7 Weird & Wondrous Music Videos

“Gypsy on a Leash”

This track is about daring to be yourself and the music video directed by Katja Kuhl captures the spirit of that nonconformity rather nicely. We’ve featured the unique aesthetic of Capitano on our site before and this video should help explain why. We dig weird.


Big Bill

Big Bill has been making the rounds on the Austin punk circuit since back in 2011. The band has a quirky style that makes me think they’d mesh well in the PHX weird punk scene. “Pharmacy” is first single from Big Bill’s new LP, Stand By Your Bill, which dropped in November.


The Prefab Messiahs

The Prefab Messiahs offer up a conspiratorial music video for their new single “Psychsploitation”. The animation matches the band’s trippy psych rock sound. Keep an eye out for the new album from The Prefab Messiahs which should be out any day – on cassette through Burger Records and on CD from Lolipop Records.


The Echo Bombs

The Echo Bombs have long been a Phoenix crowd favorite and even made our Favorites of 2017 for their single, “Donnie”. Now the band has a fun, if only a little creepy, music video to go along with the track.

FacebookTwitterInstagram – Bandcamp

 Gianni Paci
“In the Middle of the Night”

This track is the lead-in single to Gianni Paci’s EP, I Tried To Right My Wrongs, But I Made A Left. The New York artist kicks up the kitsch and throws on a varsity jacket for his music video for “In the Middle of the Night”.

FacebookTwitterInstagram – Bandcamp

Mother Mink
“Doobie Doobie”

Not 100% sure what’s happening in this music video but it is both strange and wonderful. The Swedish band, Mother Mink, seemed to harness some stylistic energy from Tarantino on the music side, but they went straight color-era Fellini for the visual effects. Nicely done.

FacebookInstagram – Spotify

Giant Kitty

Houston’s Giant Kitty packs a lot of riot grrrl energy into their rocknroll before slathering on some growly vocals. Basically, what’s not to like? For their latest single, “Et2YT”, Giant Kitty takes aim at the current political climate and all its woes, but they turn up the kitsch for their media-mocking music video.


Radio Phoenix Podcast: Scott Mitting

scott mitting 01
Scott also figured out a sweet patch on the synthesizer Mark brought down.

Scott Mitting, the insider’s insider on experimental and electronic here in the Valley, stopped by the Radio Phoenix studio and brought some stellar tracks down with him. Not only do we get to hear a variety of experimental acts from AZ and beyond, we get the rundown on all of Mr. Mitting’s bands and projects he’s worked on (which is quite a bit). As always, the complete playlist can be found below. Check it out .

Complete Playlist

Wayward Sun “Quite the Conversation (Killer)”

Orangubang “People Suck” from The Banjo Remix

Andy Warpigs “Shut the Fuck Up”

Exxxtra Crispy “Scumbag”

BOARDS OF CANADA “Reach For the Dead”

Militia Joan Hart “Lost Cosmonaut”

Flatland Sound Studio “Sorry Donny”

20FT Neon Jesus ft. SupaJoint “Blaze One”

Hesperus “Lost in Thought”

Beehatch “C Song Sea”

The Tear Garden “We the People”

Recorded live on October 18, 2017


5 Eclectic Indie Singles

Flower Festival


The experimental indie act known as Flower Festival released a two-track single earlier this August perfect for that final stretch of hazy heat only those of us in the Sonoran can really understand. Start by stretching out underneath your best ceiling fan on full blast and allow the dreamy waves of “proverbs” to initiate lift before “daddy” (the next track) sends you into dream state. The numeric repetitions in the second single on this release from Flower Festival brought to mind some Einstein on the Beach meditations. Give “proverbs” a spin below and don’t forget to stick around for “daddy”. And, since we’re on the topic, why don’t you score that digi-download from Flower Festival over on Bandcamp.

Sun Seeker

“Won’t Keep Me Up At Night”

Slip into the easygoing stream of summertime sounds that Sun Seeker offer on their new single, “Won’t Keep Me Up At Night”. The track comes to us from the Sun Seeker’s debut EP, Biddeford, which came out in July on Nashville’s Third Man Records. There’s an innocence that floats along with the upbeat indie-pop. The trio keeps its appropriately Nashville with folk rock underpinnings that shine through on this track. Let’s hope for a Phoenix stop on their next tour (hint, hint). Until then, enjoy “Won’t Keep Me Up At Night” from Sun Seeker below or score Biddeford in its entirety here.

Luke Rathborne

“Don’t Call Me Baby”

There’s a retro-hue to Luke Rathborne’s brand of indie that calls to mind those balladeers of early rocknroll. “Don’t Call Me Baby” definitely has a contemporary indie pop vibe, but that old-fashioned undercurrent really gives the single a sense of staying power; of timelessness. Rathborne himself is a promising artist that has set his sights on music at an early age and has pursued that craft with an admirable fervor. That commitment comes through in his songwriting. Check out “Don’t Call Me Baby” by Luke Rathborne below or score your own copy of the single here.

Look Vibrant

“Numb Your Spirit”

Montreal’s Look Vibrant creates luscious soundscapes of experimental indie-pop that you can experience for yourself with their new single, “Numb Your Spirit”. There’s summer fair feel to this dynamic number and I don’t mean like Circus Circus… more like the Mary Poppins’ afternoon carnival that occurred somewhere in the undefined space between imagination and a chalk drawing. There’s a puerile joy in the energy of this five-piece act and it pours into their music. Listen to “Numb Your Spirit” below or get that digi-download for your personal playlists and support the band!

Inner Wave


This SoCal quintet has been making music together since they were kids so, far as I’m concerned, that already makes them a musical success story. Their hazy new single, “Eclipse”, has a meandering feel that calls to mind beach boardwalks against an orange sunset. Bright, calming, and maybe just a little dingy as it tangles with the impending night. There’s a bit of alt-rock in this band’s dreamy indie sound that stems from more of a Tame Impala-New Wave Redux mode of “alternative rock” than any 90s equivalent of the term. The falsetto on vocals interweaves seamlessly with the underlying instrumentation too. The fluidity of Inner Wave’s sound probably has something to do with the 10+ years these kids have been jamming together. Give “Eclipse” a spin below or throw some support to the artists by purchasing their single here.

The Noise Floor: Wild Holiday

wild holiday 01by Chris Nunley
Staff Writer

Call me a crotchety old man, but I long for the days of how music was released before the almighty EP.

I mean I get it, attention spans aren’t what they used to be thanks to glorious technology. The way music is produced and distributed for the consumer massive has become more dizzying than the heady days of Chip Kelly coaching the “Quack Attack” offense. (“We’re gonna get up to the line and just run a play! JUST run a play! GO-GO-GO!”) Yeeeeaaahhhh… the toxic side effect of this trend is that a lot of sludge gets released into the world.

This is sort of the case with Wild Holiday’s two EP’s I Was Abducted Last Night and Television Diary. Had someone burned these 9 songs between the two releases onto one CD and given it to me, I would’ve just assumed it was all from one album. And they should be in my opinion. There’s a grainy cohesiveness within the body of work that would pass as a full length record. I guess I’m just annoyed that I had to click on two separate links to listen… yes, I’m being crotchety.

Starting with IWALN, this batch of songs hauntingly reminds me of why I’m thankful I live in the 602 and not the 206 anymore. The dank chiptune charm of “I Took Acid At A Friend’s House” and lo-fi indie “Thinking About My Funeral” sound like what happens when vitamin D deficiency sets in and you’re looking out to overcast skies from your overpriced bedroom window.

“Everyday Is The Worst Day of My Life” could very well be an ode to coffee and its effects during the work week, while “Video Games In The Attic” makes for the perfect transition to the follow-up EP.

wild holiday 02

Television Diary was more interesting to me thanks to the noisy and dark “Graveyard I, II, & III” tracks. Truth be told, they kinda pissed me off that they were so short because they had the potential to evolve into more expansive compositions. But…not my circus, not my fleas.

The gloomy yet beautiful “Basement Song” is the most clean sounding, giving us the chance to really hear the tortured vocals of the project’s lone member, Alec West.

The surfer-esque “Planetary Expedition” drowns out the doom and gloom with fuzzy guitars and saturated drums, as our protagonist rides the crest of psychedelic wave “searching to get high”.

Although I wish these two EP’s would be one LP, this is solid work from the Memphis-to-Phoenix transplant. The variation in volume, texture and distortion with all the tracks has a nice Julie Ruin feel. It’s what folk-y bedroom lo-fi should sound like, and I wouldn’t have it any other way.

Now hurry up and make another record! Just get to the studio and make another record! GO-GO-GO!


Check out Wild Holiday on Facebook and Bandcamp.

wild holiday 03

Songs from the Reading Room: koleżanka

koleżanka 00koleżanka (Kristina Moore joined by Arky and Winter Calkins) joined us at the Reading Room and shared these lovely songs with all in attendance, which now includes all of you as well. Both tracks will appear on their much anticipated debut album Vessel, which is due out in June. But before that, catch them live on Tuesday May 16 when they open for Silver Ships at the Trunk Space.

In the meantime, allow their experimental/electronic/noise pop to wash over you and succumb to its beauty. Check out both koleżanka videos below.

“Flyfishing/Snow Cone Summer”


WOLFZiE: The Memory Department, Pt. 1

wolfzie 01by Mark Anderson
Senior Editor

WOLFZiE makes chillwave music. Now, if you’re over 35 and still have no idea what chillwave is, it’s basically electronic pop with a nostalgic, throwback style to the 80s/90s in not only production, but in the sound’s entire presentation as well. (Editors Note: Please understand this is a vast generalization of the genre and for a better understanding, including some great quotes, scope the wiki.)

An ethereal, down-sampled vocal line starts The Memory Department, Pt. with the track, “Melted Thank You”. Classic 808 sounding drum patterns, complete with bicycle chain hi-hat, roll in and the head-bobbing begins. These classic chillwave tropes are repeated throughout the album to great effect, incorporating hiphop and experimental jazz elements within the overall narrative as well.

As part of the TVLiFE Entertainment family, WOLFZiE is also the progammer/ DJ for Militia Joan Hart (whose members include Andy Warpigs, DaDadoh, and Scott Mitting), and although The Memory Department, Pt. 1 doesn’t approach the gothwave stature of that band, there are still plenty of dark synths on this record. “Lion Eyes” is one such track; the slowed down break beat combining with the chords and hi-hats to create a trance-like state.

“10 Daze Off” changes pace a bit, using a guitar riff as the main sample, sustained chords with sound effects rounding out the sonic space. My favorite track on the album, “How Humble”, features a guest spot by MC/DC, a frequent collaborator with the TVLiFE crew. For me, the track defines undergound hiphop: avant-garde and poetic.

“PDX” closes out the album, leaving me slightly unnerved. The combination of ride-fueled jazz pattern beat, ominous bass tone, and audio samples launch me into a contemplative space – and then – the chords dissolve away like some wicked witch and I’m left with a message to turn the record over.

That’s right, originally planned as a full length album, WOLFZiE opted to release this collection as the first of 2 EPs at The Rogue Bar on Oct. 28 and then digitally on Halloween.

Stay tuned for Part 2…


For more info check out his Facebook page.

Bindi-Eye: Two Temple Dog

bindi eyeby Chris Nunley
Staff Writer

Whoever said that you eventually get accustomed to the summers here in Phoenix is a damn fool. There is NO getting used to them! In the four short years that I’ve been in the Valley, they seem to only get worse with each revolution. Apocalyptic visions of dust devils swirling in the distance and crossing over freeways while cookies bake on crackled dashboards are glorious reminders that we in fact live in Hell.

And there’s nothing to do at the same time. Baseball game? No thanks. Hiking? Enjoy dehydration and that motorized trip to the ER. “Release” pool parties? Watch out for roofies. Perhaps the best option is to stay indoors and ride it out until the calendar hits November.

However, in the midst of my despondency, a small nugget of local lo-fi folk music has been chiseled and presented with a sheen of imperfect perfection. Two Temple Dog, one of two recent releases from Bindi-Eye, is a warm and engaging musical testament that less is more, especially in the summertime.

From the opening hiss of the instrumental track “Tape Test”, you get the feeling that our brooding bedroom rocker cranked out this song (and album for that matter) with little effort. The subtle yet tasteful use of delays and reverb is brilliant, allowing the track to breathe within its own space.

“Hypochondrimania” clocks in at just over a minute, and it might very well be my favorite track, for what sounds like slam-poetry turned folk-song. This is how I would write if I could only carry a tune. There’s nothing fancy about it either. No bells or whistles. It’s just a throaty, raw song that says what needs to be said without the use of a hook. “Latex Clouds” sends the listener floating in the backyard pool at high noon with euphoric visions and dripping sonic textures thanks to tape stops and reverses, while “Comfort Junkie Apparatus” sounds like a found art piece of old recorders and plastic stringed toy guitars procured from a garage sale.

Bookending this section of the EP is the equally raw track “Hypnopompic Goddess”. Reminiscent of the second and third sections of “Paranoid Android”, I kind of wish there was a sort of uptempo first section on this one too, but I guess that would be too Radiohead though, huh? It’s a good track nonetheless, just a little short lived.

However, what I enjoyed most about this four song chunk is how connections are made between the artist and the audience on “Hypo” and “Hypno”. The two instrumentals allows the performer to sort of hang back in the shadows while the listener disconnects and drifts freely.

One of my favorite characteristics of lo-fi music are the unexpected surprises that you get from time to time. “Through Eons of Election Fraud” gives us just that, thus bringing the album to the 180 mark from where we originally began. A “hefty-hefty-hef-ty” dose of guitar feedback and abrasive vocals is humorously followed with a “wimpy-wimpy-wim-py” drum track that definitely has the balls fall through the sack. Artistically, it’s a genius move with the added elements of rhythm and a distorted harmonica. The combination of the two adds gritty tension to the dark and distressing lyrics, probably about the impending election and the lack of candidates with any substance.

“Little Medicine Feather” finally brings the album full circle as a full-bodied instrumental, complete with hints of the instruments used in the previous tracks, all while providing a simultaneous sense of optimism and hopelessness.

I don’t know about the rest of you, but I’m feeling inspired to make a lo-fi record myself. November is still a ways away and there’s only so much Netflix one can take. Be cool…stay indoors!

Melted Cassettes: Tunguska

Melted Cassettes 1by Chris Nunley
Staff Writer

“Oddly, at the time, I was on a kick of watching “Taxi Driver.” For some reason, I’d always, at the end of the night, I’d put that on and, you know…I think… I was losing it then. This was right in the time where I was like, “What am I gonna do? I’ll just watch ‘Taxi Driver’ again, maybe that’ll make me feel better,” and then it didn’t. I don’t recommend that anybody do that.” -Trent Reznor, MTV ’99

As a fan of music, sometimes it’s more interesting to me to read about what happens when an artist isn’t working on new material. I’m not saying I want a glimpse into the rock ‘n roll version of “Lifestyles of the Rich and Famous”. But more of a behind-the-scenes peek at our euphonious superheros being…human.

For those who aren’t familiar with the Scorsese classic, “Taxi Driver” tells the story of Travis Bickle, a former marine and Vietnam vet struggling to make sense of a city filled with “screwheads…the scum, the dogs, the filth, the shit.” The feeling of alienation and societal anxiety leads Bickle to vigilantism with a dark heart, while simultaneously playing the role of a guardian angel to a 12-year old prostitute. Not exactly the most positive film to watch when you’re battling depression.

So for years I’ve wondered to myself what exactly was Reznor’s state of mind while watching Bickle blowing people away every night? When an artist that has won or been nominated for multiple awards, conquered the world through visceral performances caked in mud, collaborated with childhood idols, and even constructing the Antichrist Superstar… I wanna know more about why your circuits were crossed and on the verge of collapse.

Tunguska, the newest release from experimental avant-garde duo Melted Cassettes, could very well be the auditory answer I’ve been seeking all this time. Although the title references the Tunguska event of 1908, you can’t help but notice the heavy industrial influence and theme of repetition throughout the album.

From the start of “Inner Mask”, we’re treated with a broken machine grind rhythm section, while cold basslines and gritty synths add texture to begin a descent into madness. Following a similar cue from the rhythm department is “Hammer of Judgement”. Shimmering synths and glitch-y loops reign supreme while you sleepwalk through the graveyard after midnight.

“Heavenly Body” is by far the most curious and exciting track on the album. Complete with a Puppy-esque vocal take, fuzz textures and a skittish saxophones make way for an interesting and unexpected transition into a jazz club nightmare.

The whirring sci-fi desperation of “Proto Ape” may’ve been a track that unfortunately ended up on the cutting room floor of “Grindhouse: Planet Terror”. If you’ve ever wondered what a thousand killer bees from hell swarming around a distress beacon sounds like being pumped through an overdrive pedal that’s set to “fuck all”, then “Inside the Hive” is easily your answer. There’s some really nice electric guitar droning on this track that makes you wonder if this was Reznor’s breaking point at one time. “Germinator” continues the overdrive trend and loops what might be a section of the adhan through a low pass filter. The use of John Carpenter-like synths from perhaps The Thing gives a certain uneasiness to a track that’s already unnerving.

A stark and moody album, Tunguska benefits from not being perfect. However the lack of diversity in sounds used and the crawling pace of the tracks keeps this one in the “3 out of 5 stars” category. But after listening to their previous single “Pure Jazz”, there’s a strong foundation between the two releases in which to build up from this point onward. A must-listen for experimental and noise fans alike, but not for the faint of heart.

t0rphy & Stembreo: Misty Under the Grifting Tree

stembreo 01Collaboration haunts with recent sound collage…

by Chris Nunley
Staff Writer

What is “music” to you? Or better yet, what do you perceive music is to most people? Is it the presence of melody and harmony? A super-dope-phat digital beat from a laptop? Vocals processed and auto-tuned to the point that the listener can’t differentiate between any two singers? The catchy hook that will be here today and gone in a week’s time? Or is it more about the marketing now? Clever hash tags. Sub-sub-sub genre labeling for “originality”. Instagram, Pintrest, and Twitter. Thanks to the gutlessness of the major record companies and the (cough cough) artists who produce such brainwashing balderdash, they are taking you, the blindly-led consumer, for suckers.

Music by definition is “vocal or instrumental sounds (or both) combined in such a way as to produce beauty of form, harmony, and expression of emotion.” One of the purist forms of this definition can be found in the use of field recordings and sound collage. Throwing out all the traditional elements of music as most know it, “Misty Under The Grifting Tree” takes the listener down a sonic Wonka-esque tunnel with reckless abandon. Layering intricate recordings of nature, samples, glitches and drones, the tandem collaboration between Mesa’s own Stembreo and French artiste t0rphy is sure to challenge any listener with true grit and a taste for the avant garde.

After listening front to back more times that I can count, it seems that this release tells two sides of two stories with one common denominator…relationships with the wrong people. The first tale starts out with “Wedding Cake UFO”, the observations of a Christian couple witnessing their friend’s Pagan matrimonial ceremony in complete shock and horror. “Heterologue” may tell of the teenage daughter that stayed behind with her secular boyfriend “channel surfing” late night television, while eerie sounds surround them both outside the house…and in. The second story begins with the lengthy “The Captor’s Maid”. What could be described as an account of a junkie experiencing the tail end of a drug-fueled video game binge, this song moves similarly in speed, slowing down as the high wears off and plummets the listener into darkness. The final track “Cosmologie” cooks up the next fix with an unbalanced dose of ethereal guitars, screeching drones, and glitchy afterthoughts of games gone by, giving the user a fluctuating state of euphoria and terror while in the depths of addiction.

What makes this album tick from start to finish is the quality of the recordings, whether it be digitally sampled from another source or recorded directly using high-end mics. When the musicians credit instrumentation used like melted CD’s and pool polls, that alone merits a few passes of the composition in my book. And with each pass, you find yourself listening closer and trying to detect any subtle nuance that you didn’t catch before…as the artist intended I’m sure. As for the arrangement, there very well may not have been one. For all I know, these guys could’ve flung each sound on a sonic canvas like Pollock did paint and watched it dry. The result is chilling, moving, and best of all…challenging. But is it music? You be the judge.

Soft Shoulder: No Draw

soft shoulderby Lenore LaNova
Senior Editor

Soft Shoulder has been making gritty, experimental music around the Valley for ten years now, chasing all those people who only think they’re into avant-garde music out of bars and into the reality that they’re nowhere near the edges of the industry.

At the heart of the project is James Fella, a soft-spoken sort of guy who exudes a disarming warmth. His music, on the other hand, is very confrontational; dissonant even and intentionally distant. Soft Shoulder might be his most user-friendly musical formation and, once you hear it, you’ll understand that Soft Shoulder isn’t trying to create radio hits. They’re exploring the outer reaches of sound and art.

Soft Shoulder is ready to release their new LP No Draw through Gilgongo Records on December 1st [but you can preview the album here]. Side A includes four tracks recorded in 2009 at the now-defunct Ye Olde Bike Saviors while Side B presents “Repeat #3”, an almost twenty-minute song recorded in 2014.

I had a chance to chat with James Fella about the new album and the shape of Soft Shoulder, past and present.

YY: Where did you record the album? 

James Fella: The A-side was recorded at YOBS with Gerald Biggs, who at the time I was recording with constantly (mostly solo material, but also Soft Shoulder). I enjoy recording on my own as much as possible, but Gerald is undeniably better at it. When we would do it, Soft Shoulder was usually just me, but in the case of this LP, Paul (Arambula) played drums and Stephen (Steinbrink) played bass – they were “the band” at the time before Stephen moved to Olympia and Paul to Berlin.

Side-B was recorded at home, and was an unplanned sort of thing. Ricky and Sean from Oakland band No Babies were in town, with another band, Human Behavior. (No Babies were on a 4 way split 7″ with Soft Shoulder and I released a 7″ with them on Gilgongo last year). They stayed the night and we ended up recording that track the next afternoon. It’s an extended version of an instrumental song that occasionally is used as filler in the live sets… not meant in a negative way, I love “filler” sort of tracks, ones that are allowed to go on and on. Playing with them was very natural feeling, the only portion we really discussed was the beginning and the rest just sort of unfolded on its own. When we finished, the track was something like 35 minutes long I think… so we had to edit it down to fit on that side of the LP.

YY: I noticed that the first four tracks were recorded in 2009 while the side B track was recorded this past year. How long has the band been together? How has the band changed since in the past five years between recordings? Part Two: It seems like during that time you moved further away from “accessible”. Is that an intentional move?

JF: 2005 / 2006, the first couple of 7″s came out in 2006 so that’s a fair “starting point” I guess. It’s hard to really chart any direction(s) the band has gone… earlier in 2015 there were 3 Soft Shoulder 7″s that basically swept up all of the unused tracks between 2009 and now, so in a way the LP was doing the same. Above all else, the band is inconsistent – which for some people (who may enjoy some of the material and not other) might be annoying, but for me, allows it to be an outlet for whatever it is I’m feeling like doing at the time. I would say that the most recent versions of the band, live anyway, have been fairly accessible, the only alienating aspects might be volume and repetition.

YY: A lot of bands attach the term “no-wave” but this is one of those times when I feel it’s being aptly used. What does no-wave mean to you?

JF: One of the first physical records I was able to appreciate was my father’s copy of No New York (a 1979 LP with several tracks each from James Chance and the Contorions, Teenage Jesus and the Jerks, Mars and DNA – curated by Brian Eno which I assume is what sparked my dad’s interest in the record). If that is to serve as a reference point, there is plenty of inconsistency there but maybe an underlying factor of “free” playing – “free” being open-ended in some cases, but “free” also being free from conventional playing, guitar parts that are devoid of any inkling of harmony or even “notes”, vocals that are spastic or shrieking, rhythm that may be completely disjointed or relentlessly repetitive. I don’t know if that really answers the questions as far as what it means to me, and truth be told I don’t feel that every Soft Shoulder track meets my own criteria for this label by any means, but it’s without a doubt a driving force in how I approach writing and performing with the group – even if it’s not always that apparent.

YY: How does Soft Shoulder differ from your solo work? Do the artists that you work with help write or construct the songs?

JF: Solo work is formless, generally no melody or anything like that, not “song oriented” where as Soft Shoulder is “songs” when it’s at least somewhat weird or out there. I like playing normal guitar too – playing in Detached Objects has been satisfying in that regard lately!

I generally write the songs while recording them, it’s an all-in-one process. The A-side of the LP is songs I wrote while recording alone at Sound Kontrol a year earlier. That being said, when playing with others the songs can change, Stephen added so much to the bass parts, so it was nice to re-record them as full versions that had input from others. Like everything else I guess it’s inconsistent, but I’m always open for new things to happen to songs or improvised pieces when doing it with a full band.

YY: Who performs with the band at present? 

JF: The band right now is a rotating group, there’s no regular practicing or anything like that, basically whoever is able to make something work is who is in the group that time around… so in some ways right now Soft Shoulder is:

Paul Arambula: guitar or drums
Ann Seletos: drums
Jorge Garcia: bass
Jacob Howard: bass
Ryan Avery: drums
Mikey Henson: bass
TK Nicholson: tapes
James Fella: vocals, guitar, tapes

YY: What’s next for Soft Shoulder?

JF: Going to do a CD that compiles the LP, 3 7″s, and various other random things… hoping to record and put out more records pretty steadily for the foreseeable future – like a 7″ or two and hopefully LP each year… not sure… sometimes the band is very active and other times nothing for long periods of time.

I’m really enjoying the group of people who has been playing with me lately so hopefully we’ll play somewhat regularly.

Listen to No Draw by Soft Shoulder here and get your own copy on vinyl! You can also preview it below.