New York City’s own Ian Isiah returns today with “BIG ONE,” a blistering club anthem and video that mark a radical new chapter for the multi-hyphenate artist. Out via Last Gang/MNRK, “BIG ONE” is a bold sonic swerve from the glossy gospel-R&B of Isiah’s past into raw, hyper-rap and experimental club territory, a nod to his roots in NYC’s underground nightlife.
Known for defying categorization, Isiah swaps his multi-octave range—showcased as a touring member of Blood Orange and on stages like COLORS and NPR’s Tiny Desk—for rapid-fire flows in an ode to one of the world’s most powerful forces. “This song and video is meant to show respect to pussy and everyone who has one,” he says. The track’s unapologetic energy is matched by an equally daring music video, directed by Nick Harwood (The Dare’s “Perfume,” Charli xcx’s “Beg For You”), featuring Isiah in an avant-garde prosthetic piece that challenges norms around gender, sex, and performance. Ian has already gone viral (3M+ views), shocking New Yorkers during the shoot.
A lifelong performer who still sings every Sunday in his NYC church, Isiah’s latest work reflects the full spectrum of his artistry: from fashion world trailblazer (Telfar, Hood By Air), to sex-positive provocateur, to spiritual force and cultural connector. Following 2020’s critically acclaimed AUNTIE (Pitchfork 7.6), “BIG ONE” is the first piece of more to come from Ian as he looks forward to more music this summer.
“I finally know how to navigate in my own lane,” says Isiah. “It’s just about the jam for me: to build a sound, and be another example for somebody else.”
Today, Austin-based songwriter, filmmaker, and one-man tour de force Mobley releases his highly-anticipated new album We Do Not Fear Ruins via Last Gang Records. The sci-fi concept album centers on Jacob Creedmoor, an artist and a dissident in early-80s New York who is arrested and imprisoned in suspended animation for 300 years. We Do Not Fear Ruins follows Jacob as he emerges into a future unlike anything he’s known before. The album’s expansive, wide-ranging sound mirrors his journey through time, while meticulously crafted lyrics meditate on yearning and possibility amid the wreckage of Jacob’s life.
Though many of the album’s songs explore heartbreak and uncertainty about what’s to come, focus track "Now Forever"—released today along with a psychedelia-infused music video—defiantly kicks down the future’s door. The track’s progressive structure, swagger and anthemic refrain (“Now Forever!”) propel us optimistically—if uncertainly—toward a tomorrow that will never come unless we fully face the present.
“This song is about time,” Mobley expands. “Specifically about the paradox of the present. We can only experience time as flowing from past to future, and because of the limits of our cognition, we can only ever experience small sections of that flow (what we call ‘now’). The song explores the illusory nature of the present and swings between despair and exultation at the thought that ‘now is forever.’”
Mobley will also be playing live dates this spring and summer, more information available here.
When you don’t fear ruins, “apocalypse” is just another word for opportunity. This is a central theme of Mobley’s new full-length debut, We Do Not Fear Ruins, an exploration of the intimate, the infinite, and time itself. The genre-promiscuous, sonically expansive concept album continues the story of the character Jacob Creedmoor, an ordinary man who became radicalized into a Robin Hood-esque hero in an alternate version of the early ‘80s United States. Against a backdrop of futuristic art rock, Jacob fought fascism, pulled off daring heists, and was eventually captured by the government and imprisoned in suspended animation. We Do Not Fear Ruins is the next chapter in Mobley’s ongoing sci-fi epic. The story leaps nearly 300 years into the future, when Jacob awakens in a post-apocalyptic, post-U.S. world. Having lost everyone he's known, he navigates grief, memory, and heartbreak through a range of sonic textures as expansive as the wastelands (or possibly afterlife) he finds himself wandering.
When deciding on the most effective sonic palette for his current project, Mobley turned to 1981, the year when Jacob was frozen. "When I listened to some of the songs in the air during that period, I was stunned by the incredible diversity of popular music,” he says. “You had Bruce Springsteen and Michael Jackson, but new wave and funk were still happening. Pop and country were doing a bunch of interesting things. R&B was huge, and there were the first rumblings of hip-hop, as well as vestigial traces of disco."
Despite the sweeping audiovisual scope of Jacob’s saga, the lyrics of We Do Not Fear Ruins remain decidedly internal: an examination of loneliness, yearning, and cautious hope – feelings that are universal, no matter what time period we’re stuck in.
The time spent between Cry Havoc! and now saw Mobley touring coast to coast, writing a forthcoming novel that expounds on We Do Not Fear Ruins’ concept, and composing musical scores for film and stage. Mobley has produced and directed the music for an Adidas commercial during the Paris Olympics and composed the theme for Webby Award-winning SiriusXM & Smithsonian podcast All Music Is Black Music, hosted by Selema Masekela and featuring guests like Kelly Rowland, Ne-Yo, and St. Vincent.
Mobley's songs have racked up millions of streams across Spotify and Apple Music and has landed sync placements on HBO, FOX, NBC, ESPN, and CW, seen airplay adds on Alt Nation, KROQ, KUTX, ACL Radio, and KEXP, and has received praise from outlets like Billboard, Noisey, Rolling Stone,theNew York Times,Consequence, American Songwriter, and beyond. He's played festivals like ACL, Lollapalooza, and SXSW and has opened for acts like Cold War Kids, Phantogram, James Blake, WAVVES, Sylvan Esso, Matt & Kim, and more.
The present moment finds Mobley focused on the future. He says, “Living with and working through these songs and stories has been the most fulfilling challenge of my artistic life. I can’t wait to share it all and see the life it takes on when it’s no longer just mine.”
Live Dates:
May 4Philadelphia, PA @ Sing Us Home Festival June 13St Louis, MO @ Java June 19Dallas, TX @ Three Links June 20 Houston, TX @ Wonky Power Live June 21Austin, TX @ The Parish July 24Ft Worth, TX @ Tulips July 25Corpus Christi, TX @ House of Rock July 26New Orleans, LA @ Gasa Gasa
New York-based musician Maia Friedman unveils a new single, “In A Dream It Could Happen,” from her upcoming record Goodbye Long Winter Shadow, out May 9th via Last Gang Records. Goodbye Long Winter Shadow is immaculately balanced. Within the succinct two minutes of “In A Dream It Could Happen,” each note and word feels necessary. It’s a composition that evokes Nilsson Sings Newman, as Friedman’s entrancing voice is paired with minimal percussion and delicate strings.
Friedman explains, “I wanted the imagery in this song to sweep you away into an otherworldly voyage. Vines growing at unusual speed by candlelight (think Buffy The Vampire Slayer season 4, episode 18). Riverside (earth) to Iapetus Crater (moon of Saturn). Car pulled along on a conveyor belt up through the atmosphere into the rings of Saturn (think Coco, bridge to the spirit world). The sun rises, falls, rises and falls again without much notice, and in the end it’s all a dream. All instrumentation was written with this in mind; chromatic winds, harmonies and reharmonizations galore.”
In addition to making her own gorgeous music, Friedman plays in Dirty Projectors and Coco. From the first moments of Goodbye Long Winter Shadow, layers of strings, woodwinds, acoustic guitar and Friedman’s warm anchoring voice blossom as if to say “you are here.” The album’s lush arrangements and sage lyricism are an enveloping statement of intent. They carry the devotion to nature Friedman fostered growing up in California’s Sierra Nevada with a new mother’s exploration of time and transformation.
To begin writing Goodbye Long Winter Shadow, Friedman visited her parents’ home in California and searched their book collection. She was drawn to the zen poetry of Jim Harrison’s After Ikkyū, its sparse forms and momentary bursts of humor. Following, she spent months developing the language of the album, pursuing the music she envisioned with characteristic patience. Produced with Philip Weinrobe (Adrianne Lenker, Florist) and Oliver Hill (Magdalena Bay, Helado Negro), the result is chamber pop abounding with melodic intimacy, a world where instruments bob and weave around the heart-stopping clarity of Friedman’s voice.
Maia Friedman continues to support Basia Bulat on a North American tour. Following, she’ll play a special album release show with a full chamber ensemble in Los Angeles on May 10th. Tickets for all dates are on sale now, and a full list can be found below.
Today, Austin-based writer, performer, producer, filmmaker, and one-man tour de force Mobley shared his grooving new single + video “Yesterday’s Another Day” from his upcoming new album We Do Not Fear Ruins, out April 23 via Last Gang Records. The song’s earworm bassline and psychedelic arrangement set the stage for Mobley’s airy vocals, which celebrate romantic love and triumph over past struggles with the refrain “yesterday’s another day.”
The song is paired with a slick retrofuturistic video that depicts the concept album’s main character, Jacob Creedmoor, as the frontman of a band performing on a fictional early ‘80s variety show, It’s About Time. To help achieve the video’s signature look (inspired by programs like Midnight Special and Old Grey Whistle Test), Mobley even sourced a vintage Sony Trinicon camera manufactured in 1981—the year the album’s protagonist was frozen in time.
Mobley explains, “In the last proper song on the album, the central character Jacob marvels at the durability of his passion for his lost love. He shrugs off his self-consciousness about living in the past with a cheeky modification of the aphorism ‘tomorrow’s another day.’”
When you don’t fear ruins, “apocalypse” is just another word for opportunity. This is a central theme of Mobley’s forthcoming full-length debut, We Do Not Fear Ruins, an exploration of the intimate, the infinite, and time itself. The genre-promiscuous, sonically expansive concept album continues the story of the character Jacob Creedmoor – first introduced in Mobley’s 2022 EP, Cry Havoc! – an ordinary man who became radicalized into a Robin Hood-esque hero in an alternate version of the early ‘80s United States. Against a backdrop of futuristic art rock, Jacob fought fascism, pulled off daring heists, and was eventually captured by the government and imprisoned in suspended animation. We Do Not Fear Ruins is the next chapter in Mobley’s ongoing sci-fi epic. The story leaps nearly 300 years into the future, when Jacob awakens in a post-apocalyptic, post-U.S. world. Having lost everyone he's known, he navigates grief, memory, and heartbreak through a range of sonic textures as expansive as the wastelands (or possibly afterlife) he finds himself wandering.
When deciding on the most effective sonic palette for his current project, Mobley turned to 1981, the year when Jacob was frozen. "When I listened to some of the songs in the air during that period, I was stunned by the incredible diversity of popular music,” he says. “You had Bruce Springsteen and Michael Jackson, but new wave and funk were still happening. Pop and country were doing a bunch of interesting things. R&B was huge, and there were the first rumblings of hip-hop, as well as vestigial traces of disco."
Despite the sweeping audiovisual scope of Jacob’s saga, the lyrics of We Do Not Fear Ruins remain decidedly internal: an examination of loneliness, yearning, and cautious hope – feelings that are universal, no matter what time period we’re stuck in.
The time spent between Cry Havoc! and now saw Mobley touring coast to coast, writing a forthcoming novel that expounds on We Do Not Fear Ruins’ concept, and composing musical scores for film and stage. Mobley has produced and directed the music for an Adidas commercial during the Paris Olympics and composed the theme for Webby Award-winning SiriusXM & Smithsonian podcast All Music Is Black Music, hosted by Selema Masekela and featuring guests like Kelly Rowland, Ne-Yo, and St. Vincent.
Mobley's songs have racked up millions of streams across Spotify and Apple Music and has landed sync placements on HBO, FOX, NBC, ESPN, and CW, seen airplay adds on Alt Nation, KROQ, KUTX, ACL Radio, and KEXP, and has received praise from outlets like Billboard, Noisey, Rolling Stone,theNew York Times,Consequence, American Songwriter, and beyond. He's played festivals like ACL, Lollapalooza, and SXSW and has opened for acts like Cold War Kids, Phantogram, James Blake, WAVVES, Sylvan Esso, Matt & Kim, and more.
The present moment finds Mobley focused on the future. He says, “Living with and working through these songs and stories has been the most fulfilling challenge of my artistic life. I can’t wait to share it all and see the life it takes on when it’s no longer just mine.”
Amy Millan today shared her new single “Make way for waves,” the second from her forthcoming solo album–and first in over 15 years–I Went To Find You, out May 30, 2025, via Last Gang Records. Quietly majestic, skittering, and soothing, the song was the preliminary collaboration between Millan (the co-lead singer of Stars and longtime member of Broken Social Scene) and album co-writer/producer Jay McCarrol (award-winning musician/composer known for the critically acclaimed 2023 film BlackBerry and 2025 SXSW standout Nirvanna the Band the Show the Movie).
“This song has a very special place in my heart. It’s the first song Jay and I collaborated on and was initially titled ‘gentle beginnings.’ It is the song that launched our relationship and the making of this album. The first verse was an old Stars demo sitting in a hard drive cemetery. I never forgot it and my attachment to the sentiment of the verse lyrics. I sent what I had to Jay and told him it needed a chorus and obviously a second verse. A few weeks later, he sent the song back completed and with this punch in the gut chorus that made me fall out of my chair. We were off,” she explains of “Make way for waves.” “Lyrically I was seeking to articulate how difficult patches in life can influence you to blow it all up or throw in the towel. I was clinging to the idea that with some patience and reflection maybe calmer waters eventually return like the cycle of the moon. Mourning time passing is a right of passage, and the forlorn can make a beautiful hook. Trying not to let fear find a home in my heart.”
The song is out now alongside a stunning video by Gaia Alari (Naima Bock, Alessia Cara, Gia Margaret), featuring entirely hand drawn animations. “Gaia does the kind of art that feels stamped into our genetics,” says Millan. “I wanted to write songs to calm your nervous system and this is what Gaia’s art does for me.”
Engineered by Jace Lasek (Godspeed You! Black Emperor, Wolf Parade), mixed in part by Peter Katis (The National, Interpol), recorded at Lost River (an idyllic studio deep in the Laurentian forest), and described by Millan as “Gentle songs for difficult times,” I Went To Find You is now available for pre-order. Lead single “Wire walks” saw praise and support from Paste (‘Best Songs of February’ - “a SOTY frontrunner”), KCRW (‘Today’s Top Tune’), Stereogum, Brooklyn Vegan, Exclaim!, and more. Millan has also announced a Toronto date in support of the album, with more to be announced very soon…
I Went To Find You emerged from the kind of once-in-a-lifetime serendipity that alters our experience of the world. After crossing paths with McCarrol in fall 2023, the Montreal-based Millan felt a sense of musical communion reminiscent of the elation she’d first accessed in singing with her father as a little girl—a connection severed when her dad was killed in a car accident just before her fifth birthday. As she began creating songs with McCarrol, Millan slowly realized that an unconscious desire to sustain that feeling had informed her lifelong devotion to music and her many cherished collaborations over the years. “I so clearly remember being a kid and putting on my pajamas and being so excited for nighttime, because that’s when my dad and I would sing together,” Millan says. “Ever since then I’ve tried to make my life an arrow back to that feeling, but I didn’t fully understand that until now.”
In selecting a title for her third solo effort, she chose to honor that sense of revelation and self-discovery. “A lot of this record had me looking into my past for clues on who I have become and why,” says Millan, who names longtime musician-friends like Feist, Broken Social Scene’s Kevin Drew and Charles Spearin, Metric’s James Shaw, Stars’ Chris Seligman and Evan Cranley (who is also her husband) among the musical kin who’ve profoundly enriched her life. “The ‘you’ of the title is the people I found, the people I went looking for after they’d gone—and the ‘you' is the person you become when all these components align.”
I Went To Find You began taking shape soon after she and McCarrol first linked up at Dream Serenade (an annual fundraiser hosted by singer/songwriter Hayden at Toronto’s Massey Hall). At the suggestion of McCarrol, who would also sing backup, Millan stepped in for Feist and joined Hayden for a duet. “Before the show Jay and I went backstage and sang the song together, and I had this visceral reaction that almost felt like my body going into shock,” she recalls. “I realized I’d spent so long trying to find that vocal harmony that puts me back into a place of bliss and safety.” After Millan returned home and reached out to McCarrol about potentially collaborating at the urging of her best friend, Metric frontwoman Emily Haines, the two soon began work on the long-awaited follow-up to her 2009 sophomore solo LP Masters of the Burial. Over the next two months, they continued their remote collaboration and soon arrived at an album’s worth of material. The result, I Went To Find You,is a consummate vessel for Millan’s delicate yet powerful vocal work, and merges its luminous sound with her most candid songwriting to date. “When I look back at all the songs I’ve ever written, there’s a lot of moments where I’m expressing sadness about a lost love when really there’s a much greater loss at the core,” says Millan. “This record felt like the first time I was able to address that loss without clouding it all in lyrics about boys and whiskey.”
New York musician Maia Friedman unveils a dazzling new single/video, “Russian Blue,” from her forthcoming record Goodbye Long Winter Shadow, out May 9th via Last Gang Records. “Russian Blue” unfurls with Friedman’s alluring voice and lulling percussion, and features a gorgeous duet of clarinet (Daniel Pencer) and flute (Anh Phung). The song was written in dedication to Friedman’s Russian Blue cat, her “soulmate” throughout her childhood and early 20s. She further explains “Imagine being 13 in 1999: there was a massive wave of movies and media that preached the ‘one true love,’ ‘will you find your soulmate’ concept. I was consumed by romance, and was convinced I would never find love, because I already found my soulmate in a cat. It was completely naive, but what a vulnerable time, those early teenage years.”
Its lyrics are beautifully temporal and bittersweet: “Apple of my eye / I would sense you there, but you wouldn’t care / You have other things on your mind.” Friedman adds: “Cats have, at times, shown me how to live; at once entirely independent with an ‘I don’t give a fuck’ demeanor, while at the same time being sensitive enough to paw on your door when you’re crying or lay in the crook of your body when you’re sick. They take time and space for themselves and soak in pools of sunlight, two of my favorite things in life.”
Though 2022’s Under the New Light was the first album under Friedman’s own name, she has honed her sound for years as a member of both Dirty Projectors and Coco. Where her debut was built from collaborative improvisation, Goodbye Long Winter Shadow is a collection of songs in the classic sense. Intimate instrumentals punctuate its running time and emphasize the connective sonic palette of orchestral instruments, pianos and guitar. Friedman’s lyricism and writing here is timeless, tightly composed and interspersed with surprising harmonic turns. If not for the heightened quality of its recording by Philip Weinrobe (Adrianne Lenker, Florist), it might have been made decades ago; it’s Nico’s Chelsea Girl for today.
As first presented in previously-released singles “New Flowers” and “On Passing,” Goodbye Long Winter Shadow is filled with lush arrangements and sage lyricism. They carry the devotion to nature Friedman fostered growing up in California’s Sierra Nevada with a new mother’s exploration of time and transformation. Many stories of becoming are woven throughout these songs, and in them, the influence of her mother, a Jungian analyst and scholar of mythology, is felt. “She writes of artworks, dreams and myths, and draws connections between the imagery, archetypes and cultures that tell similar stories in different ways,” says Friedman. “It’s a very holistic approach to talking about and exploring mythology and fairytales.”
Goodbye Long Winter Shadow was produced by Weinrobeand Oliver Hill (Magdalena Bay, Helado Negro). The result is chamber pop abounding with melodic intimacy, a world where instruments bob and weave around the heart-stopping clarity of Friedman’s voice. Goodbye Long Winter Shadow is full of elegant evolution as Friedman, in the refinement of her craft and her new identity as a mother, finds new depths to explore. At turns it feels both fresh and like a private press record unearthed for cult listening. It marks new heights for a songwriter operating with supreme confidence.
Next week, Maia Friedman will support Basia Bulat on a North American tour. Tickets for all dates are on sale now, and a full list can be found below.
Maia Friedman Tour Dates Wed. March 19 - Boston, MA @ City Winery* Thu. March 20 - New York, NY @ Joe’s Pub* Fri. March 21 - Washington, DC @ Pearl Street Warehouse* Wed. April 2 - Chicago, IL @ Old Town School of Folk Music* Thu. April 3 - Madison, WI @ Majestic Theatre* Fri. April 4 - Minneapolis, MN @ Cedar Cultural Center* Sat. April 5 - Milwaukee, WI @ Vivarium* Wed. April 30 - Vancouver, BC @ Hollywood Theatre* Fri. May 2 - Seattle, WA @ Triple Door* Sat. May 3 - Portland, OR @ Mission Theater* Mon. May 5 - San Francisco, CA @ The Chapel* Wed. May 7 - Los Angeles, CA @ The Masonic Lodge at Hollywood Forever*
Today, Austin-based writer, performer, producer, filmmaker, and one-man tour de force Mobley shared his new single + video, “Had To Be There,” first premiered via Under the Radar. It’s the latest taste off his upcoming new album We Do Not Fear Ruins, set for release on April 23 via Last Gang Records.
Steeped in the utopian longing of heartland rock, “Had To Be There” blends infectious melodies with introspective lyrics about nostalgia, loss and newfound purpose. Over a driving backbeat, the album’s main character Jacob Creedmoor grapples with the inescapable pull of change while simultaneously longing to return to the past. The accompanying cinematic video stars Semaj Peltier, a model-filmmaker who centers the stories of queer and transgender people of color through experimental films.
Mobley explains, “This song finds Jacob torn between his love of the world he left behind, the strange freedom he found in losing it all, and his newfound sense of obligation to the community that’s taken him in and the orphaned child he’s come to see as his own. He’s grappling with the overwhelming anxiety of not knowing how to be (or even find) his authentic self and longing for the time before anyone depended on him.”
Mobley will also be attending this year’s SXSW as an official artist, with showcase performances listed below.
When you don’t fear ruins, “apocalypse” is just another word for opportunity. This is a central theme of Mobley’s forthcoming full-length debut, We Do Not Fear Ruins, an exploration of the intimate, the infinite, and time itself. The genre-promiscuous, sonically expansive concept album continues the story of the character Jacob Creedmoor – first introduced in Mobley’s 2022 EP, Cry Havoc! – an ordinary man who became radicalized into a Robin Hood-esque hero in an alternate version of the early ‘80s United States. Against a backdrop of futuristic art rock, Jacob fought fascism, pulled off daring heists, and was eventually captured by the government and imprisoned in suspended animation. We Do Not Fear Ruins is the next chapter in Mobley’s ongoing sci-fi epic. The story leaps nearly 300 years into the future, when Jacob awakens in a post-apocalyptic, post-U.S. world. Having lost everyone he's known, he navigates grief, memory, and heartbreak through a range of sonic textures as expansive as the wastelands (or possibly afterlife) he finds himself wandering.
When deciding on the most effective sonic palette for his current project, Mobley turned to 1981, the year when Jacob was frozen. "When I listened to some of the songs in the air during that period, I was stunned by the incredible diversity of popular music,” he says. “You had Bruce Springsteen and Michael Jackson, but new wave and funk were still happening. Pop and country were doing a bunch of interesting things. R&B was huge, and there were the first rumblings of hip-hop, as well as vestigial traces of disco."
Despite the sweeping audiovisual scope of Jacob’s saga, the lyrics of We Do Not Fear Ruins remain decidedly internal: an examination of loneliness, yearning, and cautious hope – feelings that are universal, no matter what time period we’re stuck in.
The time spent between Cry Havoc! and now saw Mobley touring coast to coast, writing a forthcoming novel that expounds on We Do Not Fear Ruins’ concept, and composing musical scores for film and stage. Mobley has produced and directed the music for an Adidas commercial during the Paris Olympics and composed the theme for Webby Award-winning SiriusXM & Smithsonian podcast All Music Is Black Music, hosted by Selema Masekela and featuring guests like Kelly Rowland, Ne-Yo, and St. Vincent.
Mobley's songs have racked up millions of streams across Spotify and Apple Music and has landed sync placements on HBO, FOX, NBC, ESPN, and CW, seen airplay adds on Alt Nation, KROQ, KUTX, ACL Radio, and KEXP, and has received praise from outlets like Billboard, Noisey, Rolling Stone,theNew York Times,Consequence, American Songwriter, and beyond. He's played festivals like ACL, Lollapalooza, and SXSW and has opened for acts like Cold War Kids, Phantogram, James Blake, WAVVES, Sylvan Esso, Matt & Kim, and more.
The present moment finds Mobley focused on the future. He says, “Living with and working through these songs and stories has been the most fulfilling challenge of my artistic life. I can’t wait to share it all and see the life it takes on when it’s no longer just mine.”
SXSW Showcases:
March 7UT Presents Hook'em House @ Antone’s, 8pm March 13DJ Set JBL Sound Bodega @ 3ten ACL Live, 1pm March 14SXSW Radio Day Stage @ Brushy Square Park, 3pm March 14Equal House Official SXSW Showcase @ Speakeasy, 11pm
Hip hop/punk/trap/metal/ industrialist duo Ho99o9 has signed a global partnership with Last Gang Records. The inimitable group, consisting of theOGM and Yeti Bones, will release new music in Spring 2025.
Chris Moncada, MNRK Music Group’s COO, says, “There is no group on earth like Ho99o9. Their unique mix of style, melody, chaos, and danger make them a bonafide musical unicorn, and I am beyond excited to welcome them to Last Gang. We are all humbled for the opportunity to play a part in bringing them to the next level.”
Ho99o9 offers, “We’re incredibly excited to partner with Last Gang as we embark on this next chapter of our journey and growth. It’s awesome to have found a partner who supports and embraces our art in its many shapes and manifestations. Their passion for artistry and forward-thinking vision is rare. We can’t wait to share what we’ve been creating with the world.”
Ho99o9 just released a COLORS session a few weeks ago in advance of the release of new music. Watch that HERE.
Ho99o9 is currently working on new music, which will be released this year.About Ho99o9
Ho99o9 (pronounced Horror) is a sonic wrecking ball—fusing digital hardcore, punk, and trap-infused grime with industrial, metal, and noise. Raw. Unrelenting. Uncompromising.
Breaking out of the New Jersey underground in 2012, Ho99o9 made its mark with a now-legendary guerrilla performance at Brooklyn’s AfroPunk Festival. By 2014, they had relocated to Los Angeles, becoming a disruptive force in the city’s underground scene. The New York Times called them “An All-Out Barrage,” while Kerrang! crowned them “one of the most unique and sonically threatening bands in the world today.”
Their global tour history reads like a warpath, sharing stages with icons across every genre—Korn, The Prodigy, Slipknot, Cypress Hill, Rob Zombie, Ministry, Denzel Curry, Ghostface Killah, Lil Uzi Vert, and The Dillinger Escape Plan. Whether tearing through the chaos of Berghain and Boiler Room or storming the Museum of Contemporary Art, from Hellfest’s circle pits to the polished stage of Rolling Loud, Ho99o9 refuses to be boxed in.
Their genre-bending, culture-clashing sound has attracted a who’s who of collaborators—Corey Taylor of Slipknot, The Prodigy, JPEGMAFIA, Bun B, Ghostemane, clipping., HEALTH, 3TEETH, Pink Siifu, N8NOFACE, and more. Even Jack Black and Eric Andre have been pulled into the Ho99o9 universe.
With a deep and ever-evolving catalog, Ho99o9 has built a legacy of sonic chaos. Their early EPs—Mutant Freax (2014) and Horrors of 1999 (2015)—laid the groundwork for their explosive blend of punk, rap, and noise. Their debut full-length, United States of Horror (2017), was a dystopian manifesto, merging raw political energy with industrial-laced punk and hip-hop. They followed up with Cyber Cop [Unauthorized MP3.] (2018), a cyberpunk-infused mixtape that pushed their sound into glitchy, distorted new territory.
In 2022, they unleashed SKIN, delivering their most refined yet unrelenting project to date—melding hardcore, metal, and rap with unfiltered aggression. Alongside their albums, Ho99o9 has dropped a string of blistering standalone singles and collaborations, further cementing their place at the intersection of multiple sonic movements.
Ho99o9 isn’t just making music; they’re reshaping the edges of sound and culture.
Maia Friedman Tour Dates
