Noise music is a whole fascinating monstrosity that most people are either quick to dismiss or don’t understand. I’m using the term “noise music” as an umbrella for the noise genre. Much how the term “indie” is extremely vague and none descriptive. Genres like noise rock would involve more conventional structure, instrumentation, melody/harmony, etc. In some ways, noise music is just that, noise; however, it can also be thoughtful, graceful, or guttural. I see noise music as more of a meditative ceremony for the performer – or even an escape from whatever may be aggravating them, much like early punk rock was a rebellion or attitude.

Coach Campa, Influencer, Flowers, and James Cameron Taylor are all seasoned veterans within the San Antonio music scene. With members from bands such as Ghost Police, Porridge Fist, Pinko, and Blithe there was definitely no shortage of volume and noise. Unfortunately, I arrived right after Cameron Taylor finished his set. I caught a glimpse at his setlist, which looked like a crude drawing of different bananas and numbers. Having witnessed Pygmaeus, one of his delightfully absurd former bands, I’m sure that his set was definitely out of the ordinary.

Jared Flores of Flowers set the tone of his set by facing away from the audience. His guitar lying on the ground vibrating from the eBow causing heavily distorted volume swells and delayed frequencies. After being surrounded by the textures, silence started to feel unwelcome. It can be difficult to present new motifs or sounds pallets when playing noise music, but Jared was able to shift moods and textures leaving me to believe that if there were a prehistoric giant bee, this is what it sounded like.

Influencer, a younger group composed of guitarist, Aaron Arguello and drummer/synth player, Jacob Gonzales, created doomy drone textures that somehow felt delicate and tender between Gonzales’ erratic drumming and beefy bass synth lines. Playing out of a legendary Roland JC-120 and using different methods, Arguello’s guitar tones cannot go unacknowledged. The articulation of “a” notes sounded as if he was dragging a brass chain across the tin roof of an old building. These sounds evolved into a heavy, warm, and full fuzz tone sustain.

Composed of drummer and blast beat specialist, Ethan Campa and guitarist/razor blader, Andres Sanchez, Coach Campa demonstrated patience and aggression during their set.  Normally full of composure and control, Campa wildly used cymbals as drumsticks, having broken most of them.  All the while, Sanchez manipulated his guitar tone into warbling scrambled drones. At times during the set he switched from guitar to a mysterious handheld noisemaker. It produced an oscillating sound that increased in volume when shaken or struck with a razor blade.

If you missed this show, you missed a unique experience that can’t be created exactly the same again. Fortunately, I sense more of these types of shows from other local musicians in the near future. Follow your heart and support local music.

Written by Josh Borchardt

Photo by Laryssa Flores

Hayward Hills was written by band members Eric Bustamante, Robert Stewart, and Nate Lujan, and produced by Trey Karnes. The artwork is illustrated by Jada Garcia and grabs your attention as it is both playful in its style, and slightly melancholy in its design, a clever visual representation of the music on this EP.

The EP consists of five tracks—the same as their first release—and is about 16 minutes in length; so It feels like you’re getting plenty of content, and it’s not asking for too much of your time in return.  Overall, Hayward Hills delivers a nostalgic punch to the gut and fills the pop-punk-shaped hole in your heart. The album recalls timeless high school memories of alienation and frustration with social anxiety, but quirky song titles like “Hey Paul Rudd…Thanks” or “y=mx+ It Be Like That Sometimes” remind us to not take everything so seriously all the time.

The opening track “Bellevue Brian” is my favorite track out of the five. It serves as a great introduction, and helps set genre expectations for the listener going forward. The song is passionate and full of dynamic contrast which masks the relatively simple chord structure keeping the listener engaged, preventing it from becoming background music at an underage house party. I also appreciate the math-rock inspired main riff on “y=mx+ It Be Like That Sometimes,” not only for adding another layer of math references, but also for showcasing some of the more technical components of the album.

I admit that I’m not the most familiar with pop punk or emo culture despite growing up in its “golden age.” I spent most of high school either listening to shred guitarists like Buckethead or Queen, and various showtunes. Despite being an “outsider,” if you will, I found Hayward Hills to be an enjoyable listen. I will likely revisit it again once it becomes available on Spotify. If you consider yourself a fan of pop punk, check it out now on Bandcamp and support your local music scene by going to one of their shows, you can find out more on Instagram: @houseplantstx.

Written by Joshua Myles

It can be a challenge to keep up with the many variations of Garrett’s projects. I’m still uncertain how many Timers there are, or if it’s NASA Country or NAFTA Country – fortunately, you need not worry. Whichever version of Garrett you get, you’re guaranteed a double dose of southern drawl cut with enough “VIVA!” to fill your yellow jumpsuits and cowboy hats.  With this, I eagerly welcome the release of the musically rich, new album All Right, All Night by Garrett T. Capps.

As a musician, I find it incredibly unfair for fans and publications to criticize a band or artist for trying something new or developing a new sound.  For better or worse, we’re all guilty sometimes. However, the proverbial playlist of Garrett’s projects – including the new album – is… just right. Relative to previous releases, GTC’s third full length album, All Right All Night is instrumentally more polished. A lyrically confident Capps fashions a refreshing depth that showcases the albums’ exemplary cohesion, candor, and production.  While Y Los Lonely Hipsters and In The Shadows (Again) are rougher around the edges (a quality I find charming) you can hear Capp’s sound mature as he grows older and more experienced, and with age and experience comes opportunity. While In the Shadows (Again) is a great album and holds up well among his catalog, the impressive list of musicians featured on All Right, All Night adds significant heft – notably, Texas accordionist, Augie Meyers, Buttercup’s Odie, and Torin Metz (a member of Sunjammer and my all-time favorite local Texas band, Wild Blood) are just a few of the special guests featured on the album.

With a startling slap in the face (the good kind), the title track hits with a relatable optimism that is much needed, and often hard to find these days. The album escorts the listener through Garrett’s introspective-wayfaring outlook on the way things are, gleaning a tasteful reassurance layered with gospel-esque background vocals.

I think most folks would agree I’m not the most optimist person. Falling in line with that sentiment, my favorite track is the slow and powerful “Lonely Heart (feat. Carson McHone).” The exaggerated, opening matter-of-fact line, “you’re gonna die….” gives you enough time to wonder what the end of the phrase may be, or if there’s an end at all. The song addresses a deteriorated romance. With a poetic vulnerability, albeit accusatory and apologetic at times, Garrett is able to say “this isn’t only my fault.”

The album ends with the slow burning track, “Brand New Dance.” Filled with hopeful lyrics that plainly reference new beginnings and second chances, the song aptly brings listeners back to the initial optimism of the title track. Conversely, the tenor of the tune challenges with tones drenched in bitterness and sarcasm that leave me with feelings of bleakness and melancholy.

All Right, All Night by Garrett T. Capps is an incredible, developed demonstration in maturity and patience. I can’t wait to see what else Garrett has up his sleeve. Follow your hearts, support local music and catch the release of All Right, All Night at Lonesome Rose on August 30^th with supporting artists, Kathryn Legendre, Jonathan Terrell, Mayeux Broussard, and DJ Disko Cowboy. $10 gets you in the door (21+ only), and $30 will get you a ticket and a fresh copy of the brand new GTC LP the day it’s released. Last but not least, the first 100 attendees to arrive will recieve a screen printed poster designed by Cattywampus Press.

Written by Josh Borchardt

Since their formation in 2013 the band has earned significant recognition including multiple San Antonio Music Awards, and winning the Bud Light Riverwalk Battle of The Bands in 2015. With two EPs under their belt, “Faults & Fractures” (2013) and “Move” (2015), I’ve been keeping my ears to the ground for news regarding their next release. After taking a hiatus and remaining discreet about any fresh music in the works, I was delighted to learn the band was reuniting to commemorate the release of a brand-spanking-new single.

SATX Music was fortunate to get an early listen to the single, entitled “Hey.” The single stays true to TBMC’s indie-rock roots while 80’s pop elements blend with gritty guitar, catchy drum beats, and a splash of dreamy melodies. Sometimes, you just know it’s a banger.

The enticing bridge of the song showcases vocals of frontman, Ben Griffith alongside a buildup that falls effortlessly into a choral chanting, “HEY!” This had me feeling some type of way, all while giving me this undeniable uplifting vibe, with each & every listen.

This tune has an inevitable danceability to it. I found myself singing and shamelessly dancing along to it. This is an anthem of true love, clearly defined by the lyrics “You’re the call that I can’t ignore. I need you more than ever before.” TBMC is known for their high-energy performances and I can’t wait to see them perform this live!

The Black Market Club Presents “HEY” Live at 502 Bar takes place on Saturday, August 31st. This special evening is the exclusive, one night only return of The Black Market Club celebrating the release of their new single. It will, without a doubt, be an event to remember. The supporting line-up includes local favorites, St. Dukes, and newbies Southpaw performing live for the first time.

Will The Black Market Club, grace us with a much welcomed comeback to our music scene? That is unclear thus far so, do yourself a favor and make plans to join in the festivities with them at the conclusion of the month! Premiere seating is sold out but you can scoop up $10 General Admission tickets that are still for sale on Eventbrite. Doors at 8pm. 21+ Only.

Written by Karen Garanzuay

“I wanted to do something I’ve never done before with songwriting…trying to write a ‘pop song’ (whatever that means these days) is all I ever try to do. Unfortunately, Dig A Pony has already been written, so I’ll just settle for sparkly sequences. I love how fickle a synthesizer can be so a song is constantly changing when it’s performed. I don’t use a laptop to keep everything in line, when Gabriel and I perform a song we have to sync everything just right. And almost always, something goes wrong.”

With digital music production more accessible than ever, musicians have gained the ability to create in a way that was previously unavailable or financially unreasonable. While being a remarkable resource, the Digital Audio Workstation, or DAW, simultaneously created a dispute about authenticity. Ever wonder how The Beatles got the keyboard sound at the beginning o f Strawberry Fields Forever?

They used a Mellotron. It’s a beautifully unique instrument that is incredibly expensive. While most people can’t afford one or don’t have access to a studio that does, it’s 2019 and all iPhones come with a digital version of a mellotron on the GarageBand app. Don’t get me wrong, this technology is incredible and I use it daily; but it leads to a question I often ask myself when listening to music: is this real?

Partially stemming from my own lack of experience with electronic music, I often question the authenticity of an artist pressing buttons on stage. I struggle with this even when listening to some of my favorite electronic artists like Tobacco, Damaged Bug, Black Taffy, and Cluster. I have no idea what they’re doing. Are they triggering samples of pre-recorded material? Are they actually playing everything live, organically? I may never know.

When it comes to local aural explorers, SummerFriend, my potential distrust of digital production fades. Their sound is genuine. The question I ask myself is ‘how did they get here?’

Gabe, formerly of the band, Fisherman, is a talented keyboardist as well as an experienced audio engineer. His knowledge of sonic fundamentals put SummerFriend ahead of most bands in the space.

The other half of the diatonic duo (see what I did there?), Emilio Gomez, is one San Antonio’s most prolific musicians. He comes from a diverse musical background previously playing with Yes, Inferno, The Bolos, The Beers, and everyone’s favorite, Tides (still nursing a bangover from their performance at the SA Music Awards a few years ago). Stylistically, these bands ranged from up-tempo garage punk to thought provoking, melody-driven indie that would make even the most emotionally-crippled person feel things. Rendering these fundamental values through synthesizers and sequencers gives SummerFriend an edge, and potential to become a sonic force we would do well to keep an eye on.

I’m sure there is someone out there who will argue the sounds of SummerFriend are not authentic, but I’m not losing sleep over it. The unknown local tape label, Trash Mule Tapes, will release SummerFriend’s 4-song cassette on August 29th at Limelight with support from local heavy hitters, Dance Like Robots, DRO, and Shots Dupre. Tickets are $5 at the door and the show is 21+, ID required for entry.

Continue to follow your hearts and support local music.

Written by Josh Borchardt

Photo by Devin De Leon

The Holy Knives self-identify as “desert dream rock” and it’s a fitting genre descriptor for Year of the Black Dog. The songs are slow and sultry, laced with the haunting baritone vocals of younger brother, Kody. It’s rock ‘n roll with a dash of psychedelia, and a heavy side of melancholy dreamscape. I’ll be the first to tell you I’m not exceptionally well-versed in desert dream rock, and neither is Spotify, apparently. Starting a song radio for single, “Stray Dog,” Spotify returns only a mix of The Holy Knives and La Luz tracks. So – if you dig La Luz, there’s a good chance you’ll hook into The Holy Knives.

Putting that aside, there’s no band or album that jumps out as a good comparison for Year of the Black Dog. And that is so. Fucking. Fabulous. Listening to original music that doesn’t sound like a synthed-out, chopped up, auto-tuned regurgitation of something you’ve heard, quite literally, one hundred (or more) times, is pretty refreshing. It also helps that the album is actually good.

The individual songs stand well on their own and come together nicely for a cohesive 10-track album. This end product is no doubt due in part to the Valentine brothers’ prolific writing abilities. In the past year they’ve whipped up over 100 songs and candidly selected those that represent who they currently are as people, and the type of music they want to create. The two have worked consistently to define and refine the image, sound, and ethos that make up The Holy Knives. Sometimes it feels like they’re trying too hard, but let’s be real – that’s a nice change of pace from the overcooked, reckless-party-boy-railing-coke spectacle that rock ‘n roll is all too familiar with. Oh, you want to take your craft seriously and put forward a fused, professional presentation backed by talent and hard work? Please, be my guest.

For better or for worse, good songwriting and hard work will only get you so far. Lucky for us (and them), The Holy Knives assembled a production team that has been around the block a few times. Recorded in the deserts of West Texas at Sonic Ranch, Year of the Black Dog was produced and mixed by Latin Grammy-nominated producer Manuel Calderon (The Chamanas, Nina Diaz), who helped shape its desert dreamscapes. Calderon’s bandmate in The Chamanas, Paulina Reza, provides backing vocals on multiple tracks, providing a perfect foil to Kody’s vocals.

If you’re not a full-album-listening-session enthusiast, tune into these tracks (in addition to the singles, “I Guess It’s Enough” + “Stray Dog”):  “Switchblade Heart” + “Loose Tooth” + “Don’t Tear Me Out.”

Drawing musical inspiration from acts such as Timber Timbre, Arctic Monkeys, Beach House, and Portishead, The Holy Knives’ could be imagined performing at the Bang Bang Bar from Twin Peaks or playing in a True Detective episode. Their belief is that music is a sacred weapon you can use to ward off the march of reality.

Sign me up for that shit.

Check out the video for “I Guess It’s Enough,” and don’t miss the album release this Saturday, November 10th at Limelight on North St. Mary’s.

Written by Libby Day

It’s been a year since his last visual release, and the unconventional structure of HILLS definitely sets Taylor up for a great return. Primarily serving as the music video for the latest single, “Without Your Love“, the 6 minute clip also features a preview of two unreleased songs from Proz’s forthcoming album, Deadman Wonderland.

Proz shows that being an artist is more about music but about visuals as well. In an era where music videos are becoming influential films, its great to see dedication being put into giving fans a visual and audio experience.

You can follow Proz Taylor on Twitter and IG at @ProzTaylor.

Written by Walter Montesinos

willingness to follow those impulses that makes our music drift about.

Buttercup, 2010 (left to right: Odie, Erik, Joe)

Buttercup, or Buttercult as some endearingly refer to the band, has been churning out poignantly emotive arrangements for 15 years. Yes, 15. Nestled tightly in the South Texas music community, the ensemble is preparing to release their seventh full-length record and first release in eight years, “Battle of Flowers”. Mixed by Larry Crane (Elliot Smith, Death Cab for Cutie, Sleater-Kinney) in Portland, Oregon, the album is their first release to consist of totally live takes recorded in the band’s rehearsal studio.

Buttercup is comprised of three core members: Erik Sanden (guitar, vocals, and general front man), Odie. (bass, vocals), and Joe Reyes (guitar, vocals). Over the years the group has included numerous musicians on recordings and in their live performances. “Battle of Flowers” features Diego Navaira (guitars, keys, percussion, and voice) and Emilio Navaira IV (drums, guitars, keys, percussion, and voice). The Navaira brothers appear courtesy Warner Bros. Records.

“Buttercup loves dynamic music: artists like The Who, Morrissey, and the Talking Heads who can travel wide oceans of music, paddling their way thru wild mood changes,” tells Erik. This love for dynamism reflects heavily in “Battle of Flowers.”

“Since ‘Sick Yellow Flower’ came out in 2005 we’ve lived two, maybe three lives. We learned how to sing together with impossible Bee Gees-level accuracy. And then came the Navairas who urged us on to rock harder on ‘Battle of Flowers.’  At the same time we’ve become minimal: our new songs are more concise, clearer, and louder than they have ever been.”

Buttercup, 2017 (left to right: Odie, Erik, Joe)

The album is wildly diverse in the arrangements and powerfully showcases all the elements that make Buttercup, Buttercup. Filled with faultless harmonies, wilding guitar riffs, tight breakdowns, and leaving no detail untended to, “Battle of Flowers” takes the listener on an open-ended eargasmic adventure – all driven by rousing lyrical content. The album opens with “Let It Drop,” an ode to the less-refined, fuzzy sounds of early 90s, 2000s alternative and indie rock. Depending on what you store in the dome, you might glean early Weezer or Pavement, with a side of The Kinks.

“Acting Through Music” comes in with a strong intro reminiscent of a music baby with Arcade Fire and Quiet Company DNA. The melody is light and moves forward effortlessly. Tuning into the lyrics, the chorus reminds the listener there is something deeper to hear: On and on acting through music/ on and on acting on this suicide/ on and on and on. Moving through the album, “Gud Girls” intro is just similar enough to remind the ear of the 1993 release from Counting Crows, “Mr. Jones.” The verse and chorus reveal Buttercup’s propensity for well-composed, detailed-oriented songs that remain wholeheartedly simple.

“How To Think More About Sex,” and “Champagne From Spain” showcase the genre-fluid nature of “Battle of Flowers.” They’re a bit softer, “Champagne From Spain” significantly more so than “How To Think More About Sex,” with a sharp turn into the indie/folk rock realm of Buttercups’ sound. Odie sings on “Swallow Fly” and it’s slower, soothing except the always lingering, reminding lyric of, “you’re fucked.”

There are performance art elements in every live Buttercup show. This has always been the case and adds incredible value and heightened emotional response for the audience. In the recording, the performance art quality still shines through explains, Erik, “in the way that ‘Vicious Rewind’ falls apart after 30 seconds of sweetness, or how ‘68 Playmate’ starts in a hurricane of disorder, or how ‘Open On/Shut Off’ starts with an absurd lie for an introduction. But mostly, the record sounds like us: 5 grown men in a room having the time of their lives making music.”

The gentlemen of Buttercup have performed their most exciting and ambitious shows in the last couple of years (the Majestic, the Cobalt Club, etc.), and still have so much more to say. Don’t miss the release this Friday at Empire Theatre with Slomo Drags and CLIFFFS. Tickets available here, doors at 7:30p, show at 8:30p.

http://buttercult.com/

Written By: Libby Day

Q: Where have each of the released EPs and albums been recorded?

– “He Who Jumps Into The Void Owes No Explanation To Those Who Stand And Watch”

– “Moths/Haunter Split”

– “διαδήλωση”

– “Thrinodίa”

 E: We tracked most of “He Who Jumps…” at our drummer Mark’s old place out in Von Ormy. This was the first piece of music we recorded as the current lineup. Most everything after that has been recorded by our lead bassist, Bradley at his place. Drums for Thrinodίa were tracked by Wes Powers at Signal Perception Studios in Austin. We love you Wes! Wish you were coming on tour with us again!

Q: Where are the new splits being recorded?

E: We’re recording with industry legend Bradley Tiffin at Lil’ Bradley studio haha. We’ll probably be recording most of our music with Brad unless we win the lottery or get signed to some gigantic label. DIY forever…until we sell out.

Q: What labels are you working with for these? How did you get connected with them?

E: The first split will be released by Red River Family from Austin. We had approached them last year prior to Thrinodίa’s release. Since then we’ve worked with them for Red River Family Fest I (check out year II here), our headlining show during Austin free music week, and this current split we just finished recording. Shane! Kara! We must burn the bone candle under the full moon. Gain the strength from the elements that surround us. The other split we’re recording we can’t really talk about yet so we’ll keep that one a mystery.

Q: Who are the splits with? What made you want to do splits with these bands?

E: I can’t spill the chisme, but I can say one band is from Austin and the other from Arizona. All in due time.

Q: Will y’all be going on tour to promote the new release? If so, how is the tour shaping up? City you’re most excited to play?

E: Yes, we actually leave for tour in two days so we’ll be playing songs off the release as teaser to the actual 12” release this fall. Once that’s out in the fall we’ll be touring to the Pacific Northwest with our friends in Black Vice. That’s not totally booked yet, but I’m really excited to play in Oregon and Washington. I’ve only heard good things about the death and black metal scene up there so I’m itchin’ to head north.

Q: How would y’all say your sound has evolved since the initial release in September 2014?

E: Well, I’d say Brads addition to the band dramatically changed our sound. We’re just an amalgam of black and death now. We want to get heavier, stranger, and techier. The writing process is definitely lengthier and more arduous than it was before.

B: After I first met Enrique and Mark at a Haunter show with their 2nd lineup, I started jamming with Mark for a different project. He introduced me to a lot of influential bands, on top of the fact we had a highly compatible taste for black and death metal. After recording the blackened screamo songs from “He Who Jumps…”, we all agreed the next logical step in the band was to add more ambition to the songwriting, and definitely embrace a more abrasive direction.

I try to approach bodies of work with a fully (mentally) controlled state. Sometimes the sound I publish at the time isn’t exactly how I’d prefer it to sound now, but I still take ‘flaws’ in production and performance as endearing qualities. I believe “Untitled” from Thrinodίa was the first track I wrote for the album, and “Perinatal Odium Dilute” the last. The whole album flows well, I think. It just comes down to creating cohesive pillars with their own individualistic qualities. So far, I feel each Haunter release shows us taking a step into another room, another characteristic that makes our sound as original as possible for black metal.

Q: Since y’all have been playing together, what’s your favorite memory? A show? Or practice moment? Anything.

E: I can’t speak for everyone, but our first lengthy tour back in January of 2016 holds a really special place in our heart. It solidified that we wanted to do Haunter seriously and push ourselves to do more as a band. It was definitely a big bonding moment as well.

Q: What’s each band members “go to” drink at shows?

E: Lone Stars, a well-mixed Vieux Carré, whiskey cokes, Topo Chico, and pickle shots.

Q: What new music are you guys listening to?

M: Drab Majesty, Disma, and Void Meditation Cult.

B: That new Ascended Dead leak, Perverted Ceremony, and Phrenelith.

E: Alina Baraz, Qrixkuor, Forth Wanderers, and Crurifragium.

Q: What keeps you guys excited and motivated to continue making music in SA?

E: We really want to get out of the city as much as possible. Touring is what drives us the most to continue making music.

There you have it! Catch them in a city near you!

For Collective Dreams, the statement from their band bio is a self-fulfilling prophecy. After seven years of making music together, the group has settled into a raw, cathartic groundswell that becomes them.

“The biggest difference is certainly coming into our own as a pure instrumental project,” says drummer Travis Hildenbrand. “This being our fourth album, we’ve really found our niche as an ambient-psych group, but with a little more motion and energy than some of the other artists in that type of genre.”

Collective Dreams is Caleb Barber (guitar), Albert Salinas (guitar), Daniel Ray Zamarripa (bass) and Travis Hildebrand (drums). “The Evergreen Sessions” is the quartet’s first completely self-produced release, and the sound and tone stray from previous releases.

The album is comprised of seven tracks written and recorded at an arguably legendary house on East Evergreen Street known as “That Place Off Evergreen” that formerly hosted a plethora of DIY shows. (Side note: If you never partied or attended a show at Evergreen in its heyday, what were you doing with your life – besides being a potentially responsible human being?)

“The entire album was recorded by our very own [bassist] Daniel Ray,” Hildenbrand says. “It was great to have one of our own at the controls; really contributed to the overall organic songwriting and recording processes.”

A visceral experience, “The Evergreen Sessions” is packed with emotion and grit. You can feel the cathartic ethos pouring out as the album progresses. Each song has its own ability to evoke genuine emotion from the listener.

Track one, aptly named “Fast Slow,” softly begins the listening experience. The beat waits to make its first move a little after the minute mark, followed by breakdowns that permeate the track. At 3:10, I felt a beating, angst-filled heart explode somewhere in the universe.

Instrumental music frees the listener to perceive as their heart and mind sees fit. Suggestions for your first time listening to “The Evergreen Sessions”: Get a little lost. Go stand in the sun and cry for a while. Cruise your city with a spliff. Find some trees to run through and let the branches smack you in the face. Feel the feels. It will be good for your soul.

You can find the full album on Spotify and iTunes. Don’t miss Collective Dreams’ album-release show Saturday, February 25, at Brick at Blue Star Arts Complex with support from Animal Spirit, Wayne Holtz, The Gentlemen Swank and Red Cardinal.

Written by Libby Day