The best bands are the ones that operate like gangs, the ones who formed to kick back at the world and act as a kind of orphanage for similarly displaced youths. Said bands don’t care about anything as much as they care about being that band. Music becomes the unifier, a language that can be joyful and sorrowful at once, and always cathartic. The pure authenticity of the band is in their refusal to pander to rules and expectations. It’s their way or the highway. MUNA are that band. They finish each other’s sentences, they are one another’s biggest cheerleaders, they have a language between them that defies American English, and in conversation they can’t wait to get onto the subject of their shared queerness as fast as possible. MUNA came together like a ride-or-die clique would form in a cult classic teen movie. If three's a crowd, MUNA are the one you wanna hang with. Imagine the opening scene. It takes place at USC in LA, sophomore year. Katie Gavin, a newly arrived transfer student from NYU, is walking out of an African Diaspora class where she’s just met a cute girl with a twice-pierced nose called Naomi McPherson who she wants all her friends to meet

In their hook-laden songs, MUNA may come across as broodily as the soundtrack to ‘Donnie Darko’, all Joy Division lyrical moroseness and Tears For Fears chiming melodies, but IRL they possess the college humour of ‘Beavis & Butthead’ and the bitching aloofness of ’The Craft’ via the charm of pretty much every great ‘90s girl band. Via memorable headscarves, premature life crises, and three individual obsessions with making music, MUNA arrived at their self-described “dark pop” of 2016 and a debut EP in ‘Loudspeaker’, which they take full credit for. Their listening sessions comprise of everything from Fleetwood Mac and Talking Heads to Massive Attack, LUSH and Cocteau Twins.

For Urban Cone — four high-school friends from a Stockholm suburb — creating irresistibly catchy, emotionally resonant music that has the potential to connect with fans all over the world is all they’ve ever wanted. Formed in 2010, Urban Cone has enjoyed substantial success in their native Sweden with their debut album, 2013’s Our Youth, and 2015’s Polaroid Memories, which was also released in the U.S. The band’s sound — feel-good, indie electro-pop — earned them positive praise from such tastemaker outlets as Brooklyn Vegan, VICE/Thump, Idolator, and Stereogum. Urban Cone toured Europe with fellow Swedish rising star Tove Lo and the U.S. with The Griswolds. It was during their summer U.S. tour that Urban Cone began coming up with ideas for their upcoming third album, which will be released by Interscope Records/Universal Sweden. Vocalist/keyboardist Rasmus Flyckt and vocalist/bassist Emil Gustafsson had written and produced Urban Cone’s music themselves and this time they wanted to take a different approach. The songs on the new album are anchored by harder, hip-hop-influenced beats and funky guitars, while retaining those sparkling melodies that Swedish music-makers seem to conjure up so effortlessly.

plus DJ Aaron Axelsen (popscene)

Upcoming Events
Rickshaw Stop