Chicharra Invade Earth In New Music Video

Today, Chicharra release the second single and title track off of their forthcoming album, Let's Paint This Town in Craters with a brand new music video. The video, directed by Sara Century with videography by Rick, is a DIY sci-fi monster movie featuring a miniature replica of downtown Albuquerque being destroyed by reptiles from outer space played by the band.

"Let's Paint This Town In Craters" is the second of three singles to be released off of Chicharra's forthcoming album of the same name that together illustrate the album's journey from apocalypse to rebirth. 

The full album, Let's Paint This Town in Craters, comes out on October 20th on Matron Records!

Introducing The Southwick Radio Transmission Library


Get inside the alternate universe that is Storming The Beaches With Logos In Hand with the release of "Into, The Mudfields." This imagined soundscape created with found sounds paints a picture in the listener's mind of the dark and fantastical setting where the group's new album, Bailiwick, Refused takes place.

This release marks the launch of the group's newest project, Southwick Radio Transmission Library - an audio library of radio transmissions received from the alternate reality unveiled by the world-building project. As part of the Southwick Radio Transmission launch, the project will be releasing more soundscapes to develop their alternate world, including the first music single from Bailiwick, Refused, entitled Rope I (a flame among the blue and black), below. The second part of this double-single, Rope II (now it's climb or die), will be available only at STBWLIH's special CURRENTS New Media performance at El Museo on June 23rd!


Current Events: Welcome To The Mudfields

Storming The Beaches With Logos In Hand

Debut New Music at New Media Festival


Preparing for the upcoming release of their newest album Bailiwick, Refused (out August 4th on Matron Records), Santa Fe based world-building music project Storming The Beaches With Logos in Hand presents an immersive, one-night-only experience entitled Mudfields on Friday, June 23rd. A hybrid performance, Mudfields is a live multimedia theater performance taking place at El Museo in conjunction with CURRENTS New Media Festival. The performance includes live music, video projections, audio soundscapes, set design and costuming, some of which will include contributions from students at the New Mexico School For The Arts (NMSA).

STBWLIH is also celebrating the launch of the group's newest project, Southwick Radio Transmission Library - an audio library of radio transmissions received from the alternate reality unveiled by the world-building project. As part of the Southwick Radio Transmission Library launch, the project will be releasing the first music single Rope I (a flame among the blue and black) off of the new album leading up to the June 23 show, and will make their second single, Rope II (now it’s climb or die) available only at the concert itself.

For more information and to purchase tickets, visit the event page.


Storming The Beaches With Logos In Hand


Friday, June 23rd

El Museo Cultural De Santa Fe
555 Camino de la Familia

Santa Fe, NM

$10 // 8PM Doors



Watch "Alloy" The New Music Video From Chicharra


"Alloy" is the first of three singles to be released off of Chicharra's forthcoming album, Let's Paint This Town in Craters," (out October 2017) that together illustrate the album's journey from apocalypse to rebirth. The first of the trilogy, "Alloy," opens the struggle with a music video featuring an aerial acrobatics piece inspired by Kurt Vonnegut's story "Harrison Bergeron," which tells of a dystopian future in which dancers are made to wear weights so they can't achieve their full potential. Co-produced by AirDance New Mexico and Chicharra's own Monica Demarco and filmed and edited by Chris Walsh, "Alloy" features aerial acrobatics performed and choreographed by Christina Cavaleri who wears a heavy, welding masking during the piece. 

Head over to our merch store to pick up a limited edition silk-screened poster, pendant or koozie featuring stills from the "Alloy" music video. Each items comes with a digital download of "Alloy." The poster is the first in a triptych that illustrates each of the three singles to be released off of Let's Paint This Town in Craters.

Visit our merch store today!


Matron Records & Second Street Brewery Team Up

Matron Founder Eliza Lutz Signs On as Venue Booker at the Brewery’s New Rufina Location


Local craft brewery Second Street Brewery opens its third location in Santa Fe this spring in a newly renovated 20,000 sq. ft. building located at 2920 Rufina, in the heart of the burgeoning Siler District. The expansion, which aims to grow the micro-brewery’s production with a new brewing and canning facility, also features a 4,000 sq. ft. taproom/restaurant and venue space. To complement the company’s recent brand expansion and moves toward wider distribution, Second Street Brewery has enlisted Eliza Lutz, Matron Records' founder/owner as the new venue's booking manager. Lutz founded Matron Records in January of 2016 with the aim of supporting musicians in Santa Fe’s emerging underground music community and plans to continue that mission through her partnership with the new venue, working to foster greater diversity in the local live music scene.

Unlike Second Street Brewery’s other two restaurants, which each host regular live music, the new Rufina venue will host two to four shows a month and focus its music programming on highlighting innovative and cutting-edge artists, both local and national, from a wide variety of genres. Lutz, a longtime local music promoter and musician with a knack for curating engaging and diverse music events, plans to take advantage of the gap that exists for mid-size venues in Santa Fe and cater to more up-and-coming touring acts as well as rising local talent.

Still under construction, the new Second Street on Rufina is slated for a soft open in late March with a grand opening and debut show in April to be announced later this month. For booking inquiries at the new location email Eliza Lutz at For all other questions about the new location, please contact Mariah Scee at

Matron Records Welomes PSIRENS with the Release of 'Mountain Music'


I originally met Paris Mancini of PSIRENS back in March when I invited her to open for GRYGRDNS' Seersucker single release at Iconik. Caitlin Brothers (ppoacher ppoacher) had said "think of tUnE-yArDs meets Kate Bush" to describe PSIRENS and based on that description alone I was sold (that and Brothers has impeccable taste). Her live performance that night blew me away, being both intimate and immense, etherial and brash, experimental and accessible. When she shared with me her latest effort, a 5 song collaborative split with Slow Proteo, the dark, solo experimental-synth project from Bay Area's Ian Avery, I rushed at the opportunity to be involved in the release, which comes out this month on Dec. 16th.

Entitled Mountain Music, the release is an ideal introduction to Mancini's dynamic vocal stylings and intricate looping work, which is effortlessly matched by a dark and dancy backdrop of synth layers and beats produced by Slow Proteo. The release features two highly-stylized covers: "Falling" by Julee Cruise & Angelo Badalamenti and "Ramblin' Man" by Hank Williams III. The former was made infamous as part of David Lynch's cult 90's show Twin Peaks and the duo conjures every bit of Lynch's high-strangeness, even composing the cover in Snoqualmie Falls where it was filmed. The re-imagined "Ramblin' Man" cover is equally haunting, with Mancini's low crone over a wash of ambient synths and guitar (featuring Mika Tarkela) which is reminiscent of both Washington state's dark, mysterious fog and the bewitching quality of Carla Bozulich's experimental work. 


The three original tracks off of the split ("Stars," "MNTN" and "theMotions") inspire the same shadowy groves explored in the covers, with each track illuminating additional layers of Maninici and Avery's creative depths and experimental-yet-still-catchy sensibilities. Together with "Falling" and "Ramblin Man," Mountain Music proves to be an exemplary work of collaborative songwriting, equally showcasing the talents of PSIRENS and Slow Proteo. To get more insight into the release and learn a bit more about the history of PSIRENS I asked both Paris Mancini and Ian Avery a few questions. Here is that interview in full:

Matron Records (MR) - Paris, looping is an integral part of your sound and your songwriting. Live it sounds like you often build your songs from an initial loop, how do you choose the first one?

I gauge where my audience is at and start based on their vibe. Very softly if I need to quiet the room down, loud if I want to shock and engage them, it totally depends, it's synergy between them and I.

MR - In addition to songwriting, you are also a skilled illustrator and contributed many accompanying designs for Mountain Music's artwork. What’s the difference in your creative thought processes when making music vs. when illustrating?

PM - For me music is so performative and emotive, making visual art is expressive in a more internal way. You have to be quite still, and it's usually not a social way of art making. Performing live and even practicing music is cathartic in a totally different way, for me it releases endorphins like sex or scream therapy.

MR - Ian, can you describe your creative process with Slow Proteo?

Ian Avery (IA) - Process is a strong word for how my songs get created. It’s hard to nail down but the general end goals of a track are either pure escapism or a desire to channel some of my existential wonder and dread. Tracks usually start with a single riff or vocal sample, then I hear complimentary sounds in my head and try to recreate them. This processes continues and I attempt to weave in some modality and music theory but to be honest it’s mostly trial and error. I often end up with a few moments where the song becomes a layered wall of sound, and the work comes in tying those climaxes together. It would probably be more efficient to follow conventions of some electronic genre like house so I don’t have to reinvent the wheel each time, but I’m a bit stubborn and tend to resist structure.

MR - Mountain Music is a highly collaborative work between PSIRENS and Slow Proteo. Can you describe some of the inspiration behind it?
IA - I didn’t write lyrics or sing any vocals, the inspiration for the music is introspective for me, a collection of my experiences. I feel like the instrumentals reflect my mental state over time, cycling between periods of calm and overstimulation.

We wrote the title track when Paris and I were recording the split in rural Washington at the end of our tour. I made a weird little beat with the moog and asked Paris to sing over it, improvisnig, she sang the word 'mountain' and tied phrases together with some calming nonsense syllables. It seemed to capture the essence of the album: a metaphor for music created during personal growth, the liberating sensation of driving north through the Redwoods, the growth of our friendship over tour.
Ian Avery & Paris Mancini mid-tour at gas station between Juarez and Chihuahua, Mexico.

Ian Avery & Paris Mancini mid-tour at gas station between Juarez and Chihuahua, Mexico.

 MR - The tour you mention took place earlier this year and took you through the US and Mexico. Can you share some of your favorite memories from that tour?
PM - One of the most unexpected moments for me was when we were driving through the redwoods in Northern California and Ian played me some "tame impala" who I had never really given the time of day to before. And time seemed different, space seemed different, the trees stretched into notes as we drove on the Avenue of the Giants. It was magic.
IA - Some of the best moments of tour for me were in Mexico, especially our shows in Juarez and Chihuahua. Seemed that people were less self-conscious and more able to lose themselves in music than in the US. Everyone I met was outgoing and put my introverted self at ease. I remember one moment specifically: making friends with a mangy stray dog at the single gas station between Juarez and Chihuahua both on the way there and back.

MR - I know you are a huge Twin Peaks fan, as am I, and that is apparent in your cover of "Falling" by Julee Cruise. We are also decorating the venue for the release show in a Twin Peaks theme as further proof of our mutual Lynch-fandom. What is your favorite Twin Peaks scene and why?

PM- There are too many, but one that comes to mind this moment is when there's a secret night time meeting happening between the kids at the Roadhouse and the Bookhouse boys are there undercover. Julee Cruise is playing her slow sad mermaid music and all these bikers are slow dancing and drinking beer. Then a fight breaks out and Julee continues, the dancing doesn't stop. That's rich. Also the Giant is genius. I never get enough of that show.

The split will be released on Friday, December 16th with a Twin Peaks-themed party in honor of "Falling" by Julee Cruise at Zephyr in Santa Fe. Featuring a special joint performance by PSIRENS and Slow Proteo, Matron Records' own Twilight of The Idols as well as locals Grove of Baal open. 

To stream tracks from the Mountain Music, visit the bandcamp page.

To listen to more PSIRENS visit her bandcamp page.

To listen to Slow Proteo visit his soundcloud page.


PSIRENS + Slow Proteo

Split Release Show

w/ Spirit Of..
& Twilight of the Idols


Friday, December 16th
Zephyr - 1502 Center Dr. #2
Santa Fe, NM

7PM | $7 | ALL AGES

For more info visit the Event Page.


Before, There Was Fear: Now There Is Future Scars

Photo by Brandon Soder

Photo by Brandon Soder


Rising from the ashes of Santa Fe’s beloved post-rock outfit As In We, Future Scars continues the genre-bending with the trio’s debut release, “Before, There Was Fear” out on Nov. 16th on Matron Records. Comprised of Ben Durfee on drums, Gunnar Lyon on bass and Eliza Lutz on guitar and vocals, Future Scars embodies much of the same instrumental prowess as As In We, with the notable addition of Lutz’s dynamic and powerful vocals. The EP was recorded over the summer at The Decibel Foundry, run by local audio engineer and promoter Augustine Ortiz who also mixed and mastered the debut.

"Before, There Was Fear" Comes Out Nov. 16th On Matron Records

"Before, There Was Fear" Comes Out Nov. 16th On Matron Records


Throughout its diverse and thoroughly personal five tracks, “Before, There Was Fear” is an obvious ode to transition. The songs traverse genres as disparate as folk rock to black metal and emotions ranging from triumph to despair and tell the story of personal upheaval and recovery. From the music to the EP’s title and name of the band itself, Future Scars’ debut conveys the message that by embracing the process of overcoming our misfortunes we emerge resilient and more complete than our former selves.

All who attend one of four release shows in NM and CO will receive a free copy of the EP with admission in the form of a download code printed on “Before, There Was Fear” custom matchbooks. For fans of more traditional physical media, CDs packaged with a limited-edition run of silkscreened posters will be available for sale at the show. For those excited to listen in advance, the EP will be streaming exclusively on the Santa Fe Reporter’s website for a week starting on Nov. 10th.

"Before, There Was Fear" Release Shows:


Future Scars, The Coma Recovery & Votives

Wednesday, Nov. 16th

Sister Bar - Albuquerque, NM

8PM Doors - $5 - 21+

For more information visit the event page:





Future Scars, The Coma Recovery & Bodies

Thursday, Nov. 17th

Skylight - Santa Fe, NM

7PM Doors - $7 - 21+

For more information visit the event page:





Future Scars, UN, NPON & Alone

Friday, Nov. 18th

Flux Capacitor - Colorado Springs, CO

8PM Doors - $7-10 - All Ages

For more information visit the event page:



Future Scars, The Flight Of Slepnir, Ghosts Of Glaciers & Kenaima

Saturday, Nov. 19th

Hi-Dive - Denver, CO

8:30PM Doors - $10 - 21+

For more information visit the event page: