Photo by Frank Martinez
It’s an exciting time for fans of Alien Boy! The Portland, Oregon-based band, known for their powerful blend of pop-rock and shoegaze, is back with their highly anticipated new album, You Wanna Fade?. _Get Better Records has delivered their most dynamic and impactful songs to date, overflowing with massive guitars and even bigger emotions.
The first taste of the album, “Changes,” is already making waves. It’s a fantastic example of their signature sound: shimmering, fuzz-drenched guitars and hooks that will burrow into your brain after just one listen. Following their acclaimed 2021 release, Don’t Know What I Am, You Wanna Fade? sees Alien Boy diving deeper into what makes their sound so captivating. The creation of this album was a collaborative and intentional process, involving Andy Rusinek on drums, Phil Jones (Supercrush) on guitars and bass, and Caleb Misclevitz handling vocals and overdubs with additional production from Nathan Tucker (Strange Ranger, Cool Original, Pontiac Flare). The densely layered tracks were then expertly mixed and mastered by Jack Shirley (Deafheaven, Gouge Away, Jeff Rosenstock).
The result is an album that not only expands Alien Boy’s sonic landscape but also delivers their most instantly satisfying songs yet. Cutting through the towering arrangements are Weber’s unmistakable melodies and heartfelt lyrics, transforming relatable feelings into something truly earth-shattering.
My thanks to James Goodson at Let’s Go Publicity for the coordination and to Sonia for the great chat!
James Broscheid: I saw Alien Boy opened for Soft Kill in Tucson a little over three years ago?
Sonia Weber: Awesome! Yeah, that was like three years ago.
JB: That was a blast, as I hadn’t heard of the band before. And I loved it! You were great!
SW: I was so glad when that tour ended. I mean, yeah, things have come up about their singer since then, but I do feel really grateful that we got that opportunity.
Note: For those unaware, Soft Kill’s Tobias Francis (aka Grave, Sinclair) was jailed recently over allegations of domestic abuse. In addition, Francis has been accused of manufacturing his “punk” image while having a wealthy background despite claiming the contrary and along with stealing from other bands on tour. His history of incarceration and substance recovery is also being called into question. – JB
JB: Nice! Let’s get going on Alien Boy, it’s what we’re here to talk about!
SW: Yeah, we are ready to go.
JB: The bio highlights the band’s pairing of infinite longing with guitars that seem to stretch out forever warp by chorus and reverb. Can you elaborate on how you achieve that expansive and dreamlike guitar sound?
SW: When we play live we have a set of stuff that we use that stays pretty consistent. On this record, I would say a lot of it has to do with our experience working with Phil Jones, the bass player for Supercrush, who recorded most of the guitars for the record. We brought all of our petals and stuff, and all of our amps and he had all of his stuff at the Supercrush studio called HMS. He let us explore for hours and hours and hours! He was so patient with us and would have so many ideas. With our other records we would have a guitar sound, or I would use my live setup, but for this record, basically every track had its own treatment. I have this notebook that has all of the different settings we used in it. There’s some stuff that we would use across songs, but it’s funny when you look in the notebook. It’s like, “See page six, like this song over here”, and you could tell when we’re starting to get kind of delirious! It would just be weird trying to figure out where the sound was in the notebook. But mostly, we put a ton of time on it. We booked ten days with Phil and I thought we were going to finish the whole record, and we only did guitars and didn’t finish them. We had to come back. We lost our minds! Really kind of crazy.
JB: The band has three guitarists now, right?
SW: Yeah, for this record we had three guitarists.
JB: In light of that, how do you approach arranging and layering your guitar parts? I mean, was that mostly outside input? What was the collaborative process like?
SW: So, me and Caleb have been collaborating on the guitars for the band for a long time, since the very beginning. A.P. (Fielder) joined in basically right after that Soft Kill tour in the summer of 2022. So, he joined right before we started writing songs for this record. I think that over the course of the years before we started recording it, we did a lot of demoing. Everybody just kind of fell into their spot. I already knew what to do in my regular role and Caleb is the hooky guitar, lead guy and then A.P. is the big solo, noise guy. I knew that’s what I wanted from him when he rejoined, or when he joined the band, because he used to tour with us. So, I knew that when we would play with A.P. he would really elaborate on the shredding guitar solo in a way that Caleb didn’t naturally gravitate towards. That’s because I had heard that version of the band doing those tours with him, and it was something that I always really wanted. I just love his style. It’s not necessarily something that me and Caleb can’t do. I just think that he has a specific style that I really wanted. So, his role ended up emphasizing the shoegaze-y, kind of like tremolo bending stuff and doubling up on a lot of the rhythm with me, but making it more exaggerated and doing all the big guitar solos. Mostly writing them like he would be writing them, and I would be like, “Okay, no, try this. No, try that”, when we would all be in the room. We were all in the room for basically all of the guitar playing and all talking to each other about it, just bouncing ideas off of each other. It was the most collaborative that the band has ever been for sure.
JB: “Scrub Me Clean”, the album opener is probably the most atmospheric track Alien Boy has done so far. How did you approach creating that instrumental piece and how did it set the stage for the rest of the album?
SW: So, how that came about was our friend Nathan (Tucker), who used to play in Strange Ranger, lives in Philly and he was helping us with a lot of production stuff on the record. Specifically for the songs “You Wanna Fade?”, “Cold Air”, and “Changes”, and? I was just panicking, kind of manic, trying to figure out what I wanted as far as the album order.
JB: Oh, the sequencing?
SW: Yeah! I was freaking out, trying to figure out what I wanted the sequence to be because everybody wanted “Changes” to be first, and I didn’t like that. It had that little vocal pickup right at the beginning, and so I wanted it to be “I Broke My World”, and everyone was like, “No, I really don’t think that’s it”, and I eventually agreed. But something’s not right and the whole record was done. I called Nathan and I was said, “Dude, I want to make something that’s kind of like the intro to Mellon Collie (and the Infinite Sadness – 1995 album by The Smashing Pumpkins), where it’s just that piano intro. Can you make me something?” And then, a couple weeks later, he said okay. I made something, and it uses a lot of the tracks from the record on it. We just gave him all of the tracks, and he pulled from a bunch of different stuff from the actual recordings for it and added some of his own stuff. Then, when he sent it back, I thought, “Fuck. I don’t even know if I like that idea anymore. What if I don’t like it?” I had this guy working on this thing all this time, but then I heard it, and I was like, “Oh my God, it’s perfect!”
JB: Nice. Is this the first Alien Boy album that uses synths and drum machines?
SW: On our first record Sleeping Lessons (Tiny Engines, 2018), there is one song like the title track has some synth and drum machine, but it’s all pretty lo-fi. It’s not not coming across like this, it comes across like bedroom recording and that stuff. For this record, I feel like it is much grander.
JB: Is that the difference in sound and feel when comparing this album to your earlier stuff?
SW: I think so. I think that and the time that we took with it. All of the other records that we did, we did in like five or six days and we had to go with the sounds that we got. I think those records sound great but this time it wasn’t like somebody was giving us more agency. We had more agency in ourselves. We were going to get the sound that we want, and we’re going to actually do the thing. We had all the people that we were letting us fully explore instead of being, like, Oh no, like, let’s keep moving it. Along which I think is like a valuable thing that Engineers can do, but it’s just not what we wanted this time. So, I think it’s like we introduced new sounds, but we also really trusted ourselves way more and got what we actually wanted.
JB: Yeah, I’ve heard so many nightmare stories from bands about going into the studio. Mostly dealing with an engineer that doesn’t necessarily have your best interests at heart, and attempt to impose themselves on the band’s sound.
SW: Yeah, a lot of that has never happened to us. The person who did our last two records, Nich (Wilbur, engineer/producer) is a good friend of mine. I think that he’s amazing and I would love to work with him again but I think we just needed to jump out of the nest. We had enough ideas, and we needed to put ourselves in a situation where we had more time to deal with it. This time, we got some money from our label and Phil was extremely flexible on his rates with us. All of the times that we weren’t actually recording, when we were just trying to figure out the sounds and stuff, he wasn’t charging us for which was insane! We did all of the vocals at our house, all of the overdubs at our house and all the synths at our house. All that stuff we took it all home and could finish on our own time. Again, the descent into madness was pretty crazy (James laughs) but it was worth it (both laugh).
JB: I wanted to ask about how the band incorporates more abrasive or experimental sounds like the band’s use of feedback within the melodic framework that is the base structure of pretty much every Alien Boy song that I’ve heard (Sophia agrees). Can you talk about that approach, and how does how does that work out with the three guitars and the recording time?
SW: I’m so glad you asked, because we were just talking about this the other day. We had an entire day at our house, where we just recorded feedback, and it was a really crazy beginning. It was really like that. That was when I was like, “Oh my God, we have lost our minds!” We were constantly second guessing everything. “That feedback doesn’t sound good”, or “It doesn’t sound, right. It’s bad.” I think that we were right. All of the madness in everything we did. I’m so happy with the result, it was worth it. Yeah, but that’s so funny. A.P. did all of it and here I am saying, “I don’t think that feedback’s right” was so funny. It was cracking me up.
JB: I’ve never heard a band approach the recording of feedback like that.
SW: No, I mean, we were making our own path, you know? But I’m sure that some of it was natural. I know we tried to do some of it within the actual recording of takes when we were at HMS. For example, like, for our older records, we recorded at The Unknown and Anacortes, which was just like a giant church. It was a super, super loud and you get the feedback kind of naturally at HMS. It was much smaller. It’s like there wasn’t a volume limit or anything like that, but there were some constraints that made it hard to get the feedback as naturally as we did on the other records. Yeah,
JB: Alien Boy has been labelled as power pop and I wanted to see if you thought that was accurate, and if so, what do you find most compelling about power pop if you think that is legit?
SW: Yeah, I think it’s legit. It’s funny, when we started off, I’ve always loved power pop and I’ve played in power pop bands. I also think that it’s a pretty vague term that is just kind of like emo adjacent music that wants a more mature name. I know what actual Power Pop is, but I think that now in this day and age, it gets thrown around a lot.
JB: So does shoegaze.
SW: Yeah, shoegaze does, too. It gets thrown around a lot for, like melodic stuff that doesn’t want to be called emo, like melodic guitar. And for a long time, at the beginning of the band, I was like, “I don’t want people to call me power pop!” I want it to be emo. Which was just me being kind of bratty. I don’t care anymore. It’s still very emotional music, but I can see that it’s leaning less emo and that the influences are leaning less emo now. But I think that that is great. I think that it’s nice that people started gravitating towards that description on their own. I know from playing in bands for a long time that it’s like if you get that, then you’re making some melodies that are resonating with people, and that is a huge thing that I’m trying to do. I love loud guitars, but I want a catchy melody just as bad.
JB: What power pop artists do you most appreciate?
SW: I really like Popsicle if you consider that power pop. I really like the Marked Men, I like The Posies. I don’t know a lot of their catalog, but we were looking to “Solar Sister” quite a bit.
JB: Frosting on the Beater (DGC, 1993) is a brilliant record.
SW: Yeah, exactly. We were looking to that song quite a bit. The Sharp Pins are one that I have been liking a lot lately, not necessarily an influence on this record, but I think that they’re great. And I just had another … oh, Guided By Voices.
JB: I read a couple of months ago that Bobby Bare Jr. (guitarist for GBV) said the band was never playing again, which is what they’re known for. Other than four albums a year!
SW: Seriously, done touring? That’s crazy. I mean, it’s hard. I’m a little bit older now and we did a really short tour and I thought it was tough. They’re a band that should never stop, so I’m sure that they’ll stop for a second and then come back.
JB: Yeah, they quit before.
SW: Exactly!
JB: I wanted to ask you about your lyrics. I’ve read descriptions of the lyrics having a knack for twisting the knife deeper, which I thought was pretty interesting. You explore themes of intense infatuation, loneliness, even self-mutilation or emulation. What draws you to those emotionally raw and vulnerable subjects?
SW: It is kind of what happens. I think that there is an element of my songwriting that is following the light or something like that. I’m not really trying to do anything with the emotional content. I’m not trying to go out of my way to make a record. That is, emotionally, it’s just the way that I express myself. A lot of it really isn’t like I have a vision in mind. It just what comes out. It’s been a songwriting practice over the last 10 years. I was not a very confident songwriter when I started, and I had to learn a lot about what I liked and think a lot about what I liked and give myself some boundaries that I’m sure have a lot of influence. How the songs are now, it’s not just whatever. This is just what comes out. It’s just the kind of music that I like. When we were first starting the band, I was like looking to The Smiths and The Cure and stuff like that, it’s dramatic. It’s just what I like. I like to be over the top.
JB: Is that type of writing difficult sometimes or does it come easy?
SW: The actual act of doing it is not more difficult than anything else. I feel like I just kind of go somewhere else. I’m really feeling it in the moment and sometimes the songs will hit again. Sometimes they don’t and sometimes they can feel really removed. But I think it is a really vulnerable thing when they all come out. And I think that I felt that this time because there was so much space between. When we recorded it, and when it came out, I was feeling pretty like distant from the subject matter. We started playing the songs again, and it wasn’t exactly that. I was like feeling like the exact feeling, but I thought “Whoa, these songs are really intense and came from me!” and now all of these things in my life are different, and I’m feeling them in a different way. It’s like I wrote them back then for myself and now not realizing it or something like that. Even though I’m not feeling super emotional about this right now, I feel really exposed. Halfway through that tour I felt kind of freaked out. I don’t know how to explain it, like it was like a body keeps the score kind of a thing. I obviously put so much into this record, and even though I was playing the songs, and it was fine, but at a certain point, I was just realized this is really intense. So, yeah, the songs are just very, very personal, and it shows up in interesting ways. I don’t have a straight answer!
JB: _You Want To Fade. Is your longest record to date? Isn’t it?
SW: Yeah, that’s right, we don’t care. We’re gonna make it long if we want to.
JB: Do you feel like that longer format allowed you to further develop as a band?
SW: Well, we didn’t go into it thinking that it was gonna be longer. But this time I went into it, writing way more songs than I ever have. I think that in that session, we recorded 18 songs.
JB: Wow!
SW: Then we cut them down. I watch rock documentaries and stuff, and I thought this is how you’re supposed to do it! You know, this is how the big dogs do it or whatever. And then, when we’re actually doing it, it was so hard because of all the songs that I wrote. It just was too much to keep track of.
JB: You’re right, though. A lot of bands do that. They’ll have four or five or six extra tracks from an LP that will or will not ever see the light of day.
SW: A lot of those bands are not also working day jobs and doing like a million other things. It’s like a lot of them, at least the ones that I’m imagining, I’m picturing like Fleetwood Mac or some shit like that, that’s not really the situation. It’s like recording? Yeah, the whole thing is, it’s just funny. Anyway, there was a bunch of different versions, a bunch of different ways that the record could go. And I was really stressing over the sequencing for a really long time. We have some bonus tracks that are going to come out in the summer, but I’m excited about it. That’s where the idea of the narrative got more solid. I was doing all these different arrangements of all of the song sequences and was sure these songs are good. But, they don’t fit together. There is some kind of story here about what the last couple of years of my life were like, and we need to figure out how to put those together. And then when we did, we thought, “Okay, this is kind of long!” It’s like picking most of the intense songs. We didn’t put the most poppy songs on it, you know? I think that we went for something else this time, and it just kind of happened naturally.
Photo by Frank Martinez
JB: I read about a John Hughes reference, which I thought was pretty interesting.
SW: I think it was just the Pitchfork article saying that it has kind of a movie like vibe.
JB: I thought, in what ways, based on that write-up, do you feel the cinematic portrayals of teenage emotions and relationships resonate with the themes and the music of this LP?
SW: I am not surprised at all that. That is a takeaway from it. I think that anytime you’re making highly emotional music it is associated with that kind of teenage feeling. I think it’s like that to this record. To me, you know, somebody who is in early 30s, it’s about me. It’s like all the music is always dramatic, but if I listen to Sleeping Lessons now, I’m like, “That sounds like a 24-year old, dramatic ass!” The shit that I said on that record is fucking crazy. For this one, to me, it’s like a lot more about growing up and loving people, just getting more complicated. The older you are, it’s like you connect to all of these people that are precious to you and then, because of different things, they’re in your life or they’re not in your life. To me when I look at it, it’s more like that. I think that the songs have a universal quality to them. I think that you can attach to those kinds of intense, teenage feelings too. And I think that a lot of those feelings across the board, like your feelings with love, even though they get kind of softer around the edges as you grow up. It’s not all the time. But you can always be pulled back into that, feeling when you first really got your heart broken, too. It’s like they can all coexist together.
JB: Being a teenager, you just think the emotions that you had or the heartbreak that you had was the end of the world.
SW: I know. It’s like been coming up in conversation with my friends lately, where I’m just like, “Dude, do you remember how intense that was, like your early 20s?” I’m still super dramatic, but I would never want to be back there. My feet are so much more on the ground. Things can get crazy, but I feel like I can handle so much more now. Before that life or death feeling. Homies, it’s gonna be okay. I’m not trying to drag on teenagers, but there’s no perspective. I really do feel a difference now that my frontal lobe is developed! I make that joke all the time. I work with teenagers and I’ve worked with them since I was a teenager. So, when I was a teenager and I was teaching music they’d tell me something and I’d be dismissive. Now they tell me something, and I’m tell them please be safe. I’m so afraid that anything’s gonna happen.
JB: You’re going to look back on that and either laugh or cry that you thought one way or the other.
SW: Yeah, it blows my mind.
JB: Are you still working at Portland School of Rock?
SW: No, I haven’t been working there for like four years. I have my own practice now. Maybe guitar lessons and drum lessons and bass lessons, and like band coaching stuff out of my practice space.
JB: Very cool.
SW: Yeah, it’s fun.
JB: I wanted to bring up how the band form because this is my first time chatting with you. Sorry about that. I caught on to Alien Boy a little late. I immediately went out and got the first two records after that show. How did the band form and how has your local music scene influenced your development as a band?
SW: Oh, it’s influenced it a ton! Me and Caleb and Derek have been playing together since we were teenagers. We met while taking music lessons together. Me and Caleb were in a band in high school called Star Party where he sang and played guitar
and I played drums. We played all the time in high school, and me and Derek were also in some other punk bands. Then, in our early 20s, the three of us were in a pop punk band called Our First Brains. A lot of which was just like an anarchist bookstore. It’s where I met all the other people that I played music with for a little bit there. I was in four bands. All to various degrees. I mean, now, everything’s complicated. I won’t name names on who I used to play with. It’s complicated, but I really wanted to be in a band that went on tour. I just wanted to do the whole thing, and I was feeling really frustrated.
So, yeah, after Our First Brains was done, I was feeling really frustrated that I didn’t really have any control over, like, what happened with the bands that I was in because I wasn’t writing the songs. Then I started writing some songs, but I was really, really, really shy, and so I taught them to Derek, he played drums, and we were basically just like learning the songs in secret because I didn’t want to tell anybody that I was doing it. I didn’t feel ready. Then Caleb recorded our whole first EP before I even really told anybody that I was doing it. Before we played a show and before he was even in the band. We worked on that for a couple of months. It’s when I still worked at School of Rock. They used to let us practice at the school after hours and so we would record there. All night, every Wednesday night for a couple of months. It felt really special. Looking back on it now, I’m just surprised that we locked in on a vision so quickly because I was kind of disassociating and freaked out. After that, me and Derek just played as a two-piece for a bit, and then my friend Mac, asked to play bass, so he played bass with us for a while. He recorded on our next EP, This Day Live, that him and Caleb both recorded. Caleb at that point, was mostly in. I think that he was starting to play guitar with us too. And then we just kind of kept grinding it out from there. We did our first full U.S. tour in 2017.
That was the first tour that AP did with us. It was me and Derek and Mac and A.P. So then, Sleeping Lessons came out the year after we did another full U.S. tour that me and Mac booked and AP played with us. We just kept grinding it out from there. Mostly, just out of me wanting to feel like I had some control over the way that it was in my life and how seriously I was gonna take it. And I was heartbroken.
JB: Oh, that’ll do it.
SW: Yeah.
JB: Did you know you had something straight away?
SW: No. I didn’t take myself seriously as a songwriter until this record. I think that I write songs and they’re starting to get pretty good, but I think that I was always in denial about it. This time, I thought “No, I’ve been doing this for a long time. This is obviously like my main form of artistic expression.” At this point, I just didn’t realize it when I was younger. I want it to be something that I actively tend to.
JB: Are you named after the Alien Boy EP by The Wipers?
SW: Yeah, kind of. I used to say that it was more of a nod to the song. No one wants “Alien”, so I thought about the song Alien Boy, because I like that better. Alien Boy has a better ring to it. Yeah, it’s a Wipers thing. I love that band. I remember I had this moment right before or right as the band started, where I got a chorus pedal for Christmas. An OCD Distortion pedal. I liked the chorus pedals because again, The Smith stuff, and I had not thought about guitar tone at all before. Like I was not listening. I don’t know, but I remember I plugged them both in together, and I was like, “Oh my God, this sounds like The Wipers!” I had no idea. Then I said we gotta start a band around this sound. It’s so obvious to everyone else, but I was so blown away.
That’s how we found the sound. That is a classic sound, but I want it to be our sound.
JB: It had been mentioned that you were staying up all night, adding five layers of acoustic guitar on this record!
SW: Okay, Caleb said five layers of acoustic guitar and that is an exaggeration. We stayed up until 5:00 a.m. often. We did some layers of acoustic guitar because we had heard that his bands did that and I think that it sounds awesome. We were right. There might be like two, maybe three at most, but we can set the record straight here that I don’t think that there’s five layers of acoustic guitar!
JB: It’s 5 a.m., not five layers.
SW: Yeah, exactly! No, but the nights were late. When we were at HMS, those days were easily like 14/15-hour days and when we were finishing the record at home, we were mostly doing it on the weekends. So, Caleb would come over on Friday night, we would go as long as we could and sometimes he’d come back the next day on a Saturday and we would keep going. This is something that we have definitely talked about in some of the other interviews. I don’t know if they’re out yet, but the very last day of tracking was someday at the end of last March, in 2024 and me and A.P. and Caleb were down in the basement. We have a little whiteboard with all the last minute things scribbled on it. We don’t even have to do this but if we want to do it, we can try all of it, and then it will be done. The very last thing that we recorded was so extremely anti-climactic. It was just the harmony, the super, super low one note harmony that you can barely hear on You Want To Fade. Just sitting at the desk, saying, “You wanna fade, like so quietly?” I watched him half asleep auto-tuning all of it to the same tuning. We don’t use autotune a ton, but for something like that, it totally makes sense. We were so tired and so done, and it was so funny! Me and A.P. were just cracking up. The record is done and we went outside and I smoked a cigarette. I just cried and said thank you and then everybody went home and I went to bed.
JB: That is great.
SW: It was so fucking funny. We didn’t end on feedback day, unfortunately!
JB: Yeah, that sounds like that would have been a good day to end, too. This one’s coming out on Get Better, right?
SW: Yeah.
JB: You’re alongside bands like Fucked Up and Sheer Mag, who I love. How do you see Alien Boy aligning with the labels roster, or do you see it aligning at all? What does that label mean to you?
SW: The cool thing about Get Better is that I think that it’s more of like a political alignment and like a queer identity alignment, I think. Seeing this band as a queer band most of the time. I don’t know if that’s true. That’s what it feels like to me. I don’t feel like we have a lot of associations in the queer community. I feel like it’s a lot of men who are excited about guitars which, bless their hearts. Come on. Whatever, you know, I’m happy about that, too. Think that the choice to go with them. Alex (Lichtenauer), who runs Get Better is a great friend of mine, who I love and trust, and he trusts my vision, and we have a very, very sweet relationship. They’re super supportive of me so that is a big draw for me to the label but, I want people to know where we stand, and we align with the politics of that label and the queer community. That is like the most exciting thing about being a part of that label to me. It is a signal to people that are listening to our band that that’s what we’re about.
JB: And that was one of many reasons why I was and still am completely brokenhearted over this last election and what the repercussions have been since then. Do you see things getting better for you from the band perspective, let alone a queer band perspective? To me, it feels like the world’s on fire, and as a people we are going in the wrong direction.
SW: Getting easier anytime soon? It feels like the beginning of a pretty big fight. And I think that day-to-day, it’s hard to tell it’s already started, but sometimes I feel like I can convince myself that it’s like on the horizon. Um, but I think that … I don’t know. There will always be a part of me that has to stay a little bit hopeful, but it’s looking pretty scary right now. I think that everybody’s going to have to start taking it pretty fucking seriously. It’s hard. I think I’m constantly trying to find a balance. I don’t think that I am doing anything perfectly. I think there’s a lot more that I can be doing, but I know that it will be lifelong. Learning and trying to figure out what I can do and how to take care of my community. I could get super down on myself, or I could just be like, “No, we’re just gonna keep trying. We’re gonna keep trying, we’re gonna keep trying.”
For more information or to have a listen, please visit Alien Boy’s Bandcamp and Instagram pages along with their label Get Better Records
Upcoming dates:
August 3, 2025 – Show Bar – Portland, OR with Dusk and Supercrush.
