Walter's Downtown

1120 Naylor Houston,TX 77002

ALEX WILEY, DOEMAN, KEMBE X, TIM WOODS
Sep
21
9:00 pm21:00

ALEX WILEY, DOEMAN, KEMBE X, TIM WOODS

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9 PM / ALL AGES / $15 ADVANCE / $20 DAY OF

"Fitting in with the indie, underground, and Action Bronson set while offering hooks that could hurt radio, Chicago rapper Alex Wiley launched his career during the 2013-14 season with a series of successful mix tapes. A long time hip hop fan, Wiley began rapping in 2011, then launched his career in 2012 when he dropped a verse on Kembe X’s “Don’t Quit”. Word spread fast that Wiley was a true talent, as a year later his debut mixtape, Club Wiley, landed with guest appearances from Chance The Rapper, Freddie Gibbs, Action Bronson, and other underground stars. Featuring the hit track “Vibration” the 2014 follow up mixtape “Village Party” brought it all back home with Chicago rappers Mick Jenkins and Kembe X as the only featured artists" - David Jeffries of Apple Music

THY ANTI CHRIST, UNCLEANSED, KHRINGE, SATURNATAS
Sep
24
8:00 pm20:00

THY ANTI CHRIST, UNCLEANSED, KHRINGE, SATURNATAS

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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Ruben Restrepo, a friend, guitarist and composer whom recorded the fisrt songs between 1999 -2000, songs which stayed unpublished till 2005.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".

STAGES OF DEATH - FIGHTING GAME TOURNAMENT, PRESENTED BY INSOMNIA: VIDEO GAME CULTURE
Sep
25
12:00 pm12:00

STAGES OF DEATH - FIGHTING GAME TOURNAMENT, PRESENTED BY INSOMNIA: VIDEO GAME CULTURE

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12 PM NOON TIL LATE!

Back again at Walter's Downtown // Deep End Records to present a bigger, better tournament experience. Competitors will take to the stage in four games:

Street Fighter V
The King of Fighters XIV
Guilty Gear Xrd - Revelator - 
Ultimate Marvel vs. Capcom 3

Entry for each game is $10. Prizes for each game will be divided 60%/25%/15% among the top three competitors. Total prize money depends upon event participation. 

We'll have Yaki Snack Attack out serving up the best food on wheels in H-Town, plus the bar will have drink specials, and the event will be streamed/recorded. Vendor and sponsor spots are available. Contact retail@insomniaVGC.com for further information. 

TICKETS:
Pre-booking online allows us to organize better, set better brackets and provide an all around better tournament experience for you! Plus SAVE $5.00 as venue fee rises to $15 on the day of the event. 

You can also pre-order the event t-shirt designed by @diablomacabre available in advance on eventbrite for only $15 (t-shirt design posted in the comments/discussion below). A limited number of shirts will be available on the day of for $20.

Spectator pass- $5 at the door // no casuals
$10 at the door // includes casual play

WHITE MYSTERY, TALK SICK BRATS, THE LORIES, BLACK LODGE
Sep
28
8:00 pm20:00

WHITE MYSTERY, TALK SICK BRATS, THE LORIES, BLACK LODGE

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

White Mystery was born on April 20, 2008, when Miss Alex White & and her beloved brother Francis Scott Key White spotted a shiny Airheads candy wrapper on the ground. That silvery strip of reflective paper sparked an onslaught of rock genius fortified with Chicago DIY determination. The rest is White Mystery history; like clockwork, they have released new music every year on that same date.

BIG THIEF, DOLLIE BARNES, ALEX RIDDLE
Sep
29
8:00 pm20:00

BIG THIEF, DOLLIE BARNES, ALEX RIDDLE

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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."

THE FELICE BROTHERS
Oct
4
7:00 pm19:00

THE FELICE BROTHERS

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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.

I THE MIGHTY, DAYSHELL, ARTIFEX PEREO, PICTURESQUE
Oct
7
6:30 pm18:30

I THE MIGHTY, DAYSHELL, ARTIFEX PEREO, PICTURESQUE

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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."

TEXAS CHAINSAW MASSACRE FEST!
Oct
8
6:00 pm18:00

TEXAS CHAINSAW MASSACRE FEST!

Last Nightmare proudly presents: Texas Chainsaw Massacre Fest Militia from Austin Anialator from Corpus Christi Dark Reign from Houston Hod from San Antonio Uncleansed from Katy Panteon from Brownsville More T.B.A.

Last Nightmare proudly presents:
Texas Chainsaw Massacre Fest
Militia from Austin
Anialator from Corpus Christi
Dark Reign from Houston
Hod from San Antonio
Uncleansed from Katy
Panteon from Brownsville
More T.B.A.

THE GOOCH PALMS, CLEEN TEENS
Oct
14
8:00 pm20:00

THE GOOCH PALMS, CLEEN TEENS

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DOORS: 8 pm / $7 advance / $10 door / ALL AGES

Newcastle, Australia via Los Angeles punk sweethearts The Gooch Palms have firmly planted their feet in American soil and have played over 150 shows across the USA and Canada to packed rooms and rave reviews since arriving in March 2015. They are fast becoming known as one of the most entertaining live bands in America, something audiences downunder have known for years!  
Their debut album NOVO'S was released in 2013 on Australian label Anti Fade Records and has since been re-released on Burger Records in the USA and Surfin Ki Records in Europe.
Despite being extremely busy with touring in 2015 the duo still managed to squeeze in a recording session with producer Bill Skibbe (The Kills, Black Keys, Wild Belle, Protomartyr, Jacuzzi Boys) to work on their second album in Benton Harbour, MI. 
Keeping true to their DIY ethos, the pair will be releasing their second album Introverted Extroverts in mid 2016 on their own label Summer Camp Records and will continue the hard work with an extensive worldwide tour to follow.
The Gooch Palms are truly a unique, refreshing and hard working band that are creating a world of buzz which is whole-heartedly deserved. 

“Their sun kissed, surf-indebted garage punk is the ideal antidote to bleak times, with fuzzed-up thrills.” - NME

"The Gooch Palms Leroy Macqueen and Kat Friend are a total party band. They wear colorful, kitschy outfits and sing bubblegum-flavored garage rock songs... with absurdly catchy "wooo ooooh, waahhh AI YAH YAAAH" doo-wop melodies.” - Pitchfork

“The Gooch Palms have been carving out an impressive list of achievements… 2016 is shaping up to be yet another big year for the eccentric Aussie rockers.” - Rolling Stone

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

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

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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.

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

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

of Montreal, TEEN

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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.

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

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

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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.

BAIO
Nov
4
8:00 pm20:00

BAIO

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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.”

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.

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.

WEB_AGO_TourAdmat2016.jpeg
FALLCORE 16: NIGHT ONE
Dec
2
5:00 pm17:00

FALLCORE 16: NIGHT ONE

 

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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 16: NIGHT TWO
Dec
3
5:00 pm17:00

FALLCORE 16: NIGHT TWO

 

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

MERCHANDISE, GUN OUTFIT
Dec
16
8:00 pm20:00

MERCHANDISE, GUN OUTFIT

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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'.


DEEP END RECORDS ONE YEAR ANNIVERSARY PARTY!
Sep
18
12:00 pm12:00

DEEP END RECORDS ONE YEAR ANNIVERSARY PARTY!

RSVP HERE kicks off at 12pm NOON!

Deep End Records has survived our first year as a small business and we're throwing a party to celebrate! This will be a FREE, day-long celebration with food, live music, DJs and more!

*LIVE music by KA, Sandy Ewen and Akchamel*

*DJ sets from Stewart Anderson (a Fistful of Soul), DJ Eleelandc, CeeJ (Death Exclamations Records, Peasant) and Flash Gordon Parks*

DRINK SPECIALS and FOOD TRUCKS will be announced soon + we'll be dropping a ton of new and used stock. 

Thank you all for you continued support! ♥

LORD DYING, BLACK FAST, CHILD BITE
Sep
16
7:00 pm19:00

LORD DYING, BLACK FAST, CHILD BITE

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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.

KUBLAI KHAN, JESUS PIECE, MALVOLENCE, LESSER DEGREE, BITTER TASTE
Sep
15
6:00 pm18:00

KUBLAI KHAN, JESUS PIECE, MALVOLENCE, LESSER DEGREE, BITTER TASTE

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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.

AVI BUFFALO, THE KICKBACK, VODI
Sep
11
8:00 pm20:00

AVI BUFFALO, THE KICKBACK, VODI

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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.

PORCHES, JAPANESE BREAKFAST, RIVERGAZER
Sep
10
8:00 pm20:00

PORCHES, JAPANESE BREAKFAST, RIVERGAZER

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8 PM / ALL AGES / $13 ADVANCE / $15 DOOR

When Aaron Maine looks back on his early work as Porches, he’s often struck by how sad and angry it can feel. “That music turned out a lot more pessimistic than I intended it to be,” he says. “But when I took a sad moment and turned it into a song, it was a cathartic, positive, and clean process. For me, those moments were victories. Feeling better,” he adds, “was making a song.” As it turns out, Maine is very good at making songs. Over the last few years, the 27-year-old singer and songwriter has released a wealth of material on a number of influential labels, including singles on Terrible (2014’s Prism), Birdtapes (2013’s Townie Blunt Guts) and Seagreen (2014’s Leather), as well as a beautiful yet crushing full-length on Exploding in Sound (2013’s Slow Dance In The Cosmos). And in the process he’s become a magnetic live presence while playing out in New York, gaining the notice of discerning listeners and labels alike. February 2016 marks the much-anticipated release of Pool, his debut full-length for Domino and a major step forward for him—as an evolving singer/songwriter, and as a nascent producer. Written and recorded almost entirely in the Manhattan apartment he shares with his partner and frequent collaborator, Greta Kline a.k.a Frankie Cosmos, Pool is an elegantly drawn set of gorgeous, synth-driven pop songs that were influenced, in part, by settling in the city as an artist and a person. “I’m feeling like I’m in a more permanent situation than I’ve been in before,” he says. “There is something special about recording at home. It’s why it sounds the way it does. Being able to obsess over it on your own time and being in your own little cube knowing you’re surrounded by the city, being able to go so deep into it and to spend hours building it, loving it: all of that allowed me to reflect and focus on things a little closer.”  The album was recorded twice - the first time a crash-course in learning Logic and navigating his first synthesizers and drum machines, the second time starting from scratch with a better hold on the recording process - and eventually mixed by Chris Coady (Yeah Yeah Yeahs, Grizzly Bear, Beach House, Tobias Jesso Jr.) in his Los Angeles studio. Sometime in 2014, Maine, a long-devoted Neil Young fan, began listening to house and electronic music and contemporary pop music more closely and frequently than he ever had before. What followed is a hypnotic and expansive re-articulation of the melancholy we’ve come to expect, from the pristine harmonies of “Hour” to the undulating R&B of “Underwater” to the Auto-tuned majesty of the title track. “I feel like the lyrics are like mood boards or collages of my experience in New York,” he says. “Rather than focusing on a particular incident or story like I have in the past, I wanted to be more abstract, in order to paint a very specific mood: ideas of lightness and darkness, water, air, movement, acceptance and security.” The result is a sophisticated and fully immersive listening experience, with Maine’s voice at its center. “I’m getting a little older and a little more in touch with my emotions,” he adds. “I just wanted to make this album more positive and to make sure that my message was coming across clearly this time. I never wanted my music to bum people out.  I feel like I naturally gravitate towards the more melancholic experiences in life, but this time around I tried to dissect those moments and somehow extract what was so beautiful about them to me. With this record, I want people to feel something different, something subtler. I want people to feel dark, beautiful and strong when they hear this new record. I want people to put it on at a party and go wild, to put it on just walking or driving around. I want them to fall in love to this record.”

When Aaron Maine looks back on his early work as Porches, he’s often struck by how sad and angry it can feel. “That music turned out a lot more pessimistic than I intended it to be,” he says. “But when I took a sad moment and turned it into a song, it was a cathartic, positive, and clean process. For me, those moments were victories. Feeling better,” he adds, “was making a song.”

As it turns out, Maine is very good at making songs. Over the last few years, the 27-year-old singer and songwriter has released a wealth of material on a number of influential labels, including singles on Terrible (2014’s Prism), Birdtapes (2013’s Townie Blunt Guts) and Seagreen (2014’s Leather), as well as a beautiful yet crushing full-length on Exploding in Sound (2013’s Slow Dance In The Cosmos). And in the process he’s become a magnetic live presence while playing out in New York, gaining the notice of discerning listeners and labels alike. February 2016 marks the much-anticipated release of Pool, his debut full-length for Domino and a major step forward for him—as an evolving singer/songwriter, and as a nascent producer. Written and recorded almost entirely in the Manhattan apartment he shares with his partner and frequent collaborator, Greta Kline a.k.a Frankie Cosmos, Pool is an elegantly drawn set of gorgeous, synth-driven pop songs that were influenced, in part, by settling in the city as an artist and a person. “I’m feeling like I’m in a more permanent situation than I’ve been in before,” he says. “There is something special about recording at home. It’s why it sounds the way it does. Being able to obsess over it on your own time and being in your own little cube knowing you’re surrounded by the city, being able to go so deep into it and to spend hours building it, loving it: all of that allowed me to reflect and focus on things a little closer.” 

The album was recorded twice - the first time a crash-course in learning Logic and navigating his first synthesizers and drum machines, the second time starting from scratch with a better hold on the recording process - and eventually mixed by Chris Coady (Yeah Yeah Yeahs, Grizzly Bear, Beach House, Tobias Jesso Jr.) in his Los Angeles studio. Sometime in 2014, Maine, a long-devoted Neil Young fan, began listening to house and electronic music and contemporary pop music more closely and frequently than he ever had before. What followed is a hypnotic and expansive re-articulation of the melancholy we’ve come to expect, from the pristine harmonies of “Hour” to the undulating R&B of “Underwater” to the Auto-tuned majesty of the title track. “I feel like the lyrics are like mood boards or collages of my experience in New York,” he says. “Rather than focusing on a particular incident or story like I have in the past, I wanted to be more abstract, in order to paint a very specific mood: ideas of lightness and darkness, water, air, movement, acceptance and security.” The result is a sophisticated and fully immersive listening experience, with Maine’s voice at its center. “I’m getting a little older and a little more in touch with my emotions,” he adds. “I just wanted to make this album more positive and to make sure that my message was coming across clearly this time. I never wanted my music to bum people out.  I feel like I naturally gravitate towards the more melancholic experiences in life, but this time around I tried to dissect those moments and somehow extract what was so beautiful about them to me. With this record, I want people to feel something different, something subtler. I want people to feel dark, beautiful and strong when they hear this new record. I want people to put it on at a party and go wild, to put it on just walking or driving around. I want them to fall in love to this record.”

A side project from her work as front woman of Philadelphia indie punk band Little Big League, Michelle Zauner released a tape in June 2013 under the solo moniker Japanese Breakfast. The tape was titled June and boasted thirty tracks written and recorded every day of the month. A stark deviation from Little Big League’s guitar- based indie rock, it showcased Zauner’s dark lyrics, unique vocals and inherent knack for pop melody.  Two bedroom pop cassettes later, Japanese Breakfast returns with its first full- fledged LP and vinyl release, Psychopomp. The album explores Zauner’s experimental interests and hosts a wide range of sound: jarring anime samples, minimalist ballads, rhythms and synths reminiscent of Tango in the Night-era Fleetwood Mac paired with the moody intimacy of Mount Eerie. After the foundation of the album was built, Zauner enlisted Ned Eisenberg to coproduce and embellish the record. Eisenberg helped with the mixing and production of the album. Psychopomp revisits and revamps lo-fi tracks and adds chilling new songs to fall in love with.

A side project from her work as front woman of Philadelphia indie punk band Little Big League, Michelle Zauner released a tape in June 2013 under the solo moniker Japanese Breakfast. The tape was titled June and boasted thirty tracks written and recorded every day of the month. A stark deviation from Little Big League’s guitar- based indie rock, it showcased Zauner’s dark lyrics, unique vocals and inherent knack for pop melody. 

Two bedroom pop cassettes later, Japanese Breakfast returns with its first full- fledged LP and vinyl release, Psychopomp. The album explores Zauner’s experimental interests and hosts a wide range of sound: jarring anime samples, minimalist ballads, rhythms and synths reminiscent of Tango in the Night-era Fleetwood Mac paired with the moody intimacy of Mount Eerie. After the foundation of the album was built, Zauner enlisted Ned Eisenberg to coproduce and embellish the record. Eisenberg helped with the mixing and production of the album. Psychopomp revisits and revamps lo-fi tracks and adds chilling new songs to fall in love with.

ROSEWOOD THIEVZ (EP Release), DIRTY & NASTY, BIG FATTS. DJ GRACIE CHAVEZ
Sep
9
8:00 pm20:00

ROSEWOOD THIEVZ (EP Release), DIRTY & NASTY, BIG FATTS. DJ GRACIE CHAVEZ

BUY TICKETS

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

~ Who can dance together, can live together ~ “3 for the Tré is something we’ve always said in Third Ward. After putting a song on repeat - when twice just ain’t enough, we play it a third time to let the groove sink in deep. Getting it again is like a gift. When its 3 for the Tré, you’re really into it. We felt a massive need to share what music has always meant to us, that it connects us to each other and to ourselves. There’s a certain nakedness of the soul in our playing on this record – True Original Feeling, all for the purpose of connecting. For us, it means so much to give the gift of ourselves, the very best we have to give.  3 for the Tré is our gift - spreading positivity back to the community that birthed this musical band and brotherhood. It’s a testament to how far we’ve come as men, as communicators, as groovers . . . GROOVE MASTERS” - Your THIEVZ

~ Who can dance together, can live together ~
“3 for the Tré is something we’ve always said in Third Ward. After putting a song on repeat - when twice just ain’t enough, we play it a third time to let the groove sink in deep. Getting it again is like a gift. When its 3 for the Tré, you’re really into it.
We felt a massive need to share what music has always meant to us, that it connects us to each other and to ourselves. There’s a certain nakedness of the soul in our playing on this record – True Original Feeling, all for the purpose of connecting.
For us, it means so much to give the gift of ourselves, the very best we have to give. 
3 for the Tré is our gift - spreading positivity back to the community that birthed this musical band and brotherhood. It’s a testament to how far we’ve come as men, as communicators, as groovers . . . GROOVE MASTERS”
- Your THIEVZ

DEE-1
Sep
8
7:00 pm19:00

DEE-1

BUY TICKETS

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.

DYLAN CAMERON (Holodeck Records), ACID JEEP, PFAFFENBERG, FUNERAL PARLOR, NEIL EBBFLO (Live Set + Visuals)
Sep
3
8:00 pm20:00

DYLAN CAMERON (Holodeck Records), ACID JEEP, PFAFFENBERG, FUNERAL PARLOR, NEIL EBBFLO (Live Set + Visuals)

BUY TICKETS

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.

THE SHOW PONIES: Buck Off, Cancer... a benefit show
Aug
25
8:00 pm20:00

THE SHOW PONIES: Buck Off, Cancer... a benefit show

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

** CANCELLED! **HOBBS ANGEL OF DEATH, SACROCURSE, UNCLEANSED, SATURNATAS
Aug
22
8:00 pm20:00

** CANCELLED! **HOBBS ANGEL OF DEATH, SACROCURSE, UNCLEANSED, SATURNATAS

** CANCELLED! **

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.

CHILDREN OF POP, RUBY THE RABBITFOOT, CAMERA CULT, THE RADIO BROADCAST
Aug
19
8:00 pm20:00

CHILDREN OF POP, RUBY THE RABBITFOOT, CAMERA CULT, THE RADIO BROADCAST

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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!”

LEMURIA, LOOMING, THE REPTILIAN, MIDDLECHILD, MOUTHING, COOL MOON
Aug
18
8:00 pm20:00

LEMURIA, LOOMING, THE REPTILIAN, MIDDLECHILD, MOUTHING, COOL MOON

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DOORS: 7 PM / $10 ADVANCE / $12 DOOR / ALL AGES

“The Distance Is So Big” continues in the band’s tradition of songs that unfold like mini-suites, hopscotching from one melodic figure or time signature to the next with a playwright’s sense of structure.”  - NPR  Without a distinguishable understanding of the pop and intensity, a silent video of a Lemuria show would appear to be that of a blistering hardcore trio. To the viewers surprise, turning the audio on they’d find an intricate indie-pop trio.   Lemuria might not sound like they are from Buffalo, NY, but the band was proudly birthed there, following the legacy of an oddly eclectic, if not eccentric, music scene. When you loosen your ears to the sugary indie-pop, you’ll discover discordant notes, odd time signatures, and brutal riffs creating menacing yet catchy music.  After putting out records on many celebrated labels like Bridge 9, Asian Man, No Idea and Suburban Home, they recently released a comic book 7” collaboration with Mitch Clem and Silver Sprocket documenting their tour of Russia.

“The Distance Is So Big” continues in the band’s tradition of songs that unfold like mini-suites, hopscotching from one melodic figure or time signature to the next with a playwright’s sense of structure.”  - NPR 

Without a distinguishable understanding of the pop and intensity, a silent video of a Lemuria show would appear to be that of a blistering hardcore trio. To the viewers surprise, turning the audio on they’d find an intricate indie-pop trio.  

Lemuria might not sound like they are from Buffalo, NY, but the band was proudly birthed there, following the legacy of an oddly eclectic, if not eccentric, music scene. When you loosen your ears to the sugary indie-pop, you’ll discover discordant notes, odd time signatures, and brutal riffs creating menacing yet catchy music.  After putting out records on many celebrated labels like Bridge 9, Asian Man, No Idea and Suburban Home, they recently released a comic book 7” collaboration with Mitch Clem and Silver Sprocket documenting their tour of Russia.

CEREMONY, GOUGE AWAY, BLACK COFFEE, PRIVILEGE ABUSE, LACE
Aug
16
8:00 pm20:00

CEREMONY, GOUGE AWAY, BLACK COFFEE, PRIVILEGE ABUSE, LACE

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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.”

**CANCELLED** DEERHOOF, BLANK SPELL, TELE NOVELLA
Aug
14
8:00 pm20:00

**CANCELLED** DEERHOOF, BLANK SPELL, TELE NOVELLA

Tonight's show is CANCELLED. Unfortunately, Deerhoof were in a van accident. Luckily, no one is hurt but we have to call off the show while they're stuck in Louisiana. I know this is disappointing for everyone, including us. We did everything possible to save the show, but it just didn't work out this time. EVERYONE WHO BOUGHT TICKETS WILL BE REFUNDED. We appreciate your understanding in this unfortunate situation. Love, Walter's.

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.

"Dark and pounding songs that are too erratic to outstay their welcome. A lot of the music is influenced by the sounds of Die Kreuzen, the Feederz, United Mutation; groovy but creepy." 

"Dark and pounding songs that are too erratic to outstay their welcome. A lot of the music is influenced by the sounds of Die Kreuzen, the Feederz, United Mutation; groovy but creepy." 

Tele Novella is a fresh strain of sugar-crash dream-psych popsicle punch out of Austin, TX with members of Agent Ribbons and Voxtrot.

MAXAM, GANESHA, EMPTY SHELLS
Aug
12
8:00 pm20:00

MAXAM, GANESHA, EMPTY SHELLS

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DOORS: 8 pm, Show: 10 pm / $7 advance / $10 Day of / ALL AGES

A Review from The Musical Junkie:
"Downer"

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.

ROSELIT BONE, SON OF BITCH, MUDDY BELLE
Aug
9
8:00 pm20:00

ROSELIT BONE, SON OF BITCH, MUDDY BELLE

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

"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

CRO-MAGS, CONFUSED, THUG BOOTS, IDIOT CITY
Aug
7
7:00 pm19:00

CRO-MAGS, CONFUSED, THUG BOOTS, IDIOT CITY

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DOORS: 7 PM / ALL AGES / $15 ADVANCE / $18 DAY OF

In the Year 2000, Cro-Mags have become an urban legend. Their story told and retold, twisted and warped until it is unrecognizable. But now to set the record straight, this is how it all be began. Before the Quarrel. Picture this, the year 1980, it's sunrise on NYC's lower east side, Ave. A is a barren urban wasteland of empty storefronts in abandoned buildings. the streets are littered with junkies and freaks. Heroin and cocaine are the only flourishing businesses and the only sign of life in this ghost town are the local gangs and 40 or so kids in front of A 7 (hardcore club) where Urban Waste is still on stage. Little Chris, age 11, and Eric Casanova, age 12, sit on the curb still tripping from the night before, with no money, no hope and no future, just drive and dried blood on their clothes from a night they've already forgotten. This was hardcore and the streets were ours. Across from Tompkins Square Park Parris Mayhew and Harley Flanagan are sitting in the back booth of the Park Inn Tavern (after-hours) pounding pitchers of beer and shots of Jack, planning their new band. Nothing unusual, except that Parris was16 and Harley was 14 and their band was to change the hardcore scene forever. In the bar, Harley is recounting to Parris the details of a robbery he and Paul Dordal had perpetrated earlier that day. As Parris sits listening and looking into Harley's drunk, drugged and crazed eyes that seem to pierce the darkness, Parris thinks "What am I getting myself into?" That was really the beginning. There was no blueprint for hardcore, no one to teach them how, they were all just kids living their lives, making it up as they went along, inventing hardcore with every step they took. Harley was a 6th grade dropout, though at age 14 was already a veteran Parrismusician, child star of the punk scene, America's first skinhead and the notorious former drummer of NYC's premier punk band, "The Stimulators." In "The Stims" Harley brought a powerful youthful presence to an aging punk scene. He kicked the doors wide open for other kids his age to come on the scene and follow his example to be a youthful creative force like the "Beastie Boys" and Jill and Gabby of "Luscious Jackson." Adam Yauch was at one point considered to play bass with the Cro-Mags, but was about to attend Bard College. Harley left "The Stims" to create a harder, more aggressive style of music, capturing the true hardcore lifestyle. Depicting the violence, poverty and urban decay of the streets of the lower east side in the early 8o's. Harley's personal influence and mere presence on the scene defined the transition between the old punk scene and the new hardcore scene. Parris, a 16 year old unknown musician and an art student attending the High School of Art & Design was forever changed by the sounds of the Sex Pistols and Motorhead. Then drawn into the local NYC punk scene by the Stimulators and Bad Brains, Parris joined punk icons "The Mad," playing bass. But soon left the band setting his sights on starting his own band, playing his music. Paul Dordal recommended Harley and Parris team-up. They had their first jam at Harley's aunt Denise's apartment on Avenue A. Denise was the guitarist of the Stimulators. Parris played the riffs that were to become (with Harley's lyrics), the Harley and Parrisfirst Cro-Mags song "World Peace" and the templates for the Cro-Mags' sound. After a few minutes of playing, Denise turned to Harley and said "Where did you find this kid?" But Harley was way ahead of her. he immediately recognized similarities in Parris' approach to his own that were uncanny. A musical mirror image. These two kids couldn't have been more different, but their songs seemed to belong together as if they came from the same source. How could two kids from such different worlds create such a similarly Cro-Mag-Nonimous sound? That was the beginning of a life long musical collaboration that is as formidable today with their new CD "REVENGE" as it was when they first met. So, Parris and Harley began hanging out, planning, writing songs and doing a lot of drinking. They became friends fast, but finding other musicians was difficult., so in the interim Harley played drums with Murphy's Law, helped them write their first album and even came up with their name. Harley was eventually replaced by future Cro-Mags drummer Pete Hines who left Murphy's Law and joined the Cro-Mags to support the" Age of Quarrel" LP and to later record the "Best Wishes" LP. Harley grew impatient and hitchhiked across the country to California. With no money and nowhere to stay Harley just lived day to day, hand to mouth, sampling the California punk scene and definitely gave them a taste of what NYC was about to unleash. Harley the teenage tattooed terror created notoriety everywhere he went, fighting, fucking and consuming mass quantities of drugs and alcohol along the way and he was still only 15 years old. In San Francisco, Harley lived in an abandoned brewery called the "Vats," home of many San Francisco punks. Then he hitchhiked back East and North to Canada. He ran with skinheads there, basically reeking havoc everywhere he went, building on his already formidable reputation. These times and Harley's life in NYC, living in burnt out buildings, squats and on the streets, was the life that would be the true inspiration behind the Cro-Mags lyrics. Raw, honest truth, a lifestyle that pulled no punches in the urban decay that was the early 80's untamed streets, where violence, gangs and drugs were a way of life and music would be the only escape for this teenage rebel. He not only lived the truly hardcore way of life, he set the standard an created a legend that still lives. Harley then returned to NYC with a renewed fire to pick up where he an Parris had left off, and a tattoo covering the chest of the devil grabbing the earth. During this long foundation period Parris continued to pound out riffs and songs Cro-Mags, circa: 1985like "Malfunction." He also completed high school and two years of college at the School of Visual Arts Film School. Parris would eventually put these skills to work directing the Cro-Mags video "We Gotta Know" and many others such as Onyx's "Slam" and Type O Negative's "Black #1. But Parris never lost sight of his plan for him and Harley to create the band that would become synonymous with hardcore. Soon after Harley's return to NYC he was given the opportunity to record 4 songs of his own in which he played all the instruments. These recordings were never released but are soon to be on Cro-Mags Recordings. Harley also played drums in a band called "Mode of Ignorance" (MOI) with future Cro-Mags' john Bloodclot and Doug Holland which faded as Cro-Mags began to take shape. Harley turned down offers to drum for the Misfits, and during the first of HR's solo ventures, Bad Brains management approached Harley to front the Bad Brains but Harley passed because finally after 3 years of writing, drinking and generally causing chaos, the search for musicians for the lineup of "NYC's Hardest Band" was complete. It is a little known fact that John Joseph was not a founding member of the Cro-Mags or even the original singer. He was not! In 1984, 15 year old Eric Casanova became the first singer of the Cro-Mags and Harley at CBGBco-wrote, with Harley, classic Cro-Mag lyrics such as "Hard Times," "Street Justice," "Survival of the Streets," and Eric's own "Life of My Own," based on the lives they led. With the hired services of Mackie on Drums, the Cro-Mags played their first gig at CBGB's with Government Issue. A highly anticipated gig being Harley Flanagan's new band. Then after their second show, for personal reasons, Eric left the band and began a revolving door of musicians that Parris an Harley watched some and go for the entire life of their musical partnership. But Eric's contribution to the Cro-Mags in that short time is undeniable, those first songs were the foundation that defined the Cro-Mags' sound and lyrical content and those first shows made a tremendous impact. The punk scene was shaken by the force of the Cro-Mags and the momentum was unstoppable. Next the band recruited john Bloodclot (age 21) on vocals to replace Eric, and after only tow shows began headlining gigs. Overnight Cro-Mags had dominated the hardcore scene in NYC. As Kabula of Agnostic Front said, "We've toured everywhere and nobody's doing what the Cro-Mags are doin', it's totally new." The transition between Eric and John was seamless. John's lyrics fit perfectly with Harley and Eric's and John brought a dynamic presence to the front man position that helped to define the image of the band. Though John's presence in the band ultimately was the undoing of the Cro-Mags. So with 3 years of writing, a solid foundation of songs already in the band's repertoire, along with music from Harley's never released solo recording including "Don't Tread on Me," the Cro-Mags needed only a few more songs to complete the now classic set list. Those songs were completed with John Joseph and on November 2, 1984, and on February 16, 1985 the Cro-Mags went into High Five Studios and recorded 12 songs. That moment in time when four very different freaks got together to make music was historic. The recordings made in that session were simply the blue print for all hardcore that followed and set the stage for the definitive hardcore album of all time, "The Age of Quarrel." John and Harley with Billy Milano This CD, now poignantly titled "Before the Quarrel" captured the raw fire that circumstances had created by bringing this unlikely group together. These recordings are revered as the pinnacle moment of the Cro-Mags and the favorite recordings of Cro-Mags fans. Harley, Parris, John and Mackie not only made their mark deep in the history of hard music but made a sound that changed it forever. Obviously God didn't bring these guys together to be friends, it was to make hardcore music. The now infamously volatile relationship between these four people turned ugly in the end but not one of them could look back at these recordings with anything but pride. No words could ever fully describe that time especially not now, so many years later, so many clone bands come and gone. But this music and these words were N.Y.C.H. at it's best, honest, aggressive and true. This CD captured it, the lifestyle that many talk about, but few ever really lived. The Cro-Mags "Before the Quarrell" was the beginning, the genuine article and this recording is the proof. They were trulyCro-Mag-nonimus! To be continued . . .

In the Year 2000, Cro-Mags have become an urban legend. Their story told and retold, twisted and warped until it is unrecognizable. But now to set the record straight, this is how it all be began. Before the Quarrel.

Picture this, the year 1980, it's sunrise on NYC's lower east side, Ave. A is a barren urban wasteland of empty storefronts in abandoned buildings. the streets are littered with junkies and freaks. Heroin and cocaine are the only flourishing businesses and the only sign of life in this ghost town are the local gangs and 40 or so kids in front of A 7 (hardcore club) where Urban Waste is still on stage. Little Chris, age 11, and Eric Casanova, age 12, sit on the curb still tripping from the night before, with no money, no hope and no future, just drive and dried blood on their clothes from a night they've already forgotten. This was hardcore and the streets were ours.

Across from Tompkins Square Park Parris Mayhew and Harley Flanagan are sitting in the back booth of the Park Inn Tavern (after-hours) pounding pitchers of beer and shots of Jack, planning their new band. Nothing unusual, except that Parris was16 and Harley was 14 and their band was to change the hardcore scene forever.

In the bar, Harley is recounting to Parris the details of a robbery he and Paul Dordal had perpetrated earlier that day. As Parris sits listening and looking into Harley's drunk, drugged and crazed eyes that seem to pierce the darkness, Parris thinks "What am I getting myself into?"

That was really the beginning. There was no blueprint for hardcore, no one to teach them how, they were all just kids living their lives, making it up as they went along, inventing hardcore with every step they took. Harley was a 6th grade dropout, though at age 14 was already a veteran Parrismusician, child star of the punk scene, America's first skinhead and the notorious former drummer of NYC's premier punk band, "The Stimulators." In "The Stims" Harley brought a powerful youthful presence to an aging punk scene. He kicked the doors wide open for other kids his age to come on the scene and follow his example to be a youthful creative force like the "Beastie Boys" and Jill and Gabby of "Luscious Jackson." Adam Yauch was at one point considered to play bass with the Cro-Mags, but was about to attend Bard College.

Harley left "The Stims" to create a harder, more aggressive style of music, capturing the true hardcore lifestyle. Depicting the violence, poverty and urban decay of the streets of the lower east side in the early 8o's. Harley's personal influence and mere presence on the scene defined the transition between the old punk scene and the new hardcore scene.

Parris, a 16 year old unknown musician and an art student attending the High School of Art & Design was forever changed by the sounds of the Sex Pistols and Motorhead. Then drawn into the local NYC punk scene by the Stimulators and Bad Brains, Parris joined punk icons "The Mad," playing bass. But soon left the band setting his sights on starting his own band, playing his music.

Paul Dordal recommended Harley and Parris team-up. They had their first jam at Harley's aunt Denise's apartment on Avenue A. Denise was the guitarist of the Stimulators. Parris played the riffs that were to become (with Harley's lyrics), the Harley and Parrisfirst Cro-Mags song "World Peace" and the templates for the Cro-Mags' sound. After a few minutes of playing, Denise turned to Harley and said "Where did you find this kid?" But Harley was way ahead of her. he immediately recognized similarities in Parris' approach to his own that were uncanny. A musical mirror image. These two kids couldn't have been more different, but their songs seemed to belong together as if they came from the same source. How could two kids from such different worlds create such a similarly Cro-Mag-Nonimous sound?

That was the beginning of a life long musical collaboration that is as formidable today with their new CD "REVENGE" as it was when they first met.

So, Parris and Harley began hanging out, planning, writing songs and doing a lot of drinking. They became friends fast, but finding other musicians was difficult., so in the interim Harley played drums with Murphy's Law, helped them write their first album and even came up with their name. Harley was eventually replaced by future Cro-Mags drummer Pete Hines who left Murphy's Law and joined the Cro-Mags to support the" Age of Quarrel" LP and to later record the "Best Wishes" LP.

Harley grew impatient and hitchhiked across the country to California. With no money and nowhere to stay Harley just lived day to day, hand to mouth, sampling the California punk scene and definitely gave them a taste of what NYC was about to unleash. Harley the teenage tattooed terror created notoriety everywhere he went, fighting, fucking and consuming mass quantities of drugs and alcohol along the way and he was still only 15 years old. In San Francisco, Harley lived in an abandoned brewery called the "Vats," home of many San Francisco punks. Then he hitchhiked back East and North to Canada. He ran with skinheads there, basically reeking havoc everywhere he went, building on his already formidable reputation.

These times and Harley's life in NYC, living in burnt out buildings, squats and on the streets, was the life that would be the true inspiration behind the Cro-Mags lyrics. Raw, honest truth, a lifestyle that pulled no punches in the urban decay that was the early 80's untamed streets, where violence, gangs and drugs were a way of life and music would be the only escape for this teenage rebel. He not only lived the truly hardcore way of life, he set the standard an created a legend that still lives.

Harley then returned to NYC with a renewed fire to pick up where he an Parris had left off, and a tattoo covering the chest of the devil grabbing the earth.

During this long foundation period Parris continued to pound out riffs and songs Cro-Mags, circa: 1985like "Malfunction." He also completed high school and two years of college at the School of Visual Arts Film School. Parris would eventually put these skills to work directing the Cro-Mags video "We Gotta Know" and many others such as Onyx's "Slam" and Type O Negative's "Black #1. But Parris never lost sight of his plan for him and Harley to create the band that would become synonymous with hardcore.
Soon after Harley's return to NYC he was given the opportunity to record 4 songs of his own in which he played all the instruments. These recordings were never released but are soon to be on Cro-Mags Recordings.

Harley also played drums in a band called "Mode of Ignorance" (MOI) with future Cro-Mags' john Bloodclot and Doug Holland which faded as Cro-Mags began to take shape. Harley turned down offers to drum for the Misfits, and during the first of HR's solo ventures, Bad Brains management approached Harley to front the Bad Brains but Harley passed because finally after 3 years of writing, drinking and generally causing chaos, the search for musicians for the lineup of "NYC's Hardest Band" was complete.

It is a little known fact that John Joseph was not a founding member of the Cro-Mags or even the original singer. He was not!

In 1984, 15 year old Eric Casanova became the first singer of the Cro-Mags and Harley at CBGBco-wrote, with Harley, classic Cro-Mag lyrics such as "Hard Times," "Street Justice," "Survival of the Streets," and Eric's own "Life of My Own," based on the lives they led. With the hired services of Mackie on Drums, the Cro-Mags played their first gig at CBGB's with Government Issue. A highly anticipated gig being Harley Flanagan's new band.

Then after their second show, for personal reasons, Eric left the band and began a revolving door of musicians that Parris an Harley watched some and go for the entire life of their musical partnership.
But Eric's contribution to the Cro-Mags in that short time is undeniable, those first songs were the foundation that defined the Cro-Mags' sound and lyrical content and those first shows made a tremendous impact. The punk scene was shaken by the force of the Cro-Mags and the momentum was unstoppable.

Next the band recruited john Bloodclot (age 21) on vocals to replace Eric, and after only tow shows began headlining gigs. Overnight Cro-Mags had dominated the hardcore scene in NYC. As Kabula of Agnostic Front said, "We've toured everywhere and nobody's doing what the Cro-Mags are doin', it's totally new."

The transition between Eric and John was seamless. John's lyrics fit perfectly with Harley and Eric's and John brought a dynamic presence to the front man position that helped to define the image of the band. Though John's presence in the band ultimately was the undoing of the Cro-Mags.

So with 3 years of writing, a solid foundation of songs already in the band's repertoire, along with music from Harley's never released solo recording including "Don't Tread on Me," the Cro-Mags needed only a few more songs to complete the now classic set list. Those songs were completed with John Joseph and on November 2, 1984, and on February 16, 1985 the Cro-Mags went into High Five Studios and recorded 12 songs.

That moment in time when four very different freaks got together to make music was historic. The recordings made in that session were simply the blue print for all hardcore that followed and set the stage for the definitive hardcore album of all time, "The Age of Quarrel." John and Harley with Billy Milano This CD, now poignantly titled "Before the Quarrel" captured the raw fire that circumstances had created by bringing this unlikely group together. These recordings are revered as the pinnacle moment of the Cro-Mags and the favorite recordings of Cro-Mags fans.

Harley, Parris, John and Mackie not only made their mark deep in the history of hard music but made a sound that changed it forever. Obviously God didn't bring these guys together to be friends, it was to make hardcore music.

The now infamously volatile relationship between these four people turned ugly in the end but not one of them could look back at these recordings with anything but pride. No words could ever fully describe that time especially not now, so many years later, so many clone bands come and gone. But this music and these words were N.Y.C.H. at it's best, honest, aggressive and true. This CD captured it, the lifestyle that many talk about, but few ever really lived.

The Cro-Mags "Before the Quarrell" was the beginning, the genuine article and this recording is the proof.

They were trulyCro-Mag-nonimus!

To be continued . . .

HELLWITCH (Florida), STRIKE MASTER (Mexico), MASTICATOR, VOTAN, KRULLUR, TOXIC STEEL
Aug
6
6:00 pm18:00

HELLWITCH (Florida), STRIKE MASTER (Mexico), MASTICATOR, VOTAN, KRULLUR, TOXIC STEEL

HELLWITCH arose from the depths of HELL in October 1984. Formed by guitarist Patrick Ranieri and drummer/vocalist, Harry Tiyler. An inaugural recording session, conducted in the living room of their apartment in Gainesville, FL. produced the immortal 1984 'Nosferatu' demo. The project expanded into a full band set up in February of 1985 with the introduction of current PRECIPICE drummer Dave Silverthrash (Silverstein), replacing Tiyler, and Andy Adcock on bass/guitar. That July, HELLWITCH played it's first show ever with local Punk band ROACH MOTEL. This signaled an intensive live campaign spanning the next three years, which saw HELLWITCH sharing the stage with such heavies as CORROSION OF CONFORMITY, G.B.H., CORONER, DARK ANGEL, KREATOR, DEICIDE, DEATH, MORBID ANGEL, ATHEIST, AGNOSTIC FRONT, D.R.I., ANTHRAX, NUCLEAR ASSAULT and many others. The first official studio demo, 'Transgressive Sentience', was recorded in January 1986. Taken from this recording was a remixed version of the track 'Torture Chamber' which appeared on the compilation album 'Thrash Metal Attack', released by New Renaissance Records in July of 1987. The band's second studio demo, 'Mordirivial Disemanation', was released in June of 1987. In July of 1988 Pat relocated to Fort Lauderdale and reformed HELLWITCH, drafting Frank Watkins on bass and Steve Rincon on drums. This trio recorded a three track rehearsal/demo in March of 1989. This effort included a cover version of DEATH's 'Archangel'. This line up was the band's weakest, so new members were sought in mid 1989. Pat then enrolled bassist Jesse Trevino and Joe "Witch" Schnessel on drums. That June, Flight 19 Records (Switzerland) issued two cuts from the 'Mordirivial Disemanation' demo as a limited edition 7". That August, Trevino was replaced by bassist Tommy Mouser. October of 1989 brought about a contract with Wild Rags Rec. for the debut album 'Syzygial Miscreancy', recorded at the renown Morrisound Studios with veteran Thrash producer Scott Burns. Released in March 1990 the album sold strongly and made a sizable impact on the international underground Metal media. In mid 1990 HELLWITCH acquired Jim Nickles as the band's first ever second guitarist and undertook a successful tour of the East Coast, culminating in an appearance at the 'Milwaukee Metal Fest' . In February of 1991, Jesse Trevino returned to the band, re-debuting for a Texas tour. Further changes in 1991 found Craig Shattuck as replacing Nickles as second guitarist. In August of 1991 HELLWITCH entered Morrisound Studios once again to cut the three track EP 'Terraasymmetry' for Lethal Records. Schnessel left the ranks in mid 1992, returning fleetingly the following year before departing once again. With Trevino relocating to Texas, Shattuck was switched to the bass role. Pulling in drummer Joel Suarez in early 1994 HELLWITCH laid down the 'Anthropophagi' demo as a 2 piece band with Pat playing all stringed instruments and vocals. In late 1994 J.P. Brown joined as second guitarist. The following year Gabe Lewandowski took over drum duties and in 1996 the band signed to Nazgul's Eyrie Productions. No end product was forthcoming though and HELLWITCH folded after a Halloween show with Deicide in 1998. Progressive Arts Records issued the 2003 release, 'Final Approach'. This release featured bonus cuts from previous demos and 1998 rehearsal recordings. The band broke a six year hiatus by playing a comeback gig at the Culture Club in Fort Lauderdale, Florida on July 24, 2004 alongside MALEVOLENT CREATION and DIVINE EMPIRE. The line-up for this show was comprised of vocalist / guitarist Pat Ranieri and drummer Joe Schnessel with bass player Craig Shattuck. In 2005 HELLWITCH came back to cut a new promotional CD, featuring Pat Ranieri, JP Brown, Craig Shattuck and Joe Schnessel. The EP was comprised of tracks 'Final Approach' and 'Epitome of Disgrace', (both originally found on the 'Final Approach' CD) and two new songs 'Opiatic Luminance' and 'Mythologicalies'. This CD would lead the band to sign a deal with Spanish label Xtreem Music in February 2006 for the release of their long awaited sophomore album 'Omnipotent Convocation'. With the existing line up from 2005’s ‘Epitome of Disgrace’ EP, Hellwitch begun recording in mid 2008. It took much longer than expected, spanning over 9 months. This new album marks the second coming for HELLWITCH. At the same time the band's debut album was being re-reissued along with all their pre-'Syzygial..." demos through Displeased Rec. The second full length CD, 'Omnipotent Convocation' , came out in August 2009 on Xtreem Music. This new album marks the second coming for HELLWITCH. The band will be embarking on a U.S. tour in June 2014 with fellow thrash legends, SOLSTICE. After 30 YEARS, Hellwitch continues to leave a blood soaked, decimated path of debauchery in it's path...

HELLWITCH arose from the depths of HELL in October 1984. Formed by guitarist Patrick Ranieri and drummer/vocalist, Harry Tiyler. An inaugural recording session, conducted in the living room of their apartment in Gainesville, FL. produced the immortal 1984 'Nosferatu' demo. The project expanded into a full band set up in February of 1985 with the introduction of current PRECIPICE drummer Dave Silverthrash (Silverstein), replacing Tiyler, and Andy Adcock on bass/guitar. That July, HELLWITCH played it's first show ever with local Punk band ROACH MOTEL. This signaled an intensive live campaign spanning the next three years, which saw HELLWITCH sharing the stage with such heavies as CORROSION OF CONFORMITY, G.B.H., CORONER, DARK ANGEL, KREATOR, DEICIDE, DEATH, MORBID ANGEL, ATHEIST, AGNOSTIC FRONT, D.R.I., ANTHRAX, NUCLEAR ASSAULT and many others.


The first official studio demo, 'Transgressive Sentience', was recorded in January 1986. Taken from this recording was a remixed version of the track 'Torture Chamber' which appeared on the compilation album 'Thrash Metal Attack', released by New Renaissance Records in July of 1987. The band's second studio demo, 'Mordirivial Disemanation', was released in June of 1987.


In July of 1988 Pat relocated to Fort Lauderdale and reformed HELLWITCH, drafting Frank Watkins on bass and Steve Rincon on drums. This trio recorded a three track rehearsal/demo in March of 1989. This effort included a cover version of DEATH's 'Archangel'. This line up was the band's weakest, so new members were sought in mid 1989. Pat then enrolled bassist Jesse Trevino and Joe "Witch" Schnessel on drums. That June, Flight 19 Records (Switzerland) issued two cuts from the 'Mordirivial Disemanation' demo as a limited edition 7". That August, Trevino was replaced by bassist Tommy Mouser.


October of 1989 brought about a contract with Wild Rags Rec. for the debut album 'Syzygial Miscreancy', recorded at the renown Morrisound Studios with veteran Thrash producer Scott Burns. Released in March 1990 the album sold strongly and made a sizable impact on the international underground Metal media. In mid 1990 HELLWITCH acquired Jim Nickles as the band's first ever second guitarist and undertook a successful tour of the East Coast, culminating in an appearance at the 'Milwaukee Metal Fest' . In February of 1991, Jesse Trevino returned to the band, re-debuting for a Texas tour. Further changes in 1991 found Craig Shattuck as replacing Nickles as second guitarist.


In August of 1991 HELLWITCH entered Morrisound Studios once again to cut the three track EP 'Terraasymmetry' for Lethal Records. Schnessel left the ranks in mid 1992, returning fleetingly the following year before departing once again. With Trevino relocating to Texas, Shattuck was switched to the bass role. Pulling in drummer Joel Suarez in early 1994 HELLWITCH laid down the 'Anthropophagi' demo as a 2 piece band with Pat playing all stringed instruments and vocals. In late 1994 J.P. Brown joined as second guitarist. The following year Gabe Lewandowski took over drum duties and in 1996 the band signed to Nazgul's Eyrie Productions. No end product was forthcoming though and HELLWITCH folded after a Halloween show with Deicide in 1998. Progressive Arts Records issued the 2003 release, 'Final Approach'. This release featured bonus cuts from previous demos and 1998 rehearsal recordings.


The band broke a six year hiatus by playing a comeback gig at the Culture Club in Fort Lauderdale, Florida on July 24, 2004 alongside MALEVOLENT CREATION and DIVINE EMPIRE. The line-up for this show was comprised of vocalist / guitarist Pat Ranieri and drummer Joe Schnessel with bass player Craig Shattuck.


In 2005 HELLWITCH came back to cut a new promotional CD, featuring Pat Ranieri, JP Brown, Craig Shattuck and Joe Schnessel. The EP was comprised of tracks 'Final Approach' and 'Epitome of Disgrace', (both originally found on the 'Final Approach' CD) and two new songs 'Opiatic Luminance' and 'Mythologicalies'. This CD would lead the band to sign a deal with Spanish label Xtreem Music in February 2006 for the release of their long awaited sophomore album 'Omnipotent Convocation'. With the existing line up from 2005’s ‘Epitome of Disgrace’ EP, Hellwitch begun recording in mid 2008. It took much longer than expected, spanning over 9 months. This new album marks the second coming for HELLWITCH. At the same time the band's debut album was being re-reissued along with all their pre-'Syzygial..." demos through Displeased Rec. The second full length CD, 'Omnipotent Convocation' , came out in August 2009 on Xtreem Music. This new album marks the second coming for HELLWITCH. The band will be embarking on a U.S. tour in June 2014 with fellow thrash legends, SOLSTICE. After 30 YEARS, Hellwitch continues to leave a blood soaked, decimated path of debauchery in it's path...

DRESSY BESSY, GIANT KITTY, EL LAGO, ROSE ETTE
Aug
5
8:00 pm20:00

DRESSY BESSY, GIANT KITTY, EL LAGO, ROSE ETTE

BUY TICKETS

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

DRESSY BESSY is an indie rock group drom Denver, Colorado. Asociated with the Elepehant Six collective, guitarist John Hill also played with The Apples in Stereo. The group is well known for their contributions to the soundtrack of "But I'm a Cheerleader..."

DRESSY BESSY is an indie rock group drom Denver, Colorado. Asociated with the Elepehant Six collective, guitarist John Hill also played with The Apples in Stereo. The group is well known for their contributions to the soundtrack of "But I'm a Cheerleader..."

"...refreshingly old-school, dancing across the grey area between New Wave, pop-punk, and straight-up pop... what might’ve happened if L7 had been produced by Ric Ocasek back when The Cars were at their peak" -Space City Rocks

"...refreshingly old-school, dancing across the grey area between New Wave, pop-punk, and straight-up pop... what might’ve happened if L7 had been produced by Ric Ocasek back when The Cars were at their peak" -Space City Rocks