Born Gold is the high-energy, futuristic noise-pop project of San Francisco via Canada pop experimentalist Cecil Frena. Caught in a highly idiosyncratic dialogue between harsh noise, future-leaning electronic music, indie rock signifiers and mainstream pop, Born Gold (formerly Gobble Gobble) conjures stuttering, blown-out and chopped guitar peals, erratic, bubbling synth arpeggios, crunked-out, sparkling 808 hats and bursts of meticulously processed digital noise. Oh, and hooks, hooks, hooks. 

Marijuana Deathsquads are comprised of multiple drummers, a slew of electronic instruments, and highly effected vocals, their live shows are a violent onslaught of improvised electronic-hardcore. They began as a side-project of Building Better Bombs, which is why all members of BBB are also in Marijuana Deathsquads. Their live shows, as well as studio recordings, feature multiple colaborations with a ton of outsourced musicians. This results in a constantly evolving experience, teeming with spontaneity and surprise.

American elektro-shaman Woody McBride, aka DJ ESP, rocks the world with his unique style of tribal techno, acid house, elektro, ambidelics, hardtek psytek and authentic minimal electronic music.

http://www.myspace.com/mannequinmen

FROM MAGNET

http://www.myspace.com/worshiplusurfer
http://lusurfer.com/

The Magnolias, a tried and true name in American hard rock, earned this status via loud, brash shows on expansive tours of the U.S. in the 1980s and 90s. Fronted by singer/guitarist, songwriter and co-founding member John Freeman, the band solidified its reputation as one of Minneapolis' most formidable musical acts by delivering from-the-gut, yet melodic, hook-laden tunes across five albums for the Twin/Tone and Alias record labels. The group disbanded for a time at least in 1997 only to reform again in 2000.

No Help Coming is the fourth full-length release by Holly Golightly & the Brokeoffs, and the latest of nearly 30 albums on which the veteran indie icon is featured. But she’s quick to dismiss any suggestion that she’s refined her approach during her 20 years as a recording artist. “I’m proud to say that I don’t think there’s been much development at all, really,” she asserts. “I still only know the same chords I did when I was 14, and I still write songs about the same things.