Hey there, party people!  Remember the vibes from On The Mountain back in 2015? Here’s a refresher for those who don’t remember. 

Well, guess what? It's making a triumphant return, and we're bursting with excitement! Get ready to dust off your neon leg warmers and tease up your hair because On The Mountain, our radical 80s-themed après-ski weekend, is back from March 22-24 at Hunter Mountain and Glen Falls House in NY. And let me tell you, this lineup we're dropping today is off the charts!

Picture this: Live music from Local Natives, Gus Dapperton, Rubblebucket, Fat Tony, Runnner, Toledo, Girlpuppy and Salt Cathedral! Plus, it’s also a wellness retreat with yoga, somatic breathwork, sound baths and massage. We’ll have food pop-ups featuring Vegan Nom, Moonburger and a Swiss Alpine menu from malli. Our DJ sets will have you dancing all night long.

These intimate performances will be hosted in Hunter Mountain’s base lodge and the cozy tavern at Glen Falls House. Make a weekend of it, overnight lodging is available right at Glen Falls House. Talk about convenience!

Now, let's talk tickets. With your ticket, you'll groove to live music, zen out with restorative yoga, and indulge in some serious self-care with sound baths. Plus, we've got massage sessions and pop-up dining options waiting for you, available for purchase. Lift tickets? No problem, snag 'em from Hunter Mountain. And did I mention astrology readings, tarot, flash tattoos, and karaoke? Yeah, we've got all that too!

How did we do it?! On The Mountain 4 is possible with support by some amazing partners including  Hunter Mountain, Glen Falls House, Maker's Mark, Olipop, Grillo's Pickles, Weekenders, Fat Tire, Best Day Brewing, Chronogram and La Colombe Coffee.

Don't miss out on the ultimate throwback experience! Early bird tickets sold out in 24 hours and prices go up again once we sell only 100 more passes. Weekend and full day passes available now.  Artwork by the incredible Brandt Imhoff. 

"In the Tree Streets” begins with birdsong and ends in wistful organ, and everything that happens in between is bursting with sunshine. In this sonic playground, jangle-pop plays well with psych-rock, Andrew Beck’s vocals play tag with Ben Alvarez's reverby guitar, and maybe everything really will be okay after all. Lyrically, the track is reflective and reminiscent, flitting from memory to memory like a bittersweet butterfly but never latching too hard onto the danger of nostalgia before launching into the pithy, relatable chorus, “nothing’s the same, and nothing has changed." Behold, the friendly, sonically diverse stylings of Day Sounds, who have put together a debut single of rare polish—and with gorgeous, confident graphic design to match.

Joseph recently treated us to “Come On Up to the House,” the titular and opening track of Come On Up to the House: Women Sing Waits, an all-female tribute to Tom Waits, featuring the likes of Phoebe Bridgers, The Wild Reeds and Rosanne Cash. The original is a joyous and welcoming anthem, urging listeners to take the lemons life has given them and squeeze out every last drop — “All your crying don’t do no good / Come on up to the house / Come down off the cross, we can use the wood.” Though the gravel in his voice could only ever come from Waits himself, he sings with the weight of a choir of barflies swaying shoulder-to-shoulder with their pints in hand. It would have been easy for Joseph to follow that same stomp-and-holler formula that makes their early singles so infectious. Nobody would have asked for anything more. Instead, theirs is a somber take on the song, stunning and singular. Where Waits sounds triumphant and inviting, Joseph sounds tired and alone, almost as if they are singing the song to themselves because nobody else will. Backed by only a piano and a string section, the three sisters take turns with their lonesome verses, reserving their combined harmonies for the grand finale, acknowledging the difficulty but necessity, of finding unity where it seems impossible.

Hazel English has been relatively quiet since the release of her stellar 2017 album Just Give In / Never Going Home. Awash in surf-rock instrumentation and sunshiny melodies, the album was a fun, carefree drive down the LA coastline. Now the Aussie-born Californian is stepping up her game—she’s back with a new single, and it’s bolder than ever. “Shaking,” out today from Polyvinyl Record Co., shows her depth as an artist and ear for arrangement. Sharper percussion and full, more mature instrumentation take the track from the beach to the basement of the coolest club, where the crowd is full and everybody is dancing without judgment. The track has a continuous undercurrent of confidence, both in the energy and vigor of the instruments and in English’s soft, swoon-worthy voice. “Get down on your hands and knees / Baby beg for me,” she sings in a controlled, wispy soprano, embracing the subtle power of her femininity. Overall, “Shaking” is a battle cry for self-discovery and self-love, empowering listeners to live their lives to the fullest and embrace change.

London-based outfit Sorry take a look at some of the things that send us into a head spin in their stunning new track, “Right Round The Clock." It’s the first offering from their freshly announced debut album 925, which arrives next year. The project, steered by Asha Lorenz and Louis O'Bryen and accompanied by drummer Lincoln Barrett and bassist Campbell Baum, launches deep into how grand aspirations and the need to feel wanted can trap us in a whirling cycle of aimless direction. Lorenz and O’Bryen’s straightforward, matter-of-fact delivery acts as a nice companion to the swaying, eccentric production that bounces in the background. As the duo announces in unison “I’m feeling kinda crazy / I’m feeling kinda mad / The dreams in which we’re famous are the best I’ve ever had," you can feel their yearning to manifest something real and significant. This idea is further amplified in the music video for the single, directed by Lorenz and regular collaborator Jasper Cable-Alexander. While we try and maneuver through our individual realities, one thing is certain: Sorry is a creative force to keep an eye on. 925 is set to release in the spring of 2020 via Domino.

Singer-songwriter Elah Hale tells a story of love lost on her latest single "Holding You Close." Compared to other singles by the New York artist, this one takes on a more somber tone–delving deeper into the intimacies of a relationship with swelling vocals and melancholy piano. The song opens and eases itself comfortably into a swaying ballad that honors the end of the relationship with bittersweet words that sound warm coming from Hale's unique voice. Soft instrumentals cushion the blow of the inevitable parting from her lover, but in the end, she knows that even reminiscing about the good times won't help. "Holding You Close" is revealing, solemn, and soul-bearing–an exciting new piece for Hale's ever-expanding collection of songs.