DOORS: 8 PM / SHOW: 10 PM / ALL AGES / $12 ADVANCE / $15 DAY OF
Houston-based producer Rabit is helping stoke what The New Yorker has called "the resurgence of grime." Rabit has released Baptizm, Sunshowers, Terminator, Double Dragon, and the Sunshowers EP. His highly praised debut album Communion was released in late 2015.
9 PM / $15 ADVANCE / $20 DAY OF / ALL AGES
Azizi Gibson doesn't have a home. Raised in Thailand, he spent ten years in Maryland before relocating to his current base, Los Angeles. Azizi's life has been one of melding cultures and experiences into something new and distinct. He comes to Brainfeeder with a loud voice and passion for good music. His music brings together unique experiences, a love for boundary pushing hip-hop, and a swagger with universal appeal.
"Though singer Josh McCaslin wrote much of Roselit Bone's debut album while living in the isolated woods outside Coos Bay, the imagery on Blacken & Curl is the stuff of a dystopian Western: dust blankets the landscape, the ravens are the size of dogs, and death comes slow and hot. The music, played by a 10-piece band augmented by trumpets, flute and pedal steel, enhances the dry, desiccated feeling, blending the cinematic sweep of Ennio Morricone with the twang of classic country and a sense of creeping malice that would make Nick Cave giddy. Bring water. You're going to feel parched." - Matt Singer, Willamette Week
DOORS: 8 pm / $7 advance / $10 Day of / ALL AGES
A Review from The Musical Junkie:
This band from Houston, Texas has nailed the lost art of 90's alternative rock and sprinkled it with a littler flavor of classic rock. Ricky Dee brings brings out a noisy tone from his guitar and sings in a mixture of their influences. Noe Kimes has excellent fills pouring out of his bass which many bassists don't succeed in. Sammy Reyna bring a very tight and organic feel to the band, he is trained in afro cuban and jazz rhythms so playing this type of rock&roll is a very enjoyable experience for him. On their Reverbnation account there's a song Three, Listen to it to understand how amazing the drummer really is. "Brief Conclusions" has a strong "Velvet Underground" influence especially in the laid back vocal melody sung in the style of Lou Reed. "Wake Up" is a noisy Mudhoney inspired jam. The song is layered completely with a loud fuzzy bass. "Kocaine" starts with a subtle bass line and then it's thrown into a fast current of a wild river. There's a solo that might melt your ears. "That Day Long" is a really catchy 80's punk rock like gem. The vocals are sung in a "Hendrix" manner. The bassist really shines on this track. "Downer" has found a way to pay tribute to their influence and make original music at the same time. They don't fall pray into sounding like a copycat band. If you feel nostalgic of the rock music of the 90's this is the band to check out. ~The Musical Junkie~
It is called "Downer" with quotations because every quote is open to interpretation, such is life.
DOORS: 8 PM / $12 ADVANCE / $15 DOOR / ALL AGES
Satomi Matsuzaki plays bass and sings, Greg Saunier plays drums, John Dieterich and Ed Rodriguez play guitars.
But what is Deerhoof really? Hell if we know.
Pitchfork went so far as to label Deerhoof as "the best band in the world.” The New York Times described them as “one of the most original rock bands to have come along in the last decade.”
From their humble beginnings as an obscure San Francisco noise act, they've become one of indie music's most influential bands with their ecstatic and unruly take on pop.
Tele Novella is a fresh strain of sugar-crash dream-psych popsicle punch out of Austin, TX with members of Agent Ribbons and Voxtrot.
8 PM / ALL AGES / $10 ADVANCE / $12 DOOR
Breakup albums mark a turning point for a band: the moment when their sound completely changes and reaches a new level of emotional clarity. All that heartbreak and malaise condensed into any single record often makes for a defining piece of work, no matter the genre. The best records explore the nooks and crannies of sadness, learning it inside and out — celebrating it.
Ceremony’s fifth studio album, The L-Shaped Man, uses singer Ross Farrar’s recent breakup as a platform to explore loneliness and emotional weariness, but it is by no means a purely sad album. Rather than look inward, Farrar uses his experience to write about what it means to go through something heavy and come out the other side a different person.
In order to tell Farrar's story, Ceremony have almost completely stripped back the propulsive hardcore of their previous records, turning every angry outburst into simmering despair. “We’ve always tried to be minimalists in writing, even if it’s loud or fast or abrasive,” says lead guitarist Anthony Anzaldo. “It’s really intense when I hear it. Not in a way where you turn everything up to ten. Things are so bare, you’re holding this one note for so long and you don’t now where it’s going—to me, that’s intensity.” That intensity is apparent on “Exit Fears,” the first full song on the record. It meticulously pairs Justin Davis’ loping bassline, which pulls the track along, with Anzaldo's icy, minimal guitar work. It brings to mind some alternate version of Joy Division that hasn’t quite lost all hope. It gets close to exploding, but instead plays the shadows, never quite rising above a nervous simmer.
“A lot of the content has to do with loss, and specifically the loss of someone who you care deeply about,” Farrar says. “There is no way for you to go through something like this artistically and not have really strong emotions of loss and pain. There’s not really any way to hide that.” Farrar, for his part, is singing with a new kind of intensity, his baritone swooping and retreating from stressed angst to unsettling near-mutter as he sings, “You told your friends you were fine/ you thought you were fine too…” and later, “nothing is ever fine/ nothing ever feels right/ you have to tell yourself you tried.” It’s the first of many lyrically direct moments, and it should be hard to listen to, but Ceremony have so effortlessly nailed the sound of sadness that it feels great to live inside for awhile.
The sound is abetted by producer John Reis, who honed his sound in seminal bands like Rocket from the Crypt, Drive Like Jehu, and Hot Snakes. Much of the gravelly aggression he experimented with in those bands is present on The L-Shaped Man.
There's a story behind the title too. “I was speaking to our driver Stephen while on tour,” Farrar says. “We were talking about men in general and what shape they are…their body type. I said, ‘I guess men are in the shape of an L. The torso is straight. Vertical. And then you have the little feet at the end.’ There’s this painter named Leslie Lerner who was living in San Francisco in the ‘70s and ‘80s and made these beautiful paintings. He died on my 21st birthday. A lot of the record is about the similarities in our ideas. In what we’re trying to make. Things that have to do with love and losing love.”
8 PM / $7 ADVANCE / $10 DOOR / ALL AGES
Not many people can take something as devastating and tumultuous as a breakup and turn it into an album thick with joyous beats, infectious melodies and lyrics that spin disappointment and desolation into revelatory moments, but Ruby The RabbitFoot is not someone who sees things in simple black and white. On her third album, Divorce Party, she creates a vivid world that stretches far beyond just the songs – from videos that straddle the line of performance and art, to her fearless use of fashion, to the music itself, which serves as the thrilling, creative center to her unique universe. Produced by Andy LeMaster (Bright Eyes, Azure Ray), Divorce Party is celebration of life after loss, and the creative renewal that comes from finding light amongst the darkness.
"I want this to be a soundtrack for anyone going through a transition," says Ruby – though this album was written after a particular romantic one, she's not the kind of artist who stays stagnant, anyhow. For this record, she immersed herself deeply into pop music and hip-hop, listening constantly to everything from Beyoncé to Taylor Swift and Fiona Apple. "Having your heart broken is something that humans all experience," she ads. "It's how you learn, and how you grow.”
Beginning with "Beach Flowers," the first song she wrote for the LP and which also kicks of the album, Divorce Party is thick with unusual percussion, shimmering synth licks and ethereal orchestration courtesy of a more experimental approach to instrumentals. "I built you up into a castle in my brain," Ruby sings in her crystalline vocals, "and though it's made of sand, I like making plans just the same." For the Georgia-born artist, the idea of a "beach flower" came to represent how some experiences are as lovely as they are ephemeral – but that doesn't make them any less worthy of enjoyment. "A beach flower is something beautiful and temporary," she explains. "You wouldn't plant all your flowers on the beach unless you wanted the ocean to gobble them up."
The process of creating Divorce Party took nearly two years from start to finish – after 2014's New As Dew, she embarked on a artistic journey that took her everywhere from Georgia to California, where she met collaborator Natalie Neal, who became an instrumental partner in expressing her vision. Neal, a renowned avant-garde director and photographer who has screened her work at Sundance Film Festival, made the ideal match for Ruby. Together, they have been developing the visual palate for Divorce Party, including its stunning first video for "Beach Flowers."
Ruby’s creative expression knows no bounds and her vibrant personality and unique style have led to a host of exciting collaborations as musicians, apparel brands and various creatives have all sought her out to collaborate. One of Urban Outfitter's "Five To Watch In Athens" and hand-picked by Japanese magazine Nero, for a photo spread, Ruby delights in flirting with the fashion world and is just as creative with her image as she is with her music. Ruby made her acting debut in 2014 as Macklemore's love interest in the highly popular video for Fences' single "Arrows," featuring Macklemore and Ryan Lewis. To create Divorce Party, Ruby took the songs down to Athens, Georgia with LeMaster, working with an innovative goal in mind and a new, playful approach to composition. "I wanted more of a pop-sounding record," she says. "I'm a songwriter first and foremost, and I think in the past it's been my nature to pick up the guitar. But in my free time, I love pop music and rap music and R&B. So I had a heavier hand in the style I wanted this time. I learned how to make beats, and learned so much from working with Andy. He has the same love of pop music, and is fearless."
That love is clear in songs like "Faucet Love" and "Ancil," which both manage to be stirring and addictive, melding the stickiness of a pop record with experimentation – via unexpected horns or skittish rhythm - that could only be tackled by someone who knows no real boundaries. And then there are also moments like "Wish," with a slow-burned eighties vibe, that puts on full display the complexities within her vocal range. On “I Hate You” Ruby marries beats and an upbeat melody with some deeply cutting lyrics: “If I ever see your name in lights I think I'll melon ball my eyes out/ Mail them to you overnight with a note that says/"Surprise! Remember when you used to swim for miles and miles in these baby blues?/I wish you would have drowned, cause I hate you/Oh I do.” "That breakup was challenging, but I'm good for it," she says. "I learned so much about love, and I am writing and singing better than I ever have. So I'd like to thank my ex.” “Even though there's this connotation of disruption and heartbreak, divorce parties have a celebratory energy. Every person that we love teaches us, so when it's time to part ways I think it's beautiful to appreciate everything we've gained from the experience. I wrote these songs in a period of separation from a love. I want to release them into the world as a celebration of all that I learned during that time. It's my Divorce Party!”
DOORS: 8 PM / $12 ADVANCE / $15 DAY OF
In the late 80s, memorable group TYRUS were spreading death & evil to live venues around Australia. Led by PETER HOBBS, TYRUS quickly became a household name & a leader in Demonic Metal Direction. The band is one of the first Australian groups to perform European style Thrash Metal.
With the impressive writing skills of PETER HOBBS, the Australian Metal Scene came to light led by tunes like Marie Antoinette & Chainsaw Massacre amongst others of heavy-handed metal. The name of TYRUS... soon changed into the SLAYER-inspired "ANGEL OF DEATH" which was lengthened soon after to become the now classic name HOBBS' ANGEL OF DEATH.
HOBBS teamed up with some of the best musicians in town, who then went to Melbourne's Doug Saunders Studios and recorded their first 6-track demo simply titled "ANGEL OF DEATH". This demo was produced at extremely low costs, within only a few short hours & with sustained supreme quality. This demo achieved sales of over 1200 copies in a very short space of time and attracted the attention of international record labels. With many new compositions complete, a new demo superseded the first effort and immediately secured a record deal with SPV/Steamhammer.
HOBBS' ANGEL OF DEATH left for Berlin to HARRIS JOHNS (famous producer for VOIVOD, KREATOR, HELLOWEEN a.o.) to record their self-titled album whilst the cover-art was painted by SEBASTIAN KRUGER (who produced the covers for bands like TANKARD, DESTRUCTION and numerous other super groups).
The band released two studio albums, Hobb's Angel of Death (1988) and Inheritance (1995).
Reformed in 2002, the band releases a compilation album, Hobbs' Satan's Crusade (2003 – which are the 2 re-mastered demo’s "Virgin Metal Invasion from Down Under" & "Angel of Death"). The band played a European tour including an appearance at Wacken Open Air, and shows with German thrash group Destruction and black metallers Mayhem.
The band is back, plays numerous live shows in Australia and went on a European club- and festival tour in 2012.
The band was in European in the Summer of 2013 and in Christmas for the Blaspheme Killing for Christmas tour.
Now the world tour is ready for start, from june 2014 to november with a new lineup
and finally the band is ready for recorder the new album in july 2014.
HOBBS' ANGEL OF DEATH remains one of the most important metal phenomenon from the Oz metal scene and is one of the most influential Australian metal artist the world has ever heard.
8 pm / $18 / all ages
Near the end of Huckleberry Finn¸ Huck announces, “But I reckon I got to light out for the Territory ahead of the rest, because Aunt Sally she's going to adopt me and sivilize me, and I can't stand it. I been there before.” Through Huck’s longing for the Territory ahead, Mark Twain transformed the ending of a story into an invitation that has come to define the American imagination. In his words we come to the conclusion of a story as one comes to the top of a mountain—to behold where we’ve been, and where we’ve yet to go.
The Show Ponies offer such vistas of the imagination on their newest EP, Run for Your Life (2014). Channeling the momentum of a few momentous years, founding ponies Andi Carder (lead vocals, banjo) and Clayton Chaney (lead vocals, bass) weave story and song with the same charm, pathos, and boldness that brought them from Texas and Arkansas to California where the Show Ponies were founded in 2011. Like so many iconic American voices over the generations, Carder grew up singing in church and performing in musical theater—musical heritage often apparent in performing what she likes to call “folk sassgrass.” Chaney’s musical upbringing compliments Carder’s sensibilities in drawing on the deep wells of country and folk. The themes of his songwriting echo his penchant for wanderlust: “Being on the road is the most exciting thing for me. I love waking up in a different place every morning.”
Along the way, they were joined by the three other ponies whose musical pedigrees are as various as the Mississippi tributaries. First to join the duo was guitarist Jason Harris, who also produced the Ponies first album Here We Are! (2012). While many modern guitarists regard themselves as emancipated from the “strictures” of classical music, Harris credits Queen for kindling his interest in Bach and Mozart. He couldn’t have predicted what came next: “I went to school for music composition and had planned on going the academic route until I heard a bluegrass guitar solo a week after I graduated and decided I didn't want to do anything else.” When he heard Carder and Chaney perform together, he became enamored of their duet Americana sound and traded his electric guitars and Brian May solos for a Martin acoustic and flatpicking lessons with Michael Daves.
Next to join the stable was Phil Glenn—a classically trained violin player whose love of folk, Celtic, and roots music eventually got the better of him and led to Mark O’Connor’s annual String Camp where he won the Daniel Pearl Memorial Violin Award. Like his bandmates, Phil’s neo-folk pioneering with the Show Ponies represents something of a departure from his earlier influences. “Folk music was something I came to pretty late,” he explains, “but it turns out I sound better and have a lot more fun playing folk music than I ever did playing classical.”
Completing the roundup, Kevin Brown joined the Show Ponies after the release of their first album with his newly minted Masters Degree in Percussion, infusing bluegrass and folk melodies with a lifetime of dedication to the rhythms of jazz, rock, and hip-hop. Steeped in the influences of Led Zeppelin and The Mars Volta, Brown delighted in with the opportunity to explore music once foreign to him. “The most exciting part of playing with the Show Ponies is combining each member’s influences into one cohesive musical package,” he says. “It doesn’t sound like anything else.”
In addition to getting radio play, the Show Ponies have collaborated with artists like Noam Pikelny (Punch Brothers) on their recent EP, Run for Your Life, and opened for Rascal Flatts at the 2014 Country Explosion in Utah. They have further forged their success with constant touring and critically acclaimed records while earning a devoted fan base. All of their studio work has been entirely crowdfunded on the strength of social media and word of mouth in the midst of zig-zagging up and down the Pacific West with forays back to Carder’s native Texas.
For the Show Ponies, the West is still wild. Their songs endeavor to preserve its wonder and our place in it. Steeped in deep tradition, the Show Ponies achieve that rare magic of transforming what is familiar into the precious and delightful. Their melodies and poetry remind us not only of the possibility of favorite artists or even favorite songs, but of favorite moments in a song. Here we find such moments, where a song-sweetened story helps discover to us the courage to light out for the territory ahead.
“There’s a lot of uncertainty in life. There’s a lot that would suggest I don’t have it together. But in that, there’s a lot of adventure and risk that some secure people don’t get to experience,” Chaney explains. “Our music expresses the hope of moving forward towards a destination that you believe exists even while the evidence may only hint at it.”
Written by Phillip and Janelle Aijian
SIANVAR, MY IRON LUNG, SAVE US FROM THE ARCHON, CIRMSON ARROW, MANNEQUIN MISHAP, VOX VOCIS, SO SOON THE TRUTH
DYLAN CAMERON (Holodeck Records), ACID JEEP, PFAFFENBERG, FUNERAL PARLOR, NEIL EBBFLO (Live Set + Visuals)
8 PM / ALL AGES / $7 ADVANCE / $10 DAY OF
Producer and Austin native Dylan Cameron has established a dedicated following thanks in part to the re-emergence of live electronic shows and underground dance culture in his hometown. Interweaving a spectrum of subgenres, Cameron seamlessly moves from ambient 2-step rhythms to screwed four on the floor and house beats with the finesse of a seasoned veteran. Dylan’s background in studio recording allows for a precise ear and an attention to detail while performing his banging, hardware-based live sets. Working as the long-time in-house producer and engineer for Holodeck Records, his contribution to Austin's electronic and experimental scene is both far reaching and highly regarded.
DOORS: 7:00 PM / ALL AGES / $12 ADVANCE / $15 DAY OF
Dee-1 honed his lyrical skills while balancing two careers, teaching middle school kids by day and performing at rap shows at night. But the New Orleans native's love for hip-hop was born in his college dorm room during a year of turmoil filled with grief and heartbreak while attending Louisiana State University.
In 2005, Dee-1's world was first rocked when his best friend was fatally shot in a car robbery following a flag football game. He experienced heartache after a five-year relationship abruptly ended with his high school sweetheart. He watched his hometown of New Orleans being ravished by the catastrophic storms of Hurricane Katrina. Then, his life flashed before his eyes when he was held up at gunpoint. In all, he saw the series of dramatic events as wake-up calls, ultimately convincing him to rededicate his life to God.
After being cut from the LSU basketball team as a walk-on, Dee-1 whose real name is David Augustine Jr. felt the need to find another hobby to fill the void of his hoop dreams. So he started to write about his tumultuous times, hoping to find therapy through writing rhymes about his collective experiences. But the hobby soon turned into something serious after Dee-1 took the stage at a talent show on LSU's campus at the popular "Showtime at the Cotillion" where he performed his New Orleans-themed song "Rep da Big Easy" and the socially conscious "Let Me be Your Voice." He didn't win the competition, but those two songs earned him a standing ovation from everyone in attendance, which helped a normally shy kid get over the nerve-wracking mental hurdle of performing in front of large crowds.
Once Dee-1 graduated from LSU in 2008, he decided to teach at a middle school in Baton Rouge as a fallback plan if rapping didn't work out. He knew his blue-collar parents, who taught him to take education seriously, would expect no less. As a teacher, he wanted to be viewed as role model for students, hoping to keep his rap identity as secret. But it didn't last long. While in class one day, a student of his asked whether he heard of Dee-1. He initially denied that he had, but reversed his decision and told the entire classroom the truth.
"I didn't really want to admit to it," said Dee-1, who spent two years as a teacher before pursuing his rap career full-time. "I didn't know how everyone was going to act toward me being a rapper. But I got a lot of positive responses from other teachers, asking if they could have an autograph. I felt like Joe Clark (the character from the 1989 film "Lean on Me"). Word spread fast once the kids in my classroom knew about me being a rapper... That's when everything took off for me."
Dee-1 is a true talent with a unique ability to deliver thought-provoking messages about overcoming life's obstacles. He's not afraid to rap about his past mistakes, supplying inspirational curse-free rhymes filled with Christian values that are backed by well-produced beats. He often preaches this motto: Be Real, Be Righteous, Be Relevant. It stems from his "Mission Vision," hoping to relay the message of "keeping God in your life, using your special talents and creating a better existence for yourself and loved ones."
His motto certainly came into effect after he released his outspoken music video, "Jay, 50, & Weezy" in 2010. The breakout single called out three of hip-hop's biggest names: Jay Z, 50 Cent and Lil Wayne, questioning their subject matter in songs. The video received positive reviews after being aired on MTV Jams and received close to a million views on YouTube. He went on to win Artist of the Year at the NOLA Underground Hip-Hop Awards during the same year, earning acceptance from politicians, college professors and teens.
Dee-1 continued to gain success and recognition from many in the music industry, touring with the likes of Macklemore, Lupe Fiasco and Lecrae. His online buzz sparked interest from various record labels including New Orleans based Cash Money Records, however Dee-1 opted to sign with RCA Inspiration in 2013.
Last year, he took part in the coveted BET Hip-Hop Awards Cypher. His verse on the cypher took social media by storm and opened the doors to additional opportunities at the network. Dee-1 headlined a BET Music Matters Showcase and was selected to perform on BET's 106 & PARK's popular segment, The Backroom. Recently, he was tapped to host the red carpet for the 2015 BET Honors—where he interviewed honorees and celebrity guests like Usher, Dr. Johnetta Betsch Cole, Anthony Anderson, Ben Vereen and more.
"I'm the rapper that wants kids to walk away from my music motivated to finish high school. Or people to say that a Dee-1 song helped me when I was contemplating suicide. I just want to play a positive role."
"3's Up" will be released on February 17, 2015.
DOORS: 8 PM / $10 ADVANCE / $12 DAY OF / ALL AGES
Avi Buffalo is a guitarist and songwriter originally from Long Beach, California. He was signed to Sub Pop Records at the age of 18 and has released two critically acclaimed full-length albums with them. Drawing influences from many different musical tastes and feelings spanning through folk, jazz, rock and beyond, his songs and musicianship blend together in a beautiful way both on record and live.
Comprised of Billy Yost (vocals, guitar), Eamonn Donnelly (bass), Jonny Ifergan (guitar), and Ryan Farnham (drums), Chicago's The Kickback is a result of Billy's emigration to The Windy City from rural South Dakota in late 2009 and the subsequent Craigslist pleas seeking out band members. The group's music (with songs exploring journalists banding together in the early 1980s to battle the decline of print journalism through sheer ultra-violence to the emasculation of trying to protect the woman you love in a city you don't understand in a body you know is eventually going in the ground) have earned the group wide praise from Rolling Stone, Sound Opinions contributor Jim Derogatis, You Ain't No Picasso, the Chicago Tribune, and many more.
After a steady three years of touring and supporting acts like White Rabbits, Smith Westerns, Here We Go Magic, Telekinesis, Tokyo Police Club, The Districts, and Manic Street Preachers, the band have released their debut album, Sorry All Over The Place, produced by Spoon's Jim Eno, drawing praise from The Huffington Post, Consequence of Sound, and more. The Kickback are now back on the road in 2016, sharing their stellar and explosive performance across the country.
To document their travels, the band began recording their podcast, DISASTOUR, in December of 2010. With over 100 episodes, the show attempts to address the far-from-glamorized lives of a band on the road and the arrested development indicative of the lives they have chosen.
$8 / 8 PM / ALL AGES
DOORS: 7 PM / $12 ADVANCE / $14 DOOR / ALL AGES
The four piece metalcore band Kublai Khan was founded in summer 2009. In this scene, bogged down with mindless music and meaningless lyrics, the band is making its mark across North America. Combining traditional metalcore music roots with the new sounds of underground hardcore, Kublai Khan is working for something new. With hopes of continuing to play music every day to all open ears.
Being entirely DIY since the beginning, Kublai Khan released an 8 song EP titled Youth War in January 2011. Through numerous regional and national tours reaching from Washington state to Florida, the band has sold over 1200 copies of the self-released album.
DOORS: 6:30, SHOW: 7:00 / $10 ADVANCE / $13 DAY OF
Lord Dying come from Portland, Oregon, a place over abundant with purveyors of the heavy riff. A region where the inhabitants are plagued with nerve and joint damage due to lack of sunlight. In a time where everyone is trying to out-sludge or out-doom each other Lord Dying gives something less than a fuck. They are a metal band with members of Black Elk , Portals, Le Force, Dark Castle, and Monarch. Who in their short, one years time as a band have shared the stage with Unsane, Red Fang, Yob, Valient Thorr, and others locally. They have toured in the US with Danava, Lecherous Gaze, Black Cobra, Gaza, Witch Mountain, Red Fang, Black Tusk, Down, and Ghost. This lead to their signing with Relapse Records where they put out their debut album "Summon the Faithless" in the Summer of '13. Upon its release the boys hit the road in the US for 5 weeks with label mates Howl. This was quickly followed by another 5 week tour of the US with Valient Thorr and Ramming Speed. After a successful headlining tour down to Austin where they took part in Phil Anselmo's Housecore Horror Film Festival the guys layed low for a couple months to write a follow up to 'Summon. In January '14 Lord Dying went to Europe for the first time as support for Red Fang and The Shrine. They followed this with a successful headlining tour of the US in February back to back with another European tour during March/April with Red Fang and The Shrine only to end with an appearance at the highly coveted Roadburn Festival in Tilburg NL. Upon their return to the US longtime drummer Jon Reid quit the band and they recruited Rob Shaffer of Dark Castle/Monarch who was happy to do it. Two weeks later the entered the studio to record their sophomore album with Joel Grind of Toxic Holocaust at the helm, that will be released shortly after. Lord Dying are here to pummel with heavy riffs and promote simpler things like Cold brew-Hot Shower.
8 PM / $12 ADVANCE / $13 DAY OF BOX OFFICE
THY ANTICHRIST was founded in august 1998 in Medellin-Antioquia. At the beginning it was an Andres Vargas solo project, but then entered Ruben Restrepo, a friend, guitarist and composer whom recorded the fisrt songs between 1999 -2000, songs which stayed unpublished till 2005.
Initially, the project was called " El Anticristo", based upon the Friedrich Nietzche book "The Antichrist", but for commercial and international reasons the name was changed for : THY ANTICHRIST".
8:00 PM / ALL AGES / $10 ADVANCE / $12 DOOR
Big Thief's music, rooted in the songs of Adrianne Lenker, paints in vivid tones "the process of harnessing pain, loss, and love, while simultaneously letting go, looking into your own eyes through someone else's, and being okay with the inevitability of death," says Adrianne.
Masterpiece, Big Thief's debut album (Saddle Creek), is filled with characters and visceral narratives, songs that pivot in the space of a few words. Adrianne's voice and guitar playing speak of rich emotional territory with grace and insight. In her words, the record tracks "the masterpiece of existence, which is always folding into itself, people attempting to connect, to both shake themselves awake and to shake off the numbness of certain points in their life. The interpretations might be impressionistic or surrealistic, but they're grounded in simple things.
Adrianne met her longtime musical partner, guitarist and singer, Buck Meek, in Brooklyn a few years ago, and they quickly formed a creative bond tempered by the experience of traveling and performing for months on end in old dive bars, yards, barns, and basements together. They recorded a pair of duo albums (A-Sides and B-Sides), and Adrianne showcased her songs on a solo album, Hours Were The Birds.
Now, as a full rock and roll band, with Buck on guitar, Max Oleartchik on bass, and James Krivchenia on drums, they bring a steady wildness, giving the songs an even deeper layer of nostalgia. "These guys feel like a pack of wolves at my back," says Adrianne, "they make the songs howl and bark with a fierce tenderness that gives me courage."
After spending last July in an old house that they turned into a studio on Lake Champlain with producer Andrew Sarlo, the resulting collection soars on what Big Thief fan Sharon Van Etten calls "… a real journey, with intelligent stories and twist-and-turn melodies."
Doors 7, show 8, $15 ADVANCE, $20 DAY OF, $22 BOX OFFICE / ALL AGES
A defining memory to date might be their appearance at the 2008 Newport Folk Festival. A summer afternoon thunderstorm rolled in and began to douse the land. While it electrified the atmosphere, the rain had the adverse effect of cutting power to The Felice Brother's stage. After many assurances that power would be restored, they were informed it was a lost cause, and that they'd have to make due acoustic. Without hesitation the band jumped down into the crowd and began playing acoustic while stomping around barefoot in the mud that had formed on account of the ongoing downpour. What might have led some to call it a wash and leave was turned into another epic show that drew upon the familiarity and casual ease of the backyard bbq sessions that took place at their dad's porch on Sunday afternoons during their first days as a group. The audience that day, like others before and after, left utterly converted.
Titled with a phrase drawn from the pages of Mark Twain, Yonder Is The Clock is a nod to all of the American ghosts that lend their narrative and characters to the Felice Brothers' forthcoming April 7th release. Their studio was built from the remains of an abandoned chicken coop and it was there over the summer and fall of 2008 that they wrote and recorded this new collection of songs. Presented by Team Love Records, Yonder Is The Clock is teaming with tales of love, death, betrayal, baseball, train stations, phantoms, pandemics, jail cells, rolling rivers and frozen winter nights. This is music that hasn't lost sight of the history of the land from which it came, and that quality alone makes The Felice Brothers the next great American band.
6:30 PM / ALL AGES / $13 ADVANCE / $15
"We don't want people to just listen to our music on a surface level. We want people to dive into the songs and dissect them and to really feel them," states Brent Walsh, vocalist for the San Francisco Bay Area band known as I the Mighty.
I the Mighty will release Karma Never Sleeps - their new EP and Equal Vision Records debut – on March 27, 2012. "Our new material is pretty different from our previous releases. Karma Never Sleeps is a lot heavier, a bit darker, and has a moodier ambient," explains bassist Chris Hinkley.
The ambitious and captivating EP, which was produced by Erik Ron [Panic! At The Disco, VersaEmerge, Foxy Shazam], features six sweeping tracks filled with soaring vocals, catchy hooks, charging guitars and explosive instrumentations that make for a mesmerizing whirlwind of cinematic soundscapes.
Karma Never Sleeps envelops the listener into dramatic, dreamlike imagery of tales of political corruption, desperation and despair, and even words of cautionary counseling for the young and reckless. Lyrically infused with powerful and poignant storylines, some tracks take inspiration directly from Walsh's life experiences, while others are written as if they were dreams illuminated onto a screen through a stream of imagination. Seamlessly woven throughout each track is the ubiquitous theme of Karma.
Since their 2007 inception, I the Mighty has melded together effortlessly and has already compiled an impressive following of support on the west coast, seeing regular rotation on local modern rock station Live 105 and sharing stages with the likes of Hawthorne Heights, There For Tomorrow, Deftones and more.
"In a sense, heading into the recording together was really a discovery of what our band would become," explains guitarist Ian Pedigo. "The process was very organic. The first three songs actually stemmed from jam sessions we had while practicing our old sets for live shows."
I the Mighty has undoubtedly achieved their goal of creating bright, bold and memorable music on the new EP but certainly don't plan on slowing down anytime soon. Blake Dahlinger (drums) expounds, "At this point, there isn't one singular goal that would satisfy what we aim to do. We want to tour the world. We want to continuously put out records that will hopefully mean a lot to us as well as many people. We want to put our own stamp on the music scene by developing our own sound. We want to continuously set and reach goals throughout our career so that we can better ourselves as musicians and people."
Walsh concludes, "And the thing we hope for most…is that our music means something to someone, the way that other artists have meant so much to us in our lives."
DOORS: 8 PM / $7 ADVANCE $10 DAY OF / ALL AGES
“Fronted by electric washboard-toting powerhouse Lori Paradis, Ontario band Sulfur City have unleashed a speaker-shredding blues-rock tornado with Talking Loud, which sits beautifully with labelmates the Black Keys but also harbours an intoxicating, multi-hued diversity.” - CLASSIC ROCK MAGAZINE
“On Sulfur City ‘s forthcoming studio album Talking Loud, the band can be found firing on all cylinders with their bluesy psychedelic rock that seems to have been transported straight from the ’60s and ’70s. Between the loose, funky organ, mind-bending guitars and drumming, and of course the ferocious vocal power of the wildly charismatic Lori Paradis, Sulfur City are cranking out music to dance and get weird to.” - GLIDE MAGAZINE
[8.5/10 stars] “Strap yourselves in, brother, cos this is quite a trip…. a superb record” - MAXIMUM VOLUME MUSIC
“… the ideal antidote for anyone clamoring for pure, hi-test rock and roll.” – FYI MUSIC NEWS
“This is a serious rock and roll record, something that’s vanishing faster than bees these days.” - POPMATTERS
“… a sweaty, no-frills amalgam of Canadian soul, stormy, psych-blasted blues rock, and Bayou-blasted boogie rock.” – ALLMUSIC
“The tough frontwoman is not a new rock 'n' roll idea, but Ontario-based Sulfur City's Lori Paradis makes it work on a hardscrabble sophomore long-player that would pay its way at the roughest bars in town.” - MILWAUKEE JOURNAL SENTINEL
The name Muddy Belle screams Texas Blues, but don't stop there, elements of Soul and Rock n' Roll smoothed over with hints of Jazz and ''H-town attitude . What's the difference between Texas Blues and all the rest, Chicago, Mississippi, Alabama, etc..? "It's Texas people, there is more pride in this one country, oops I mean state than all the countries in the world combined." Muddy Belle calls Houston home, a city rich in music history and cultural diversity though many overlook it for one reason or another... Houston has seen an explosion of art and music in the last five years and is currently the fastest growing population in the United States. This band has been an integral part of that Houston music scene since 2012.
8 PM / $17 ADVANCE / $20 DAY OF / ALL AGES
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.
DOORS: 8 PM / ALL AGES / $10 ADVANCE / $12 DAY OF
Merchandise is a band fighting against the easy categorization reserved for abbreviated biographies. The project is equal parts punk misanthropy, maudlin balladeering, fine art, low humor, classical study, psychedelic spacecasing, mad science and pop genius.
Formed as a trio in Tampa, Florida in 2008, the band has undergone ceaseless revision and reinvention. After putting out numerous records and tapes on independent punk labels and touring the underground, the band truly hit its stride with the release of their second LP "Children of Desire" in April 2012. In addition to a very warm reception from fans, the record received praise from the likes of Pitchfork, NME, Spin, and numerous other critics and journals.
2013 saw the band releasing a new 12″ on Iowa City's excellent Night People label and touring extensively throughout America and Europe.
In 2014, Merchandise released their album 'After The End'.
9 PM / $10 CASH / ALL AGES
$16 ADVANCE / $18 DAY OF / ALL AGES / 8 PM
King Khan and the Shrines have been stunning audiences for nearly two decades with their unique mix of pure old school R&B mixed with a heavy dose of pure psychedelic majesty and unhinged, wild, frantic rock n' roll. Imagine, if you will, a screamin' Bollywood Wilson Pickett hanging out in Andy Warhol's factory dropping LSD in his eyes and wearing a shiny golden cape that wraps around the world, or simply picture the love child of Anubis and Kali drinking milk straight from Ganesha's trunk. King Khan & The Shrines is more than just psychedelic soul band they are a legendary cult musical phenomenon with more than 15 years of international touring, four studio records and a fan base of fervent punk rockers, soul music lovers, free jazz tea heads and garage rock officianados.
King Khan, the spiritual guru and front man, cobbled together a fierce line-up of musicians in between reading his own self-made Tarot cards (WHO DOES THAT?) and raising a family. What he first created in 1999 is still one of the most entertaining groups the world has seen and heard since the days of Ike & Tina. He isn't known as the "Indian James Brown" for nothing! The line-up of the Shrines includes Chicago-born, Ron Streeter (veteran percussionist for Curtis Mayfield, Stevie Wonder), a horn section consisting of trumpeter Simon Wojan (from Cloudland Canyon), tenor sax man Ben Ra (Germany's John Coltrane), and french baritone saxophonist Big Fred Brissaud. The rhythm section of the Sensational Shrines has been called a German/French version of the Freak Brothers - Till "Mr. Speedfinger" Timm on guitar, organist Fredovitch from Bordeaux, Big Baby Jeans Riddiman on bass and the most stoic drummer in show business, John Boy Adonis.
Their first album Three Hairs & You're Mine was produced by Liam Watson, recorded in the legendary Toe Rag Studios in London and released in 2002. A second full-length, Mr. Supernatural, followed in 2004. King Khan & The Shrines soon became an all-star international movement. Hundreds of gigs followed all across Europe, Australia and North America. They headlined Toronto's NXNE festival 2006 playing three nights in a row and had Dave Davies, trombone player of the Sun Ra Arkestra join their brass section.
In 2007, King Khan made the soundtrack and film score for "Schwarze Schafe", a German film directed by Oliver Rihs. King Khan then released What Is?!, receiving critical acclaim from all over the world. It landed at #33 on Pitchfork's Top Albums of 2007, while their track "Welfare Bread" landed at #66 on Pitchfork's Top 100 Songs of 2007.
Their greatest hits, aptly titled "The Supreme Genius of King Khan & The Shrines"' came out in 2008 on Vice Records and for the first time their music was widely available in the U.S.
King Khan & The Shrines have played at several notable festivals including ATP, Coachella, Sasquatch, Pitchfork, South By Southwest and Sudoste. King Khan was even invited to play guitar for Wu Tang Clan's GZA, where he received his wu-name from him, "Lord Khan". King Khan was invited by Lou Reed and Laurie Anderson to perform with his other project with Mark Sultan in the "King Khan & BBQ Show" at the Sydney Opera House as a part of the Vivid festival in 2010.
The music of King Khan and the Shrines has been heard in many popular American TV programs (NBC's Chuck, HBO's Entourage, HBO's Eastbound & Down which was supervised by Wayne Kramer of the MC5). Khan also recently provided an original film score for Miron Zownir's film "Back To Nothing" starring Meret Becker, Birol Unel and Milton Welsh.
In 2014 King Khan was asked by John B. Smith (founding member and leader of The Invaders) to provide the soundtrack for a documentary film about the Memphis black power group. The Invaders soundtrack will be released in four singles; two on Khan's own label imprint called "Khannibalism", one on Merge Records and one featuring the artwork of Shepard Fairley on Obey Records all of which will be available in the summer of 2016.
During the time Khan was working on this film soundtrack he had a vision to create a deck of tarot cards that celebrates black power. He recruited Belfast artist Michael Eaton (Game of Thrones) and together they created the Black Power Tarot deck, under the supervision of surrealistic film maker Alejandro Jodorowsky thus fulfilling Khan's long time dream of becoming one of Jodo's "spiritual warriors".
In 2015 King Khan co-produced an album along side Hal Willner and James Grauerholz of William S. Burroughs reading "the unspeakable parts" of his infamous book "Naked Lunch". Khan and Bill Frisell among other Naked City musicians provided the music to accompany the twenty year old recitations. The album entitled "Let Me Hang You" will be released on Khannibalism later this year.
King Khan and the Shrines are currently on tour in Europe in March and will touring all over the United States this summer in June where they will headline along side The Mummies and Real Kids at the next Burger Boogaloo hosted by John Waters and Tracy Lords.
$10 ADVANCE / $12 DOOR / ALL AGES
Jay Som is the moniker of San Francisco-based musician Melina Duterte who makes a unique style of alternative pop music. In late November 2015 Jay Som released a collection of finished & unfinished songs titled "Turn Into" which has been described as peaceful and energetic.
DOORS: 8 PM / ADVANCE TICKETS $12 / ALL AGES
In late 1977, Special Duties was founded by school friends Steve Norris (Aka Steve Duty) Steve Green (Aka Steve Arrogant) and Nigel Baker under the name X-pelled.
The three were punks who attended the same school, but the idea of forming their own band came when they saw The Adverts in Colchester. The fact that the three schoolboys couldn't play and didn't own any instruments didn't discourage them, as they realised that was not stopping hundreds of bands up and down the country from forming punk groups.
Initially the boys decided to put Arrogant on vocals, Duty on guitar and Baker on bass and penned two songs "Nothing Out Of Us" and "No Money, No Scandals" which were soon dropped from the set. In the early days the line up changed a few times and saw Baker on Vocals, Arrogant on Guitar and local punks Carl and Paddy given a try out on Guitar and Bass respectively. Sometime later, Stuart Bray joins the band on drums.
The name of the band was changed from X-pelled to Special Duties when a box of around 200 badges with "Special Duties" printed on them came into their possession after they had allegedly been stolen from a school in Colchester. The band decided they could save money on getting badges made by simply changing their name and so Special Duties was born.
Special Duties have also toured in the US with a tour of the East Coast in 1998 supported by some of the best Punk Bands in the US namely The Casualties, Violent Society, The Virus, The Unseen and Banner of Hope. The finest moment of the tour was getting to play at one of the homes of Punk, CBGB's. A sell out gig with the doors being left open so the punks on the street who couldn't get in at least got to see and hear the band! The show was recorded for the ‘Live at CBGB's' album. The great reaction the band received in the US resulted in the boys touring the West Coast in 2001 supported by Violent Society, Oppressed Logic and some of California's best Punk Bands.
Since reforming in 1995, six singles have been released plus a further four albums, '77 in 97', ‘The Punk Singles Collection', ‘Live at CBGB's and Get Back Records from Italy released Distorted Truth.
Doors: 8 pm / ALL AGES / $15 Advance / $17 Day of Show
Anarchy in the U.K., indeed -- such was the ultimate goal for the fiercely political British punk band Conflict, a group fueled by its hatred of Thatcher's England, the media, the military, and the general status quo of late 20th century life. Conflict played its first gig in 1981 led by vocalist Colin Jerwood, who would remain one of the group's few constants throughout its fluid existence. Much more permanent was the group's political agenda, which was already firmly ensconced by the release of their 1983 debut It's Time to See Who's Who; songs took on topics like Vietnam, nuclear arms, and vegetarianism. The animal liberation movement, which would remain one of Conflict's central concerns throughout their career, returned to the fore on the next year's Increase the Pressure, with its cover art's focus on the Save the Seals fight.
The band's increased political involvement, often in support of unpopular causes, led a number of their concerts to be broken up by the police; a 1987 appearance at the Brixton Academy even ended in widescale rioting (as documented on the live record Turning Rebellion Into Money, named after a Clash lyric). At about the same time, ex-Crass member Steve Ignorant joined Conflict as a joint vocalist. His tenure ended in 1989, the year the band released three different records: The Final Conflict, Against All Odds, and Standard Issue 82-87, a compilation of rare singles and album cuts. After four years of inactivity, Conflict released a single in 1993, followed later in the year by the album Conclusion. The record's title proved premature, however; by 1996, the group was back on tour, in support of a re-recorded, re-titled, and re-issued It's Time to See Who's Who Now. ~ Jason