It’s been nearly a decade since dreamo (that’s dream-pop and emo, in case you were wondering) act Special Explosion erupted onto the scene, and we couldn’t be more happy to have them after all these years. They take out the whininess typically associated with emo music. Instead, they keep all of that emotion and channel it through tender indie rock with lucid atmospheres and textures.

Even during a time when the world around them, in a musical and real life sense, was unreliable and confusing, Special Explosion maintained their collective head, supported by their four pairs of shoulders. With many releases behind them, their late 2017 album To Infinity can be considered debut, as far as full-length records are concerned. It provides 10 tracks worth of their adept instrumentation, recalling earlier days of Death Cab for Cutie and Sufjan Stevens but always sounding like their own.

They’re the kind of band you see and fall in love with, over and over again, and that’s part of what makes them so special.

If you couldn’t already tell by their name, Mobilities is a band about free movement; fluidity in their instrumentation, production and genre influences is part of what makes Mobilities such an enjoyable and dynamic group. Their self-titled EP was one of the first tastes of their particular flavor they shared with the world, but their debut full-length Time Hasn’t Swallowed Us Yet goes even further to showcase their spirited musicianship.

Most of the songs on Time Hasn’t Swallowed Us Yet were written by lead vocalist/guitarist Eric McCauley and bassist/vox Brett Sparrey (though each member had a hand in writing their own parts) and recorded over about a five month span at Toadhouse Studios. Musically, you can hear the influence bands like Queens of the Stone Age, King Gizzard and the Lizard Wizard, and local phenoms Portugal. The Man have had on them, blurring lines between what’s considered alternative, experimental rock, indie, garage and punk. But, Mobiliities takes their songs in their own direction lyrically and sonically. The album is thematically based on social issues, touching on political and philosophical issues as well. It’s a journey from start to finish, and one that is worth taking with the band.

Catch Mobilities, along with Eugene’s Childspeak and The Von Howlers, for the Time Hasn’t Swallowed Us Yet album release show 2.24 at Kelly’s Olympian. Dive into the album in its entirety below. You won’t be disappointed.

Burger Records is more than just the SoCal-based label dominated by scruffy ruffians shotgunning beers all the time. A first glance at not only their extensive roster but the typical scene flooding their festivals and gatherings would appear to make that the truest statement about the label. But it isn’t. For the last four years the label has specifically curated an event catering to the promotion of bands, groups and solo artists where one or all of the members are non-male identifying. That event is called Burger-A-Go-Go, and it’s awesome.

Now, using "female-fronted" or any iteration of the sort as a selling point for anything is pretty played out and low-key offensive, but in this case, it works within the context. Femmes haven’t been well celebrated in the realm of music or anything else throughout history nearly enough as they should, but for the next two nights, Burger is doing a little bit to quell that in Portland.

Sentimental garage-pop act Patsy’s Rats will be holding it down on the local front and sharing the stage with a grip of punk, garage and dream pop acts, like The Coathangers, Death Valley Girls, Summer Twins, and much delight from Dengue Fever, who dish out psych-pop with a Cambodian Rock flair, among others. 

Tickets for Burger-A-Go-Go will run you anywhere from $20-$35, but it’s well worth it to see a bunch of acts that aren’t what the music industry considers the "standard."

 *photo by Yunkin Keophoma

The 70s was a good era for music. To today’s generation, much of that decade is considered to have produced nothing but solid gold oldies. But for matrimonial duo Smokey Brights, it’s the era they’ve used as channelled inspiration for their sonic release. They’re like a sift through milk crates full of records, each one touching on a different aspect of rock history. 

With a psychedelic flair that encompasses both funky and groovy notes, Smokey Brights have used their new EP, Come to Terms (Freakout Records), to express a list of grievances to come to terms with. Of them, heartbreak, shady politics and empty conversations are all examined within the four tracks on Come to Terms, softened by rousing crystalline rock sounds. It’s entirely too easily to get caught up in Smokey Brights’ textures and whether you’re fervently listening to the lyrics or dazedly zoning out to their resonance, it’s an all around enlivening experience.

 *photo by Stanton J. Stephens

They may not be sisters or even siblings for that matter, but SISTERS have that type of likeminded connection that makes for great, danceable pop music. Much like the indie club bangers of the mid 2000’s, SISTERS know the exact formula to make people move.

On their latest release, titled Wait Don’t Wait, the duo employ synths, baritone sax and flute on top of the usual guitar and drum combo in creating their joyous tunes. Some lean heavily on jazz chords while others have grubby basslines that make your shoulders bounce. Whenever everything is combined, there’s an album full of melodious bangers that can up any mood and get any party started.

If you’re looking to dance while at SXSW, take every chance you get to see SISTERS.

 In his own ways, Kyle Craft is a little bit country and a little bit rock and roll. The Louisiana-born, Portland based singer/songwriter has a defined understanding of how to mix the two, along with folk and blues elements to produce songs that are rich with the journey through emotions and life. 

And all of this from a kid that wasn’t even sure he wanted a career in music.

“The whole music thing has been a really strange cinematic sort of journey for me,” Craft says. “None of it really makes sense on paper.” It may not make sense to him on paper, but it makes sense to every last one of his fans. It made sense to Sub Pop Records, too, as they signed Craft without any question or hesitation. Not too shabby for a Southern boy with bluegrass roots. Whether he’s playing his solo acoustic sets or backed by his talented band of friends, Craft older sounding tunes for a younger generation of kids. We couldn’t be more pleased with that.

*photo by Allyce Andrew

Most people think of music as a means of release or expression, and both of those are very much so true. But for songwriter and multi-instrumentalist Johanna Warren, music is something even more – it’s like a natural energy. “Music is vibration; it’s a direct way to affect matter," says Warren. "A song is a way to journey into places of discord and then resolve back into harmony.” Warren’s articulation of this is crystal clear through her delicate folk compositions, each taking some sort of dark and haunting turn in a way that plays off her understanding of mysticism, occultism and human existence.

These themes run deep in her songs, but also in how she visually represents them. Her music videos often carry the same motifs, often showcased through physical movement. Warren has even translated this into the basis of a label, founding Spirit House Records in 2016. The label is home to many radical and fluid minds who find themselves identifying in some way or another as witches, healers and free spirits. One of the first Spirit House releases happened to be the first of her Gemini albums with the second, Gemini II, coming out just a couple days ago. Both find themselves rooted in personal mythology and occult symbolism, pushed through moody melodies and tones. 

Johanna Warren’s songs are introspective and compound, making for an entrancing live production.

Dreamy in every sense, the shoegazey-psych trio Candace (formerly Is/Is) haven’t missed a beat since 2010. Made of Sarah Rose and Sarah Nienaber sharing guitar, bass and vocal roles and Mara Appel DesLauriers supplying drums and vocals as well, they’ve never ceased to have the utmost understanding of each other, the music they make and the world around them. This understanding aids them in bringing that whirring static sound from inside our brains in a way we actually want to absorb over and over again.

While always remaining pleasantly noisy, some Candace songs teeter closer to reverberated pop while others remain close to the washed out, droney atmospheric haze they’ve perfected throughout the years. On top of the mysteriously brooding feel their original tracks have to them, for the last couple of years they’ve released little collections of cover tracks in celebration of Valentine’s Day, putting their own little spin on some deep cuts and leaving listeners with no shortage of work to dive into.

No matter when you choose to dive into Candace’s discography, its reliable yet sundry songs will pull you in as a fan. Expect the next full length from Candace, titled New Ruins, to be out just in time for SXSW in early March. 

There’s always been a certain undeniably cosmic quality about Gold Casio. Delightfully catchy and infectiously addicting, the psychedelic disco dance four-piece know just what it takes to get you to move, no matter how hard you may want to resist. In almost every case, resistance is futile, seeing as their trippy synthesized beats overwhelm the body with the sensation of movement.

And that’s barely speaking of the reaction from their recorded material. Seeing them live, the incredible energy exuded from each of Gold Casio’s is becoming. It’s a charm not typical of many acts, but one they’ve managed to uphold since they popped up onto the scene. Though the music is always at the forefront their performances are so much more than that, incorporating lively costumes, set pieces and props, and even their bodies as creative devices for enlivening each production. 

There’s never a dull set or sound with Gold Casio, and you can expect the most from their SXSW performances, as well as their new EP titled Sinners due out in April.

 Cool Nutz is like a living Portland legend in quite a few different ways. Having been in the hip hop game since the early 90s is one thing, but having started in it and stayed it in a place like the Pacific Northwest is a whole other feat not many can say they’ve really accomplished. Aside from its hipster kitschiness and bountiful nature, Portland is also known for it’s lack of demographic diversity, in race and in its predominant music offerings. That’s been steadily changing throughout the years, and Cool Nutz is definitely one to be credited in making Portland hip hop a blip on the international map.

From his first release in 1993 up until now, Cool Nutz (born Terrance Scott) knew exactly what was required to keep his head above water in the game. Not only did seek and succeed at doing his best in the rap game but he’s also established himself as an accomplished businessman as well. On top of sharing the stage with other influential rappers like Mac Dre, Wu-Tang Clan, Ice Cube, Bone Thugs N Harmony and more, Cool Nutz directed arising lulls or lows into other profitable endeavors. Having a steady gig hosting The Breakout Radio Show on iHeart Radio, doing "Playlist" with Portland Trailblazers shooting guard CJ McCollum and establishing the Oregon Hip-Hop Festival, Cool Nutz never let’s anything stop him or bring him down.

Seeing Cool Nutz’s success along with his energy and perseverance is inspiring to Portland’s hip-hop and black community. During his live performances, he exudes a pride and confidence that makes him all the more enjoyable to see. Catch his one SXSW on 3.16 at Buffalo Billiards.

 In what is best described as "gray pop," the music Floating Room makes creates a sense of mellow desire; a longing manifested through their use of droned hums and haunting vocality. Floating Room is the musical partnership between Maya Stoner (ex-Sabonis) and Kyle Bates (Drowse, also featuring Stoner), though their partnership expands to much more than what started as bedroom pop recordings. In a romantic sense the couple’s chemistry, aside from their collective experimental and artistic capacity, helps make Floating Room what it is. Tenderness isn’t feared on either of their ends, and their propensity for support behind the instruments and in front of them is evident 

Sunless, the band’s 2016 full-length debut on Good Cheer Records, married deep socio-emotional themes with paralyzing sounds. Stoner and Bates trade off guitar and synth duties as they channel part of makes Sunless (and the way they play together in general) beguiling – its vulnerability. Stoner sings about the transition from a bad relationship to a much better one, touching on abuse of power and misogyny along the way. For most, the subject matter is relatable, giving a welcoming sense to each of the tracks.

The openness presented on the album translates into Floating Room’s live performances as well. They’ll be touring with Alien Boy (which is led by Sonia Weber, Floating Room’s sometimes drummer) and are playing four SXSW dates, so see them as much as you can.

 Since 2007, garage-pop quartet The Hugs have radiated nothing but sheer entrancing energy. Sometimes more on the rocking side, sometimes more on the power-pop side, The Hugs have never ceased to embed a sense of angst in their tracks despite their affectionate name. And now, on the day truly meant for love in a calendrical sense, The Hugs are sharing some new tunes with just as loving of an air.

Sure, the band have touched on romantic notes before, but this Valentine’s Day release sees the band occupying more of a sweet realm with their new EP New Utopia, manifesting amorous undertones through a more tender, dreamy synth-pop that’s just as indelible as songs the before it. It’s the perfect triad of love-themed tracks from one of your favorite bands, and it couldn’t have come on a better day.

Listen to all three of New Utopia‘s tracks below, accompanied by their saccharine video for "L.A.H.L.I.T (Look At How Long It Took)" below.