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Yonatan Gat

2018 Pedal Fuzz Favorites

2018 Pedal Fuzz Favorites

AOTY 2018.jpg

Contributors from Pedal Fuzz have weighed in on their favorite albums of 2018. there was (thankfully) no shortage of excellent music released this year. We hope you give these artists a listen, a share, and maybe even smash that ‘buy’ button on Bandcamp or at the counter of your local record store.

***note***these are listed in order they were sent to the editor

Dustin K. Britt

Al Riggs, WE'RE SAFE BUT FOR HOW LONG

David Byrne, AMERICAN UTOPIA

Father John Misty, GOD'S FAVORITE CUSTOMER

Janelle Monae,  DIRTY COMPUTER

Janelle Monae, DIRTY COMPUTER

Florence + The Machine, HIGH AS HOPE

Gorillaz, THE NOW NOW

Janelle Monae, DIRTY COMPUTER

Mary Lattimore, HUNDREDS OF DAYS

Neko Case, HELL-ON

Sarah Shook & The Disarmers, YEARS

Troye Sivan, BLOOM

Jon Foster

The Nels Cline 4 – Currents, Constellations – Nels Cline is one of those figures that’s always been on my peripheral. His name has floated around progressive independent music for decades. His association with Wilco didn’t cause me to go through his discography. This record just popped up this year, a little promotion from a devotee helped a lot. Seeing him play at Big Ears this past year solidified my interest.

 Currents, Constellations is fascinating, the interplay between Nels and technical wizard Julian Lage keeps pushing the music forward, sometimes noisy and sometimes jazz freak-out. It’s a perfect gateway record, not all the way jazz and not all the way progressive rock. After listening to the record for a few weeks I ordered the last two Lage records and a couple Cline ones. Julian Lage’s Modern Lore is also on my best of 2018 list.

 

Similar Fashion – Portrait Of – I don’t know anything about this band. I don’t know where they come from. I have no context other than a simple post from the producer, John Dietrich of Deerhoof fame. Just that last bit of information caused me to click on the link, a task any music fan can do dozens of times in a day when the music is in front of you all the time. Another Bandcamp link, nah…I’ll pass.

 Thankfully I clicked on the link and heard a record I immediately loved. It was energetic and progressive, a little silly even. How many records reference the TV show, Scandal? One thread going through the record is this quasi-Raymond Scott feel. He’s the guy who wrote a lot of music for Looney Toons, and I love him. Imagine Bugs Bunny chasing Foghorn Leghorn through a forest while a small group of music majors raised on jazz and rock and roll score it. The best songs on the record are full of exuberance and sugared up energy.

 

Oh Sees –  Smote Reverser

Oh Sees – Smote Reverser

Oh Sees – Smote Reverser – Oh Sees have a lot of records. They might have too many records. Because they have so many records it becomes difficult to get excited about a new one. Although I listen to all of their new records I don’t buy them automatically. I feel like I need to sample them. Recently they’ve been going through this tour of the outer fringes of rock and roll subgenres. You know, last year’s record was the folk record with psychedelic touches. They’ve done the garage record with psychedelic touches. Smote Reverser is their early 70’s hard rock record with psychedelic touches.

 When trying to describe the record, I feel like I have nothing positive to say about it. At the core there’s the usual really loud Dwyer leads over the top of everything. You know they’re coming, they’re always there, it should be an annoying cliché but they sound so good. His tone is delicious. Mix in dueling drums and an interest in letting songs unfold for no particular reason, and it’s a record to fall into.

Palberta – Roach Goin’ Down – This is a punk record. It’s ragged and personal and it feels like it could fall apart at any moment. Sometimes I think the musicians are superb players, while on other songs I feel like it’s the first day of them playing their instruments. The songs are short blasts of postpunk joy that could have been made in 1980.

 While I’m enthralled with this record, and enjoyed them immensely when I saw them live in Raleigh, I worry about them. I worry that this perfect moment will be ruined if they become a little more adept at their instruments. Taking away some of the passion in their playing might neuter their effectiveness. A better scenario might be for them to break up and move onto other things leaving this batch of songs as their only work.

 New Optimism – Amazon to LeFrak – New Optimism is basically Miho Hatori, most notably of Cibo Matto fame. It was a record I didn’t know existed until I started down a random google search hole. It was one of those days where think to yourself, “Oh, I wonder what they’re doing” and then six hours have past. Not setting out to find new music by her and then there it is, was like a wonderful present. Unfortunately it’s only an EP. Unfortunately I haven’t heard anyone talk about the record at all. It came out in July and I worry it’s already buried under mounds of other new releases. Googling Hatori again I realize she has produced a full length record I didn’t know anything about. This last surprise was released in October.

 The music on Amazon to LeFrak is right in line with her work in Cibo Matto and her painfully underrated Ecdysis from 2005. The music is colorful and dancey, vibrant and a little quirky. I hope this flurry of creative continues into the New Year.

Eddie Garcia

In 2018 I listened to and focused on music from films as much or more than straight-up albums. Here are my favorites, they’re all magnificent and worthy of your time.

Hereditary  - Colin Stetson

Hereditary - Colin Stetson

Favorite Film Scores & Soundtracks

Hereditary - Colin Stetson

Mandy - Jóhann Jóhannsson

Suspiria - Thom Yorke

Black Panther - Kendrick Lamar

You Were Never Really Here - Johnny Greenwood

A Star Is Born - Lady Gaga, Bradley Cooper

Vox Lux - Sia / Scott Walker

Revenge - ROB

Kin - Mogwai

Thoroughbreds - Erik Friedlander

Eighth Grade - Anna Meredith

42 Grams - Takénobu

*Honorable mention* Halloween (2018) - John Carpenter. I mean, it was great to hear The Theme loud & revved up/industrialized in a theatre, but not really doing much new here if I’m being honest. Love to John Carpenter forever though!

Favorite Albums

There was much that I ‘liked’ this year in music but less that I ‘loved’ (gonna blame that partially on a shortage of deep listening time). I also had a few instances where live greatly outweighed the record, no matter how much I tried to listen. So rather than list out 40 albums, here are the ones that really affected me, so much so that I even have physical copies of 90% of these.

Sons of Kemet -  Your Queen Is A Reptile

Sons of Kemet - Your Queen Is A Reptile

Sons of Kemet - Your Queen Is A Reptile

Bill Frisell - Music Is

Ohmme - Parts

The Nels Cline 4 - Currents, Constellations

The Messthetics - s/t

Mary Lattimore - Hundreds of Days - Meg Baird & Mary Lattimore - Ghost Forests

Dark Prophet Tongueless Monk - Insides

Yo La Tengo - There’s A Riot Going On

Shane Parish - Child Asleep In The Rain

Yonatan Gat -  Universalists

Yonatan Gat - Universalists

Low - Double Negative

Marisa Anderson - Cloud Corner

Mind Over Mirrors - Bellowing Sun

Renata Zeiguer - Old Ghost

The Sea And Cake - Any Day

Oh Sees - Smote Reverser

Yonatan Gat - Universalists

Julian Lage - Modern Lore

***I just picked up The Hex by Richard Swift and Mattson 2 Play ‘A Love Supreme’ but as they haven’t gotten a full spin yet I can’t include but they sound mighty fine so far.

Favorite Pop Song

Kimbra - “Top Of the World”

*I don’t really listen to much modern pop music but this song slays and instantly appealed to me the first time I heard it.


Patrick Wall’s Top Ten

Knee Meets Jerk, or: In Which a Semiretired Music Critic and Journalist Offers Brief, Non-Critical and Non-Sequitur Thoughts on His Favorite Music of 2018. Because, Hey, Music Is Personal and Subjective, Right?

*Results listed in alphabetical order and subject to change.

Bad years look better when they’re gone.

I don’t think I’ve ever felt more unstable — professionally, personally, psychologically — in my life than I did in 2018. In the past eighteen months, I've moved twice — from a new home to an old home to very, very far away from home. I bounced from a solid if unexciting job to no job to high-paying but infrequent freelance jobs to steady and cool but low-paying jobs to a high-paying but stressful and wholly unfulfilling job. Commutes went from long car rides to long bike rides and long walks to long train and subway rides. As summer faded to fall and turned to bitter winter, the world just felt increasingly, incontrovertibly, ineffably doomed. New homes didn’t feel as such. Old ones seemed gone, unable to be returned to — no man, Heraclitus mused, can step twice in the same stream.

If things were roiling internally, they weren’t any better externally. The planet is doomed. The authoritarians won. The world got colder. Some of my friends got cancer. Some of them, their cancers came back. Some of my friends got sad. Some of them came to the brink of death. Some of them got help, got better. Some of them didn’t make it through the year, taken either by illness or by their own hands, their voices now silhouettes, never coming back.

All this is to say: I have done far less critical listening this year than in the past. My time is more limited. My tastes are broader and more tolerant now than when I was a quote-unquote critic, but they’re harder to fathom. The things I connected with this year, I don’t know that I could explain why. I don’t know why Cave’s “San’Yago” spoke to me on the same level as Janelle Monae’s “Make Me Feel,” Jeff Parker’s “Blackman,” They Might Be Giants’ “Last Wave,” The Fearless Flyers’ “Ace of Aces,” Superchunk’s “What a Time to Be Alive,” The Messthetics’ “The Inner Ocean,” Fucked Up’s “Normal People.” I don’t know that I can qualify why none of the records those songs were on made the list below, or why I connected with those records in times of existential crisis. (Though, were I to give it some good, critical though, Monae’s Dirty Computer would probably grade out as the best of the year.)

How do we measure out our worst years? What defines them, shapes them? What do we reach for when everything feels bad? What do we reach for when we just need things to get better? The sensitive among us, we to turn art — the gear-minded among us, to music, in particular. But how do we code ourselves to forget, when the music we listened to — the music we connected with the most — brings us back to those places?

If you’re lucky, you get to close that part of yourself off and forget about it. If you’re luckier, you don’t. You recognize those sounds — those emotions — when you hear them again. If you’re lucky, you’ll get to close that part of yourself off and forget about it — but you’ll recognize those sounds when you heard it again. You just need to realize that you were lucky enough to have heard them in the first place.

So here are eleven records released in 2018 that I listened to that I enjoyed more than the other ones I listened to that were released in 2018. These are the records that provided some small comfort, and that will reinforce, in the years to come, that bad years look better when they’re gone. We hope.

Rafiq Bhatia, Breaking English [Anti-]

The Body, I Have Fought Against It, But I Can’t Any Longer [Thrill Jockey]

Khruangbin, Con Todo El Mundo [Dead Oceans]

Ohmme,  Parts  [Joyful Noise]

Ohmme, Parts [Joyful Noise]

Julian Lage, Modern Lore [Mack Avenue]

Low, Double Negative [Sub Pop]

Makaya McCraven, Universal Beings [International Anthem]

Mount Eerie, Now Only [P.W. Elverum & Sons]

Ohmme, Parts [Joyful Noise]

Miles Okazaki, Work [self-released]

Tangents, New Bodies [Temporary Residence Limited]

Ryley Walker, Deafman Glance [Dead Oceans]

Patrick Wall is an infrequent contributor to Pedal Fuzz. Sometimes, people pay him to write things. He used to live in North Carolina; he currently lives in Massachusetts. The record he actually listened to the most this year? Psychic Temple’s Plays Music for Airports.

Tom Sowders

 This year I listened to a lot of music that did not come out recently. BUT. I did have some favorites in 2018.

Eric Bachman - No Recover

The National - Cherry Tree Vol. 1

The National - Boxer Live in Brussels

Big Red Machine - S/T

Cat Power - Wanderer

The Love Language - Baby Grand

Shopping - The Official Body

Waxahatchee - Great Thunder

Speedy Ortiz - Twerp Verse

Surfbort - Friendship Music

 

Lee Wallace

To make this as absolutely accurate as possible and to allow for any sudden last minute submissions, I am writing this at 8pm on New Year's Eve.

My best of 2018:

Guided By Voices - Space Gun (Rockathon Records). This has already become one of my touch stone GBV albums, in roughly the same status as Mag Earwhig! or Class Clown Spots a UFO or even Vampire on Titus. Fifteen concise psych pop rockers, not a micro second wasted.

Adrian Legg - Live (self release). Adrian is surely one of the two or three best finger style guitarists on this planet, and for nearly forty years he has been traveling and performing solo gigs at house concerts, coffee bars, pubs and anywhere ears will listen.  As wonderful as his playing and composing can be, his arduous fans know that his eloquent, story like song introductions are half of the appeal of seeing him in person. This is perhaps the first time that Legg has released a live album with these stories intact. His ruminations lately have concerned greed, materialism, racism, and the destruction of the environment, all from the perspective of a sagely septaugenarian that has traveled the world many times over, but they are as beautiful as his delicate, astounding guitar playing.

Julia Holter - Aviary (Domino Recording Co.). Holter's third album takes an extraordinary leap from the intelligent chamber pop of her previous work to spooky, other worldly avantgarde. Since so many music reviewers tend to make lazy comparisons to Kate Bush when writing about Holter, imagine if “Lionheart” had jumped straight ahead to “The Dreaming” with 21st century technology. Batshit arrangements and sonic freakouts, lysergic orchestral pile ups that come from outer space, on first listen it all sounds like a mess in places, but hang in there, your brain will thank you.

Janelle Monae - Dirty Computer (Atlantic). Composer/singer/dancer/actress/ time travel enthusiast Monae can be high on concept sometimes but she is even higher on melody, groove and astoundingly great vocal performances. I haven't yet taken the time to dissect what all of this “means” in terms of her commentary about contemporary society and what not, but it sure sounds superb. I suspect that she isn't even close to her peak yet, either.

Lilac Shadows - Brutalism (Diggup Tapes). This Durham, NC quartet has apparently done cassettes and digi downloads before but this is on a bona fide high quality vinyl LP in beautiful packaging. Flavors of “Movement”-era New Order and classic 4AD make this music nerd proud to share some geographical proximity with them. Excellent live band too.

Hopscotch 2018: Pedal Fuzz Picks

Hopscotch 2018: Pedal Fuzz Picks

The Hopscotch Music Festival is almost here! From September 6-8, downtown Raleigh, NC, will be electric with nearly-non-stop music. The Pedal Fuzz team scoured the schedule of over 120 bands for some of the acts we can't wait to see.

Our picks come from Dustin K. Britt, Melvyn Brown, Jon Foster, Eddie Garcia, and Tom Sowders. 

 

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H.C. McEntire - Thursday, 5:50pm (City Plaza)

I'm not going to lie or flatter myself: when I initially saw the Hopscotch lineup for 2018, I didn't recognize the name H.C. McEntire. I'd kind of slept on Un Deux Trois and Mount Moriah, even though when I'd hear them in passing they'd be added to my ever-expanding Mental List Of Things That I Definitely Need To Sit Down And Give A Serious Listen To Sometime Soon. But when I realized that H.C. McEntire was also Heather McEntire, from erstwhile mid-2000s Durham band Bellafea, I perked up pretty quickly: I loved Bellafea every time I saw them to the extent that I've considered peeling one of their old stickers off of a friend's bumper and keeping it for myself (sorry, Adam). Heather/H.C.'s new stuff is soulful and self-searching, and country-tinged in a way that avoids cynical, syrupy pastiche in favor of the authentic and sincere. I've now had a few serious listens through my headphones, but I can't wait to hear this stuff live. -  Melvyn Brown

 

Real Estate - Thursday, 7:15pm (City Plaza)

I got into a fun fight with a friend a few weeks ago about whether or not "New Jersey sux LOL" is a lazy and unoriginal take (correct answer: it is!), and along with Walt Whitman and The Wrens, the band Real Estate was one of my main arguments on the Garden State's behalf. "It's Real" from 2011's Days is the cut that immediately made me a fan: the melodic interplay between the guitars, the rhythmic counterpoints and switchbacks from the bass and the drums, and the keyboard swirls all come together to produce a sound that's dreamy yet grounded, effervescent yet substantial, focused yet effortless. Martin Courtney's vocals wash cooly above it all, like waves over the sand on some idyllic Jersey Shore afternoon. The overall impression is clean, direct, and mildly euphoric, something like the mirror twin of a hangover-induced panic attack. -  Melvyn Brown

 

The Flaming Lips - Thursday, 8:45pm (City Plaza)

I turned my attention to The Flaming Lips for the first time after finding out that Blake Schwarzenbach of Jawbreaker loved the song “The Gash,” off of The Soft Bulletin. I checked that song out and loved it and put it on a VERY important volume of my personal mix cd series (I believe it was Stinger Vol. 13). Anyway, it became a favorite: so big and dreamy, like a sky full of javelins. Since then, The Flaming Lips have lavishly expanded indie rock into a colossal dreamscape full of giant eyeballs and lasers and feather boas, and I have still never seen them live. That’s bout to change, y’all - I’m eager to see what these fearless freaks do at Hopscotch. - Tom Sowders

 

Deaf Wish - Thursday, 11:30pm (Slim’s)

I do ‘rock bands’ less and less. Whether it’s my age, the ‘been there done that’ sameness I so often encounter, or my compulsion  to explore ‘other’ sounds, I can’t say for sure. Probably all three. SO that’s why I find it goddamn significant that when I pressed play on the Deaf Wish song “FFS” (from a press release no less!) I listened to it three times in a row and sent it to a handful of friends. It’s got that Stooges snarl, the dissonance of Sonic Youth at their more aggressive early moments, and I bet it's going to smoke live. And every member of this Australian band takes turns at vocal duties, how cool is that? - Eddie Garcia

Thundercat – Friday, 7:15pm (City Plaza)

I first went to Japan in July 2000. It was a life-defining trip. In 2017, in connection with the college I teach for, I went again. The morning I woke up in Tokyo, I opened my window, and boiled some water for instant coffee. It was early. I looked out over the street. People were just starting to move around, starting to head to their jobs as the sun began to rise. The twelfth song on Thundercat’s album Drunk is “Tokyo.” Looking at the people from my tiny hotel room and thinking about the references in the song, both the song and the experience of being there again took on a new emotional depth. - Jon Foster

Grizzly Bear -  Friday, 8:45pm (City Plaza)

The quartet’s records emit a throng of atmospheric noises coming from some unidentified dimension. Airtight vocal harmonies, instrumental experimentation, and psychedelic soundscapes are easy enough to capture in the studio, but can Ed Droste et al. deliver a sonically precise package live with adequate spontaneity and animation? I intend to find out. - Dustin K.  Britt

 

Yamantaka.jpg

Yamantaka // Sonic Titan - Friday, 10:00pm (Fletcher)

I never knew I wanted to hear a mix of shred / shoegaze / prog / pop but buddy was I wrong. And honestly, that’s not really doing justice to the melting pot of musical styles this band tackles. This experimental art & music collective swirls Buddhism with sci-fi while subverting the expectations of their Asian Canadian heritage. Their latest album is described as “the soundtrack for an unreleased Haudenosaunee- and Buddhist-themed Anime” From what I understand their live show involves much makeup and costumes and theatrical twists. I’m in. - Eddie Garcia

Shopping - Friday, 12:30am (Wicked Witch)

My wife introduced me to Shopping a couple years ago. We don’t always agree on what constitutes good music. That’s largely because I’m kind of a sad bastard who enjoys listening to the dreary music of other sad bastards, so that my own floating sadness can become inhabitable, and I can enter, sit down on a milkcrate, stay in there, and stay safe and headphoned. My wife prefers fun, cool music that ISN’T just an onanistic playground for narcissism masquerading as sensitivity. Anyway, it’s nice when we can land on a band that makes both our brains sparkle, and Shopping is such a band. Their music is like strutting with pointed toes on down a neon rainbow while LSD cartoons go dancing by in a great swirl toward the speaker at 174 bpm. I feel a physical need to get my groove on to their surfy, angular, rock ‘n’ roll dance music. - Tom Sowders

Moses Sumney -  Saturday, 6:40pm (Red Hat Amphitheater)

An expert a cappella arranger, Sumney’s androgynous voice seeps from the record player like a cloud of blue incense that gradually fills every room and penetrates your pores. On stage, his breath pushes gently against the spiritual waters of the amphitheater, growing exponentially into a wave that soars far above the heads of the crowd and crashes against every surrounding building. I plan to submerge myself along with the rest of downtown Raleigh, willing victims of the Sumney tsunami. - Dustin K.  Britt
 

Nile Rodgers and Chic - Saturday, 8:00pm (Red Hat Amphitheater)

Even when I was too young to understand the songwriter/producer/session musician nexus or to have any concept of a trademark sound, I knew that I loved "Le Freak" (Chic), "Let's Dance" (David Bowie), and "We Are Family" (Sister Sledge) because they all had some essential, incredible thing in common. Time passed; I listened to more music, read more magazines and gatefolds and liner notes (and frankly, watched a heroic amount of VH1), and I eventually pieced together that the previously ineffable common link between these songs and approximately a million others was Nile Rodgers. Seriously, you could get pretty lost in the weeds trying to chase down every recording he's had a hand in–I just found out, for example, that he produced and played rhythm guitar on my favorite B-52s track, "Topaz”.  Like the telltale trumpet trills of a Capitol-era Sinatra record or the twelve-string twang of The Byrds, Rodgers leaves his indelible but never overbearing signature on everything he touches so that even if you can't quite put your finger on it, you're glad that he already has. - Melvyn Brown

MC50 – Saturday, 8:45pm (City Plaza)

There’s no reason for this to happen.  The last time the MC5 were together, Richard Nixon was still in office. Wayne Kramer is the only original member playing, which should give music fans some reservations about why this is happening. There’s too many high profiled reunion tours that last too long and barely have any connection with the original music. Why would I want to see this band? The answer is easy, Kim Thayil (Soundgarden) and Brendan Canty (Fugazi). If those guys are in your “cover band” then they’re worth seeing. - Jon Foster
 

Palberta - Saturday, 10:30pm (Slim’s)

The problem with having too many music fans on your social media page is that you’re inundated with new stuff. There’s always something to check out. Most of the time I feel that listening to new music is homework: I have to listen to everything, or I won’t pass some god-awful hipster test. Add friend suggestions and posts from music blogs, and you’re never really on top of stuff. I “try” new things constantly, clicking on a few seconds of a new song three or four times a day. Somehow Palberta appeared in my Facebook newsfeed like it would for any “hip” 37 year old. I loved them immediately. They were trashy, noisy, and complicated all at the same time. They’re the perfect antidote for well-orchestrated soullessness. I imagine two things might happen when I see them: either they will play a transcendent show, or everything will fall apart as soon as they hit the stage. I don’t know which I prefer. - Jon Foster

Yonatan Gat - Saturday, 10:30pm (Pour House)

The first time I saw Yonatan Gat, he was playing as a trio on the floor of Snug Harbor in Charlotte. Setup in a circle, the band had lamps with colored bulbs surrounding them. Gat would switch them off and on to indicate a change was coming in the (to my ears) largely improvised songs they were playing. Gat (who the Village Voice once named best guitarist in NYC) is a dexterous, dynamic player who eschews effects, save for a wah-wah pedal leading into a reverb soaked amp. And the band is a Hendrix-Experience-but-in-the-2010s ball of psych freakout, holding it down while creeping into catchy chaos. On the latest album Universalists, radical tape-splicing techniques were used in assembling the record; I’m very eager to hear how that fractured methodology takes shape live. - Eddie Garcia

Mind Over Mirrors - Saturday, 11pm (Fletcher)

Last year’s Undying Color was one of my favorite albums of 2017. The drone of Jaime Fennelly’s harmonium was elevated by propulsive rhythms, searing synths, and cascading mysterious vocals. The blend was intoxicating. This year’s Bellowing Sun I can only describe as a Steve Reich dance party. They describe it as, “a sonic inquiry into celestial cycles and the illuminating nature of darkness.” So see, you win either way really. My No. 1 pick. - Eddie Garcia

Sarah Shook & The Disarmers -  Saturday, 11:00pm (Lincoln Theatre)

Once a beloved pourer of libations at Chapel Hill’s (not closing) The Cave, triangle folks haven’t seen much of our hometown hero lately, and for a damn good reason: our queer country crooner is ruling the world on a major tour. Shook and company stomped through Charlotte in June to open for Willie Nelson, and now the Triangle kids are getting our turn. - Dustin K.  Britt

Grouper - Saturday, 12:00am (Fletcher)

I think I’ve established that ONE kind of music I like to listen to is sad, sad music. I think this predilection emerged sometime around the release of Use Your Illusion II by Guns N' Roses. “Civil War,” “November Rain,” me swaying in my dark bedroom with a bowl cut, you get the idea. Well, I’m not ten anymore, so I need SADDER. I can’t wait to stand before the unfurling sparkle of the sequin weighted blanket that is Grouper. I just want to feel it in my sad bastard body. I need a hit, man, and Grouper’s got the sad stuff. - Tom Sowders

Dustin K. Britt is a Durham-based performing arts critic and award-winning theatre artist. He is the managing editor of Chatham Life & Style and provides content for IndyWeek and Carolina Parent. In your spare time, you can stalk him on Facebook, Instagram, and Twitter.  

Melvyn Brown is a musician (Toothsome, Broads, NONCANON, Ladies Auxiliary) and writer from Greensboro, NC who is also passionate about the Four Ts: taking photographs, Thai food, technology, and thrift stores. His appreciation of Scotch whisky is not necessarily related to Steely Dan. You can follow him on Twitter, Instagram, or at generalclearinghouse.com

JON FOSTER IS A MAIL-ARTIST, TEACHER, AND PASSIONATE DEFENDER OF MATH ROCK. 

EDDIE GARCIA PLAYS GUITAR AND ALL THE PEDALS AS 1970S FILM STOCK. YOU CAN ALSO HEAR HIM REPORTING ON NPR AFFILIATE 88.5 WFDD IN WINSTON-SALEM, NC. IN THE WEE HOURS HE RUNS PEDAL FUZZ, WHICH IS A PROUD RECIPIENT OF A GRANT FROM THE ARTS ENTERPRISE LAB / KENAN INSTITUTE FOR THE ARTS.

Tom Sowders pirouettes angrily through the streets of downtown Raleigh. Like really aggressively, really windmilling his arms around. His hobbies are not using his PhD and fronting the band Toothsome.