Houston-based rock trio ROELANT has something to say – and it’s loud. In an era of computer programmed music, ROELANT has a sound that is both throwback and something new. Their debut record, “Music To Change the World By,” produced Billboard charting singles like “Soda Pop Kids” and “Staring at the Sun.” The band is back in the studio working on their second project, “The Narrows,” due out early 2019.

Going To The Sun’s mix of earthy-acoustic-playful-electric-pop-rock rings with the earnest storytelling of Willie Nelson, the lush harmonies of “Pet Sounds”-era Beach Boys, and the spirited instrumentation of Modest Mouse and Arcade Fire, the result of small mountain-town upbringing and two decades of being immersed in the rich music culture of the Twin Cities. Their music is both powerful and intimate, free-fall diving into the hard-won depths of loss and grief, and emerging with a celebratory sense of hope and purpose.

After spending all of the '00’s in hard-working, hard-rocking band Down And Above, lead singer / multi-instrumentalist David Young set out on a new musical path when he and his wife found themselves grappling with grief in the wake of a tragic and devastating family loss.

What started as a detour turned into a full-on road trip. David turned to drummer and DNA-alum Zach Young to help bring a new collection of songs to life, and Going To The Sun was born. The release of their self-titled debut album resonated with fans and critics alike, hailed by The Current (89.3) as one of the top local releases of 2014. 

Joined by Ben Kelly, Charlie Peterson, Justin Rieken, and Stefan Van Voorst, the band soon found itself honing its sound with shows ranging from acoustic-duo to full-band arrangements, while sharing the stage with acts such as Cloud Cult, Chris Koza, Lukas Graham, Hey Rosetta, and Ingrid Michaelson.

2020 delivers long-eager fans with Going To The Sun’s first full-length album in nearly 6 years.  Released on 5/29/20, “Love Letters From The Western Gate” is filled with memorable melodies, yearning heartache, and anthemic resilience.

The debut album from singer-songwriter and multi-instrumentalist, Noah Hoehn, explores the intersection of the blues, tribal percussion and his classical training. Based in the Twin-cities, he is a three-time winner of the prestigious McKnight Fellowship for Performing Musicians.

In a unique duality, his songs are presented with blues harmonica or marimba, and supported with a cavalcade of Indian dhol drum. A bevy of sticks and rods, udu, glass marimba, strings, seething synths, crystalline adornments and other fringe instruments coalesce to communicate Noah’s curious point of view.

Lyrically, the album speaks to Noah’s spiritual attentiveness and social sensitivity. Astronomical imagery imbue themes of the passage of time, the phases of life and a confrontation with reality. He explores quantum entanglement all while seeking the genuine. What stands at the end are a family of songs whose traits are that of classical music, world beats and traditional blues that some have dubbed “new blues” and “marimba pop.”


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