Walter's Downtown

1120 Naylor Houston,TX 77002

NOBUNNY, THE COWBOYS, SAILOR POON, THE COPS, THE WIGGINS
Dec
1
8:00 pm20:00

NOBUNNY, THE COWBOYS, SAILOR POON, THE COPS, THE WIGGINS

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DOORS: 8 PM / $10 ADVANCE / $12 DAY OF / ALL AGES

Always clad in a fuzzy (and mildly psychotic-looking) rabbit mask and often wearing little else, NOBUNNY is a one-man pop-punk onslaught whose simple, infectiously hooky tunes and lusty outlook have earned comparisons to the Ramones,Hasil Adkins, and the Cramps, and whose untamed (and sometimes bottomless) stage shows have led some to call him a cuddly version of G.G. Allin. NOBUNNY is the alter ego of Justin Champlin, who was born and raised in Tucson, Arizona, and relocated to San Francisco, California.Champlin first made a name for himself as the drummer with garage punks the Okmoniks and later co-founded the Sneaky Pinks, a two-man punk-pop party machine. 

With NOBUNNY, Champlin streamlined the concept of the Sneaky Pinks by paring the consistent lineup down to just one person (or one mutant; as part of the NOBUNNY myth, Champlin claims to be the product of a liaison between a woman and a jackalope). Sometimes working solo and sometimes backed by a constantly shifting group of musicians, Champlinhas been performing as NOBUNNY since 2001, though it wasn’t until 2008 that he made his recorded debut with the album Love Visions. Primarily recorded at home with Champlin handling most of the instruments, Love Visions was released by the tiny Bubbledum Records label; it earned enthusiastic reviews in the underground music press and was reissued in 2009 by the somewhat larger 1-2-3-4 Go! Records. In 2009, NOBUNNY put out a single through Horizontal Action Records, “Give It to Me” b/w “Motorhead with Me,” and a cassette-only album, Raw Romance, on Burger Records. 

NOBUNNY also kept up a busy touring schedule in the wake of Love Visions, telling reporter Eric Allen, “The road is good, because at least I know where my next meal is coming from. I find life much easier on tour. It’s not being on tour that is hard for me.” In September of 2010, NOBUNNY’s second full-length album, First Blood, was released by Goner. After a relatively quiet 2011 with no recordings released, NOBUNNY returned in 2012 with a single for Suicide Squeeze and an EP for Goner. He stuck with Goner for his third full-length blast of garage punk, 2013’s Secret Songs.

FALLCORE DAY ONE: RAMALLAH, WILL TO LIVE, LESSER DEGREE, BLOODHOUND, WILDSPEAKER, OMERTA
Dec
2
5:00 pm17:00

FALLCORE DAY ONE: RAMALLAH, WILL TO LIVE, LESSER DEGREE, BLOODHOUND, WILDSPEAKER, OMERTA

 

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Fallcore 2016
Dec. 2-3 at Walter's Downtown

$38 Two-Day Pass

Day 1, December 2nd. 
RAMALLAH
WILL TO LIVE
LESSER DEGREE
BLOODHOUND
WILDSPEAKER
OMERTA

Doors at 7pm
$13 pre-sale / $15 door


Day 2, December 3rd. 
STRIFE
100 DEMONS
XIBALBA
SECT
SENTENCED TO BURN
DIE YOUNG
SURVIVAL METHOD
JUDICIARY
BODY PRESSURE
UNITED RACES
MIND KILL
SKOURGE
BLUNT

Doors at 2:30pm
$27 pre-sale / $30 door

FALLCORE DAY TWO: STRIFE, 100 DEMONS, XIBALA, SECT, SENTENCED TO BURN, DIE YOUNG, SURVIVAL METHOD, JUDICIARY, BODY PRESSURE, UNITED RACE, MIND KILL, SKOURGE, BLUNT
Dec
3
5:00 pm17:00

FALLCORE DAY TWO: STRIFE, 100 DEMONS, XIBALA, SECT, SENTENCED TO BURN, DIE YOUNG, SURVIVAL METHOD, JUDICIARY, BODY PRESSURE, UNITED RACE, MIND KILL, SKOURGE, BLUNT

 

BUY TICKETS

Fallcore 2016
Dec. 2-3 at Walter's Downtown

$38 Two-Day Pass

Day 1, December 2nd. 
RAMALLAH
WILL TO LIVE
LESSER DEGREE
BLOODHOUND
WILDSPEAKER
OMERTA

Doors at 7pm
$13 pre-sale / $15 door


Day 2, December 3rd. 
STRIFE
100 DEMONS
XIBALBA
SECT
SENTENCED TO BURN
DIE YOUNG
SURVIVAL METHOD
JUDICIARY
BODY PRESSURE
UNITED RACES
MIND KILL
SKOURGE
BLUNT

Doors at 2:30pm
$27 pre-sale / $30 door

YOU NEED PICS
Dec
4
12:00 pm12:00

YOU NEED PICS

RSVP / 12 PM NOON - 4 PM

If you're a band or an artist and you're tagged in this, then you've been selected to get a FREE pic from a Professional Photographer. You can also book sessions for a later date wth photographers on hand.
Photographers: Daniel Jackson  Marco Torres  Aoife Haney  Jay Tovar  Tea EsMars-Hall Forse Walker  Osman Paul Galindo  Greg Noire - PhotographerJordan Asinas  Michael Villegas  Christi Lain Vest  Rooben Jimenez More to be added

Artists Selected: EL LAGO  Jealous Creatures  Doomstress - Band  Genesis Blu  Rex Hudson  Lace  Ancient Cat Society  Bang Bangz  Young MammalsYOUNG GIRLS  LIMB  Pitter Patter  football, etc.  Ruiners  FlygerWoods  JERKClay Melton  The Grizzly Band Jawwaad Always-now  Gabe Bravo  Mind ShrineMantra Love A Sundae Drive  Cleen Teens more to be added

Doors at Noon
Event runs until about 4 pm
Drink Specials for all
David Garrick behind the bar making bloody mary's
Photographers will be fed by our pals at Phoenicia Specialty Foods 

If you're a photographer & you want to meet some bands and network, or if you're a listed artist who can't attend, please contact David Garrick

A L T E R E D S T A T E S: SMOKEY EMERY, FUTURE BLONDES, COLLIN HEDRICK
Dec
4
8:00 pm20:00

A L T E R E D S T A T E S: SMOKEY EMERY, FUTURE BLONDES, COLLIN HEDRICK

BUY TICKETS / 8 PM / $5 ADVANCE / $8 DAY OF SHOW

A L T E R E D S T A T E S is a new music series at Walters dedicated to Texas werido music and visual artists: everything from techno, minimal wave, jazz and post punk. Birthday show for Walters bartender/booker David B!

"Surrounded by a patchwork of recently antiquated playback devices, Houston-born vagabond Smokey Emery (aka Daniel Hipolito) summons wave after harrowing wave of impending cataclysm with his adroit tape manipulation." - Austin Chronicle

FEA, GIANT KITTY, ONLY BEAST, THE ANCIENT GODS
Dec
8
8:00 pm20:00

FEA, GIANT KITTY, ONLY BEAST, THE ANCIENT GODS

DOORS OPEN: 8 PM / ALL AGES / $8 ADVANCE / $10 DAY OF

Fea is the continued ferocity of Girl In A Coma’s Phanie Diaz and Jenn Alva, joined by lead vocalist Letty Martinez and guitarist Aaron Magana. Their melodic brand of riot grrrl chicana punk immediately caught the ear of many iconic collaborators, such as Joan Jett who signed them to Blackheart Records. Fea soon joined legendary, hard-rocking Babes In Toyland on their nation-wide reunion tour; Babes drummer Lori Barbero producing their first release, 'Zine EP,' which comes out on Blackheart April 22. For their full-length LP landing July 15, subsequent producers have been Laura Jane Grace, fearless leader of prolific punk band Against Me!, and Alice Bag of The Bags, an early innovator of the L.A. punk scene— all of whom perfectly compliment the band’s fierce exploration of societal, cultural and gender-related issues.  With all cylinders ablaze, Fea is a truly unique riot grrrl resurgence out of San Antonio, TX.

DJ EARL (Teklife), HOUSE OF KENZO / SANTA MUERTE (Collaborative performance), MOONDOCTOR (Teklife), JOSIAH GABRIEL, GRITSY DJs: SURAJ K, HEAVY D, CONRAD
Dec
9
9:00 pm21:00

DJ EARL (Teklife), HOUSE OF KENZO / SANTA MUERTE (Collaborative performance), MOONDOCTOR (Teklife), JOSIAH GABRIEL, GRITSY DJs: SURAJ K, HEAVY D, CONRAD

BUY TICKETS / 9 PM / $12 adv / $15 day of

DJ Earl: A mainstay of Chicago's juke/footwork scene, DJ Earl is a member of the Teklife collective along with genre pioneers DJ Spinn, DJ Gant-Man, and the late DJ Rashad. Like those artists, his tracks combine jittery uptempo rhythms and heavy bass with manipulated soul, jazz, and hip-hop samples. He has numerous hard-edged tracks which celebrate drugs and sex, but he also has more reflective, ambient moments. He began participating in dance battles in 2005, and started making music in 2008 after meeting Rashad and Spinn. He joined their Ghettoteknitianz collective, appearing on their eponymous 12" EP and Bangs & Works, Vol. 2, both released by Planet Mu in 2011. He released numerous digital albums and EPs, including collaborations with Heavee and DJ Manny. Ghettoteknitianz morphed into Teklife, and Earl appeared on Rashad's acclaimed 2013 album Double Cup (Hyperdub), in addition to releasing his debut 12" EP Blue Summer (on Lil Pitch) that year. Following Rashad's untimely death in 2014, Earl appeared on Teklife's Next Life tribute compilation, as well as two of Hyperdub's tenth anniversary compilations. He also collaborated with Lee Bannon and fellow Teklifers DJ Paypal and DJ Taye. In 2016, Teklife released Rashad's Afterlife (which Earl contributed to), as well as Earl's Open Your Eyes LP, which included collaborations with Oneohtrix Point Never, Moondoctor, and Suzi Analogue. Earl also released a cassette EP on Analogue's Never Normal Records, and the two collaborated under the name WORKFLOWW. ~ Paul Simpson, Rovi

PUNXMAS 11: KINETIC DISCHORD (ATX), DECATHECT, GOD FEARING FUCK, DIE FAST, KEMO FOR EMO, THE COPS, ESCAPE FROM THE ZOO, TSS, PRETTY SHITTY (ATX)
Dec
10
7:00 pm19:00

PUNXMAS 11: KINETIC DISCHORD (ATX), DECATHECT, GOD FEARING FUCK, DIE FAST, KEMO FOR EMO, THE COPS, ESCAPE FROM THE ZOO, TSS, PRETTY SHITTY (ATX)

RSVP / $10 / ALL AGES / DOORS: 6 PM / SHOW: 7 PM

Punxmas fest is a part of HURRICANE HOLIDAY WEEKEND and is a benefit this year! All donated money will go to the Standing Rock Sioux Tribe! Help us in supporting their efforts in North Dakota!

KINETIC DISCHORD (ATX)
DECATHECT
GOD FEARING FUCK
DIE FAST
KEMO FOR EMO
COPS
ESCAPE FROM THE ZOO
TSS (Victoria)
PRETTY SHITTY (ATX)

CHARITY SHOW 5: COCAINE IN THE ARMY, ACID JACKET, TOTAL NIGHTMARE, CONIDITIONER, DJ MISS CHAMPAGNE
Dec
15
8:00 pm20:00

CHARITY SHOW 5: COCAINE IN THE ARMY, ACID JACKET, TOTAL NIGHTMARE, CONIDITIONER, DJ MISS CHAMPAGNE

RSVP / 8 PM / $10

Tis the season of giving, join us at Walters on December 15th for the last charity show of the year where all band proceeds will be donated to Boys and Girls Harbor, who offer invaluable services to our city. 

About Boys and Girls Harbor:
Serving the Greater Houston Metropolitan Area, Boys & Girls Harbor is a 501(c)(3) non-profit home that welcomes children in need regardless of race, creed, color or financial status. Harbor facilities are licensed by the Texas Department of Family and Protective Services.
Not surprisingly, the perspectives of the children served by Boys & Girls Harbor are varied. Some have known nothing but abuse, others nothing but neglect or abandonment. Boys & Girls Harbor programs and supports are designed to help children and youth from any situation or background, and let them experience the life they deserve – one filled with love and care not hurt and anger.
The true essence of life at the Harbor is children living in a family-style environment with house parents. This sense of security results in positive behavior. This family life also provides the campus with a strong sense of community.

Show details:
$10 entry. Doors at about 8pm.

Bill:
Cocaine in the Army
Acid Jacket
Total Nightmare
Conditioner

Miss Champaign Records will be DJing as well. It's going down. 

Thanks to everyone for an incredible year so far, Charity Shows are really looking forward to 2017. The world can be shitty, lets not be.

BANDS FOR BARK: VOX VOCIS as CARLY RAE JEPSON, PRETTY TEETH as DEATH CAB FOR CUTIE, ROGUES AMONG US as BLINK 182, ZACH & THE GANG as HAIL THE SUN, BRAINSTORM FOR TUESDAY as AT THE DRIVE-IN...
Dec
17
6:00 pm18:00

BANDS FOR BARK: VOX VOCIS as CARLY RAE JEPSON, PRETTY TEETH as DEATH CAB FOR CUTIE, ROGUES AMONG US as BLINK 182, ZACH & THE GANG as HAIL THE SUN, BRAINSTORM FOR TUESDAY as AT THE DRIVE-IN...

RSVP / 6 PM / $10

A dynamic group of bands take the stage tonight - but not as themselves. Acts will be covering famous names such as Death Cab For Cutie, and Blink 182 in this fundraiser show to raise money for BARC, a dog shelter based out of houston.

PSALM ZERO (Profound Lore Records), BUOYANT SPIRIT
Jan
19
8:00 pm20:00

PSALM ZERO (Profound Lore Records), BUOYANT SPIRIT

BUY TICKETS

8 PM / $7 ADVANCE / $10 DAY OF / ALL AGES

PSALM ZERO is a new band that consists of respected avant-garde rock musician Charlie Looker (ex-Extra Life/Zs) and Andrew Hock of CASTEVET. With two such musicians coming together to work on a project together, one can only imagine the result that would culminate when their two respective musical backgrounds ultimately clash. Considering Looker (vocals/bass/synths/programming) and Hock’s (guitars/vocals) musical outputs have been unique and genre defining in their own respective scenes and repertoires, the result that ends up as PSALM ZERO sees the duo create intriguing experimental metal with pounding rhythms that complement melodic moments, Looker’s distinct vocals in dialogue with Hock’s harsh vocals, and an interesting amalgam of programmed synth and drum parts with electronic beats also finding their way into the mix. 

Nov 2013 saw the duo self-release their “Force My Hand” 7”EP where people would get a taste of what PSALM ZERO had to offer, along with the duo playing a good handful of local shows in the NY area where they would begin to make an impression. With their debut album “The Drain”, which was recorded by legendary producer Martin Bisi (Swans, Jim Jarmusch, Sonic Youth, Helmet, Bill Laswell, John Zorn etc.), PSALM ZERO will be set to deliver one of the more artistically inclined and unique heavy music albums in the first half of 2014.

WE BELONG: HOUSTONIANS OF MUSLIM DESCENT DISSENT W/ GIANT KITTY, RUINERS, TURNAWAYS, REVELS
Jan
20
8:00 pm20:00

WE BELONG: HOUSTONIANS OF MUSLIM DESCENT DISSENT W/ GIANT KITTY, RUINERS, TURNAWAYS, REVELS

$10 / 8 PM / ALL AGES

On January 20, 2016 a man takes the highest office in the country who has spent the last year and a half vilifying many groups in this country and around the world. We, as Houston musicians who are Muslim or are from Muslim families, are standing up on this day. This man and the people he surrounds himself with say that us, our families, and many of our friends do not belong in this country and that this country does not belong to us too. He is wrong.


Come join TURNAWAYSGiant KittyRuiners, and Revels - HTX at Walter’s Downtown on Inauguration Day to add your voices to ours. All proceeds will go to the ACLU of Texas because we will surely need them.

$10 cover. All ages, though there will be mature content as we are very angry.


TROLLER (Holodeck Records), TRILLBLAZERS, PLEASURE 2, AK'CHAMEL
Nov
18
8:00 pm20:00

TROLLER (Holodeck Records), TRILLBLAZERS, PLEASURE 2, AK'CHAMEL

BUY TICKETS

8 PM / ALL AGES / $7 ADVANCE / $10 DAY OF

Troller formed in 2010 out of Austin's dense electronic and experimental scene and played a key role in the founding of Holodeck Records. The trio’s synthesizer and drum machine half-time rhythms impeccably complement bassist and vocalist Amber Goers’ heavy riffing and charismatically tortured voice. From the onset, Troller‘s compelling live performances immediately distinguished them as a promising up-and-coming project yet to reach its peak. After touring extensively and selling out of multiple pressings of LPs, CDs and cassettes of the self titled LP, Troller wholly poured themselves into studio sessions for the second LP Graphic (set for release Spring '16), crafting a professional and fully realized final piece.

ALL GET OUT, GATES, MICROWAVE, CRIMSON ARROW
Nov
15
6:30 pm18:30

ALL GET OUT, GATES, MICROWAVE, CRIMSON ARROW

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DOORS: 6:30 PM, SHOW: 7 PM, $10 ADVANCE, $13 DAY OF, ALL AGES

Four years without new music can be a death sentence for any artist, and when an absence like that follows the release of a debut album, circumstances can get dire. But few acts are able to amass a cult following as rapidly as South Carolina-based indie rock outfit All Get Out did with 2011’s The Season, a full-length record that has proven to have near-infinite replayability.

“I needed a break,” songwriter and vocalist Nathan Hussey says. “I needed to regroup and really think about where I was, what I was doing, and how I was doing it.”

Finally, the band is back in action in 2015, and is ready to share a brand-new EP, Movement, on April 14 via Favorite Gentlemen Recordings and Bad Timing Records.

“The EP goes in a direction that feels natural for All Get Out,” Hussey explains. “It’s heavier, and it’s kind of a sister to our last release in its rawness. The Season is neatly put together, and Movement is a little sloppy, a little less intentional. The main concept here, of course, is movement. It’s how you know things are still alive.

“I started writing the title track in 2013. The first two verses are about how changes happen in a way that people don’t understand. And I’m kind of saying, you don’t have to get it, you don’t have to understand. And as the song was being written over those two years, it called me into the idea of movement.”

Movement isn’t a reintroduction or regeneration — it’s a reaffirmation. It’s a torrent of spirit at its most raw moments, an unabashed exorcism of the things that keep us awake at night in the pursuit of a life with deserved purpose. Continuing to gravitate toward the unoccupied spaces between indie and rock, All Get Out’s return to the spotlight presents an opportunity for listeners to fall in love all over again with one of the most dynamic groups in this genre.

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ASCEND/DESCEND (ex American Nightmare, Lunglust, Math The Band), NARROW HEAD, LACE, MALE TEARS
Nov
14
8:00 pm20:00

ASCEND/DESCEND (ex American Nightmare, Lunglust, Math The Band), NARROW HEAD, LACE, MALE TEARS

BUY TICKETS / RSVP

8 PM / $10 / ALL AGES

Ascend/Descend is a hardcore band out of Boston, MA recently formed under some odd circumstances. By odd circumstances I mean “the place the singer lived in burned down, leaving her homeless.” In the wake of this, it seems she wanted to create some angry music and has achieved that goal. The band is made up of singer Michelle Dugan (her first band) bassist Max Holbrook (Math The Band), guitarist Nicholas Wolf (Phantom Glue and Lunglust) and drummer Alex Garcia-Rivera (American Nightmare, who also recorded the EP).

Double Cup V. 1: SUICIDEYEAR, CRAIG XEN, JOSIAH GABRIEL, YOUNG KNOWLEDGE
Nov
12
9:00 pm21:00

Double Cup V. 1: SUICIDEYEAR, CRAIG XEN, JOSIAH GABRIEL, YOUNG KNOWLEDGE

BUY TICKETS

DOORS: 9 PM / $15 ADVANCE / $18 DAY OF / ALL AGES

Suicideyear: "James Prudhomme, better known as the artist Suicideyear, is an American electronic music composer, turntablist, and songwriter from Baton Rouge, Louisiana.

Prudhomme rose to popularity with several unofficial remixes of artists like The Pack, Danny Brown & Three Six Mafia. In May of 2014, Prudhomme released his second mixtape titled “Japan,” a conceptual piece detailing the last 7 months of his life. The tape was applauded for its convergence of southern trap andmid late century minimalism. The track “cccxxv” was used by swedish artist Yung Lean for his single

“Hurt.” Shortly after Japan, Prudhomme was sought by Parisian artist Brodinski. Suicideyear released the single “Finale” on “Bromance #10” and “Don’t Worry” on

“Homieland Vol. 1.” on Brodinski’s Bromance label. He will be featured on Homieland Vol. 2 in 2016. Suicideyear has produced for the likes of Bones, OG Maco, Denzel Curry, Rome Fortune and Yung Lean among other vocalists. Suicideyear signed to Software Recording Co. in July of 2014 after Japan caught the ear of contemporary

artist and label head Oneohtrix Point Never. Along with the signing, Software announced the release of his debut EP titled Remembrance. The album was

written and produced between Florida and Louisiana reflecting on themes of love and loss against the backdrop of the deep American south, according to the label. The release was met with critical acclaim, portraying themes of melancholy and warmth and ended with a cover of My Bloody Valentine’s “When You Sleep.” Prudhomme is currently preparing his debut album which will be his first ambition to feature vocalists."

 

Craig Xen: "Our boy Adam 22 of No Jumper beat us for the breaking of Fifth-ward Houston emcee Craig Xen (but it’s all good, shout out to the No Jumper Podcast). The 24 year old rapper has been skyrocketing out of the underground and has aligned himself with other independent southern rap sensations like Pouya and Xavier Wulf. Craig Xen’s sound is a hard hitting trap flavored fire, similar to that of Waka Flocka Flame. “Untamed” and “Bare Flesh” are two of his hardest tracks, but he has a catalog of mixtapes including his latest release Waist Deep. Despite the lack of music videos, Craig Xen has climbed to the forefront of the underground scene and is continuing to grow towards his bright future." -One.Avenue TV

KING KHAN & BBQ SHOW, PAINT FUMES
Nov
11
8:00 pm20:00

KING KHAN & BBQ SHOW, PAINT FUMES

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8 PM / $14 ADVANCE / $16 DAY OF / $18 BOX OFFICE

The King Khan & BBQ Show are two guys in a band, both writing, performing and singing: Arish ‘King' Khan: guitar, vocals. His voice is the snotty one. His guitar is the lead one. Mark ‘BBQ' Sultan: drums, guitar, vocals. His voice is the smooth one. His guitar is the rhythmic one. The drums are played live with his feet. Bad News Boys is the band's fourth studio album, their latest since 2009's acclaimed Invisible Girl. The boys had previously broken up in 2010 after a taxing stretch, culminating in an invite by Lou Reed to play the Sydney Opera House. There was a public (internet) break-up and freak-out, which carried over into the week after in Asia. Words were said; brothers fought like brothers. It was the end of a stretch that had taken the band all over North America, playing festivals like Coachella, starting side projects like Almighty Defenders (with brothers Black Lips), touring the likes of Europe, Israel, Brazil, gaining legions of devoted fans internationally, and kickstarting that whole ‘doo-wop punk' bullshit movement that still goes on today. This is rock'n'roll. This is punk. This is early r&b. This is psych. This is doo-wop. This is garage. It's all this and more, without trying to be anything. A misconception of the band is that they play a bunch of instruments, which are then overdubbed to get a particular sound in the studio. The truth is that they record live. Their ‘studio' is usually an apartment or - in the case of Bad News Boys - a basement, and they're armed a 4-track cassette recorder and not much else. Their ethos is punk. Their mission is to revere rock'n'roll - the real stuff - enough, so that they are permitted to invoke its spirits and ghosts using magick, using their raw soul - for good or for bad - to evoke the smells and feelings that confuse and delight. The King Khan & BBQ Show is a real band. Sure, their sense of humor is dirty, often surreal and potentially subversive, but the seriousness of their passion for real rock'n'roll should never be taken lightly. They live a lifestyle of pure love for the genre, respecting and understanding its basic tenets, living as lifers, representatives of tradition they feel is important. They cut their teeth together in The Spaceshits, a lightning fast rock'n'roll band formed in 1995 (dead by 1998) and have toured and paid their dues since, sacrificing their mind, bodies, souls, friends, family - all for love. King Khan went on to underground hero status in many projects, shocking and impressing tastemakers in need of tangible image-icons, worldwide. Mark Sultan is heralded for his incredible voice and top-tier songwriting - rarities, today. Quite simply: they need one another, like yin and yang, to make it all happen. The band has managed to continue to release top-grade material for over ten years, without bowing to business or succumbing to what's ‘hip', without changing. They do what they want, take it or leave it. Love ‘em or hate ‘em, but never say they can't write a great rock'n'roll song - and back it up with one of the best, most magickal, energetic, crass and nonsensical free-form live shows going. They care so much that they don't give a fuck.

BAIO, ROSE ETTE
Nov
4
8:00 pm20:00

BAIO, ROSE ETTE

BUY TICKETS

8 PM / $13 ADVANCE / $15 DAY OF

Bronxville, New York lies about 15 miles north of Manhattan, a small, prosperous community largely made up of professionals, finance-workers, lawyers. Growing up here, Chris Baio’s life followed the trajectory familiar to many suburban teenagers — a progression of piano lessons, bad pop-punk bands, getting drunk in the park, one eye forever trained on the city beyond.

It was years – not until 2009, in fact, by which time Baio was 24, that he learned that the iconic American author Don DeLillo was also a resident of Bronxville. Struck by the proximity to a writer he greatly admired, by the simple knowledge that “there had been a great artist in my midst”, over the course of three months Baio set about reading all of DeLillo’s books — among them Libra, Underworld and The Names, his 1982 novel about an American living in Greece, to which Baio felt a particular connection. “And I just realized,” he says, “that if I were ever going to make a solo album I would want to call it The Names.”

Since 2006, Baio has been best known as the bass-player in Vampire Weekend, the New York-based rock band who last year won a Grammy for their third album, Modern Vampires of the City.

In his downtime between tours, however, Baio recognized in himself an increasing restlessness, a desire to explore his own individual voice away from the band.

He describes The Names as “a realization of my influences and things that I love” — a world quite distinct to that of Vampire Weekend. Those influences do of course emerge in bass-playing, and surfaced on an earlier EP, Sunburn (2012), but what is striking about Baio’s first solo collection is its marked difference to his work with the band.

Across its nine tracks, Baio wanted to return, in part, to the electronic music he had enjoyed while DJing at college, but also to investigate his own lyrical and vocal style to create something quite new and not easily categorized. “What I wanted to feel with this record was that it’s not a band record, it’s not a solo record and it’s not a producer record, but a combination of all three. I wanted to create a space where almost anything could happen,” he says.

In the making of The Names, Baio explored ideas of space — of belonging, identity and finding a place in the world. Some of this was occasioned by his own geographical shift — he and his wife relocated from New York to London in 2013, and he found himself struck by his new city’s expanse of sky, green space, globalness — elements that seem to infuse this record.

He began writing these songs at the tail end of that year, and in some ways they were a continuous point in a transient period of his life. “I would be home from the Vampire Weekend tour, I would make maybe two rough instrumentals and then I would take those instrumentals back with me on tour,” he recalls, “traveling around listening to them, trying to write melodies, trying to write lyrics.”

At that point the album was still something of a riddle to him, a conundrum of sorts. “I find working on music there’s the initial blast of inspiration and then after that it’s like solving a puzzle,” he explains. But what was certain, even in the album’s infancy, was that he wanted The Names to be a record that was compact and intense and vital, hovering around the 40 minute mark, as many of his favorite Roxy Music or Can albums were. He also wanted the songs to show something of a narrative progression, “So it starts in a darker place,” he says, “and ends with sweet love songs.”

He also wanted it to show the diversity of his tastes, to be a musically rich and variegated collection of songs. He uses, as an example, the way that the track I Was Born in a Marathon “suddenly goes from this banging techno into almost like an explosion, almost like I blew up the first two minutes of that track and then it drops down to acoustic guitar.” Or how he experimented with his vocal delivery, trying different ways to use his voice for different tracks, “like if you had a producer-led record you would have different vocalists.”

There are “straight-up love songs” here, as well as songs that nod to Dostoyevsky, Kurosawa, Iggy Pop, The Cars; there’s a track Baio describes as “a classic rock band arrangement, throwback pop song” and a “tribute to David Bowie and Bryan Ferry.”

There are more sober moments too: thoughts on political unease and depression, on military drones, and lyrics in which he finds himself “questioning what the relationship is between me and my government, on the things I might not agree with but that are being done in the name of my protection.” On the album opener, Brainwash yyrr Face (its title a nod to Exit Through the Gift Shop) Baio looks at “the connection between electronic music and substance abuse” because, he explains, “There are plenty of great fun party songs about getting fucked up, but what I wanted to do was make a banging electronic track about the darker side, the shame in getting too drunk.”

He talks with particular affection about the album’s penultimate song, Endless Rhythm, begun one “beautifully, unseasonably warm weekend last year in March” when Baio went to visit Tate Modern and found himself captivated by a Robert Delaunay painting. “I loved the color, loved the design, loved the curves of it,” he remembers. “And I probably spent 10 minutes staring at it before I noticed it was called Endless Rhythm. And I thought that’s very fucking cool: a musical title to a painting. It immediately connected with me.”

The resulting song, he says, is “a song about itself, a song about writing a song. It’s kind of about the relationship between people and art, about the process of making a record, where there’s a part in the middle where it’s really frustrating, the idea of waiting for this song to come.” And it did, he adds, take some time to come. “I would work on it, and maybe two months later I would go back to the Tate and stand in front of that painting, listening to the song with my headphones on, seeing if I could get further connected with it.”

And of course there is a further nod or two to Don DeLillo — I Was Born in a Marathon, for instance references the opening line from Underworld: “He speaks in your voice, American, and there’s a shine in his eye that’s halfway hopeful.”

But Baio has felt DeLillo’s voice winding around his own in more subtle ways, too. “There’s some things about language that I find very influenced by him,” he says. “The way that he puts certain words together, repeats phonetic sounds. The music of language has always interested me; that’s why I love two-syllable titles, because a one-syllable word is a monotone, but the quickest way to get to a melody in language is two syllables. That’s why I called it The Names, because it was strong and evocative, and it had music.”

JEFF ROSENSTOCK, WAR ON WOMEN, HARD GIRLS, KATIE ELLEN
Nov
1
7:00 pm19:00

JEFF ROSENSTOCK, WAR ON WOMEN, HARD GIRLS, KATIE ELLEN

BUY TICKETS

7:00 PM / ALL AGES / $12 ADVANCE / $15 DAY OF

It's almost midnight on a Saturday in the summer, and I live in New York City. I'm still in my 30s and I don't have to get up early tomorrow. By anyone's standards, I should be heading out for the night; dancing, drinking, meeting up with old friends, making new friends, making mistakes, and feeling young in a city that allows you to remain young despite your age growing higher. I should be out there living. Instead, I just put a load of laundry in the machine in my building's basement. I'm wearing a pair of green shorts and I feel like an asshole in them. I have knobby knees and shorts don't look good on me. I am wearing a light green t­shirt and the whole outfit makes me vaguely feel like a middle­aged man dressed up for his first day of kindergarten. I am going nowhere tonight, and I suspect this may apply in the long term as well. This seems like the perfect time to write about Jeff Rosenstoc. Because no one I've ever met creates art that encapsulates this state of mind more than Jeff. It's music that's catchier than any other music, music you can scream along to in a joyous frenzy. But simultaneously, if you really listen to the lyrics you're shouting, they can speak to a loneliness and desperation so profound it's soul crushing. I've lost myself in joy to Jeff's songs and I've sat alone depressed to Jeff's songs, and I've felt both those things to the same song, sometimes on back to back listens. Nobody can take the exhilaration and possibilities of life and balance them with the depression of a laundry room on a Saturday night like Jeff Rosenstock. His music can be like a funeral taking place inside a bouncy house, or like a kids' birthday party taking place inside a morgue. I say that with the utmost sincerity and the intent to offer only the highest of praise. If you're reading this, you probably know the legend of Jeff Rosenstock by now. The Arrogant Sons of Bitches had Long Island's attention, and then mutated into Bomb the Music Industry, a collection of musicians that were among the first to just give their music away, that spray painted t­shirts for fans, that did everything in a way that was financially ill­advised and built a cult unlike any other in the process. Sometimes their shows had a dozen musicians on stage, sometimes it was Jeff and an ipod. No matter what, there was always one thing that remained the same – this band had as much integrity as Fugazi with none of the pretension but with all the emotion but with a lot more fun and also I have to reiterate none of the pretension. To me it seems like Bomb was like Fugazi if the members of Fugazi had been willing to let down their guards and laugh at fart jokes. Again, this is meant as high praise. I really like Fugazi and am not trying to talk shit, it's just an apt metaphor. When Bomb ended, Jeff was left standing in a lonely spotlight and we all wondered if he'd be ok. Instead of even giving us time to find out, he put out We Cool? and showed us all what growing up looks like. Growing up fucking sucks, but it's not for melodramatic reasons. It sucks because your joints start hurting and you know you probably aren't gonna get some of the things done that you've always promised yourself you're gonna get done and you still have a lot of guilt about dumb shit you pulled when you were like 19. We Cool? showed us that Jeff Rosenstock's version of growing up wasn't going to betray Bomb or its fans or the things people loved about them, it was going to put a magnifying glass on his own impulses and insecurities as an individual in a way that was both shockingly frank and impossibly catchy. Jeff's music, if you ask me, is for people who really and truly feel like they could change the world, if only they could muster up the strength to leave the fucking house. It's for people who get into group situations and have every instinct inside their heads scream that the world is a fucked up and terrifying place and they should crumble up into a corner and wait to die, but who instead dance like idiots because what the fuck else is there to do? It's music that makes me feel like maybe, just maybe, if I do things the right way I can help make the world a better place, while co­existing with the knowledge that I don't fucking matter and there's no reason not to give up, except maybe I shouldn't because what if deep down people are actually beautiful, giving, and kind? It's music that makes me lose myself like I used to when I was 13 and first discovered the joy of punk rock, but it's also music that makes me think way too fucking hard about why the world is how it is and if I might be someone with enough heart to throw a few punches in the effort to make shit just a tiny bit better for others for one fucking second of one fucking day. It's simple punk rock. It's also complicated and beautiful and working class and perfect. Is the above a little cheesy? Sure. But I think it's true and I think it's all worth saying. Because having become friends with Jeff over the past few years, I can say the following with great certainty – he actually is what he says he is. And because of that, all the above applies. His integrity is untouchable. We all need to take a second and appreciate how much time this guy has wasted finding all ages venues. How much money he has passed on to retain his credibility as an artist. If other artists – myself chief among them – conducted themselves with an ounce of the integrity Jeff approaches all areas of art and life with, the world would be a better place. I know this might sound silly to people who don't get it – they might say "It's just punk rock, calm down." – but fuck those people, we all know Jeff is a musical genius. If he wanted to go ghost write songs for Taylor Mars and Bruno Swift, I bet he could make millions of dollars doing so. Music is easy for him. He could write empty songs and hand them off to hollow artists and we all know he'd kill it and he wouldn't have to deal with shaking down shady promoters for a few hundred bucks or driving overnight to get to the next venue or stressing about paying bills or any of it. He continues to not do any of that easy shit and that's because he's not bullshitting about doing things not just the right way, but in a way that's more idealistic than reality actually allows for. He does that for us. The guy is a genius poet while simultaneously being the definition of a fucking goon from Long Island. There is nothing not to love. The album you are about to listen to, WORRY., only furthers and exceeds the myth of Jeff Rosenstock, he who is mythical for being the most normal dude from a boring place any of us have ever met; mythical for sticking to his guns when all logic points in the other direction; mythical for writing melodies that stick in our brains and lyrics that rip our guts out; mythical most of all for being not mythical at all. He's just Jeff. It's not that complicated. But in a world where everything is driven by branding and image and hidden agendas, being not that complicated makes him perhaps the most complicated artist I know. Enjoy this album. Enjoy it as a whole. The second half is going to blow your mind with its ambitiousness – in my opinion the second half of this album will be viewed over time as a triumph and high water mark of a cool ass career. And the singles – "Wave Goodnight to Me" s untouchable. "Blast Damage Days" will make you feel ok about the fact that the world seems to be built on a foundation of quicksand. And when you're done listening, don't forget – you probably can't change the world, but you're kind of a dick if you don't at least try. Jeff's been falling on the sword for the rest of us for years and it's on all of us to at least go down swinging. Sincerely, Chris Gethard PS – John DeDomenici ain't bad either.

of Montreal, TEEN
Oct
29
8:00 pm20:00

of Montreal, TEEN

BUY TICKETS

8 PM / $17 ADVANCE / $20 DAY OF / ALL AGES

Hailing from Athens, GA., of Montreal have carved their own niche -- establishing themselves as a band that thrills fans with compelling live performances, delights critics with their constant innovations, and continually showcases their musical evolution by drawing from a different set of influences for each album. Primary songwriter Kevin Barnes pours emotion -- heartbreak, frustration, elation, whimsy -- into lyrics that shift from adopted personas to invented alter egos to unobstructed views directly into his psyche.

Hailing from Athens, GA., of Montreal have carved their own niche -- establishing themselves as a band that thrills fans with compelling live performances, delights critics with their constant innovations, and continually showcases their musical evolution by drawing from a different set of influences for each album.

Primary songwriter Kevin Barnes pours emotion -- heartbreak, frustration, elation, whimsy -- into lyrics that shift from adopted personas to invented alter egos to unobstructed views directly into his psyche.

TEEN’s second album, 2014’s The Way and Color, was a stunning creative breakthrough. Singer and multi-instrumentalist Teeny Lieberson’s voice is starkly highlighted, but the whole record is a conversation between her; Katherine Lieberson’s crafty, minimalist drumming; Boshra AlSaadi’s lithe, sinuous bass lines; and Lizzie Lieberson’s irresistible synth hooks. Now the group is back with its strongest release to date: the third full-length of their discography, Love Yes.

Born out of a creative process that included a dismal winter workshopping in Woodstock, a writing renaissance for lead-singer Teeny Lieberson in Kentucky, and a triumphant return to home in Nova Scotia to record, Love Yes is a lush, bold new creation that builds upon the group’s previous efforts and takes off.

On the album cover, the quartet is bejeweled in crystals and bathed in Venusian red. This red is the color of vitality and pulsing life—unmistakable traits of Love Yes. It is the iconic red of Dorothy’s slippers and Eve’s apple—potent with society’s tales and notions of innocence lost. In Love Yes, something else more mysterious and tender is gained.

TEEN was founded in 2010 by lead-singer and multi-instrumentalist Teeny Lieberson (Here We Go Magic). She self-recorded and self-released the beguiling lo-fi Little Doods LP the following year, then formed a band that included sisters Katherine and Lizzie, and signed to Carpark for 2012’s In Limbo. Produced by Sonic Boom (Spectrum, Spacemen 3), In Limbo encompasses everything in between sprawling, ethereal ballads and trancey but kinetic pop. Rolling Stone listed its opening track “Better” as one of the “50 Best Songs of 2012.” The Carolina EP followed in 2013 and was even more varied and accomplished; the band was growing by breathtaking leaps and bounds. TEEN’s second full-length, The Way and Color, mixes the band’s melodic psych with the sound of post-millennial R&B. The LP has its share of darkness—fear, regret, and loss are all in the picture—but it’s always redeemed by the sheer soulfulness and powerful ingenuity of the music. The album is a reflection on the aggressive times we live in, one that often lacks selflessness. TEEN’s response is one that uplifts and brings a sense of happiness and joy. Love Yes continues this communication, this time exploring the disharmony and empowerment that both sexuality and spirituality can create within the modern woman’s psyche. Universal ideas of loyalty, pleasure, purity, power, aging, and love are confronted with a knowable specificity. There is a quality of wholesomeness, but also an edge—a kind of wise anger and electricity.

HALLOWEENING IV: ALL THAT (Deep Cuts playing 90's top 40), PUMPKIN SPICE LATTE (a siamese wet dream of infinite radness), BIKINI KITTY (Giant Kitty plays Bikini Kill), ALANIS GWARISSETTE
Oct
28
8:00 pm20:00

HALLOWEENING IV: ALL THAT (Deep Cuts playing 90's top 40), PUMPKIN SPICE LATTE (a siamese wet dream of infinite radness), BIKINI KITTY (Giant Kitty plays Bikini Kill), ALANIS GWARISSETTE

IT'S THE FUCKING 90s, WHAT UP SLICE! You down? I'm cutting glass! Junk these bands:

ALL THAT
DEEP CUTS + guests play 90s top 40, dope but also fresh

SMASHING PUMPKIN SPICE LATTE
a siamese wet dream of infinite radness

BIKINI KITTY
GIANT KITTY plays BIKINI KILL, ain't got no more candy for you

ALANIS GWARISSETTE
exactly what it sounds like

Free with costume, $7 if you're lame. Weak costumes pay full bones. A hat's not a costume, Melvin!

Grindage available if you get the pasties

Prize for best costume and (TBD) most obnoxious ironic use of anachronistic slang

COME AS YOU ARE / EXPRESS YOURSELF / NO SCRUBS / THE MACARENA / whatever

CURVED LIGHT (Holodeck Records), SPLENDID EMBLEM, TANNER GARZA, ANISA BOUKHLIF, PURE LAND INFINITY RESERVOIR
Oct
27
8:00 pm20:00

CURVED LIGHT (Holodeck Records), SPLENDID EMBLEM, TANNER GARZA, ANISA BOUKHLIF, PURE LAND INFINITY RESERVOIR

BUY TICKETS

8 PM / $7 ADVANCE / $10 ALL AGES

CURVED LIGHT (Holodeck Records)
https://curvedlight.bandcamp.com/music

SPLENDID EMBLEM
https://www.facebook.com/Splendid-Emblem-944434092260424/

TANNER GARZA
https://tannergarza.bandcamp.com/

ANISA BOUKHLIF

PURE LAND INFINITY RESERVOIR
http://frankdambra.com/

Featuring Visuals By:

Curved Light
Civic TV Laboratories
Taylo spPank
Pure Land Infinity Reservoir

B BOYS (Captured Tracks), TALK SICK BRATS, DEAD TIME
Oct
24
8:00 pm20:00

B BOYS (Captured Tracks), TALK SICK BRATS, DEAD TIME

BUY TICKETS

8 PM / $7 ADVANCE / $10 DOOR / ALL AGES

Three psychos that came to be through fate by way of necessity, B Boys offer up to the world their sonic manifesto, No Worry No Mind. A relief from the mania, an expression of duality, an extension of Dadaism.

Born in different times from alternate altered states, these B's convene on the astral plane, channeling the individual experience and wisdom from their respective points of origin into a singular entity. Abstraction takes a triangular form: vibrant guitar melodies, undulating bass lines, deep swirling grooves. Sounds that transcend a linear timeline, splintering out across multiple spectrums. Interlocking vocals skillfully bob and weave overtop, their mantras resounding. But don't be fooled, they're just like anyone else — they put their chinos on one leg at a time.

You've got something growing out your neck, my friend. Are you willing to hear its call? Open your Self to the frequencies and let the vibrations illuminate your being.

*MATINEE* New World Story: The Scavenger Of BelFall FILM AND ART SHOW
Oct
23
2:00 pm14:00

*MATINEE* New World Story: The Scavenger Of BelFall FILM AND ART SHOW

RSVP / 2 PM

Premire screening of NWS: The Scavenger of Belfall, There will also be screenings of films by Shibby Pics (GA) and Eric Ayotte (IN) as well as some local films, More info to come! There will also be vendors from all over houston setting up tables so come out to support your scene! Addmission is free!

Films

Punk With A Camera: NWS: The Scavenger Of Belfall
Eric Ayotte: Unlucky
Shibby Pics: Sad Will
Local Shorts Welcomed - Must be between 4-12 mins!

Vendors

Looking for all the vendors we can!

Stop Talking Trashboat! - Custom Lighters!
McKinley Faas - Cool art!
Punk With A Camera - Cool Photos!
Bunny the sticker company - EPIC Stickers!
MonsterLazer - Cool Art!
Pizza Bastard - Cool Art!
Lauren Boulden - Cool art!
Casady Grace - Cool Art!
Diablo Macabre - Cool Art!

Dj

Dee Jay Rock Tha Boat