Rayon’s “Running” away with their new single.

Portland alt-rock / post-punk outfit Rayon present their latest single ‘Running’, a propulsive exploration of the anxiety that comes with watching loved ones struggle with cycles of addiction that they can’t shake – and the sound of a tape echo that’s about to stop working. Intentionally preserving the noise of pausing, rewinding, and fast-forwarding to heighten the song’s frantic pace, its sound can be considered a study in tension and tape, the video conveying a sense of lo-fi capers involving a Citroen Wagon.

Found on the flip side of the single ‘Shopping / Running’ (also available on 7″ vinyl via Little Cloud Records), ‘Running’ is perhaps even more stunning than the whacky A-side ‘Shopping’, a tongue-in-cheek ode to consumerism and travel, written by someone who happens to travel and consume a bit.

Founded by long-time North Portland resident and Detroit-area native Eric Sabatino, Rayon now also involves members of other notable Portland bands – Sun Atoms, Yuvees, Pastilla and Martha Stax – namely Anna Sabatino, Riley McLaughlin, Eric Rubalcava and Derek Longoria-Gomez.

‘Running’ is based on a relentless bass and drum groove that lived in Sabatino’s head for months before finally taking shape in the studio. To capture the song’s unsettled emotional landscape, the band leaned into the mechanical unpredictability of a dying Dynacord tape echo. By funneling guitars and vocals through the aging machine, they achieved a haunting, warped soundscape where the pitch and speed constantly bend and shift. Feeling as though it is physically straining under its own weight, this song mirrors the very themes of instability it describes.

“‘Running’ was built around a bass and drum groove I was kicking around in my head for months. The guitars and vocals are the sound of a tape echo called “dynacord” that’s barely working, bending and moving the speed and pitch of everything we run through it. Those parts wouldn’t have come out like that if I wasn’t trying to write a guitar part while plugged into that machine.” says Eric Sabatino.

The video for ‘Running’ offers a gritty, nostalgic look at the band’s world, captured entirely on a vintage Handycam, following the band in their meticulously restored Citroen wagon. Embracing the track’s jerky energy, their journey concludes with a grainy, evocative sequence of freeway signs leading into Seattle—a slow-burn outro that grounds the video’s high-energy antics in a sense of place and movement.

“The video was shot on an old handycam camcorder we found in the back of a closet. The battery miraculously held a charge. It came with a tape of someone’s school play, which we taped over (sorry to whoever’s family that was). It features the Citroen wagon from the ‘Shopping’ video. I worked on that car for months. So glad it didn’t break down during these two long video shoots,” says Eric Sabatino.

“We drove around all day picking everyone up at their home, work, local bar, favorite little shop, and went to band practice. We filmed the antics and capers along the way. Sometimes we let friends and strangers hold the camera and film us. I transferred and edited it over 2 late nights, trying to capture as much pause, rewind, and fast-forward noise as I could, timing the cuts to capture the jerky energy of the song. I love the outro and the slow noisy shots of the freeway signs leading to Seattle.”

In contrast, the video for ‘Shopping’ – filmed with their awesomely nostalgic Super 8 video – was born of near-burnout and a revitalizing trip south of the border, showcasing antics in several grocery stores there before eventually being kicked out.

Sabatino broke tradition with this release, deciding to mix the album together with famed recording engineer Larry Crane (Cat Power, Sleater-Kinney, The Decemberists, The Go-Betweens, Elliott Smith, Death Cab for Cutie) at Jackpot Recording and Timothy Stollenwerk (Yo La Tengo, Grouper, Morphine) at Stereophonic Mastering.

Rayon spent last winter honing these and other songs through a series of live shows, including an epic trip to Guadalajara, which served as creative fodder for the band’s latest inspiration and re-invigoration. Recording on rainy weekends in a garage studio packed with old reel-to-reel tape machines, partially-functional tube amps, and leaky British motorcycles, these songs were recorded onto 16 tracks of 1/2” tape, while running the tracks through a slightly-wonky sounding tape echo.

Before forming Rayon, Eric Sabatino spent years playing with bands in Southern Michigan and Portland, sometimes with as many as six projects on the go at the same time. Self-described as “a guy who grew up on 80’s/90’s post punk and grunge trying to reconcile their love of R&B, Soul and 60’s British Pop”, Sabatino is now fully focused on this one project, built on the experience of years of writing, collaborating, studio work and touring with some of the Pacific Northwest’s hardest working bands.

The ‘Shopping / Running’ single is out now, available both digitally and as a limited pressing of 150 blue transparent 7″ record and 150 black 7″ vinyl. It can be ordered in all formats via Bandcamp, with this snazzy vinyl also available via Little Cloud Records. This is the first in an exciting new series of similar records in the works for Rayon.

Keep your mind open.

[Run over to the subscription box!]

[Thanks to Shauna at Shameless Promotion PR.]

Gran Moreno release third single from upcoming album due January 16, 2026.

Austin duo Gran Moreno share the final single, “Aztlan” from their forthcoming debut studio album El Sol today on all platforms. The song launched earlier via New Noise Magazine HERE. Hear and share “Aztlan” + 3 previous singles on all DSPs HERE

The duo play a special hometown album release party in Austin on January 18th at The 13th Floor. Tickets are available HERE

Gran Moreno emerges as one of the most captivating voices in the new wave of psychedelic rock. With a sound rooted in analog warmth and expansive textures, the Austin-based band crafts songs that feel like sonic mirages — equal parts groove, grit, and atmosphere. Their music lives at the intersection of distortion and introspection, where hypnotic riffs, heavy rhythms, and emotionally charged melodies build immersive landscapes that demand to be felt as much as heard.

At the core of Gran Moreno is a deep commitment to storytelling through sound. Their upcoming album is a conceptual two-part release: Side A: El Sol and Side B: La Luna. Each side represents a different emotional plane — El Sol radiates urgency, energy, and clarity, while La Luna leans into shadow, mystery, and reflection. The first release, El Sol, captures the band at full intensity, delivering a vivid, unfiltered introduction to their evolving identity.

On stage, Gran Moreno transforms their sound into a full-body experience. Their live shows blend sonic power with visual depth, pulling audiences into a shared trance that feels both personal and communal. As they continue to shape their universe with bold creativity and a fierce independent spirit, Gran Moreno isn’t just making music — they’re building a world of their own.

El Sol will be available on LP and download on January 16th, 2026. Pre-orders are available HERE

GRAN MORENO – LIVE 2026

01/18 Austin, TX – The 13th Floor – album release party

Keep your mind open.

[Don’t forget to subscribe!]

[Thanks to Dave at US / THEM Group.]

Daniel Avery announces new remix album and tour.

Photo Credit: Kalpesh Lathigra

Revered producer and composer Daniel Avery announces his new album, Tremor (Midnight Versions) — a reimagining of his acclaimed sixth studio album Tremor — out March 6th via Domino with lead single “Haze w/ Ellie (Midnight Version).” Remixing the entirety of the record himself, Avery presents a nocturnal counterpart to last year’s Tremor with a collection of darker, club-focused reworkings, drawing the record firmly into the late-night hours. Today’s announcement lands alongside news of a spring North American DJ tour.

Tremor (Midnight Versions) continues the world Avery created on Tremor, reframing its material through a techno lens and speaking directly to the dancefloor. Stripped back, intensified and retooled for the strobe light, these tracks channel Avery’s long-standing relationship with club culture while maintaining the emotional weight and textural depth that defines his work.

Two Midnight Versions have already surfaced, “Rapture In Blue w/ Cecile Believe” and “Greasy Off The Racing Line w/ Alison Mosshart,” offering a first glimpse of this shadowed universe. The full project expands on that energy, positioning itself as a vital bridge between Tremor’s expansive, collaborative spirit and Avery’s enduring techno lineage. Avery comments: “For every tremor, there’s a reaction. These are the Midnight Versions. Songs reimagined and sent directly into the night.”

On Tremor, Avery welcomed an inspiring cast of collaborators, including the likes of Alison Mosshart (The Kills), Walter Schreifels (Quicksand / Rival Schools), bdrmmJulie Dawson(NewDad), yeuleEllieArt School Girlfriendyunè pinku, and Cecile Believe. Each artist left their indelible mark, yet the record’s true power lies in the communal spirit at its core. Marking his debut on Domino, the album was mixed by Alan Moulder (Smashing Pumpkins, Nine Inch Nails) and David Wrench (FKA twigs, Frank Ocean), and mastered by Heba Kadry—each vital to the creative fabric of the record.

Stream “Haze w/ Ellie (Midnight Version)”

Pre-order Tremor (Midnight Versions)

Stream / Purchase Tremor

Daniel Avery Tour Dates
Sat. Jan. 31 – Brighton, UK @ Patterns ^
Sat. Feb. 21 – Brussels, BE @ Fuse ^
Fri. Feb. 27 – Birmingham, UK @ Hare & Hounds ^
Sat. Feb. 28 – Geneva, CH @ Audio ^
Fri. March 6 – London, UK @ Phonox Residency ^
Sat. March 7 – Bognor Regis, UK @ Bugged Out Weekender ^
Fri. March 13 – London, UK @ Phonox Residency ^
Fri. March 20 – London, UK @ Phonox Residency ^
Sat. March 21 – Manchester, UK @ Victoria Baths ^
Fri. March 27 – London, UK @ Phonox Residency ^
Thu. April  2 – Glasgow, UK @ Queen Margaret Union *
Fri. April  3 – Dublin, IE @ Opium *
Sat. April 4 – Belfast, UK @ Ulster Sports Club (b2b Richard Fearless) ^
Fri. April  24 – Toronto, CA @ Standard Time ^
Sat. April  25 – New York, NY @ Public Records ^
Thu. April 30 – Washington, DC @ Tigres de la Noche ^
Fri. May 1 – Chicago, IL @ Smoke & Mirrors ^
Sat. May 2 – Miami, FL @ The Ground ^
Thu. May 7 – Portland, OR @ Process ^
Fri. May 8 – Los Angeles, CA @ Into the Woods ^
Sat. May 9 – San Francisco, CA @ SquishFest ^
Sat. May 30 – Edinburgh, UK @ Dark Days (b2b Helena Hauff) ^

^ = DJ Set
* = Live Set

Keep your mind open.

[I’ll have tremors until you subscribe.]

[Thanks to Ahmad at Pitch Perfect PR.]

Review: Just Mustard – We Were Just Here

Just Mustard‘s third album, We Were Just Here, opens with squalling guitar that sounds like an alarm that has a battery that’s slowly going dead. The band was looking for hope on the album, and I can’t help but think that its title refers to the deja vu (and dread) we’re all feeling right now in the political atmosphere.

“Pollyanna” is, in fact, named after a character who was eternally optimistic, and Katie Ball‘s vocals have a lovely bounce to them while her bandmates practically summon a UFO from outside our orbit. “Endless Deathless” roars off like a spacecraft designed in an Irish farmhouse going to meet that UFO and ask anyone inside how we can fix this place. It’s a stunner that will immediately go onto your cardio playlist. Guitarist David Noonan joins Ball on vocals for “Silver” – a song that bounces back and forth not only between their microphones, but also between Noonan’s guitar Mete Kalyoncuoglu‘s.

Ball’s vocals on “Dreamer” echo all around you, keeping on the theme of euphoria (and the healthy search for it – “I don’t wanna go where I can’t feel a thing.”) prominent across the record. The title track is another stunner with guitars roaring everywhere. “Somewhere” has Robert Hodgers-Clarke on bass and Shane Maguire on drums creating a neat, smoky, and slightly menacing atmosphere as the guitars swell and fall like waves.

“Dandelion” seems to be about perseverance, as dandelions can and do grow practically anywhere and Ball compares herself to one as she hopes she won’t be overlooked by a potential lover. “That I Might Not See” is a song about being so euphoric you’re not sure if what you’re experiencing is real or not. “The Steps” has Ball following her lover across unexplored territory, and the closer, “Out of Heaven,” has the band coming back down to Earth…but now the Earth has changed.

That’s what they hope for all of us: That the planet will change after we all take the time to have an out-of-body experience or two. Small actions create large changes. We don’t need to return to a place we’ve already been. That moment, that place, is gone and has been for a long while. Here is now. Just Mustard is now.

Keep your mind open.

[You were just here? The subscription box is just over there.]

[Thanks to Jaycee at Pitch Perfect PR.]

Mosswood Meltdown returns July 18 – 19, 2026, but you can start your weekend a day earlier with Pavement.

Illustration by Dirty Clouds / Lortz

Mosswood Meltdown returns to Oakland’s Mosswood Park on July 18th and 19th. And while the beloved festival “is known to traffic in legends, popular punk and punk-adjacent groups, and highly anticipated reunions,” (KQED), this year they’ll be kicking off with an indie-rock driven pre-party at the park on July 17th. The evening will feature the endlessly inspirational rock legendsPavementWednesday, “one of the best indie rock bands around” (Pitchfork), and reverb-loving and cool as hell punks Vivian Girls. And, it wouldn’t be a proper Mosswood Meltdown without its fearless and subversive host, John Waters.

Mosswood Meltdown is an eccentric, one of a kind weekend. As SF Gate kindly sums it up, “at Mosswood Meltdown, the concept of a beautiful world looks quite different from other festivals, and it’s better for it.” Tickets for the pre-party are separate from the regular festival tickets and go on sale today (Tuesday, January 6th) at 10am PST. The full festival lineup will be unveiled in the coming weeks and won’t disappoint.

PURCHASE TICKETS HERE

FRIDAY, JULY 17TH PRE-PARTY LINEUP
Pavement
Wednesday
Vivian Girls

PRE-PARTY TICKET PRICES
GA – $99
VIP – $165
(VIP tickets come with ins and outs privileges,
and access to VIP viewing areas)

Keep your mind open.

[Don’t forget to subscribe before you go!]

[Thanks to Jaycee at Pitch Perfect PR.]

King Gizzard and The Lizard Wizard return in 2026 for Fields of Vision II and their only U.S. tour dates of the year.

Photo by Maclay Heriot

King Gizzard & The Lizard Wizard announce the return of their festival, Field of Vision II which will take place once again at Meadow Creek in Buena Vista, Colorado on August 14-16.  The band will also perform at a three night residency at Forest Hills Stadium in New York on August 20-22. These are the only dates the band are announcing in the US for 2026.

Earlier this year was Field of Vision’s inaugural event (aka Field of Vision I).

“Field of Vision I was so special. Anyone who was there would tell you there was some magic in the air. Or maybe the creek water… So grateful to party with you all again. Love, The Gizzards”

Field of Vision II welcomes Blood Incantation, Die Spitz, DJ Crenshaw, Earth Tongue, Etran de L’Aïr, Folk Bitch Trio, Lisa Bella Donna, Pattie Gonia, and Upchuck. King Gizzard will perform each day.  More announcements to come in 2026. Tickets are available here.

Immediately following Field of Vision II, the band will return to their New York stomping ground, aka Forest Hills Stadium, for a three-night residency featuring two full ROCK sets comprised of songs from their impressive 27 album catalogue and a RAVE set on the third night. Tickets for those shows are available here.
 

KING GIZZARD & THE LIZARD WIZARD 2026 TOUR DATES

Friday, August 14 – Sunday, August 16, 2026  – Buena Vista, CO @ Field of Vision II, Meadow Creek (w/ Blood Incantation, Die Spitz, DJ Crenshaw, Earth Tongue, Etran de L’Aïr, Folk Bitch Trio, King Gizzard (every day), Lisa Bella Donna, Pattie Gonia, Upchuck)

Thursday, August 20, 2026 Forest Hills, NY @ Forest Hills Stadium
Friday, August 21, 2026 Forest Hills, NY @ Forest Hills Stadium
Saturday, August 22, 2026 Forest Hills, NY @ Forest Hills Stadium (RAVE)

Keep your mind open.

[Don’t forget to subscribe before you go.]

[Thanks to Jacob at Pitch Perfect PR.]

Review: Lord Huron – The Cosmic Selector Vol. 1

“What if you could choose your fate like choosing a song on a jukebox? What if your finger slipped and you got the B-side instead? What if you misunderstood the meaning of the dang song to begin with?”

According to frontman and songwriter Ben Schneider, that’s the premise of Lord Huron‘s new album – The Cosmic Selector Vol. 1. The album hosts a stunning array of musicians backing Schneider exploring the idea of choosing one’s fate or just letting it play out and seeing what happens.

On the opener, “Looking Back,” Schneider just wants “nothin’ but a lonesome, quiet place where I can think” or “a noisy, crowded place where I can drink” – depending on the circumstances. It’s a sorrowful tale about loss, either from a breakup or a death. Speaking as a widower, this one hit hard (“Something changed the day you left and I’ll never know just what. I’ll spend my whole life looking up and wondering who I am.”).

“Bag of Bones” is a sharp standout as Schneider sings about how his former lover is better off without him (“I believed you’d never get far without me. How wrong I was in the end.”). The rhythm of the track is undeniable and gets deep into you. “I got everything I want and I’ve got nothing that I need,” he sings on “Nothing I Need.” It’s a tale of an ego trap, of chasing the Alan Watts “golden goodie” that never can be caught and never brings true happiness. The country twang builds into a foot-stomping beat that barely hides the blues lyrics.

“Is There Anybody Out There?” isn’t a cover of the Pink Floyd song of the same name, but rather a song about Schneider and his bandmates Mark Barry, Miguel Briseño, and Tom Renaud seeking fellow humans who might need help along their journey (“We haven’t met, but I wrote this song for you.”). “Who Laughs Last” features actress Kristen Stewart telling a tale of traveling through the American southwest through a series of places that might not be real. “The Comedian” is a tale of a faded star who only wants “to see my name in the lights again,” but knows deep down that time and fame are ephemeral.

“Watch Me Go” is a story of someone walking away from a relationship, friendship, or some other bond that the protagonist no longer wants and won’t miss. It, like all the songs on the album, are mini-stories or characters who might be Schneider or his bandmates or might be fictional. After all, the band has built an entire universe of characters and stories based around their music.

“Fire Eternal” teams up the band with Kazu Makino from Blonde Redhead sharing the vocals on a sultry and quirky tale of fiery passion. “It All Comes Back,” with its simple yet powerful Radiohead-like piano chords, is a story of karma and might be the one that most encapsulates the “What if you could choose your fate?” theme of the album with lyrics like “I can’t be sure, but I’ve seen this before. When you walk through the door, which way will you go?”

“Used to Know” has Schneider begging a former lover to remember what they had together and to run away with it if they ever finds someone like that again. “Digging Up the Past” is a mournful story of someone who can’t (or won’t) move away from something long gone (another dominant theme on the album). The harmonica and slide guitar on it are outstanding. The closing track, “Life Is Strange,” seems perfect for the record. The album is full of weird stories, odd characters, and is about a jukebox in a mythical forest that you can use to determine your fate…but be careful what you wish for as it might not be what you expect.

The whole album isn’t what you expect, but then again it kind of is.

Keep your mind open.

[I need you to subscribe.]

[Thanks to Patrick at Pitch Perfect PR.]

Review: Go Kurosawa – Soft Shakes

If you’re Go Kurosawa, former drummer and singer for psych-kraut-who knows? rockers Kikagaku Moyo, what do you do after your band’s final tour and album? You create an album on which you play and write everything and it becomes Soft Shakes.

It’s a lovely record of Kurosawa exploring his stunning talent to play anything by ear and to create whatever was in his head at the time without having to shape it with other people. “Moon, please” is a fun yet slightly haunting track layered with hand percussion, clarinet, and other stuff hard to define. “Sada no umi” mixes, I think, found sounds with trippy synths and Kurosawa’s vocal sounds.

Both “Soredesho?” and “Green Thing” show us how well Kurosawa can play acoustic guitar and mix them with various hand percussion instruments to create a relaxing effect perfect for zoning out like Kurosawa seems to be on the album’s cover. “Autowalk” is a good example of krautrock / kraut-electro’s influence on Kurosawa. The looping synths, robotic beats, and mantra-like vocals are already cool enough, but when the trumpet hits? Forget it. It’s almost not fair.

“Jungle Cooking” is downright groovy and would fit onto any trip-hop or 1990s rap album you’d like. Cypress Hill could easily drop several bars on this. “Rice Harvesting Day” almost feels Middle Eastern, and Kurosawa’s electric guitar work takes the main stage this time. Is there anything this guy can’t play well? “Cloud Rock” ends the album with a floating groove.

It’s a great solo debut from Kurosawa. I look forward to more.

Keep your mind open.

[Autowalk over to the subscription box before you leave.]

[Thanks to Kate at Stereo Sanctity.]

Top 25 concerts of 2025: #’s 5 – 1

I saw over 50 bands last year, so these five had to bring it to make the top of the list.

#5: Osees – Old National Center – October 22, 2025 – Indianapolis, IN

I’m not sure it would be proper for me to not see Osees at least once a year by this point (or The Black Angels, for that matter). This show was in a small ballroom in the basement of the Old National Center that didn’t have much airflow but did have rock-sold pillars at the four corners of the dance floor / mosh pit. It was a sweaty, loud affair, which is just what you want for an Osees show. They hadn’t played in Indianapolis in a few years, so the crowd was eager to see them — and many hadn’t seen them until that night. They were either shocked or delighted by the end.

#4: King Gizzard and The Lizard Wizard and the Chicago Symphony Orchestra – August 09, 2025 – Ravinia – Highland Park, IL

I almost didn’t include this show by King Gizzard (another band I seem to catch every year) because our seats were too far back to see the actual stage. However, this show teaming KGATLW up with the Chicago Symphony Orchestra was too neat of a show to pass up and, what put it into the top five, they sounded great. No joke, this is probably the best sound engineering I’ve experienced at a KGATLW show, and I’ve seen many (and all of them are recorded and released by their highly skilled sound crew). I’d never heard them so clear in a live setting.

#3: TV on the Radio – September 27, 2025 – Levitation Austin – Austin, TX

I wasn’t sure I’d ever get to see TVOTR live, so I was bouncing when my suspicions were confirmed and they were booked for Levitation Austin. The show was everything I’d hoped for — high energy, great sound, and powerful messages. It felt like a blessing to see them after so many years without a tour.

#2: Nine Inch Nails – August 20, 2025 – United Center – Chicago, IL

Here’s a show I almost didn’t attend because the first night at Chicago’s United Center sold out so fast that I couldn’t get tickets. Luckily, Trent Reznor and his pals decided to book another show the following night and I scored tickets for that. The set included three different stages, great new versions of classic tracks, new tunes, and NIN looking and sounding like they’d never taken a break to make Oscar-winning film music.

#1: Underworld – May 17, 2025 – Radius – Chicago, IL

Here’s the other band I wasn’t sure I’d ever get to see live. They don’t make many trips to the U.S., and the closest they’d come in recent years was Detroit (four hours from where I live). Seeing them in a relatively small venue half the distance away was an immediate priority, and then I learned they were playing two sets with no opening act. It was a stunning performance that had everyone jumping for hours with only a short intermission and left everyone floating by the end.

Who do you want to see this year? I’m already looking forward to catching The Hives, Dry Cleaning, LCD Soundsystem, Gary Numan, Failure, Shame, Alison Krauss, and (of course) Osees, not to mention a return to Levitation Austin. Levitation France is taking a hiatus this year, so perhaps Austin Psych Fest will take its place?

Keep your mind open.

[Don’t forget to subscribe!]

Top 25 albums of 2025: #’s 5 – 1

This is always a tough decision, although my number one album of each year tends to arrive early and not leave. This trend continued in 2025.

#5: Sextile – yes, please.

Thrilling electro, sexy bass, erotic lyrics, club bangers, provocative cover, you name it, this album has all of it. It shot up into my top ten of the year as soon as I heard it and was one of the hottest records of 2025.

#4: Lonnie Holley – Tonky

Beautiful, soulful, and powerful, Tonky has soul legend Lonnie Holley encouraging us to all come together in turbulent times, “protest with love,” and embrace our neighbors. This is an album that rings true in any year, but we needed it in 2025.

#3: No Joy – Bugland

I hadn’t heard anything from No Joy in a while, so it was great to hear from them again and with such a good record. It mixes shoegaze with psych and pays tribute to the healing properties of nature and presence. I didn’t realize how much I missed No Joy until hearing this.

#2: DITZ – Never Exhale

These fiery post-punk Brits seemed to come out of nowhere (to this Yank, at least) and unleashed one of the loudest, wildest records of the year. The album is about anxiety and panic, but it never goes completely off the rails. It keeps you on the edge of your seat or helps you burn off aggression, depending on which track you blast.

#1: Pigs Pigs Pigs Pigs Pigs Pigs Pigs – Death Hilarious

As soon as I saw that album cover, I knew Death Hilarious was going to be a monster of a record. My gut was right. This is another heavy stunner from Pigs Pigs Pigs Pigs Pigs Pigs Pigs in a line of material that has yet to miss. The topics of loss (friends, creative energy, relationships) and satire are biting and empowering. You’ll growl, stomp, and roar along with this record. You’ll laugh at the absurdity of our times with it, and then dive into the mosh pit with glee.

There’s already a lot of good stuff lined up for 2026. Let me know what you’re looking forward to the most!

Keep your mind open.

[Don’t forget to subscribe!]