Guitar Fetish

GuitarFetish started in 2004 by Jay Abend with the intention to make his custom gear available to guitar players around the world. "I was happy hand winding hum buckers for $160 each, but there's proven to be good business for $30 pickups with the same construction practices and tone" he comments before talking about how working exclusively online allows him to develop relationships with customers, responding to e-mails and chatting on his forums with players. GFS products aren't available anywhere but the official website, and their inventory has expanded to include everything you need to build, modify, and play guitars. For those not wanting to get their hands dirty, the custom guitar and pedal lines can't be beat, including a popular $40 digital footpedal tuner. Unmatched quality and affordability have earned GFS a broad following, known as the website for savvy guitar players who need the best without breaking the bank.




Xaviere Guitars
Bang for your buck
$159+

These guitars could easily sell for three or four times the price you'll buy one new. Seriously. A friend of mine discovered GuitarFetish online while searching for guitar parts and bought a XV-JT on a whim thinking he'd get a cheap guitar he could scavenge for parts. Imagine our surprise when the guitar that arrived looked, felt, and sounded so good my friend decided that he'd leave the guitar intact and play it relentlessly while his many, more expensive guitars have begun to gatherdust. These guitars have become a focus at GFS and in the playing community, with new designs appearing regularly and always more affordable than comparable guitars. Xaviere's clone many popular body shapes and are made from dry tonewoods with a focus on playability and, of course, the famous GFS pickups. By designing and selling the guitar GFS cuts out the middleman, which is great for all of us.


GuitarFetish.com

SONiVOX

You don't know SONiVOX, but you know their sounds. Their audioINSIDE technology powers the sound in every Android phone and their EAS technology has powered Motorola's phones since 2005, and that's just their sideproject. SONiVOX designs and develops music software that puts an orchestra at your fingertips, a drummer in your pocket and a studio in your laptop. Libraries like Symphonic and Broadway Big Band are commonly used to score TV and film while synthesizers like Twist are crushing dance floors around the world. Jennifer Hruska founded SONiVOX in 1993 in Somerville, MA. Her new company quickly earned a reputation for quality and innovation as they began to create an expansive set of libraries and instruments, available from the first on-line store for musician sounds. Musicians and business took notice, and suddenly SONiVOX was making sounds for the world at large. Despite worldwide implementation of their software SONiVOX is still just a ten person team dedicated to developing new technologies that inspires us to make music for the future, no matter if it's in a Hollywood score, or on your phone. 
sonivoxmi.com


Wobble
$149
Grimyer than Oscar

Destined to shake clubs, bob heads, and destroy neighborly relations everywhere, Wobble rocks the party with more LFO synced madness than a college dorm Friday at 1 am. SONiVOX's new spectral morphing synthesis engine powers a sleek design that makes managing Wobbles endless possibilities easy and fun. The front end interface puts the most important features up front to play with while those willing to go a little deeper will be able to modulate note values and synth parameters with the first-of-its-kind tempo-locked pattern generator to create sounds that twist and jump like their audiences. NEMESYNTH Audio Research Group developed Wobble's new synthesis engine and tamed it's 800 parameters into a bevy of infinitely tweakable presets. Ready, set, Rage.

Pigtronix Tremvelope

A different kind of Tremsion

$249

This pedal will change how you think about tremolo. Your average tremolo pedals lets you control speed and depth, stomp on: stomp off, yawn. Tremvelope changes the whole experience by responding to the dynamics of your playing, varying the speed and depth in accordance with the strength of your signal. The result is a pedal you develop a relationship with, finding the sweet spot where it ceases to be another effect and becomes part of the way you play. The envelope is fully adjustable via the onboard knobs and switches, an expression pedal, a trigger input, or can be turned off for a classic tremolo sound when needed. The trigger input allows you to run a clean signal to control the Tremvelope when it's farther down your FX chain, or, if you're feeling wild, control the Tremvelope with signal from a completely different instrument, perhaps an electric violin? Let your imagination run wild.

Pigtronix Effects

Pigtronix Futuristic Analogue Technology
Get F.A.T.

Pigtronix pedals are clever blends of the new and old, pulling familiar sounds into another dimension where audio is more maleable and analogue reigns supreme. Creatively combining several effects into each one of their powerful stompboxes, Pigtronix re-writes the limits of what a single pedal can achieve. Co-founder and designer David Koltai works with Howard Davis to create each new Pigtronix effect, focusing on versatility, tonal clarity, and durability. Started in 2004 by David and Brian Bethke with the EP-1 Envelope Phaser, Pigtronix has become a leader in creative new analogue effects, relied upon by musicians around the world. Pigtronix are designed, manufactured, and distributed from Long Island, NY, but aren't for sale on their website. They work hard to develop relationships with retailers who sell their work, David explains when I ask why they don't sell direct, "I love guitar stores and think playing a pedal before you buy is a big part of the experience." If no local stores have Pigtronix you can find a list of those who do, as well as their full product line and artist endorsements, on their website.  

www.Pigtronix.com

Malekko Heavy Industries

Malekko heavy industries started with a dissolving band, some inspiration, and a kitchen table. "The joke was the website made us seem huge, with pictures of semi's with the Malekko logo when there was only two of us, I soldered every pedal on my kitchen table" explains co-founder Josh Henley from Portland, OR where the company has grown into an 8 person operation with a vast network of players and fans. Malekko is known for original, affordable pedals and synth modules that earn their place in you soundbox. Josh says Malekko is about usability, not impressing your friends with 100 features you'll never touch: "We're not here to make trophies, we're here to make pedals players can use and enjoy." Malekko have cut a unique path with innovative ideas like the Omicron series, 8 no frills mini-pedals that build your signal for up without undercutting your wallet. Working to keep their pedals as useable as they are affordable, it's easy to understand why Malekko has earned a reputation for serving the needs of the working musician.

Ekko 616

650 ms of analogue delay. Count them, love them, rejoice in them. The Ekko 616 has straightforward controls that give you a wide range of sounds. Use the Time, Mix, and Regen knobs to slapback or blast off and engage the Mod controls to give your sound a whole new personality of chorusing and vibrato. Specially voiced repeats allow a larger bandwidth to pass than most traditional analogue delays, giving you a stronger signal out of the pedal. An internal gain knob allows you to customize the E616 to your setup to avoid volume drops or boosts when engaging.

Siriusmo - 'Mosaik'

Also printed in Performer Magazine


Siriusmo
Mosaik
Berlin, Germany

“PartiesNeverEnd”

Put in the music and park your ass on the dance floor. Mosaik is a club tour of Europe in your pocket. The album moves it’s way from Daft Punk disco romance through heavy dubstep grooves to retro-future beach jams that are as much Javelin lo-fi pop as Justice inspired booty shaking. Siriusmo starts the night off right with “High Together”, a wistful, joyous groove perfect for some warm ups and reflection before a promising night of dancing and debauchery. “Feromonikon” delivers on that promise with a dark bounce no one knew German minimalism could deliver, and there’s no turning back. Once Mosaik starts everyone in the room will start moving and no one will stop until the echoes of “Red Knob” stop bouncing off the ceiling. Wallflowers need not apply. (MonkeyTown Records)

-Garrett Frierson
http://www.myspace.com/siriusmo

Review: Audio Damage Phosphor

Phosphor is a polyphonic software synthesizer plug-in modeled on the alphaSyntauri hardware synthesizer. While making it Audio Damage took special care in recreating the original synthesis process and then added on a little more to make it more versatile for modern musicians. When I first opened Phosphor up I was surprised by it’s relative simplicity of it’s interface. Most software synths hide most of their features in sub-menus but Phosphor puts it all on the screen in a nice little green and grey box. Two oscillator/envelope sections modeled on the alphaSyntauri sit on top of two independent delays with built in filtering and cross-feedback. To the right of all this is the LFO’s, which can be used to affect multiple parameters. If all the technical talk scares you fret not, the Phosphor comes with 80+ pre-sets I found really actually usable and inspiring. The pads and leads really stand out, but the bass presets seemed a little limited. The manual, available for free on the AD website, actually turned out to be easy reading and indispensable when I started creating my own sounds. Overall, Phosphor is by far the best digital synth under $100 I’ve ever encountered, and puts many pricier units to shame.

$59 at www.AudioDamage.com

Monster Plug-ins: Audio Damage

There the world is replete with companies making ‘utility’ plug-ins, emulating hardware to give digital mixing a more old-school feel. Audio Damage is not one of them. Audio Damage makes effects and instruments unique to the digital environment, helping artists create new and unique sounds that stand out from the pack of producers using Logic and Ableton pre-sets. Their effects catalogue ranges from the beat chopping Replicant and multi-FX Discord 3 (which are pretty crazy in their own right) to more experimental plug-ins like the Automaton, using buffer effects driven by a cellular automata sequencer. Their instruments are no less creative, including the Phosphor polysynth and the Axon drum synth. “We design plug-ins we’d like to have” says co-founder Chris Randall, “We get a wacky idea (e.g. driving an FM percussion synth with an artificial neural network sequencer), research to see if it’s been done, and figure out how to do it.” All that, and AD products come with a no questions asked money back guarantee. What more could you ask for?
www.audiodamage.com/

Endangered Audio

Endangered Audio
Asheville, N.C.

Endangered Audio builds module and stomp box effects for studios and touring
artists. EA gear is known for unique sound and dependability, using only through-
hole components soldered in shop at Smashing Guitars in downtown Asheville.
Todd Kelley started the company in Dec. 2008 to release the Gristleizer, an
updated version of Roy Gwinn’s module used in Throbbing Gristle. Taking
audio input and using an LFO to effect the amplitude or a filter on the signal, the
Gristleizer can do everything from subtle tremolo to complete signal destruction.
Their most recent pedal, the AD4096 is a unique analog delay that is currently
used by Baroness, Band of Horses, U.S. Christmas, and Emeralds.
http://www.smashingguitarsasheville.com/

AD4096 Analog Delay
Beyond Delay
$375

The AD4096 goes above and beyond other delays with its Wet/Dry stereo out,
Expand, and Infinity switches. The Expand switch turns the depth to 100%,
causing run-away self-oscillating feedback for as long as you hold it down. The
Infinity switch introduces a hold function that repeats forever, but not quite like a
loop pedal. Instead of layering signal on signal indefinitely, the Infinite wet signal
takes on the color of whatever’s being played. The Aux out can be switched
between wet and dry, splitting your signal into two separate channels.100%
analog circuitry provides up to 300ms of uniquely colored delay with adjustable
delay, echo, and depth settings. From recreating classic delay sounds to creating
unique sonic creations, the versatility of the AD4096 can’t be denied.

Blackout Effectors

Blackout Effectors
Asheville, N.C

“Built by us, for us … but available to you”

Kyle Tompkins started Blackout Effectors in his Vancouver kitchen in 2008, modding, fixing, and building the occasional pedal with a cheap soldering iron. “Really,” he say, “I should have been playing guitar instead of fooling around. It was an awesome kitchen though.” In 2009 he quit his day job and relocated to Asheville, N.C. to focus on Blackout full time. Skip to 2011 and Blackout Effectors is producing 40+ handmade pedals a week that ride with bands from Band of Horses to Baroness and The Black Angels. With the experience accumlated over the past several years, Kyle is sticking true to his vision of what Blackout Pedals need to be, even if that means he ends up scrapping the majority of new circuit designs because they won’t fit the Blackout mold. “We’re only going to release the coolest of the cool stuff and in the Blackout world no one gets to decide what is cool besides us.”

http://www.blackouteffectors.com/

Blackout Effectors Mantra Overdrive
True Grit
$175

Whether you’re looking for that classic overdriven sound or want to turn your speaker into Satan’s mouthpiece, you need a Mantra. Amp-like circuit architecture gives you maximum control of your overdriven sound while the Mantra’s multiple gain stages give you endless amounts of clean-up with your guitar’s volume knob. It switches between rock and blues as easily as it switches between low output single coils and hot potato humbuckers. From fingerpicked phrases to windmill finishes, this pedal conjures a classic sound that’s all your own, a Mantra you’ll play over and over again.

Phantom Glue Album Review

Thunder rakes across a darkened sky. This is the hour the sun should rise, but today there will only be the light of hungry flames as they crawl over barren earth, searching for their next meal. Nothing deserving of life still moves. The dead lie awaiting a savior that will never come. Man’s hubris has claimed its due and those that survived have learned nothing, fighting amongst themselves as the ground at their feet begins to quake. Their squabbles keep them occupied as the sound of a thousand heavy feet racing across dry clay draws closer. The air is thick with blood yet to be spilled. Not until its hot breath is upon their backs will they see the oncoming herd. Brutal, unstoppable, unimaginable force without mercy and without remorse. There is no hope. Phantom Glue is coming.


http://www.facebook.com/pages/Phantom-Glue/105502909128?v=info

LiveStock Boston

Rock Out...for Cows!



Livestock Boston plans to liven up New England’s dreariest months with great local music for a great cause. Benefiting Heifer International, Livestock will hold events at venues like the Middle East and Church as well as on college campuses, helping bands reach new audiences in their hometown.
Livestock will warm up with Eli 'Paperboy' Reed and the True Loves mid-January before kicking into high gear with some Rock’N’Roll in the Middle East Upstairs Feb. 5th. Music will keep on coming every weekend until March, featuring a different genre each week. Hard Rock to Soul, Electronica to Folk, no fan will leave dissapointed.
Conceived by a musicians looking to use their art to do some good in the world, Livestock is Boston’s way of giving back to the world with music. All proceeds go to Heifer International, world famous for their work combating poverty. In addition to show revenue, there will be an online donation drive to help reach $5,000 by March 1st. Have a good time and help save the world, what more could you want?

www.LivestockBoston.com

The Bob Moog Foundation

The Bob Moog Foundation

Making the world a better place, one module at a time

Robert Moog was a child with a passion for electronics that grew up to invent the most revolutionary musical instrument of the 20th century. The Bob Moog Foundation is dedicated to inspiring kids and adults with music and science, bringing electronic instruments to schools and teaching interactively. Created in 2006, a year after Moog’s death, and headed by his daughter Michelle Moog-Koussa, the foundation is dedicated to carrying on Robert Moog’s of legacy innovation and outreach.
At Moogfest 2010, the foundation partnered with Moog Music Inc. and Redbull to put on a series of panels and discussions with artists, engineers, and icons. The workshops ranged from history panels with the people who helped Robert Moog create the first synthesizer to discussions with Moog engineers. Kevin Kissinger and Dorit Chrysler each gave a Theremin performance followed by a short lesson on how to play the first electronic instrument ever invented. Within the same room the foundation set up MoogLab, filled with synthesizers, modules, and theremins to be played and experimented with by any curious festival goers. Throughout the weekend the Lab was filled with people curious about synthesis and the foundation.
Studying music has an incredible affect on a child’s life. In a time when most school programs are cutting back on arts and science education, finding new ways to get children interested in music and technology outside of the classroom is more important than ever.

The Moog Foundation is currently taking the MoogLab to area schools in Western North Carolina and raising funds to build a Moogseum in Asheville, N.C.. The museum will house Bob Moog’s archives in addition to interactive exhibits and a performance space.

To learn more about the Moog Foundation, buy merchandise, or make a donation visit http://moogfoundation.org/

Pictures by Melissa Tarantola

Making it at Moog

How to have the best festival ever

Photos by Melissa Tarantola

    2 films, 3 days, 5 venues, 11 workshops,  64 shows, all jammed into the 76 hours of Halloween weekend. To the untrained eye, Moogfest may seem like anarchy. Hell, with so much to do in so little time it's a little overwhelming for even seasoned concertgoers. Patrons must decide whom to see and when, accounting for the walk between venues and trying to time it so that they can catch the most of their favorite artists' sets without missing something else incredible. If your band is playing a festival like this, how do you stand out and make an impact?

The First Step is getting on the bill. Many festivals have an application process for bands wanting to play, and the larger ones can be quite competitive. Know the requirements and deadline and give yourself at least a month or two get your press kit ready to send. Moogfest and Bonnaroo are curated by AC Entertainment, a booking agency based out of Knoxville, Tennessee. For these festivals, they don't accept applications, but rather ask the bands they know and like to come and play. If you want to play festivals in the South, make sure you tour in the South, and make some good impressions while you're there.

Once you're in is when the real work begins. Tell everyone you know. Make it a big deal because it is a big deal. Playing a major festival is a big resume boost, start including in press releases and on your social media. As the festival date approaches, find out as much as you can about where and when you'll be playing, who you'll be playing after and before. Ask the festival if they have a press list. Once you get the contact info for the attending media send out a press release telling them how awesome you are and how they can see you at the festival. Mention any recent release and tours you’ve done, include a youtube link, and offer an interview to the lucky ones who get back to you. 


Contact other bands that are playing and try to meet up, this is probably your greatest networking opportunity of the year.


When it comes time to play, Rock the Fuck Out. Don't worry if the crowd seems a little small when you start, at a multi-stage festival there's a lot of bleed between shows, meaning most shows start a little empty and end very full. When local dubstepper Javelin started their set late Friday night I was surprised with how few people were there, but within 15 minutes the place was packed to capacity.


Afterwards, let the world know what a great time you had, what friends your made, and personally thank the people responsible for getting you there. Making friends with the festival organizers is the best way to get invited back (besides putting on a great show). Don't just talk up the bigwigs either, lots of festival staff are involved in the local music scene, make friends and know the best venues to play round these parts next time you tour.

This is just the start, if you're serious about expanding your fan base and furthering your career, festivals are a must. At Moogfest I discovered at least 10 new acts, and every other attendee is sure to have walked away with at least a couple. Make sure you promote your festival showing as much as you can, no one else is going to do it for you. Play nice with the staff and put on a great show. Oh, and have fun too. That's important, right?




-Garrett Frierson


Moogfest 2010
http://moogfest.com/


AC Entertainment
www.concertwire.com

About MoogFest

As Eastern North Carolina changes colors with season, Asheville has been invaded by thousands of music fans and synthesizer afficionados for MoogFest, an annual festival put on by Moog Music and curated by AC Entertainment. The three day festival features performances by some of the biggest names in music today as well as many up and coming performers who incorporate technology into their acts in innovative ways. Moog has taken over 5 venues in Asheville for shows ranging from Hip-Hop star Big Boi to constantly evolving producer Four Tet to local heroes RBTS WIN.

In addition to the music happening every night, Moog is also hosting workshops during the day to educate attendees about synthesis and Robert Moog’s key roll in its development. They have set up MoogLab next to the workshop area, filled with Theramins, synthesizers, modules, and the incredible Moog Guitar. Moog is making a great effort to connect with attendees and make the festival more than just a bunch of shows happening at once. They created a free app for iPhone users and are holding contests for re-mixers, circuit benders, costume wearers, and everyone else.

The festival is set in the perfect location. Asheville is full of the nicest people on Earth and independent businesses, restaurants, and breweries. The weather is sunny and a little cool, a nice break from the hot venues. The last Moogfest took place several years ago in New York, but now in their new location Moog promises to fest every year, and I already can’t wait for the next one.

Follow Moogfest at
http://moogfest.com/
http://twitter.com/moogfest
http://www.facebook.com/?ref=logo#!/pages/MoogFest-2010/102637876455451

Interview with Julia Goryuchkina

Note: This was is a piece I did for Performer Magazine and can also be found on their blog.

Garrett Frierson recently sat down with Julia Goryuchkina. Julia is a pianist, composer, and film scholar from St.Petersburg, Russia. She attended New England Conservatory of Music in the 1990s where she was influenced by Ran Blake’s "Third Stream" philosophy (now known as Contemporary Improvisation). After intensive private studies with Mr. Blake, Julia went on studying jazz piano and film music composition at the Berklee College of Music. She just released her second CD, TheatreWorks, through CD Baby.

Performer Mag: How did you become interested in film music?

Julia Goryuchkina: I first became interested in film music during the 90's, I checked out a book by Tony Thomas called Music for the Movies. It focused on composers of Hollywood's Golden Age, and I found it to be a very fascinating art-form that didn't seem to be fully explored. I started watching films with these scores, and they influenced me tremendously in the way they compliment the action and the story. Today the music in movies is mostly used to provide ambiance and mood, they like to insert something that is not in the film already.

P: How do you use this history in your writing?

J: How film music inspires me is the way the music tells a story, often with time changes because in a film the music must sync up with what's happening on the screen. Also in terms of melody and texture, both very important in French film music. I let the melody twist and turn, much like film music, instead of constant repetition like in most popular music.
P: Your music has a great sense of location, where do you write? Do you pursue that sense of place or is natural?

J: A lot of that comes from instrumentation, we all have our favorite instruments to work with and then complimenting those with a consistent band. I have always loved the vibraphone and have a lot experience writing for it, so once I formed the band around that I stayed with it and got comfortable in that space.P: Does the orchestration affect the writing process or does it come later?

J: Later. For me, melody always comes first, instrumental thinking comes later. I compose and then I orchestrate.

P: Does that change when you score film?

J: Yes, then you have to focus more on genre-specific instruments. The director will often have desires that you need to fulfill, so a lot of your work will be discovering what will suit their needs. If you develop a relationship with a director they may start to trust you and allow you to do your own thing with visuals. Personally, I tend to blend classical and jazz, which is very thin wire to walk because it is most often done very badly.

P: But you manage to avoid the stiffness most composers encounter when approaching this combination, you do a great job of keeping Jazz's fluid nature while using more classical melodic ideas.

J: Well, I was classically trained in Russia before spending several years at Berklee focusing purely on Jazz. I was very influenced by Ran Blake's Third Stream Philosophy.

P: Has technology changed the writing process?

J: Somewhat. After writing out the parts I sequenced everything in MIDI, and then subistuted the most important instruments with live musicians. Also, the mastering was done with Guilherme M. Vaz in Rio De Janeiro, we worked completely online mastering my record. He was a delight to work with.

P: What could you recommend for people who don't know much about film music but are curious?

J: Watch movies and listen to their scores. Start with the Golden Age, the old composers like Max Steiner and Franz Waxman. Many classics, like King Kong (1933), Informer(1935) and The Bride of Frankenstein, have brilliant scores that compliment the action beautifully. Georges Auric was the main collaborator of Jean Cocteau and wrote very interesting scores to movies like La Belle et la Bete and Le son de Poet.

P: What about contemporary composers?

J: Michael Giacchino has had a lot success recently, he recently won an Oscar and composed for Ratatouille and successful TV shows like Lost. It's funny because he got his start writing for video games. Ennio Morricone is legendary, he lives in Italy, but works for Hollywood. James Horner and Howard Shore are both amazing composers working right now.

P: What challenges might an artist run into on their first scoring project?

J: Most artists used to writing for themselves will find it challenging to create within the limits of what they are given. In contrast to a free composition, which is a method of your self expression, writing film music you have to write for someone else. You have to write for the visuals and there is a director whose vision you have to conform to. With the right mindset though, this challenge can become an inspiration to create in a new and refreshing manner.

CD Review

Buke and Gass
Riposte
Brooklyn, NY
Produced and recorded at Polyphonic Workshop in Brooklyn by Buke & Gass. Mixed and mastered by Aron Sanchez

How much noise can two people produce? A hell of a lot, as Arone Dyler and Aron Sanchez prove on their debut full-length record.  Riposte is sonic feast, Arone’s voice carrying melodies heroically over the bevy of amps and effects their homemade guitar/bass/ukelele combinations run through, while their foot powered percussion keep the whole affair charging unstoppably forward.

“Medulla Oblangata” begins the album with a rise before laying out the full sound and laying waste to any doubts about the duo’s power. The album continues this design with songs like “Medicana” and “Revel in Contempt” where moments of melodious calm form the valleys of raucous and uplifting canyons. The album moves up and down through moods and ideas, but the drive never ceases, you may find yourself striking nearby objects in time by the end of the first song. The foot drums seem to double as canons, pounding steadily to keep your head bobbing while their hand held instruments play with and against each other, moving in complex rhythmic patterns that keep the songs from ever getting old. Riposte is an energetic album that will make you move with power and purpose, just make sure you don’t have anything fragile in your hands. (Brassland Records)

Garrett Frierson
http://www.bukeandgass.com/

(Note: This was published in the current issue of Performer Magazine and is available on the performermag.com blog)

Real Artists, Real Music, Fake Life.

Quiet Desperation

Really Funny.

Boston's got a long history of fostering artists who become successful, after they leave Boston. Rob Potylo and his friends take a closer look at what's really going on in the Boston music/comedy/art scene with their 'reality' sitcom, Quiet Desperation. Quiet D is a web based series, made with no real budget to speak of by Potylo and his friends, featuring a whose who of the Boston's up and comers, established acts, and the occasional drop in by local legends. Despite no backing by anybody and no promotion other than word of mouth, the magic of social networking has made Quiet D go viral and become a sensation in the Boston area. Everyone on the show is playing themselves, a parody of themselves, or their complete opposite. This series is a chance to lighten up about all the bad luck and trouble that comes for pursuing your dreams, and if you're involved with the Boston music scene, you'll definitely see a few familiar faces.