Claire Morales began performing when she was 13 years old, playing acoustic gigs at local coffee shops in North Texas. After singing in other acts throughout her teen years, she went on to form her own band in 2014, moving from acoustic to electric guitar and bringing in rock band instrumentation. February of 2015 saw the release of Claire's debut album Amaranthine. The record is a collection of dreamy, hazy rock songs centered around childhood, nostalgia, and coming of age. The LP garnered the attention of local publications and blogs (see press) and became a calling card for the various festivals and out of town shows the band took part in (including SXSW, 35 Denton, Norman Music Festival, Oaktopia, Thinline, Hot Water Hills, and Wildflower Music Fest). In early 2015, Claire began a collaborative covers project with various musician friends, including: Jena Pyle (Layer Cake / Sundae Crush), Ariel Hartley (Pearl Earl), Rachel Gollay (Gollay) and Dalton Kane (Bashe / Chinaski, the Fury). The project explores a variety of her musical influences from the 60s, featuring songs from muses such as Leonard Cohen, Nancy Sinatra, Patsy Cline, and the Everly Bros. The covers are a fun, quick way to work together with local musicians, get inspired, and stay busy between releases.

It is undeniable that we live in uncertain and troubled times, a period of which this pandemic we’re struggling through is but the latest and perhaps most evident aspect. Life is increasingly complicated and burdens seem to get harder and harder to carry with each passing year, so the need to seek solace and to take refuge in things that you know you can count on becomes more and more urgent. Well, dear friend, put down those burdens for a little while, because Monolord have got your back. Ever since 2013, when the dormant power of the Monolord became too much for a simple boogie rock band called Marulk – featuring a certain Thomas V Jäger and Esben Willems respectively on guitars/vocals and drums already – to contain, that this Swedish trio’s almost endearingly relentless dedication to The Riff has been something you can count on, almost as sure as the sun that rises every morning above your head. Thomas and Esben joined bassist Mika Häkki, and ever since then they have been compelled by the power of the riff, with no time for any frills like line-up changes or inane experimentations just for the sake of it. Theirs is a higher calling, a purer statement of intentions. After all, their bandname is “a paraphrase of an unspeakable name of an unspeakable entity that not even we dare to mention,” as Esben explains. And if you don’t like that description, Thomas has another suggestion: “make one up, and it is true!"

"On his new album See You Next Time, Texas-bred singer/songwriter Joshua Ray Walker shares an imagined yet truthful portrait of a brokedown honky-tonk and the misfits who call it home: barflies and wannabe cowboys, bleary-eyed dreamers and hopelessly lost souls. His third full-length in three years, the album marks the final installment in a trilogy that originated with Walker’s globally acclaimed 2019 debut Wish You Were Here and its equally lauded follow-up Glad You Made It (the #5 entry on Rolling Stone’s Best Country and Americana Albums of 2020 list). “The whole idea with the trilogy was to use the honky-tonk as a setting where all these different characters could interact with each other,” says Walker, who drew immense inspiration from the local dive bars he first started sneaking into and gigging at as a teenager growing up in East Dallas. “In my mind, this album’s taking place on the night before the bar closes forever—the songs are just me taking snapshots of that world, and all the moments that happen in it.”"

Founded in Denton, TX, Mutha-Falcon fuses high-energy performances with punk, funk, and hip-hop to create a one of a kind experience. With bold lyrics inspired by life, society, mental health, and the world we live in, the falcons are in a constant state of evolution and are always looking towards the future.

Beautifully layered and expressionistic, AFTER SHERMAN is a story about inheritance and the tension that defines our collective American history, especially Black history. The director’s exploration of coastal South Carolina as a site of African American pride and racial trauma through Gullah cultural retention and land preservation is interrupted by the shootings at Mother Emanuel AME Church in Charleston, SC.