Record No. 1 carries a loose, jangly indie rock feel, being melodic but slightly unpolished in a way that works in its authentic favor. Recorded over many years, its path was uneven, including an early version pulled due to a label scam where Mitch Harris was, at one point, paid in green pesto for his efforts. The songs drift between hooks and haze, more concerned with feel than precision. Mitch Harris: Drums (1/2 the album or so)

Moon Hut drifts through a sparse, nocturnal indie folk space with soft but powerful vocals and minimal to complex arrangements carrying most of the weight. Released on DreamWorks and featuring Mitch Harris on several tracks in his major label drumming debut, it carries a quiet and confident sense of arrival, with contributions from other significant musicians and drummers including one of his former idols, Kenny Arnoff. Mitch Harris: Drums (3 songs)

Superelastic stretches between tight indie rock grooves and more elastic, exploratory passages, letting rhythm and texture shift without losing momentum. With John Strohm of The Lemonheads and Blake Babies writing most of the material, the band shapes the songs together into something both structured and loose. Kenny Childers of Gentleman Caller adds a steady presence on bass and butter to shout style backing vocals, grounding and sanding shifting edges.

Mitch Harris: Drums

Where Were We leans into a reflective indie sound, balancing understated melodies with a sense of quiet momentum and self produced clarity. The songs feel lived-in, unfolding patiently rather than pushing for immediate payoff. There’s a subtle cohesion throughout, like a band tracing its own path without needing to announce it. Mitch Harris: Drums (1 song) and percussion (2 songs)

Lillipop Gold leans into a hazy, off-kilter indie pop space—melodies that feel sweet at first but can warp at the edges. A special release on a Secretly Canadian botique side label, St. Ives, limited to 500 copies all featuring original album art, it carries a quiet, collector’s-item mystique. Jorma Whittacker, better known from Marmoset, brings a playful but also sinister looseness to the songwriting, letting instinct guide the songs more than structure, with a punk approach to competence in it being simple, direct, and driven by desire. Mitch Harris: Drums, Production

Downtown in the Dark settles into a moody, nocturnal groove with reverb-laced guitars and steady rhythms giving it a late-night city pulse. The vocals drift slightly back in the mix, adding to the sense of distance and quiet tension. It feels less urgent than their sharper material, leaning instead into atmosphere and slow-burn movement. Mitch Harris: Drums

Vs. The Elephant sharpens the band’s post-punk edge, with tighter rhythms and guitars that feel more angular and urgent. The vocals stay cool and slightly removed, but there’s more push behind them, giving the songs a sense of forward tension. It lands as a more focused, driving counterpart being leaner, but with a bit more bite. Mitch Harris: Drums

Wake leans into a dark, melodic indie rock space with clean guitar lines cutting through a steady, driving rhythm section with a slight post-punk edge. The vocals sit just back in the mix, giving the songs a detached, late-night feel while hooks surface more gradually than immediately. It’s controlled but tense, like the band is holding things just below the point of tragedy.

Mitch Harris: Drums, Co-Producer

This Is Fancy moves with a restless, handmade energy, hooky but slightly off-kilter, like something that is known but from 4 different angles mashed together that’s been roughed up around the corner a bit. The songs lean into melody without sanding down their quirks, letting rhythm and texture carry as much weight as structure. It feels like a band chasing instinct in real time, landing somewhere between charm and chaos. Mitch Harris: Producer

Getta Grip barrels forward with scrappy, no-frills, lo-fi energy, leaning into raw hooks and a loose, garage-bred feel. Recorded essentially on a 4-track in a basement by one person, it carries that raw immediacy in every corner. The songs don’t linger...they hit, stare, startle, and move on, more interested in momentum and immediacy than polish. Mitch Harris: All Instruments (except a couple) and production, engineering

Ah feels less like a finished album and more like a snapshot, built from first takes across a few days, born out of a dare to show up and invent a band’s history on the spot. Recorded on mostly first takes over a period of days where songs were learned or concocted on blind faith, there is a connection and looseness many bands aspire for, and which ZiPS makes a simple part of it's DNA. Songs, hooks and parts arriving and leaving quickly, driven more by impulse than refinement, two musicians connecting in the rock ether of the moment. Mitch Harris: Drummer, Co-Producer