-based trio Frog has been building a whispery world of crystallized communication through soft, sentimental songs for well over a decade. Made up of siblings Daniel and Steve Bateman and Thomas White, the group has grown a cult-like following over the years while also creating an echoey environment best described as “Frognation.” With several albums and EPs resting on laid-out lily pads that bravely bake under the sizzling sun, the group has become a poetic phenomenon, casting simple spells into an otherwise complicated world that could really use a dose of melodic medication from such an intimate institution of song and dance.

Born and raised in Osaka on Honshu Island after the Second World War, Shigeru Uchiyama is perhaps one of the greatest living jazz photographers of our time. His portfolio is as poetically prolific as the discographies of his harmonious heroes, and his eye as eager as an eagle stalking its prey. Throughout Uchiyama’s compelling career, he has captured the esoteric essence of some of the most iconic individuals in the world of Jazz. From Bill Evans to Sun Ra, Chet Baker to Herbie Hancock, for half a century Uchiyama’s work has carefully documented these liberating legends on and off stage. The veteran photographer’s relationship with Miles Davis began in the early 1980s, while Davis was touring Japan during his highly anticipated return to the “Land of the Rising Sun”. Having formed a relationship that required patience and resilience, the duo eventually grew close, working together on both a personal and spiritual level.

To say Adam Amram was raised in a musical family would be an understatement. The New York-based songwriter and multi-instrumentalist grew up with his siblings under the creative care and spiritual structure of their father, David Amram, whose critically captivating career has spanned well over half a century, having worked with the likes of Charles Mingus, Leonard Bernstein, Pete Seeger, and Jack Kerouac, to name a few. For the last twenty years, Amram has been eagerly investing in his resume, which has explored all sides of the music industry, from building venues and community to releasing his own music. Since 2021, Amram has released three solo records, with “Tribulations” his latest effort, truly capturing the romantic realms of the city’s endless exploration into the poetic psyche and lyrical landscape of a time that's since passed.

Canadian-based indie jammers Kiwi Jr have been at it since the release of their debut album “Football Money” back in 2019. While scratching the surface of some of their favorite areas in underground sound, the band has eagerly established themselves as a universally creative unit committed to the lo-fi language of rudimentary indie rock. With a new record set for release on August 14th on acclaimed Olympia-based label K Records, the band hasn’t given in to the past or its political perimeters that have, without a doubt, slowed the sonic system down as their epic expedition continues to move forward in the most angelic way possible.

While NYC had foundational female giants like Lydia Lunch and Patti Smith, Detroit had Cradle, and the UK had the Marine Girls. Something was beginning to take sonic shape in the Pacific Northwest toward the end of the 1970s, forever changing the creative climate not only of the genre but also its iconic impact on women everywhere trying to leave their melodic mark on the world. Rising from the anarchic ashes of Formica & The Bitches, members Jennifer Labianco (later replaced by Meg Hentges), Pat Baum, and sisters K.T. and Kim Kincaid eagerly established what would quickly become the Neo Boys, helping to define an entire generation. Nearly half a century after their cosmic conception, the group is experiencing a radical renaissance with the definitive release of their first single and EP “Crumbling Myths” on Mississippi Records.

Austin, Texas-based singer-songwriter Alex Dupree has been releasing music for well over two decades, dating back to his early days in projects like Meryll and The Trapdoor Band. But it was his 2022 album “Thieves” that seemed to have made a melodic mark, and a sonic shift into a wonderful world of lyrical landscapes and metaphorical mountainsides. While maintaining this transcendental trajectory, Dupree has circled the sun twice over in an effort to establish himself in a world that is otherwise occupied by shallow systems that, at the end of the day, leave more questions than answers. Dupree may have unlocked that “eureka” moment with his latest effort, “Talking To The Dog”, which is set for release on the Oklahoma-based label Scissor Tail Records in mid-August.