Chynna Rogers is rap's high priestess. Signed to Ford models at age 14 and now 22, the Philly-born artist quickly developed a relationship with the A$AP Mob while traveling to NYC for modeling gigs. She grew especially close to ASAP Yams, whom she reached out to as a teenager via Twitter seeking his A&R mentorship. Instead, he encouraged Rodgers to pursue her own music. Tattoos like the Eye of Ra, an elaborate mandala, "wanderlust" in cursive script run along her arms. The letters "blk out grl" adorn her fingers - a nod to the ASAP Mob and A$AP Yams, who died in January. "I was the only girl, so that one is for Yams," she notes.
The A$AP Mob member was right. Chynna's penchant for matching moody atmospherics paired with deadpan, often brutally honest vocals demonstrates an often startlingly disturbing nonchalance equally comparable to 21 Savage or Marie Davidson. Citing broad influences that range from Gucci Mane to Britney Spears, Rogers has also utilized her keen eye for A&R to work with UK producers Hudson Mohawke and Darq E Freaker, both known for their experimental avant garde collaborations in hip hop music.
In 2015 Chynna released the Radiohead title-inspired I'm Not Here, This Isn't Happening EP, following it up with last year's Ninety, her ode to 90 days of sobriety from opiate addiction. Rogers' ability to meld a myriad of art and culture reference points (the artwork for 'Ninety' stems from psych-heavy band Blue Oyster Cult, and multiple tracks from her prior EPs recall characters from Mean Girls) extends to her recurrent stint as a model, where she has recently worked on campaigns for both DKNY and VFILES. As a rapper she also isn't shy to speak about her religious views as an actively practicing Buddhist, with a firm belief in the concept of "being reborn to help other people."
Perhaps Chynna's biggest draw is her committal to "love your dark parts too." Recently one year sober, her music never loses its raw edge and immersive ambiance, synonymous with both a sprawling late afternoon smoke deep in Chinatown, or the beginning of the end of an afterparty, where anything is still possible, but what actually does happen becomes a story to tell. Surely, if anything does feel real, it's Chynna, whose powerful transformative ability renders her as one of the most authentic new voices in rap today.
ANOTHER COVER SHOW '17 w/ FINGERGUNS as BASEMENT, MARIANA FRIAS as BAYSIDE, RIOT ON THE RADIO as MAYDAY PARADE & MORE!
All Ages | Doors @ 6 PM | $10
Finger Guns as Basement
Mariana Frias as Bayside
Riot on the Radio as Mayday Parade
Supergroup ft members of An Author, A Poet, Talk In Theory, Four Letter Language & GODHAND as Of Mice & Men
The Brightest as Dashboard Confessional
And Then Suddenly as Underoath
Supergroup ft members of Town Destroyer & Imperial Affliction as Bullet For My Valentine
%100 of proceeds are being donated to help families affected by hurricane Harvey
Presented by The Clinic & Riot Productions
8 PM / ALL AGES / $7
Bestial Mouths is led through shrieking tempests and wraithlike wails by Lynette Cerezo, who summons haunting tales into existence, conjuring an in-your-face experience both visually and sonically, equally across stages and records. Their bewitching live performances take audiences on a dialectical journey juxtaposing consciousness with the unconscious, as she expresses her soul-shaking visions with anecdotal abstractions from her personal past with the darkest depths of the human condition.
After leaving behind a career in fashion design, and a past in political activism for gender equality, Cerezo’s path led her to finally find her own voice - literally as well as symbolically – in singing. Her sonorous vocal delivery became her most powerful tool to articulate her passion for music and arts, as well as to convey her compassionate effort to relieve the struggle of life’s plights.
The pure magic of being truly free on stage allows her to give her heart to the open souls, to share that life force, in hope that it makes them feel alive for a moment too. Captivated by tribal rhythms and inspired by the emotional vocal range of gypsy singers, her urge for experimentation and constant learning are key to her creative process and musical progression.
Bestial Mouths’ sound draws on many genre influences such as goth, industrial, post-punk, new wave, minimal synth, noise, metal, experimental, avant-garde and electronic music, while also experimenting with other art forms, wanting the audience & listener to feel, enticing them to think and experience all new realms with music that reflects the past, present and the future.
The band has toured North America and Europe extensively in the past, having shared stages with the likes of Psychic TV, Austra, Chelsea Wolfe, Suicide Commando, David J. (of Bauhaus & Love and Rockets), King Dude, Youth Code, Cut Hands and Light Asylum, and worked with various acclaimed producers such as David Psutka of Egyptrixx, Danny Saber of Black Grape and Jürgen Engler of Die Krupps.
In 2016, Bestial Mouths played almost 20 dates across Europe - featuring a new lineup inspired by Cerezo’s previous EU tours and forward-thinking interests. With Brant Showers (ΔAimon / SØLVE) on electronic + live percussion and Eddie O on electronics + video, the band was able to experiment further with its sound and imagery using technology in new ways to them.
A finalist for Best Band of 2016 in the Auxiliary Magazine Awards (alongside Youth Code, IAMX and Cold Cave), 2017 saw Bestial Mouths going on their first North American tour in over two years, in support of their most recent Heartless LP, which was produced by Jürgen Engler (of Die Krupps). The (Still) Heartless remix EP featuring reinterpretations by a diverse group of artists - such as Zanias (of Linea Aspera) and former Atari Teenage Riot member and Saul Williams collaborator CX Kidtronik (Stones Throw) - and video for “Worn Skin” coincided with the tour.
8 PM / ALL AGES / $20
The Legendary Shack Shakers’ hell-for-leather roadshow has earned quite a name for itself with its unique brand of Southern Gothic that is all-at-once irreverent, revisionist, dangerous, and fun. Led by their charismatic, rail-thin frontman and blues-harpist JD Wilkes, the Shack Shakers are a four-man wrecking crew from the South whose explosive interpretations of the blues, punk, rock and country have made fans, critics and legions of potential converts into true believers.
After taking more than a year off to work on other projects (including JD Wilkes's book "Barn Dances & Jamborees Across Kentucky"), the band remobilized in the fall of 2014, with tours across the USA and Europe, much to the excitement of many a Shack Shaker fanatic. Despite the group’s time off, their reputation for intensity has stuck with them. On stage, JD has been compared to the likes of Iggy Pop, David Byrne, and Jerry Lee Lewis. The Nashville Scene named Wilkes “the best frontman in Nashville” in 2002, while former Dead Kennedys frontman Jello Biafra has called JD “the last great Rock and Roll frontman.” Having joined the band in early 2012, garage blues guitar player Rod Hamdallah--who also lends his prowess to Wilkes's side project ‘JD Wilkes and the Dirt Daubers'--is back in the Shack Shakers’ lineup. The rhythm section is rounded out with Brett Whitacre on drums and Mark Robertson thumping out the upright bass.
Although not legendary upon being named, the band has grown into its reputation the last several years due to their heavy tour schedule, six critically acclaimed studio albums, and songs that have been featured on television shows such as HBO’s True Blood. Past tour mates and fans include Reverend Horton Heat, Rancid, The Black Keys, Slim Cessna’s Auto Club, and Hank Williams III. Robert Plant is also a noted Legendary Shack Shakers fan, and picked the band to open for him on his 2005 tour of Europe. Plant named the band's third album Believe as one of his favorite records of 2005. The list of esteemed admirers goes on to include horror novelist Stephen King, who listed “CB Song” as among his iPod’s Top Five in a 2008 Entertainment Weekly article. Such a wealth of devoted fans over the years has only added to the mystique that the Legendary Shack Shakers possess, carrying them down the road toward new creative pursuits and barn-shaking tunes.
Jesse Dayton has been building a cult following around the globe playing festivals in North America and Europe for years with his guitar shredding, country-infused, Americana sound. As a critic’s darling for his first record on Justice Records, Raisin’ Cain (1995), and a number one Americana radio ranking, Jesse was hired at a young age to play lead guitar on some of the last recordings, and play live, by country legends Waylon Jennings, Ray Price, Johnny Bush, Willie Nelson & Glen Campbell and he’s been featured in many guitar magazines.
Sensing a shift in the music business climate, Jesse formed his own label in 2002, Stag Records, and began his most prolific recording period. While recording five solo records, one duet record, one live record, all on Stag, as well as two soundtrack recordings (Devil’s Rejects, Halloween 2) for rocker/director Rob Zombie, Jesse managed to act in movies and music videos, produce several records for other artists (the latest being Supersuckers front man Eddie Spaghetti’s “The Value Of Nothing” on Bloodshot Records), write two screenplays, and most recently wrote and directed a new horror movie, “Zombex,” starring Malcolm McDowell, Sid Haig, John Doe, and Lew Temple (“Walking Dead). All while still performing 150 shows per year.
Returning to the recording studio, Dayton brought what he calls, “my best batch of tunes yet.” Dayton, along with Evans and Christiansen, recorded the majority of the record live. “You could feel the ghost of George Jones, Freddy Fender, Doug Sahm & Jerry Lee Lewis (who recorded there with producer Huey Meaux), in the room while we were working!” Dayton says, “I wanted to get great live root-sy sounds, like the records I loved growing up, but with a real Texas songwriter, story-telling, approach to the lyrics.” Dayton has certainly gone back to those roots, that Texas/Louisiana border feel, with The Revealer. His latest album starts with a bang titled “Daddy Was A Badass” a driving piece recalling about the hard charging life of own father and uncles. This opening track explains a whole hell of a lot about who Jesse Dayton is and why he sounds so different from the current wave of Americana artists.
The songs are personal, about his family and where he’s from. Never opting for the typical lyrics, you can hear Dayton is a big Bob Dylan & Townes Van Zandt fan. There will be no writing about pink Cadillacs & poodle skirts. “It seems like most of the retro stuff I hear these days,” Dayton explains, “is very paint by numbers, not personal or vulnerable. I love what Dylan did on a few of his later records, where he would do a smokin’ R&B or country song, but with real story lyrics.” The Beaumont native, turned Austin-ite also says, “this record is more guitar-centric, more stripped down and all about my guitar playing; very little piano or any other instruments”. Collaboration can be the key to many success stories, so to here on The Revealer. On one of those tunes, “Three Pecker Goat” Dayton co-wrote it with longtime friend and Americana star Hayes Carll and later, he duets on “Match Made In Heaven” with Austin songbird Brennan Leigh.
Dayton’s upcoming tour schedule is insane. He just finished performing aboard the “The Outlaw Country Cruise” with Lucinda Williams, The Mavericks and Steve Earle. Dayton’s music was such a hit, he’s already been asked back for the next cruise. His tour dates go non-stop into next year. Come on out and listen to this tall Texan take you on a zydeco-flavored trip through his musical mind, you will not be disappointed!
DOORS: 8 PM / ALL AGES / $12 - $15
Bully burst onto the scene in 2015 with their critically acclaimed album Feels Like. Today the band announces Losing. The album was engineered and mixed by lead-singer Alicia Bognanno in Chicago at Electrical Audio.
Fronted by Alicia Bognanno, Bully was born in 2013. Bognanno was an engineer who had cut her teeth working at Electrical Audio in Chicago. Together with guitarist Clayton Parker and Reece Lazarus on bass, they made a debut album received unanimous critical acclaim and Bognanno became a point of intrigue. A rock icon in the making, with her signature scream, messy blonde hair hanging in her face, and formidable skills as both a player and a engineer who prefers recording to tape. “The coarse Cobain head-scream of Bully singer, songwriter and guitarist Alicia Bognanno is its own resuscitating jolt of protest,” said Pitchfork. “She spends much of Feels Like tearing the house down with her howl.” The success propelled the band into an exhaustive touring cycle with spots on huge festivals such as Bonnaroo, Lollapallooza, Pitchfork Music Festival and ACL and a late night appearance on Conan.
While Feels Like tumbled headlong into the precarious nature of Bognanno’s young adult life, Losing is a document of the complexity of growth: navigating breakups with sensitivity, learning not to run away from your troubles but to face them no matter how messy they may be. The debut single, “Feel The Same’ is the album opener. Like an electric-shock Bognanno is back in your face tackling the angst of a young person feeling their way through the world. The song describes the prison of a manic mind-set, being trapped in your own head. On “Seeing It” she addresses the issue of personal safety and navigating the world as a woman. On “Running” she focuses on personal relationships and the avoidance of facing the demise of a personal relationship.
Losing is an internal, carefully focused record, a universalized diary and an exorcism—not of any one specific demon, but the host of them that characterize contemporary anxieties. Bully are growing up, sure, but their fire is in no way diminishing.
SugarHill Recording Studios present the second installment of their NextWave compilation. The release party will have five acts as well as surprises throughout the night.
A Sundae Drive
Doors at 8 pm
$10 cover & Compilation Proceeds to Houston Food Bank
You can also donate to the Food Bank by Texting SUGARHILL to 41444
DOORS @ 9 PM, ALL AGES, $10
$15 / 8 PM / ALL AGES
The Original Southern California Punk/Surf Power Trio, Agent Orange, is one of only a handful of bands who have been continually active since the earliest days of the West Coast Punk Scene.
A small circle of musical rebels who came together to form a movement, they took their place front and center to experience and participate in the explosion of now legendary underground music that was created during the golden era of American Punk Rock.
Being the first to combine the melodic California surf guitar sound with the frantic energy of punk, Agent Orange invented the formula that would come to define the Orange County punk sound. Highly influential to many of the bands who have followed in their path, Agent Orange have always stayed one step ahead.
Their strong connection to the Action Sports world has resulted in their music providing the soundtrack to numerous major motion pictures, video games, surf and skate films, television, and live sports events.
The last of the true independents, Agent Orange have managed to stay true to their roots, while always moving forward. Powered by a loyal following built up through years of explosive live performances all over the world, Agent Orange continue to deliver their Fullblown-Supercharged-Punk-Surf Sound on an international basis, with a never ending schedule of tours in the United States, Canada, South America, Europe, Australia, and Japan.
C’mon down front and expose yourself to Agent Orange.
8:00 PM / $12 - $14 / ALL AGES
Since starting out as school boys, this five-piece band has become notorious for stealing every stage with the outrageous, jaw-dropping performances that have become the Shame signature. Their riotous two-year journey has included gate-crashing a Glastonbury stage, supporting The Fat White Family, Warpaint and Slaves, performances in Europe, Austin Texas, a nomination for best new artists at the prestigious Anchor awards, headlining their own UK tour and releasing the double A-side single, Gold Hole/The Lick and follow-up, Tasteless.
Formed in the playgrounds of South London, Steen met guitarist Sean Coyle-Smith at primary school. They got together with guitarists Josh Finerty and Eddie Green at secondary school. Charlie Forbes –the drummer – was at nursery school with Green. Bonded by their precocious taste in music (one of their first gigs was supporting their hero Mark E Smith of The Fall) during their A level years they were hanging out at Stockwell’ s Queen’ s Head – unofficial home to The Fat White Family.
“We were sucked into this alternative world which just crystallised everything we thought about” says Steen. “There were drag queens and jobseekers; people who’ d been in bands, like Alabama3, The Ruts, and the bassist from Stiff Little Fingers – this older generation of people and they saw a kindred spirit in this little group of schoolkid runts.”Along with the Queen’ s head crew, The Fat Whites inspired and mentored them. “In a sea of mundanity the Fat Whites were exciting and dangerous,” says Steen. “It was like watching chaos explode in front of you.”As their foothold in the South London scene grew, Shame instigated the daredevil club night, Chimney Shitters and creating a politically outspoken, DIY ethos reflecting a punk spirit in today’ s world.
“We are not puppets. Everything we do, we do ourselves,” says former Camberwell student, Steen. “From our songs to our clothes to the artwork for the singles, T-shirts, and fanzines. It’ s all us. We are about creating a movement - it’ s all our blood, sweat and tears.”Shame’ s music is controversial, challenging, political and often unprintable. Visa Vulture (written two years ago) is a vicious indictment of Theresa May wrapped up in a happy love song. ‘ Gold Hole’ is a satire of rock narcissism, while ‘ Tasteless’ is about “Living in a world where nobody dares to say anything or do anything different.”.
But to be ‘ Shamed’ you have to see them live. Their appearance at The Great Escape last May so knocked out the editor of French magazine ‘ Les Inrockuptibles’ that he penned a two-page eulogy prompting a wave of Shamemania –a performance at Pitchfork Paris and on Le Grand Journal TV show in the slot usually reserved for the likes of Taylor Swift or Kanye West. A sign of how fast they are steaming their way to the top is this. Last year they gate-crashed Glastonbury (“It was insane, says guitarist Coyle Smith. “We got the directions wrong and ended up walking miles round the perimeter with our instruments before we found the right hole in the fence”) this year they have been invited to play by Billy Bragg on the Leftfield stage.
With a UK headline tour under their belt, 40-odd festivals this summer, their first album is being produced by Local Hero, aka Dan Foat and Nathan Boddy best known for techno music and work with James Blake. “As soon as we met them, it clicked,” says Steen. “They had ideas that a stereotypical person producing a guitar band might not necessarily think of. And we never want to be predictable. We always want to do something unexpected.”
Snail Mail is the Baltimore based indie rock solo project of 17 year old, Lindsey Jordan. She released a six song EP titled, “Habit,” on DC punks Priests’ Sister Polygon Records in July of 2016. The record features a full band with Shawn Durham on drums and Ryan Vieira on bass.
In their “Best New Track” review for the EPs opening track “Thinning”, Pitchfork describes Jordan as possessing a voice that “sounds like it’s coming from a distance, perfect for a song with lines about wanting to lie face down on the floor for a whole year and the triumph of wasting time”.
In addition to her standout vocal abilities, Jordan is a classically trained guitarist of twelve years and experiments often with various guitar tunings and techniques in order to generate Snail Mail’s unique sound.
ALL AGES / DOORS: 8 PM / $10
Veteran NY psych-pop act Shana Falana just released her new LP Here Comes The Waves, her 2nd with Team Love Records. Emerging from New York’s vast drone/psych scene, Shana combines live looping of reverb-drenched vocals and guitar with tribal drums and stunning visual projections. Her live experience has often been described as transcendental.
"Psychedelic dream pop dashed on the rocks of goth defiance" -Stereogum
“If you want to zone out, Shana Falana’s alluring debut LP gives many opportunities to do so.” -Pitchfork
*SOLD OUT* TICKETS WILL NOT BE AVAILABLE AT THE DOOR.
DOORS: 8 PM, ALL AGES, $8 - $10
Despite over a decade of existence, Japan’s self-described “catastrophic noise-metal” outfit ENDON has largely eluded the attention of the broader Western underground music community. This began to change in 2016 with the stateside release of their 2014 album MAMA and tours along the East and West Coasts. Given the West’s fascination with Japan’s permutations of punk, metal, and noise, it’s unlikely that any band that has been frequently bestowed with the designation of “the most extreme act in Tokyo” would remain under the radar for long. After all, Japan gave us the unmitigated sonic abrasions of Masonna, the nihilistic fury of GISM, and the cataclysmic lurch of Corrupted, so any band that can somehow further push the envelope is destined for notoriety.
And notoriety was certainly a factor in ENDON’s early years, when singer Taichi Nagura terrorized local audiences with stage behavior so violent and menacing that people began actively avoiding their shows out of fear for their safety. Nagura insists that the outbursts were “not intended to be against the audience at all,” but admits, “during the early days of ENDON, there was a lot of fighting between the audience and me.” ENDON no longer takes out their aggression on bystanders, but their caustic blend of power electronics, harsh noise, gale force hardcore, and dissonant metal implies a kind of violence even more foreboding than a stray punch or a whipped microphone. With their most recent album Through The Mirror, ENDON galvanizes their arsenal of ballistic sounds into a streamlined assault on the senses. Captured by Kurt Ballou at God City Studios, Through The Mirror fuses Taro Aiko and Etsuo Nagura’s dual noise barrages, Koki Miyabe’s alternately harrowing guitar work, Shin Yokota’s pummeling drums, and Taichi’s animalistic howls and shrieks into eight songs that vacillate between molten blocks of viciously constructed metal and chaotic bouts of unbridled auditory hostility.
Through The Mirror opens with “Nerve Rain”, an exercise in punishment through repetition, with a series of sustained guitar chords being ruthlessly battered beneath blizzard squalls of contact-mic distortion, piercing modular synth drones, and thundering toms. It’s a powerful build-up to the explosive fury of “Your Ghost Is Dead”, wherein the band distills the chaotic energy of ‘90s cult hardcore bands like One Eyed God Prophecy or Honeywell and supplements it with added layers of misanthropic scuzz and grit. “Born In Limbo” pits Andy Ortmann-esque sound collages and inhuman vocal manipulations against a backdrop of gothic twang and kinetic drumming. Side one closes with the double punch of “Pensum” and “Postsex” where truncated hybrids of hardcore rage and black metal velocity serve as a springboard for Taichi’s lyric-less communication of the album’s “Anti Bildungsroman (anti-building romance)” concept through guttural bellows and horrific screams. If side one serves as an exercise in propulsive unrestrained attacks, side two is a study in sustained, strategic warfare. The spacious crawl of “Perversion Till Death” allows the flanking noise artists to saturate the mix like a hail of fire and stone. Title track “Through The Mirror” builds off bedrock of primitive punk and gradually opens the scope of the song with melodic electronics and Nagura’s funeral wails. Sublime desert drones open the finale “Torch Your House” and guide the band through a nine-minute journey of exotic melodicism and triumphant stomp-and-crush riffage.
8 PM / ALL AGES /$10
On a full moon SadGirl mysteriously surfaced out of the Pacific and staggered onto the streets of LA. Cousins Misha Lindes (guitar/vocals), Paul Caruso (drums) and Dakota Peterson (bass) don't remember much of their childhood (it was submerged at the bottom of the murky sea)
But now, the lo-fi, surf-wop trio is making waves. Proclaimed one of LA's Hardest-Working Bands by Oh My Rockness, SadGirl delivers an iconic, "DIY" package of sound and image, complete with logo and merch designs equally fashionable and punk-rock.
Like a twisted marriage between Roy Orbison and The Cramps (ordained by Link Wray) SadGirl invokes the music of a by-gone era. But don't be fooled, these aren't the tunes from Uncle Jimmy's juke box...
8 PM / ALL AGES / $12 - $15
Eccentric, innovative, enigmatic, Nik is full of surprises.
From big band 'Janet Juve and the Red Hot Daddies' to soul bands 'Maurice Traveler and the Starting Handles' and 'Soulfinger'.
From circus orchestra M.D. for 'Gerry Cottle's Circus' to the esoteric mumbo jumbo jive of 'Sphynx'.
From the space jazz of 'Hawkwind', writing seminal anthems such as 'Master of the Universe', 'Brainstorm', and 'D-rider' as the driving force in the creation of the legend and mythology that created that band's success, to 60's ska 'Skastars'.
From the pomp rock of the 'Imperial Pompadours' to musical, political, satirical punk cabaret with 'Inner City Unit'.
From busking cool groovy music on the streets of Cardiff and Mexico City to Nik Turner's 'Fantastic All Stars' playing cool Latino jazz.
From equally fantastic Nik Turner's 'Galaktikos' playing big funk Latino hot grooves, to the 'Nik Turner Band' playing some of all that and more.
Guested and recorded with numerous bands, including 'Sham 69', 'The Damned','Stranglers', 'Ruts', 'Spirit' with Randy California, 'Utopians', 'Guillemots' etc.
THE HALLOWEENING 666: WALTER'S GOES TO HECK w/ SHEVO, VELVETTE UNDERGROUND, THINK AGAIN, PATSY CLINE INCH NAILS, STILL ANOTHER BAND WITH "GWAR" IN THE NAME!
EARLY WARNING: Oh shit, here comes the fourth or sixth annual Halloweening! You're probably still losing sleep if you missed End of the Century (Fat Tony & pals as the Ramones), or All That (Deep Cuts' tribute to 90s Top 40), or Smashing Pumpkin Spiced Latte (exactly what it sounds like), or Wild Moccasins as Madonna, or Limb as a Kate Bush, or Alanis Gwarrisette. Snap out of it, slap a costume on your filthy body, pull yourself together, and just show up to this one. You're going to be fine.
CRYPTIC EARLY LINEUP ANNOUNCEMENT
Patsy Cline Inch Nails
Still another band with "Gwar" in the name
STAY TUNED FOR MORE INFORMATION
Surf Curse is Nick Rattigan and Jacob Rubeck, who started their project in a basement in Reno, Nevada before going to Los Angeles to become a fixture of the DIY scene anchored by internationally-renowned venue The Smell, eventually linking up with likeminded groups like Girlpool, The Garden, and Slow Hollows. Their music is anchored with a blend of punk and pop elements heavily influenced by the pulp of 80’s, cult and arthouse cinema. Coming a few years after the boys broke out with 2013’s Buds LP and Sad Boys EP, their new album Nothing Yet marks not a return-to-form but a significant step forward from a group that has grown older, more mature, and more effective as songwriters.
DOORS: 8 PM, $10 - $12, ALL AGES
Formed in 1992, Cherubs emerged on the Austin, TX, LSD punk scene with a jackhammer of nightmarish, rhythm-driven song structures and plenty of Butthole Surfers whimsy and terror to keep things more than interesting. Fast forward 20 years later and the band has reformed with more energy and songwriting acumen then ever.
If, as the saying goes, life is less what happens to you and more how you deal with it, RED CITY RADIO have succeeded in spades, insatiable in their heart and singular focus.
Since forming in 2009 in Oklahoma City, Red City Radio have proven their punk-rock proficiency, turning in beloved albums (2011’s The Dangers of Standing Still and 2013’s Titles) and winning over fans around with the world with a sweat-soaked, raved-about live show honed by years of touring along acts like Strung Out, New Found Glory, and Anti-Flag.
But the band— Garrett Dale, guitarist Ryan Donovan, drummer Dallas Tidwell and bassist Jonathan “Jojo” Knight—are evolving, both professionally and personally: Red City Radio marks the group’s first album for Staple Records (after years spent with Paper + Plastick)
The new contrast between Dale’s gruff tenor (now the sole lead voice) and an increasingly rock-based musicality gives Red City Radio an innately fascinating dynamic. As such, songs like the power pop-leaning “Two Out Of Three Ain’t Rad” and slow-burning, country-tinged “… I’ll Catch A Ride” showcase the band’s newfound versatility and expand the definition of just what a Red City Radio song can—and should—sound like.
It’s this nuance and nimbleness that makes Red City Radio such a stirring listen. Named one of the most anticipated albums of 2015 by Fuse and VICE - hailed by outlets like PunkNews, also receiving 4 out of 5 stars from Rolling Stone, the album isn’t wholesale change, but rather the sound of a band expanding its influence and stepping outside itself to keep pushing forward. A sound once reminiscent of punk stalwarts like Hot Water Music has now swelled to include hooky rock á la Foo Fighters and Jimmy Eat World, and even Dale’s love of country.
"I play guitar and sing and dance on a stage with tamborines mounted to it."
If you've never seen Greg Rekus it is a sight to behold and a genuine pleasure.
Greg Cote & The Real Life Friends
We don't play as often as we should. But we are playing this day! Come see us do that!