Matt Johnson, one half of the breakout Brooklyn duo Matt and Kim, still vividly recalls playing in West Michigan during the band’s early punk-rock days.
With all the logistical challenges and geographic distances to grapple with when touring, many musicians find themselves spending much of their time on the road doing just about anything but playing music.
When he’s not schooling other DJs in West Michigan’s expansive electronic music scene, rising artist eRoy — aka Evan Roy — schools students in his English classes at Union High School.
It’s been 30 years since the Posies unveiled its majestic brand of poppy alt-rock with the release of Failure, the Seattle-rooted band’s debut LP.
Despite hosting a weekly satellite radio show on Sirius XM’s alternative-formatted Lithium station, and founding the top-selling package tour Summerland, Everclear frontman Art Alexakis doesn’t necessarily think of himself as the de facto steward for all things ’90s rock.
Most rock stars don’t name their records after their grandmothers — let alone a series of records. Then again, Brian Sella, lead vocalist and guitarist of The Front Bottoms, isn’t most rock stars.
At six feet, two inches tall and 260 pounds, violinist Kevin Marcus knows he’s not exactly what most people think of when they envision a classically trained string player.
Try to remember the last time you listened to Dashboard Confessional. Maybe it was in 2004 on the Spiderman 2 soundtrack, when a side-burned, dreamy-eyed Chris Carrabba shared a music video with a spidey-suit clad Tobey Maguire, singing the self-edifying lyrics of Vindicated. Or maybe it wasn’t that long ago at all. Maybe you caught Carrabba last month on Conan burning through a performance of We Fight, a single from Crooked Shadows, Dashboard’s first album in nearly a decade.
As the rhythmic core of musical renegades X Ambassadors, drummer Adam Levin has always brought a hip-hop bend to the alt-rock band’s beatific sound. He has helped spearhead the group’s unique fusion of styles and genres, often stumbling upon new sounds simply by embracing what he calls “happy mistakes.”
If there was ever a physical and aural personification of anxiety, it would likely be experiential electronic music artist Elohim. Ever-elusive and often draped in an oversized jacket emblazoned with the word XANAX in block letters, Elohim presents herself as something intangible, yet relatable. Her real identity held secret, she chooses to let her music speak for her, only occasionally conversing with her audience or press via an eerily calm digitized speech program.
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