Huichica 2015

Two days of music, food and wine in Sonoma, California. Over two days performances will take place on three stages at Gundlach Bundschu Winery: the Cave Stage, Hillside Amphitheater and in the Old Redwood Barn.

The food selections will be anchored by KronnerBurger, Blue Plate, The American Grilled Cheese Kitchen, Bicycle Bahn Mi, and Q Craft. The Skylight Snowballs truck will park at the winery as well and Happy Moose Juice will be slangin’ fresh juice. Lagunitas Brewery will provide suds and plenty of Gundlach Bundschu wine will be on hand, with Mountain Cuvée, Gewürztraminer and more available.

Allah Las met while working at the biggest of all the L.A. Record stores, but they became a band in an even more rare and special space—a California basement, dug out somewhere between the mountains and the beach. They began gigging shortly after their conception in and around Los Angeles in the later part of 2008. It wasn't until three years later that they would find the proper environment to record their first single "Long Journey" which now bookends their self-titled release. These were the kind of songs that bounced between London and Los Angeles, the kind of thing that could have come from Mick Jagger or Arthur Lee or both at once, with crystalline guitar and slow-mo drums that recalled the way the waves take big bites of the beach at night. This was mystery music from the strange and ancient-modern California fringe, more Night Tide than Easy Rider. Allah-Las were a reflection of a reflection, an echo of an echo, a band that was psychedelic not because of reverb or shredding through pedals but for the simple way their songs seem to extend to infinity. (Chris Ziegler)

Amen Dunes' Love took close to a year and a half, 16 musicians, and five different studios to complete. It was a song cycle that required broad experimentation before it was clear what was essential underneath the surface. In that process, much of the sound that might have made it onto the album was lost. There was just too much to say for one record.

"Cowboy Worship" is an attempt to give life to some of the music that didn't make it past the scalpel. From a blown-out version of "Green Eyes" featuring Harvey Milk's Stephen Tanner, to a darker and mellower "I Can't Dig It" as Damon McMahon originally arranged it upon writing the song in China, many of the original intentions for the music that were lost in the Love sessions are revived. In addition is a band version of Through Donkey Jaw's "Lezzy Head," featuring Dunes mainstays Jordi Wheeler and Parker Kindred, and most significantly, a shining cover of This Mortal Coil's interpretation of the Tim Buckley classic,"Song to the Siren," featuring Ben Greenberg (Hubble) on guitar.

Tim Buckley, along with several other singers, from Elvis Presley to Marvin Gaye to Tim Hardin, were the beacons that guided the making of Love. McMa- hon's cover of "Song to the Siren" is an homage to the spirit that directed those original sessions. One description that seemed to work for Love was that it was an album of devo- tional music, and even more specifically, a type of devotional music McMahon called cowboy worship.

"Cowboy Worship" as a concept certainly did not begin with Love, but instead Love began with "Cowboy Worship," was born from it, and in turn added a new link to the chain.

McCombs Skiffle Players

McCombs Skiffle Players featuring the songs of Cass McCombs as performed by various members of Beachwood Sparks & CRB, including: Farmer Dave Scher, Neal Casal, Aaron Sperske, Dan Horne and Cass McCombs. Not to be missed as sightings are as rare as Sasquatch himself. Skiffle it up!

Jessica Pratt

"To say that Jessica Pratt is an old soul would be a vast understatement," says Jenn Pelly of Pitchfork. "The young San Francisco singer/songwriter's deeply intimate folk sounds so sincerely cast in from the 1960s that it's hard to believe she didn't release a proper LP during that period of time." Pratt's spooky and seductive self-titled debut is the inaugural release on Tim (White Fence) Presley's new imprint, Birth Records. "I never wanted to start a label," Presley says, "but there issomething about her voice I couldn't let go of."
Pratt's debut release includes recordings from over the last five years, and steady advances in sophistication of recording and melody are evident throughout. To the artist, the record is a time-lapse document of discovery, both musical and personal. But in strangers' hands, Pratt's debut is another kind of discovery altogether. A fully-formed emerald artifact dug up cobwebby and cold but no less green for its time spent buried. Sun-bleached and sounding a thousand years old, Pratt's debut is arrestingly brand dazzling new, and watch how the lights in your living room go soft and yellow when you put it on."

Shannon and the Clams

Beach Rock revival Oakland, California band Shannon and the Clams take you back to a time when Judy and Johnny were your favorite worst couple, with the help of some very heartbreaking background vocals and guitar riffs of which The Beatles would be proud. Influences like The Beach Boys, The Shangri- La's, The Ronettes, and Patsy Cline shine through in songs like "When You're On", with front woman Shannon crooning like a scorned Leslie Gore, but with a rough unpolished edge inspired by the likes of The Cramps, Bad Brains, and fellow beach bum Nobunny.

Sonny Smith

Sonny & the Sunsets are a beautiful west coast thing. Birthed from the sand, the surf, and twilight campfires down in Ocean Beach, Sonny & the Sunsets' busted beach-pop songs spark recollections of doo wop's otherworldly despair, a dose of goofball humor from the Michael Hurley school, and positive possibilities exuded by Jonathan Richman. Helmed by the singer / songwriter, playwright, author & onetime troubadour Sonny Smith, The Sunsets have featured a revolving door lineup that have included Shayde Sartin, Ryan Browne, Kelley Stotlz and Tahlia Harbour. Adopting a range of sounds Smith's sardonic, laid-back style is interwoven throughout his compelling songwriting and vocals.

From glam to gunk this Ohio trippy man can be found making his home recordings that range from Peter Koppes to Slade. Or just at home resting with his pretty little pup Judy. Nothing stands in Gabriel Fulvimar's way.

The Fresh and Onlys

"We make albums to be heard as albums," says Tim Cohen. "We always toil over the sequencing and slight pauses." House of Spirits, The Fresh & Onlys' fifth album since 2008, testifies to their rigorous full-length approach. Their most adventurous outing yet, House of Spirits devotes its A-side to the character of dreams. Written partly during his stay at an isolated horse ranch in Arizona with only a guitar, Korg keyboard and drum machine, Cohen focused the album's lyrics on firmer narratives than on past material, but his imagery veers towards absurdity, reflecting the unreliable visions culled from his nightly subconscious activity. The album's latter half finds his speaker awoken, resolute and lucid. All throughout, Cohen says the album grapples with the "idea that home is where your feet are." While still possessing the impeccable pop faculties displayed on Long Slow Dance and Soothsayer, The Fresh & Onlys also deal experimental atmospherics and drum-machine anchored ballads like never heard from the group before.

"The things I remember from dreams are when something is slightly off. You're in your house but realize suddenly that it's not yours," says Cohen. In that sense, album opener "Home is Where?" is a statement of the album's intent. When Cohen's speaker notices a "bowl full of eyes on the floor," or "cauldron of hearts on the stove" during his comforting walk through "the good life," the brisk but nuanced track morphs into a surrealist nightmare.

Originally formed by Cohen, bassist Shayde Sartin and guitarist Wymond Miles, who met through their mutual employer Amoeba Music, The Fresh & Onlys soon recruited drummer Kyle Gibson. Their self-titled debut appeared in 2008 at the fulcrum of a flourishing San Francisco music scene on Thee Oh Sees' leader John Dwyer's then-fledgling Castle Face imprint. The debut distinguished The Fresh & Onlys from their peers in the lauded "San Francisco garage scene," the regional buzz tag that couldn't have been more inadequate for the band.

With tunefulness equally indebted to pastoral psychedelia, punchy new wave and hyper-literate proponents of lofty 80s pop, The Fresh & Onlys swiftly moved through the ranks of venerable indie rock labels. Follow-up albums and a voluble slew of EPs on Woodsist, In The Red and Captured Tracks earned the group high critical praise, including a flattering New York Times feature, while Cohen's output with his folk-inclined act Magic Trick and Miles' own solo career rode impressive trajectories of their own.

In 2012, The Fresh & Onlys' fourth album, Long Slow Dance, appeared on Mexican Summer. A meditation on the complexities of love with Cohen's signature insertion of severe imagery into poignant song craft, it also solidified The Fresh & Onlys' adoption of lush analog production. They continued to work with Phil Manley (Trans Am) at Lucky Cat Studios in San Francisco for the Soothsayer 12" EP, which showcased Miles' Morricone-esque handle on atmosphere, hazy chords ringing out with shimmering, ghostly notes in their wake.

As Miles says of House of Spirits, "We wanted to honor the mystery that the desert gave to Tim's songs." The seasoned ensemble's fiery feel and careful arrangements run throughout, but it also privileges The Fresh & Onlys' experimental tendencies. There's violent, churning guitar noise between gospel-like vocal interplay for "Bells of Paonia" and an ominous drum machine pulse underpins the unsettling finale, "Madness," a track that inspired Miles to throttle his guitar with a power drill in the studio for what he calls "a sort of Einstürzende Neubauten moment." As Cohen relishes mystery, camps out in dreams and hones his singular approach to glistening pop with sinister undertones, perhaps "Madness" speaks best to the Fresh & Onlys' essence. As Cohen puts it in the track, "So, madness has a heart / Letting me rejoice / In the most peculiar things."

Eric D. Johnson is an American singer songwriter and composer. He is perhaps best known for being the front man and sole permanent member of the long running band Fruit Bats, as well as his collaborations with The Shins, Vetiver and Califone. He also produces records and does movie scores. His new thing is called EDJ and will be out this fall and will hopefully make you both smile and cry.

Pure Bathing Culture

It's a rare and beautiful thing when a band emerges fully formed, but it makes perfect sense in the case of guitarist Daniel Hindman and keyboardist Sarah Versprille's Pure Bathing Culture. Having backed folk rock revisionist Andy Cabic in Vetiver, the New Yorkers partnered up and moved West in 2011, settling in Portland, Oregon. Building off their past experiences as musical collaborators, in a short time the duo have created a sound that is undeniably their own: soaring synths, chiming keyboards, and shimmering electric guitars move in lockstep with bouncing drum machines. Sarah's crystalline voice floats on top of it all with divine purpose. It's a sound that looks back momentarily for inspiration — Talk Talk, Prefab Sprout, Cocteau Twins — but then fixes its gaze firmly on the present.

Further developing the sound of their acclaimed four song, self-titled 2012 EP, at the start of 2013 they set out to record Moon Tides, their first full length album. Again, they chose to work with producer Richard Swift at his National Freedom studio in rural Cottage Grove, Oregon. Throughout 2012 Swift had called on the duo to help him with other studio projects (Versprille sings on Foxygen's latest LP and Hindman adds his sprawling guitar work to Damien Jurado's excellent Maraqopa) which only helped to cement the threesome's musical partnership. For Moon Tides they continued where the previous EP left off, bolstered by Swift's belief in the duo's artistic vision and their unique sound, "From very early on, Richard was the person telling us that what we were hearing and wanting to do musically (which at times could feel a little strange or embarrassing to us) was ok and valid and that we should pursue it."

Like the earlier sessions for the EP, they worked quickly in the studio and improvised parts around the basic song structures that they'd carefully composed up in Portland. Dan explains, "Pretty much all tracks (vocals and instruments) are all first or very early takes. Richard is kind of a stickler about this and I actually don't go in with a clean, pristine idea of what I'm going to play on guitar or any other instrument for that matter, so there's actually a lot of improvisation as far as performances in the studio go." The results, like the earlier EP, are astounding: the arrangements feel fresh and imaginative, the melodies are unforgettable and the finished songs, most importantly, feel intensely human and deeply spiritual.

It's this compassion and warmth in Pure Bathing Culture that set them apart. The music is uplifting. It invites self-reflection. It never feels alienating. This, confirms the band, is no accident: "Concepts of spirituality, self actualization, mysticism, new age symbolism and pretty much anything that has to do with humans making sense of why we're all here are all deep, deep muses for us." To that point, even the album title Moon Tides alludes to self-discovery: "We are deeply inspired by the relationship between the moon and the tides. Particularly in the sense that the tides and the ocean are comprised of water and the element water is often associated with human emotion." While these heady themes can be difficult to explore in a pop song, Pure Bathing Culture makes it feel effortless. "Pendulum" is a perfect mid-tempo album opener that pulses and shines. Other standout tracks from the album — "Dream The Dare", "Twins", "Scotty" and "Golden Girl" — are slices of reverb-drenched, soulful, danceable electro-pop, that musically and lyrically tap into an introspective worship of the natural and psychic mysteries that surround us. Pure Bathing Culture's debut album Moon Tides is optimistic modern music for souls who seek to explore the infinite.

Once upon a time, surfing and rock music had a serendipitous relationship as each used the other as a stepping stone into popular culture. One can thank the Beach Boys, Jan and Dean, and countless other Southern California based iconoclasts for linking the sun bleached danger and rush of surfing with saccharine rock hooks just as each was coming into their own. Neil Young even caught the bug by finding inspiration for his 1975 album, Zuma (Reprise) from Malibu's famous Zuma Beach. By the early 90's, however, the link between surfing and rock music had begun to wither. Although bands like Sublime and Pearl Jam would often reference the sport, the true spirit and nature of surfing was somehow lost in the post grunge angst.
Wallowing in Southern California's anglophile predilections while touching on the mellow country rock of the late 60's Laurel Canyon scene, The Tyde brought the sunshine and pop back into surfing and rock's tenuous relationship. If Lloyd Cole somehow wound up on the same Southern California beach as CSNY chances are they would write songs that sound a lot like what The Tyde have been doing for the past ten years. The seeds of the band began in the early the 90's when vocalist/guitarist Darren Rademaker and his bassist brother Brent formed the dense psychedelic shoegazer outfit Further. The band gained cult status in the Los Angeles area but by 1998 the Rademaker brothers had turned their efforts toward the sunny pop rock that reflected their love for surfing. Brent brought guitarist David Scher and drummer Chris Gunst from his full time band, the psychedelic alt-country outfit Beachwood Sparks, into the fold while outside guitarist Ben Knight and organ/keyboard player Ann Do solidified the lineup. The debut full length, Once (2001 Track & Field/Dell'Orso), drew critical accolades for its mellow pop melodies and subtle experimentation. The Tyde subsequently signed to the renowned and newly rebooted indie label Rough Trade Records and released The Blood Brothers EP (2002 Rough Trade). Before recording a sophomore effort Scher officially left the group although he continued to contribute to future Tyde recordings. Meanwhile, Gunst also exited the band to form Mystic Chords of Memory and was replaced by Ric Menck.Twice (2003 Rough Trade) tightened up the band's sound for a more melodic and solid effort, again earning the band critical praise. The Tyde stopped by Amoeba Hollywood on August 12, 2003 for a memorable in-store performance in support of the album.
The band took an extended hiatus for the next three years while individual members focused on outside projects. Three's Co. (2006 Rough Trade) featured special guest artists like Mickey Madden of Maroon 5 and Conor Deasy of The Thrills while also broadening The Tyde's pop horizons by introducing a splash of new wave and orchestral pop into their sound. The Tyde has remained relatively quiet ever since although they do continue to tour throughout Southern California when not surfing.

Their 4th LP will be released on BURGER RECORDS in early 2015. 
-BY Marcus Kagler


GospelbeacH is a band. Members are Brent Rademaker, Tom Sanford, Neal Casal, Kip Boardman w/ a cast of friends based in Los Angeles.

The Donkeys

We would love to be able to say that the Donkeys are simply four California beach bums who love to surf, drink cheap beer and jam as the sun sets over the Pacific. The long legacy of music hailing from California – from Bakersfield to the Beach Boys, Sweetheart of the Rodeo through Slanted and Enchanted – has shaped our sense that everything and everyone "out west" is laid back, comfortable and cool.

And to be fair, when it comes to the Donkeys, some of this mystique is true – two of the band's members are indeed surfers, and all four have been known to down a six pack or two. But like California, the real-life Donkeys (best friends from Southern California, Timothy DeNardo, Jessie Gulati, Anthony Lukens and Sam Sprague) are much more... real. If their backstory contains those top-down cars and suntanned utopian surf tableaus, it also contains the malaise and the escape fantasies familiar to all suburban kids of the 80s and 90s. Miraculously, the music manages to comfortably communicate both moods at once. Any expression of existential ennui – "is this all there is?" – is simultaneously soothed by an unrushed guitar lick and a harmonized twang that becomes almost, dare we say, meditative.

Part of this magic comes from the fact that there's no artifice to the Donkeys' songs, from the matter-of-fact breakup blues of "Boot on the Seat" to the playful recollections of a late, drunken night narrated on "Nice Train." These are everyday lives in the postmodern world expressed with a deep respect for classic songs from the 70s through the 90s -- for spacey grooves and soulful, jangly swagger -- that elevates the subject matter beyond the ordinary. Living on the Other Side, the band's second album, is not meant to hit you over the head with a flamboyant single – instead, imagine Ray Davies jamming with the Byrds, or a Gene Clark-fronted Buffalo Springfield -- and you'll get a sense of the tradition that informs this band.

"With the charming swagger of jazz-folk troubadour Tim Buckley and the resonant, full picking style of Bert Jansch, "The West Wind" comes from Walker's first widely available release, a three-song 12". With acoustic guitar in hand and a voice like browned butter, Walker swings and sways in a lush string-and-piano arrangement right out of Buckley'sStarsailor; it slowly picks up to a swirling gallop without bucking the rhythm." – NPR Music

Ryley is a 24 year-old singer/songwriter and guitarist from Chicago. Having kicked around Chicago's experimental free/noise music scene for several years, Ryley recently turned to a folk-rock sound inspired by some of his heroes, among them Tim Hardin, Tim Buckley, and Bert Jansch. The result is a poised and accomplished debut album, recorded in Chicago by Cooper Crain (guitarist/keyboardist in Cave). The album will be released by Tompkins Square in April 2014.

A 3 song 12" EP featuring "The West Wind" and two non-LP B sides (including one instrumental duet with Daniel Bachman) was released in November on Tompkins Square. Sleeve design by Plastic Crimewave.

Mariee Sioux

Following the release of her collaborative Bonnie & Mariee EP with Bonnie Prince Billy, Northern California's Mariee Sioux released her sophomore full-lengh Gift for the End. Recorded in the summer of 2011 at Placerville's Moonsoon Studios and Nevada City's Sun Dial studios, the new song-cycle breathes as easily and resonates as warmly as 2007's Faces in the Rocks but brims with audible shifts in ambiance and perspective. Impressionistic narratives are underscored by thatchwork guitar patterns that showcase Mariee's voice, an unadorned, naked instrument that rings clear and high above airy atmospherics and mellow percussion. Gift for the End is dream logic at play: a fluid procession of personal and natural imagery that moves from place to place and symbol to symbol but ultimately never loses its cohesive dimensions or emotional shape.

Kacey Johansing

Described by The Bay Bridged as "gorgeous acoustic pop", San Francisco based musician Kacey Johansing creates songs with meandering melodies, lush harmonies and moody aural landscapes. Weaving together elements of folk, jazz, pop and classical music, it sounds as if she spent years studying in old smoky theaters with icons Leonard Bernstein and Joni Mitchell directing the show, and The Beach Boys in the orchestra pit. A soulful, honeyed voice and lilting vibrato land her the leading role.

Johansing's latest release and sophomore LP, Grand Ghosts, evokes the wilderness of the California coastline that she now calls home and the isolated mountain towns in Colorado where she grew up. Sonically and thematically darker than her debut album Many Seasons (2010), Grand Ghosts grapples with loss, paying homage to loved ones who passed during the making of the record. While Many Seasons reads more like a playbill, featuring a rotating cast of skilled friends and local musicians, Grand Ghosts was intended to capture the chemistry shared by the more permanent cast consisting of Johansing (electric guitar, piano, organ, vocals), Jeremy Harris (guitar, piano, vocals, and string arrangements), Robert Shelton (keyboards), James Riotto (bass), Ezra Lipp (drums), and Andrew Maguire (vibraphone, percussion).

Begun in Woodstock, NY and currently residing in Taos, New Mexico, Trummors is a duo formed by songwriters Anne Cunningham and David Lerner, best known to some for his years of work with Ted Leo & The Pharmacists. The two multi-instrumentalists focus on acoustic instrumentation, incorporating harmonium, fingerstyle guitar, and close-harmony dual vocals into their warm sound.
Trummors first album Over and Around the Clove was released in 2012 on the Ernest Jenning Record Co. Its lushly earthy songs and slightly psychedelic filter on country-folk was described by Hudson Valley Almanac Weekly as "raga country, country as inner voyage", and landed the band a placement on the ABC drama Nashville.
Moorish Highway is the follow-up to Tummors' first record, and expands on the sound of their debut. Calling on a cast of backing players including drummer Otto Hauser (Vetiver), guitarist Kevin Barker (Johanna Newsom), bassist James Preston (Zachary Cale), and pedal steel guitarist Marc Orleans (D. Charles Speer and the Helix), Moorish Highway was recorded in Kingston, NY by Justin Rice of Bishop Allen.
While the duo's signature harmonium drones and close vocal harmonies remain, Trummors visit new sonic territory on Moorish Highway as well. "Bogus Bruce" chugs along with a metronomic, almost motorik groove, while "Strangers From Now On" nods to Merseybeat. A version of the Gordon Lightfoot standard "Early Morning Rain", long a staple of the duo's live set, rounds out a dynamic sophomore effort, inspired by the heyday of early California country-rock and 70s singer-songwriters, but from a contemporary point of view that is uniquely Trummors' own.

DJ Andy Cabic

Vetiver honcho Andy Cabic spinning sweet, sweet tunes.

DJ Golden Gram

Graham LeBron became Golden Gram in 1999 when he moved from Texas to California. Since then, he's made a name for himself as a musician, producer and DJ, touring the world with Rogue Wave, Port O'Brien and The Album Leaf. He began collecting records at age 5 when his mom got him a record player for Christmas instead of the toy he wanted. He started DJing in high school as a summer job and has kept at it since. His eclectic vinyl collection leans heavily on soul, country, and classic radio 45s while keeping an eye out for songs that are classics waiting to happen. You can catch him around the bay area at spots like the Legionnaire Saloon and the Missouri Lounge.

$40 - $120


On three stages: Hillside Amphiteater, the Cave Stage and Old Redwood Barn

Friday Doors @ 3 p.m. | Saturday Doors @ 11:30 a.m.


The food selections will be anchored by KronnerBurger, Blue Plate, The American Grilled Cheese Kitchen, Bicycle Bahn Mi, and Q Craft. The Skylight Snowballs truck will park at the winery as well and Happy Moose Juice will be slangin’ fresh juice. Lagunitas Brewery will provide suds and plenty of Gundlach Bundschu wine will be on hand, with Mountain Cuvée, Gewürztraminer and more available.

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