Crucialfest 7

S&S and Exigent Records Presents

Crucialfest 7

The Growlers, STRFKR, Baroness, Built To Spill, Minus The Bear, Pinback, Red Fang, P.O.S., Why?, Broncho, SALES, Able Baker Fox, Radio Moscow, The Flatliners, Emma Ruth Rundle, Deap Vally, The Frights, Turbo Chugg, The Ditch & The Delta, Mojave Nomads, The Boys Ranch, Panthermilk, SAM, Sunsleeper, Rozamov, Darklord, The Nods, Westing, Super 78, Beachmen, Indigo Plateau, Visigoth, Turtleneck Wedding Dress, Woven Hand, Loom, Earthless, STRFKR DJ Set, Subrosa, Doug Martsch DJ Set, Laserfang, One More Time (Daft Punk Tribute), INVDRS, Fall Silent, Primitive Man, The Hound Mystic, Andrew Goldring, Filth Lords, The Wake of an Arsonist, Giraffula, Quiet Oaks, 2-Headed Whale, Hemwick, Exes, Droopy Tights, Sympathy Pain, Civil Lust, Conquer Monster, Martian Cult, AudioTreats, Korihor, Die Off, I Buried The Box With Your Name, Madge, RS2090, Tarot Death Card, Strange Familia, King Dude, Jaye Jayle

Thursday, August 31, 2017 - Sunday, September 3, 2017

7:00 pm

The Gateway - Salt Lake City

$45-$165

Crucialfest 7
Crucialfest 7
Crucialfest is back! This year, we are transforming The Gateway into a multi-stage outdoor venue, complete with food trucks and a variety of experience rooms—including events like film showings, art galleries, markets, and more! This will also be the first year of Crucialfest as a truly multi-genre festival.

The main event will be happening September 2nd & 3rd. The main event is ALL AGES. We will also be hosting 4 days of nighttime events Aug 31 - Sept 3rd at both Urban Lounge & Metro Music Hall that are 21+.

There will be a limited amount of discounted early-bird tickets available the first week. General admission prices increase at the general on-sale.

-VIP inclues premier stage viewing in our VIP Lounge at the main festival, along with entry into all of the nighttime events at Metro Music Hall and Urban Lounge, Aug 31-Sep 3.
-4-Day pass includes entry to the festival as well as all of the nighttime events at Metro Music Hall and Urban Lounge, Aug 31-Sep 3.
-2-Day pass includes entry into both days of the main event only, Sep 2nd & 3rd.

Sponsored by Coors, Wasatch / Squatters, Red Bull, Graywhale, KRCL, CityWeekly, Duffy's Tavern, Black Harbor, and Roc Doc
The Growlers
The Growlers
THE GROWLERS
CITY CLUB

It still feels like new music, doesn’t it? Each new record from The Growlers has something gripping enough that makes it as exciting as a debut. The Growlers swooned us back in 2013 with “One Million Lovers" and Gilded Pleasures, those “Humdrum Blues” with Hung At Heart, and then, within the more recent couple of years, that magnificently depressing “Good Advice” on Chinese Fountain. We’ve been seeing The Growlers for a while now, and we know all their tricks: bashful love songs softly cradled by opiate-euphoria, kick-shit pub songs aggravated by rum and amphetamines, and, of course, how genuinely they’ve always related to the everyday man when the going gets tough. But something has been different with The Growlers lately. They’ve been coming home later at night smelling like cheap perfume and whiskey with a slick new Members Only jacket, and they’re not caressing our needs as much anymore. At this point, they know how obsessed with them we’ve become, and they don’t feel obligated to fill our every need. Now, they’ve decided they’re going to do what they want to do. They’re going to stay out and drink for however long they want. They’re going to pick up new moods and scents even if you don’t like them. They’re going to flirt with something new if it fancies them, and they’re going to turn up their fuzz and synthesizers however fucking loudly they want.

You knew this when they came through the door a few weeks ago with “City Club” and realized who they’ve been hanging out with. Julian Casablancas of The Strokes produced the new album for the boys and have helped them out with a new, slick, New York–esque style. Sounds off this record spawn in the hours of the late night, and there is a more cock-out attitude, distant from what we’ve been used to since our affair began with The Growlers. But in the middle of all this late-night musk and confusion, they revive our faith with “When You Were Made” and let us know that that old sweetheart singing us those affectionate songs is still in there. It still makes us think: That sounded like my beloved Growlers, but everything else has changed. Is this just a phase? Moving through “Rubber & Bone” and hopping over “The Daisy Chain,” we end up in “World Unglued,” and it starts to make sense. Here, these new moods and swings start to come together with those old favorite sentiments. It’s still our one, true love, The Growlers—they just need room to try on new garbs and taste new, dark subject matter. And with this, it’s all right. We let them follow with venting about “another bar fight in a neon light” and “high-ass women who don’t see me” in “Neverending Line”—all the shit they’ve had to put up with as a touring rock band.

After talking, tears and a few tall drinks, The Growlers drive us home with “Blood of a Mutt” and “Speed Living”—two tracks that remind us of that band we fell in love with back in high school that still satisfyingly cap the night with their cool, new swagger. This is definitely a record that’s going to challenge some of The Growlers’ wholehearted fans, but others will enjoy the new sleek style that’s brought on by late-night antics and a craving for danger that can only be settled by exploring new scenes and avenues.
STRFKR
STRFKR
Being No One, Going Nowhere. The title of STRFKR’s fourth album may seem bleak at first. But hold it in your head a minute, feel its weight, and you may recognize the phrase for what it is: a goal. In the era of the personal brand—amid the FOMO Age—it’s increasingly hard to shed a stifling sense of self, or to just be in the moment that you’re in. Well, consider this an invitation to get blissfully insignificant. That’s what STRFKR founder Joshua Hodges aimed to do when he exiled himself to the desert to create this record, but he returned with his most significant work yet: a set of darkly glistening dance songs rife with sticky beats, earworming hooks, philosophical heft, and bittersweet beauty.

The album opens on “Tape Machine,” and the difference is readily apparent. On 2013’s Miracle Mile, STRFKR refined a full-band sound, but this doubles down on and completely reimagines the project’s electronic and pop roots. The initial synths could fuel a rave, and the ensuing groove could score a Drive sequel, but the song is richer still, with cosmic effects flying overhead and a psych-folk earthiness below. It isn’t that the band sat this LP out—drummer (etc.) Keil Corcoran penned the thick astral disco of “In the End,” and he and bassist (etc.) Shawn Glassford both pitch in throughout. But Being No One, Going Nowhere was born in Joshua Tree after Hodges packed up his Los Angeles apartment and moved to that tiny Mojave outpost under the great big sky. “It came together for me in the desert,” he says. “Out there, it’s easy to feel small and slow.”

When Hodges started STRFKR in 2007, it was designed to be success-proof. The name was both unfit for radio and a jab at fame-chasers. But the project was also meant to be bright, playful and brimming with energy. He stumbled upon a winning juxtaposition that’s a STRFKR staple to this day: dark (or heavy) lyrics set to happy music. Hodges credits that to Elliott Smith’s influence, although Being No One, Going Nowhere has closer sonic kin in Italo-disco, kosmische musik and Tony Hoffer’s work with Phoenix, Beck and M83. English thinker/writer Alan Watts, a scholar of Eastern philosophy, was another muse for Hodges—his voice appears on nearly every STRFKR release, including this one. That’s him on “interspace,” talking about sloughing off preconceived identity to find one’s place in the universe, which is the story of Hodges’ eventual career: stop trying—no, start not trying—and succeed.

This album’s name actually paraphrases the title of a book by Ayya Khema, a Buddhist nun, but the concept came to Hodges in a less chaste setting. “I had an experience at a BDSM club that was really freeing,” he says. “I realized that the appeal is letting go of your mind and stress. You can be super present with the pain, and then the pain isn’t even pain. It’s a gateway to freedom.” In a way, each song on Being No One, Going Nowhere seeks that end. There’s the reality-refracting fantasy of “Never Ever,” the hard truths about addiction’s ravages on “Tape Machine,” a death-defying coming of age tale on “Open Your Eyes,” and references to Hermann Hesse’s 1919 novel of self-realization, Demian, on “When I’m With You.” If the words don’t set you free, the music—exuberant, enveloping, incredibly catchy—should do so handily.

None of which is to imply that STRFKR is drifting along aimlessly. To the contrary, Hodges crafted this album’s dance bent with the stage in mind. The live setup these days includes a custom-made LED wall and a homemade light show that syncs with the rhythm of the songs (also, the occasional crowd-surfing astronaut and band-in-drag). Plus, he camped out at the house of producer Jeffrey Brodsky (Yacht, RAC) for a week and a half, working all hours to ensure Being No One, Going Nowhere sounds as crisply booming over PAs as it does in headphones. Even if Hodges is too busy pushing the future of indie dance-pop forward to possibly attain his goal of unplugging, his aspiration is everything: “Existing is it. This moment is enough.”
Baroness
Baroness
American Stoner Rock / Metal band from Savannah, Georgia. Baroness formed in mid-2003, founded by former members of the Punk/Metal band Johnny Welfare And The Paychecks.

In August 2012 the band and their crew were involved in a very serious crash with their bus while being on tour in the UK. In March 2013 it was announced that Matt Maggioni and Allen Blickle will not continue touring with Baroness due to this event.

Baroness founded their own label Abraxan Hymns in 2015.

Members:
John Dyer Baizley - Guitar, Vocals
Gina Gleason - Guitar
Sebastian Thomson - Drums
Nick Jost - Bass, Keyboards

Former members:
Tim Loose - Guitar, Vocals
Brian Blickle - Guitar
Summer Welch - Bass, Vocals
Matt Maggioni - Bass
Allen Blickle - Drums
Peter Adams - Guitar
Built To Spill
Built To Spill
American indie rock band founded in 1992 in Boise, Idaho.
Minus The Bear
Minus The Bear
Rock band from Seattle, featuring members of Botch, Sharks Keep Moving and Killsadie.
Pinback
Pinback
Indie rock band from San Diego, California. The band was formed in 1998 by singers, songwriters and multi-instrumentalists Armistead Burwell Smith IV and Rob Crow.
Red Fang
Red Fang
American Stoner Metal band from Portland, Oregon. Formed in 2005.
Why?
Why?
Why? started out as an alias of Cincinnati born Yoni Wolf, son of a rabbi and an art book editor. He discovered an abandoned 4-track in the basement of his father's synagogue and that layed the foundation of what would come to be known as his candytime-dissonant, singsong-suicide style. Yoni has been involved in several groundbreaking constellations such as cLOUDDEAD, Greenthink and Reaching Quiet as well as releasing a full-length solo album and two EP's.

In 2005 Why? expanded into a full band as Yoni brought on long time collaborators and friends Doug McDiarmid, Matt Meldon and older brother Josiah Wolf.
Broncho
Broncho
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.
SALES
SALES
SALES is the collaboration between long time friends Lauren Morgan and Jordan Shih.

The Florida indie pop duo self-released their eponymous six-track debut EP on September 22, 2014 featuring the singles “renee”, “chinese new year”, “vow”, and “getting it on”, and were named “Ones to Watch” by Hype Machine + BBC Radio 6 Music. So far, the songs on SALES EP have over 2.5 million streams on Soundcloud and over 6 million streams on Spotify. They have since headlined tours in the US, Canada, and Europe, selling out concerts in many major cities.

Embracing a DIY ethic, their long-awaited fifteen-track debut album, SALES LP, was self-released on April 20, 2016 along with the singles “big sis”, “jamz”, and “ivy”. The intimate album is an homage to their limitations with time, equipment, money, and space. Working on music tirelessly by moonlight between dead-end jobs, both the LP and EP were recorded from an apartment bedroom studio. The LP was produced, mixed, and mastered by SALES, and created under the duo’s “as is” approach to music — each track explores new territory as they heavily rely on experimentation within their artistic process, whether it is switching lead guitarists, moving over to let someone else hold the mouse, recording vocals through Apple headphones (rather than the stellar SM7B), or inserting a 404 into a ballad.

The distinct sound the duo has created is minimal, yet meticulously crafted, emotive and incisive. SALES LP has caught the attention of Pitchfork, Pigeons & Planes, My Old Kentucky Blog, Crack in the Road, and many others. The addition of the SALES LP to their tiny repertoire is only the beginning of an ever-expanding sound, and a small step in a new approach to music: empowered by the digital listening experience, and completely independent of a record label.
Radio Moscow
Radio Moscow
Radio Moscow is an American psychedelic rock band that formed in Story City, Iowa in 2003.
The actual components of the group (European tour of june 2014) are:
Parker Griggs (vocal, guitar), Paul Marrone (Drums) and Anthony Meier (Bass Guitar).
The Flatliners
The Flatliners
Punk rock/ska punk band from Richmond Hill and Brampton, Ontario, Canada. Formed in 2002.
Emma Ruth Rundle
Emma Ruth Rundle
Deap Vally
Deap Vally
American alternative rock duo founded in 2011 in Los Angeles.
The Frights
The Frights
The Frights’ birth in December 2012, was an accident that now unites moms worldwide. One mom in San Diego has called the band, “Great! A fun mix of the rock n’ roll I used to love with the 50’s sounds MY mom used to love!” Another mom in Los Angeles praises the band, saying, “I hire a babysitter to go to all their shows. They just have so much youthful energy, they make me feel young too!”

Moms everywhere enjoy the band’s two self-produced EPs, their one full-length record, and even their split EP and singles, embarrassing their sons and daughters with their enthusiasm toward a band that is at least half, sometimes a third, of their age. Some of their most popular songs among moms include “Beach Porn,” “Crust Bucket,” and “Makeout Point.”

Ostensibly, The Frights are great for long drives in a Honda Odyssey. Their second full-length was produced by FIDLAR’s Zac Carper and will be released soon.
The Ditch & The Delta
The Ditch & The Delta
Mojave Nomads
Mojave Nomads
"Mojave Nomads are an Alternative Rock band from Ogden, Utah doing things differently. With a fresh new sound that sinks in over time as you soak in the layers of complexity. It’s something you continually enjoy over time and keep coming back to."
- Mclean Entertainment
The Boys Ranch
The Boys Ranch
Panthermilk
Panthermilk
Sunsleeper
Sunsleeper
Rozamov
Rozamov
ROZAMOV is a sludge metal band from Boston, Massachusetts. Utilizing hardcore, doom, and atmospheric elements, ROZAMOV create a sound reminiscent of the bleak power of Neurosis, Yob and Grief.
ROZAMOV has released two self-produced EP’s and toured the Midwest and East Coast over the past two years.

Matt- guitar, vox
Tom- bass, vox
Tranxidis- drums
Super 78
Super 78
Super 78! Is: Cesar A. Reyes, Leon Ridd, Sawyer Garner, Rocks Maldonado, Sean Vincent, & John Klein. Coming at ya from Thee Holy Salt Lake City.
Beachmen
Beachmen
Indigo Plateau
Indigo Plateau
Sitting in their practice space, passing around a bargain-size bag of knock-off Captain Crunch, Salt Lake City natives Indigo Plateau take turns trying to classify their sound to me in a way that reads well on paper. “What really kills me,” laughs front man Evan P, “is when I have to say ‘Indie Rock’ to someone so that they’ll understand what I’m talking about.”

A few rounds of cereal handfuls later, we reach the consensus that their style can be triangulated somewhere between the instrumentation of Explosions in the Sky, the feeling of Beach House, and the drive of Interpol. However, being music collectors and admitted fan-boys of these artists themselves, the comparisons are only comfortably made to explain what they feel to be a shared attraction to sounds that stir the listener’s emotions. “When I listen to music, it’s to give me context to bigger questions,” says Evan. “I like music that I can exist in.”

For their debut EP The Heights, Indigo Plateau play the soundtrack to the kind of heavy-hearted, yet hopeful thinking that usually overtakes the young as they confront life’s bigness and uncertainty. Evan’s voice, being somewhat calm and faded in the album, calls out shadowy questions like the inner voice of a troubled mind. Still, the darkness is combatted with the band’s mystic and almost oceanic tones—creating a provocative, almost Rorschach test of a musical experience. Having been to a few Indigo Plateau shows myself, it seemed sneakily obvious when guitarist Michael Paulsen mentions that that their most frequently asked question during songwriting is, What are you feeling?

Ian Francis and Evan P at Man Vs. Music
Over the last year, Evan explains that The Heights was born from a difficult period of self-discovery. In fact, the lyrics of the title track portray evaporation as a sort of suicide fantasy. However, for Indigo Plateau, making art has always been a way of combatting personal struggles while helping others along the way. “I was listening to a lot of Ceremony over this last year,” says Evan “one of their tracks has a line that really helped me which goes ‘if you don’t care where you are, you’re not lost’… and I hope we can do something like that for someone else.”

For hometown fans, Indigo Plateau have grown abruptly since their teasing, two-track LP Washington released in February 2016. Ideas from early songs like “Northwest Drift” expand and meander through their signature use of doppler-like effects pedals and yearning guitar riffs, while taking the listener along with them in an intimate, introspective journey. At times, especially in pieces such as “I Beheld The Night” and “History Cutlass,” it seems that Indigo Plateau are making a musical map for that certain kind of melancholy that Victor Hugo once described as the happiness of being sad. “We’re all really drawn to nature and the Pacific Northwest, specifically,” says drummer Ian Francis. “I think the way the northwest feels is the way we want to sound. There’s just something about it, and its ability to have, all at once, mystery, nostalgia, wonderment…”

As Ian let’s the sentence linger, the four of us nod slowly together in the way people do when words are only able to mean partially—each of us possessing our own idea of what was intended, though none of us imagining quite the same thing. It’s in this wordless headspace that Indigo Plateau prefer to exist. For half a second, we feel instead of speak until the first person lifts his head up. “I don’t think any band really likes to describe themselves,” says bassist Andres Escobar as he passes me the cereal bag. “True,” I say, but that’s not their job. I start to think, really, who’s job could it be? From across the room, Paulsen adds “I think our music makes you ask questions when you are listening to it more than it provides you with answers.” Again, we nod like waves in silent agreement.
With that, Paulsen gets up and restarts New Shack’s Eingang on his stereo before turning back around to the circle. “So,” says Escobar, “anyone down to play Ghost Recon?”

- Nic Smith
Visigoth
Visigoth
Epic heavy metal band from Salt Lake City, Utah-USA, which was formed in January, 2010.

Contact: visigothofficial@gmail.com
Woven Hand
Woven Hand
American alternative country band founded in 2001 as a solo project by David Eugene Edwards while his band 16 Horsepower took a hiatus.
Earthless
Earthless
Heavy, largely instrumental, jam-rock guitar/bass/drums trio. Much of their output is live recordings.
Subrosa
Subrosa
Doom band from Salt Lake City, Utah. Formed in 2005.

Rebecca Vernon: guitar, vocals
Sarah Pendleton: electric violin, vocals
Kim Pack: electric violin, vocals
Levi Hanna: Bass, vocals
Andy Patterson: Drums

Former members
Dave Jones: bass
Christian Creek: bass
Zachary Hatsis: drums, noise
INVDRS
INVDRS
Fall Silent
Fall Silent
Disfunct hardcore-metal band from Reno, Nevada; active between 1994 until around 2003.
Primitive Man
Primitive Man
Sludge/doom metal band from Denver, Colorado.
The Hound Mystic
The Hound Mystic
Andrew Goldring
Andrew Goldring
Quiet Oaks
Quiet Oaks
Quiet Oaks is a quintet from Salt Lake City, UT. Formed in the spring of 2015. Consisting of members: Dane Sandberg, Spencer Sayer, Jon Butler, Kramer McCausland, & Mike Moon. The group plays a unique form of rock and roll. They maintain a rowdy and chaotic energy, while providing a familiar and welcoming sound. The members of Quiet Oaks have played music together for many years. Although they are a new project, the group has an undeniable connection to what they do, and how they play together. Gaining popularity due to their raucous live show, they are quickly making a name for themselves. Their debut EP is set to release in September of 2015.
Sympathy Pain
Civil Lust
Conquer Monster
Conquer Monster
Conquer Monster combines the warm analogue hum of vintage synth rock, the pulsing club beats of modern electronica, and the nostalgic 8-bit sounds of the 1980s into their Sci-Fi space jams. Their dynamic live performances include a backdrop of glitched-out and well-worn VHS videos while their music waxes and wanes from dystopian ambiance to punchy dance-floor pop. Conquer Monster's style caters to visual artists, audiophiles, and dance club enthusiasts alike, which is why in May 2014 they were featured in SLUG magazine's local showcase, "Localized".

In high school Joshua Faulkner started modifying obsolete computing equipment into musical instruments and Daniel Romero started collecting vintage synths. However, it wasn't until 2013, ten years later, that they teamed up to form Conquer Monster. "It was clear from our first jam session that we had something worth pursuing," recalls Joshua, "Daniel and I were perfectly in sync with the direction we wanted to go with our music." By mixing Daniel's warm and spacey ambient pop with Joshua's gritty, monophonic, 8-bit melodies, they are able to create music that is different and appealing to indie rock fans, analogue synth-heads, and the dance party crowd.

Conquer Monster is currently developing a concept album based on a futuristic graphic novel that Joshua is writing. "Since we have been writing music within the concept of the comic book, our songs have began to deviate away from a typical pop structure and towards a more open form which allows us to tell a story without the use of lyrics," says Joshua. Their songs often begin with warped, ambient, Sci-Fi pads overlain with samples of math and science lectures which transition magically into bass-heavy, pulse-thumping, dance songs; keeping the crowd on their feet, literally and figuratively. "I'm continually amazed at how cool it is for me to write songs for this project, and then watch them blossom into full fruition through Conquer Monster. I've never experienced anything like this before, and it's a feeling I truly value," Daniel articulates.

Conquer Monster loves playing local shows, however they would like to branch out and eventually be globally recognized. "We aren't looking to get rich, but it would be nice to have the opportunity to work on our songs full time, and to play shows around the world," explains Joshua. As a first step towards this goal, Conquer Monster is planning a West Coast tour after their album is complete. "Our goal is to connect with our audience. We completely believe in the music we make, and we're excited to share it with people that will equally enjoy it." Daniel continues, "We put a lot of soul into the melodies and movements we write, and we want listeners to feel that when they listen to Conquer Monster."

Though music is the center of Conquer Monster, it is a multidimensional, unbound project that has many branches. "Conquer Monster, for me, is about combining all of my passions into one project," explains Joshua. "I can play grainy electronic music, modify and build electronics, glitch videos, and write graphic novels all under the same moniker." Daniel adds, "One of my most cherished moments of the week is the 9 am, hour-long train ride to band practice. The trip is always relaxing and reflective. It's such a great feeling knowing that we're dedicating the next 8 hours to creating and being totally engulfed in a tremendous world of sound that stems exclusively from our imaginations and our love to play music."
Martian Cult
Martian Cult
Korihor
Korihor
Black metal band from Davao City, Philippines, formed in 1998.

Line-up:
Goatkommandant - vocals
Abhor - guitar
Elohim - guitar
Obispo - bass
Propeta - drums
Madge
Madge
RS2090
Tarot Death Card
Tarot Death Card
Strange Familia
Strange Familia
Strange Familia is a two-piece musical collaboration consisting of Brecken Jones and Garret Williams. Established November 2014 in Salt Lake City, Utah, the duo are Influenced by the life and art of the 20th and 21st century. Reminiscent of artists like Nick Murphy (Chet Faker) and Jack Garrat, their first single "Odes" became a viral hit, entering the Viral Top 50 Song charts on both Billboard and Spotify. Their eleven song debut studio album was written, produced, and recorded themselves, and mixed by Scott Wiley (Neon Trees, The Moth & The Flame, Fictionist).
Venue Information:
The Gateway - Salt Lake City
18 N. Rio Grande
Salt Lake City, UT, 84101
http://www.shopthegateway.com/