Even though Mission Creek Festival has been canceled, you can still enjoy the fantastic local and regional musicians who were slated to perform — and they could definitely use the love! You can listen to them at the Bandcamp links provided (we’ve suggested great jumping-off points into their respective ouvres), and you may purchase their work there as well. You can also give them a listen on this Spotify playlist. Every play drops a few pennies in their jar, but grabbing that full album or other merch does a lot more good.
These dreamy vocals have been a must-see locally for a while now. Thankfully, there’s now an album to enjoy at home. Check out 2019’s Shadow Weight.
The LV review of 2019’s Time Beach Universe called it “a perfect pastiche of the full variety of 1960s party pop.” It opens with the perfect exhortation for our times: “Welcome to the party, let’s put our minds together and off we go, my friend!”
Check out Dan’s 2020 single “Johanna” or 2019’s Perfectly Whelmed. The LV review said of the album that “each song is imbued with his personality, in turns whimsical and moody.”
2019’s “Am Happy” EP is the most fun you will ever have with a chiptune album, and that’s saying a lot. Wild, weird and wonderful.
Penny Peach, Jr.
She’s partnered with Elizabeth Moen and stood out as one of Anthony Worden’s Illiterati; her debut single, “bangz,” is a gift to us all, friends.
Just prior to dropping Sad Girls With Bible Names as Tall Doozy (with Mary Bozaan), the 2020 single “What’s The Move?” feat ADE and Tyler Stuck landed smooth as silk.
Take some time and let 2019’s R wash over you. You’ll be grateful you did.
“Dizzy Head” (2017) is the chill side of witch house, but with an eerie tinge that will leave you wanting more.
The LV review of her latest album, A Million Miles Away, notes that “While Moen has always possessed a certain sage sound, her junior album ups the stakes — her tone has matured in its cascading depths.” Also don’t miss her 2019 single “Ex’s House Party.”
2020’s I Was Born Swimming was a much-anticipated release from the now-Bostonian artist. It was worth the wait.
The LV review of 2019’s Throes argues that “Aseethe uses what power they have, both culturally and sonically, to gather up space and hold it open. Their anger is a gift, and it feels like a weapon we can wield.” Use it well.
Patience pays off with 2019’s 20-minute noise delight “Cowboy.”
“The huge reverb on [2019’s Villains] implies a church-sized room without sacrificing the intimate nature of the songs,” the LV review states.
DeTaeye’s full, powerful voice is in fine form on 2019’s Bite Back.