Over the course of two well-received fuzzfolk EPs, Typefighter has built a reputation in the nation's capital for disarming melodicism. With their debut full-length "The End of Everything", the band has rewired its unique instrumentation into an arresting rock and roll record filled with pounding rhythms and roaring guitars. It's a big, snappy sound that lives up to the raucous live sets the band has delivered onstage with bands like Here We Go Magic, The So So Glos, Givers and We Were Promised Jetpacks. "The End of Everything" picks up where the sound of D.C. in the 1990s left off and ventures into uncharted pop territory.

The louder, wilder Typefighter was born of time in the wilderness. The band decamped from its H Street practice space to Vermont to record with veteran producer John Thayer (Exit Clov, Drunken Sufis) in a remote cabin, where they stripped away their customary autoharps and banjos to seek the raw core of their songcraft.

During the sessions, singer/guitarist Ryan McLaughlin was reeling from the loss of two close friends in quick succession: one a former bandmate, the other a co-founder of the pie truck run by McLaughlin during Washington's white-collar lunch hours. The solitude of Vermont helped McLaughlin immerse himself in "The End of Everything"'s turbulent emotional waters.

"I was just shot," McLaughlin said. "Losing two people so close to me in such a short period of time got me thinking about how our lives are just a little piece of a much bigger puzzle. Once you're gone, you're gone, but the world keeps spinning. Music helped me find my place in that puzzle."

For all its snazzy melodies and thundering drumming, "The End of Everything" isn't a record about teenage dreams and rock and roll excess. It's a record built from the hard realities of adulthood, accentuated by a sonic adventurousness cultivated by guitarist Thomas Orgren as an engineer at DC's legendary Inner Ear Studios and driven along by the forceful rhythm section of drummer Will Waikart and bassist John Scoops. Typefighter has forged an album that makes melodic sense out of emotional chaos. On the first single "Much," the band delivers a fist-pumping anthem over shifting time signatures and raw guitars, rising above McLaughlin's turmoil. Redemption has never sounded so good.

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The Sea Life

The Sea Life has sold-out some of D.C.'s most prolific venues like 9:30 Club and Black Cat. This dynamic group has the natural ability to deliver infectious hits that comprise an exotic blend of shoegaze, indie-pop and general lo-fi fuzz. After releasing their debut full-length album in 2012, "In Basements", The Sea Life unveiled their best work yet, an EP called "Transitions", last year. The release showcases the band's uncanny talent to craft emotive, catchy and candid songs. Onstage, the indie rockers bring a firestorm of energy and charisma that has quickly won over the District.

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Teen Mom

With several hit singles under their belt — including the infectious and buzzy "I Wanna Go Out" —Teen Mom has proven to be unstoppable. Featured on MTV, Refinery29, Washington City Paper and more, the trio is set to release an anticipated full-length album this fall.

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Lowercase Letters

"Lowercase Letters’ signature becomes defined and created through a cohesion of playfulness, sultry situations, danger, and discovery. Alphie anchors the action in her lead vocals of satin and spiked punch, with bass curations courtesy of Clinton Cool, while the production powerhouse and beat considerations are compliments of John Beckham. Combining powers like a superhero faction force, Lowercase Letters keeps the capital lands fun." - Impose Magazine

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