What does it mean for journeyman musician and revered songwriter Phil Elverum to make an album under the name The Microphones in 2020? The project Mount Eerie has been his mainstay since the early 2000s. The Microphones began years before and documented some of his earliest work around which his reputation was formed and his role in the lineage of institutions such as K Records and the traditions of what we now know as bedroom pop, lo-fi music, and emo was solidified.

Rock Island’s own Randall Hall dropped a transfixing full-length album titled Oracle in mid-June that documents a cycle of his extended saxophone experiments and electro-acoustic compositions – all with the intent to, as he explains, “delve into the mythic, the esoteric, and the apophatic.” Loaded with fierce atonal sax shred, passages of freewheeling improvisation in more consonant modes, and interstitial segments of processed spoken word and electronics that build on his central theme of ancient Greek mysticism, Oracle lands as a fully realized and diverse statement of purpose from Randall Hall with seemingly few other precedents in the Quad Cities scene.

Davenport's LoPiez is celebrating the completion of its first full year in business. The self-described "Rock & Roll New York style" by-the-slice pizza joint has decided to celebrate its anniversary in style, with a socially-distanced three-band outdoor bash in the parking lot across the street from its Third Street location. It's a joint venture with Rock Island's Wake Brewing, and will serve as the Rock Island "riff-infused" brewery's Iowa debut, with its signature metal-inspired beers being made available across the river for the first time.

dead lizard grin (a.k.a. Terry Skaggs) follows up on his excellent April release Notes from a Temporary World with a new full-length titled We Are Shadows Dispersing Upon the Warm Spring Air. While the composer/synthesist/producer tries out a palette of tones here that remain in line with his typically zoned out and transportive drone/ambient excursions, this album finds him shifting his practice toward the twin poles of absolute formless drift and more animated, even beat-driven composition.