Chicago trio Lethal Shöck drinks from the purest well of heavy metal glory and pisses out their own brand – atomik metal. A bastardization of d-beat, speed metal and heavy metal with majestic guitar solos, they definitely don’t re-invent the wheel, they just cover it with spikes, light it on fire, and hurl it down a mountain towards a church picnic while slamming Coors & hailing the goat
Spectral Voice is a Death Metal Band from Colorado.
Undergang is Filthy, decaying Death metal insanity from the sewers of Kill-Town.
Walkney is a project designed to allow unlimited creativity and bring new and exciting ways of thinking into the world of alternative music.
Lazy Lester is an American blues musician, who sings, and plays the harmonica and guitar. His career spans the 1950s to the 2010s.
Sitting atop an old wooden ammunition box, Randall Conrad Olinger plays a jambalaya mix of country, blues, carny-rock and metal, or as he likes to call it “hobo honky-tonk!” A brand of music all his own, crafted from old amps, loud guitars, and a homemade foot drum held together by wires, tires, and other household junk. A fearless soul who’s played the street, rail, and river bank, pub, bar and theater, sharing the stage with local legends Munly and The Lupercalians, as well as national acts, such as Scott H. Biram, and William Elliot Whitmore. Randall Conrad Olinger always brings the best with his honest, foot-stompin’ rock music-straight from the heart.
Project N-fidelikah is a new funk punk ghetto underground quartet who’s roster enlists George Lynch on guitar, Chris Moore on drums, Pancho Tomaselli on bass and Angelo Moore on vocals. If a group comprised of musicians whose credentials between them includes Fishbone, Dokken, and WAR sounds like an impossible mashup, Project N-fidelikah will make a believer out of the skeptics. After 14 years on the road with funk royalty WAR and touring the world making two albums with ArtCore masters PHILM, bassist and ESP Signature Artist, Pancho Tomaselli decided it was time to embark on an adventure of his own. Looking for the ideal counterpart to his playing, he called LA veteran and legendary guitarist, ESP signature artist George Lynch (DOKKEN, LYNCH MOB). This dynamic duo understood that the world is in need of real, honest-but-fun music and set out to create a new sound as a framework for expressing their views on global humanity, as well as speaking out about social and political issues. Looking for the right players was now the most important task. On drums what was needed is simple: GROOVE and someone that can hold it. Enter upcoming drum virtuoso Chris Moore, who later suggested they contact monstrous frontman and multi-instrumentalist Angelo Moore (FISHBONE), another veteran of the LA scene.
The quartet was formed and Project N-fidelikah was born. The band then moved their assets into “The Lab” (Angelo’s Studio), where they spent a week writing and arranging the first record. After the writing process ended, The quartet hired Funk Master Sergio Rios (ORGONE) to record the album. The entire rhythm section was recorded at Killion sound (ORGONE’S studios) to a TASCAM DA 388 “8” track tape machine. Overdubs were conducted at the Lynch residency studios. Master engineer Bob Daspit took care of the mixing and mastering. The rest is history………….in the making.
Dominique Marquis Cole, better known by his stage name Domo Genesis, is an American rapper from Los Angeles, currently signed to Odd Future Records. He was a member of the alternative hip hop collective Odd Future and sub-group MellowHigh.
Born and raised in Mississippi, David is an accomplished drummer, having toured the US, Canada and Europe extensively. David has recorded on Alligator and Blind Pig Records. Along with a strong Blues background, he has big influences in Country, Southern Rock and R&B music.
Open to teaching all age groups and all levels of players.
Started at the Old Town School in March of 2008
Age is a foreign concept to Trapo. The 17-year-old creates trans-genre experiments that boom with a confounding sense of maturity, nuance and intimacy, but to the kid that has been recording and mixing his own music since he was in fifth grade, this sudden ascension isn’t surprising. “I didn’t play magic cards or anything like that. I wasn’t all that into sports. I’ve been only interested in music for literally my entire life,” the Madison, Wis. native says. “I believe in certain signs. There’s just no way that I could be doing this so young without having some talent that was just meant to come out.” Trapo was included on Pigeons and Planes’ “20 Under 20” and “Best New Artists” lists, and his arresting blend of dour hip-hop and hypnotic neo soul has been featured in outlets like BBC Radio, Complex, HipHopDX, The FADER and Hot New Hip-Hop. He was raised on gospel music and contemporary R&B, but his favorite artist is Isaiah Rashad and he extracts influence from every corner of the Internet. Motifs of DUIs, desolate nights with Remy bottles, steamy visages of Hispanic women and generational anxieties over social media appear throughout his discography, but each song contains an element of unpredictability that has made Trapo’s fan base a vocal and fiercely loyal one. “The whole, ‘you could be an astronaut’ thing you hear as a kid never got to me. This is what I want to do. My music feels like freedom.”
If Henry Mancini jammed with Cream, it might almost come close to the Gand Band. Joan and Gary Gand, on keyboards and guitar, draw on late 60s and early 70s rock and twist it into a funky, improvisational form that transcends eras and categories. The quartet adds sax and drums to form a tight, funky, jammin band that stamps their style on a curated set of vintage tunes. If you like Ultra Lounge, Motown, Guitar Rock, Bossa Nova, Organ Grooves, 70s Funk, Spy Music, Memphis Soul, 60s Psychedelic, Acid Jazz, you will LOVE the Gand Band!
The Gruesomes are a Canadian garage punk band from Montreal, Quebec, Canada, that formed in 1985.
The band gained recognition following the 1986 release of their debut album, Tyrants Of Teen Trash (Og Music), which led to an “underground” following in Europe, the United States (US) and Canada. Subsequent releases increased their fan base and, after periods of touring, the band established itself within the global garage music scene.
In the last four years, Houndmouth have learned what it means to be a band. On their second album, Little Neon Limelight, they wear that wisdom like a badge of honor.
Less than a half-decade ago in the small Indiana city of New Albany, four pals were crafting tunes on their own, with few ambitions of turning those songs into a spectacle. That all changed when these friends crossed paths, and joined forces. Matt Myers, Shane Cody, Katie Toupin, and Zak Appleby became the drums and keys, guitars and harmonies of Houndmouth, and those personal numbers became the irrepressible core of an outfit turned magnetic.
In 2012, the group issued a self-titled EP on Rough Trade Records, the legendary imprint that signed them after seeing a single gig. One of 2013’s most incandescent debuts, their From the Hills Below the City LP affirmed what label owner Geoff Travis had heard: the sounds of Americana, renewed by the youthful glow of songwriters, musicians and pals unafraid to both celebrate and desecrate them.
Others noticed, too. The Guardian noted that, with From the Hills, “reservations fade,” while Rolling Stone’s David Fricke lauded the “earthy melancholy with a rude garage-rock streak.” Treks with the Drive-by Truckers and the Alabama Shakes followed, plus performances at the Newport Folk Festival, Lollapalooza and Bonnaroo. In cramped clubs and big theaters alike, Houndmouth earned a reputation as a must-see act, their hooks, energy and charisma making them feel like a lifelong friend you’d just met.
That success, though, turned what had started as fun into something closer to work. Houndmouth learned that being full-time musicians required much more than the nine-to-five endeavors they had left behind in Indiana. But they grew into the role and grew from it. Experiences accumulated; perspectives expanded. Relationships stalled; others progressed.
“We’re not in party mode all the time anymore,” says Myers. “We’re refining how we write songs, writing about people we love, more important things than just nonsensical stuff.” If that was the charge, then Little Neon Limelight is an unapologetic success. These eleven songs sparkle, fade, and sparkle again, mixing innocence and experience, acceptance and aspiration, horror and hope.
Recorded by Dave Cobb in Nashville, Little Neon Limelight pairs the energy and nerves of raw first takes with the accents and moods of a more contemplative, thoughtful unit. Hearts are broken and friends are exiled, love grows cold and drugs do damage, leaders make mistakes and money turns tricks. On the acoustic “Gasoline,” one of the most poignant moments of Houndmouth’s catalog, Toupin barbs the confessions of a perennial party girl with the specter of mortality. “Maybe I’ll meet my maker on a bedroom floor,” she sings, her voice fighting against its own existential fade as bowed cello traces her words. Haunted by samples of the buoyant opener and single “Sedona” and the noisy filigree of a Moog, the beautifully downcast “For No One” stalks through personal blues with conviction. Its world-weariness has been incubated by the world it surveys.
But all of these feelings aren’t worn on Houndmouth’s collective sleeves: Despite the turmoil embedded within many of these songs, they are equal parts energetic proclamation, built with choruses that can’t be denied, harmonies that can’t be escaped and rhythms that can’t be resisted. With its carousel keyboards and start-and-stop drums, “Say I”” is a combination come-on and kiss-off that might make Keith Richards blush. For “15 Years,” Houndmouth conjures barroom bluster to voice the woes of a prisoner, backing the cries of his soul with howling organ and slashing guitar. When all the action drops into a shout-along, gospel-strong bridge, you might feel the urge to bust the fella out yourself. What’s the point of having the blues, Houndmouth seems to say, if you can’t have fun with them, too?
Nowhere is that balance of tragedy and triumph better than on the romp “My Cousin Greg,” a Band-style saga where each member takes a turn with a verse. Written about Myers’ actual cousin and former cover-band bandmate Greg, these four minutes present the title guy as a mischievous, enlightened and acerbic genius. He leaves Florida with his master’s degree in physics for a brainy job in Los Angeles, raising metaphysical hell and questions along the way. Greg thinks his cousin has it made, touring the country by van while playing the songs he’s written.
But Myers disagrees: “If you wanna live the good life/Well, you better stay away from the limelight,” the quartet sings as one in the chorus, repeating the mantra as though it were their only lifeline to sanity. For those long drives, it’s a reminder of the thrill and toil of what they now get to do. “For the first record, we were floating around after having been thrown into this,” explains Myers. “This time, we were able to write more about experiences than random stories, because that’s where we are in life. There had to be an attachment to what we recorded.”
For Little Neon Limelight, the charged, charming and preternaturally mature Houndmouth did exactly that.
– Grayson Haver Currin
Joan Gand pays homage to the classic blues keyboard players including Memphis Slim, Booker T, Otis Span, Pinetop Perkins, Jimmy Smith and Charles Earland. This event was dedicated to the memory of KoKo Taylor, the greatest Chicago Woman in the Blues! The Gand Band features Gary Gand on guitar, Tony Dale on drums, TK on sax, Blake Wollerman on harmonica. For more info, see www.thegandband.com
Of Wolves’ Blood
Hailing from the Garden State of New Jersey, Bigwig was a band started on a simple premise… they just wanted to play a unique brand of fast, melodic punk rock mixed with politics, and have it be heard. And heard it has been since they broke on to the scene in 1995. Their influences range from Jawbreaker and Weezer, to the Descendents, NOFX, and even Slayer. Although some of people have compared them to Propaghandi, Bigwig’s sound isn’t that easy to pin down.
Their career got started with a phone call. The late Jim Cherry (of Strung Out, Zero Down) caught Bigwig while he was on tour and was so impressed he had to call his friend over at Fearless Records. Shortly thereafter, Bigwig was signed and their debut album, “Unmerry Melodies,” was released.
By touring non–stop since their inception with bands like Pennywise, Less Than Jake, No Use For a Name, Strung Out, the Vandals, and slots on the Warped Tour, Bigwig has been able to build a dedicated fan base, and all on their own terms.
Straight outa Rikers. Straight outa Cook County, straight outa that prison in Louisiana that everyone says is horrible, but I can’t be bothered to Google, it’s MASKED INTRUDER, four melodious felons in ski masks with rap sheets, matching converse and some of the catchiest tunes this side of Johnny Cash, Live in Folsom Prison, and they’re coming at you with their second full length, the semi eponymously titled M.I., scheduled to break out on Fat Wreck Chords on May 27, 2014.
Some say they hail from Wisconsin, some say their accents on stage betray a New Jersey heritage and some people think they’re just Chixdiggit in disguise, but one thing’s for sure, Blue and the gang have been crafting some of the sweetest pop-punk gems about breaking and entering, stalking, and muggings that you’ve ever heard. Not many grown men in ski masks can claim to be the very favorite band of Fat Mike’s daughter, for example (not many men in ski masks should be around children at all) but that’s what makes Masked Intruder so special. They’re more than a gimmick. They’ve got chops. They’re weird, kinda arty, fairly goofy, vaguely dumb, relentlessly smart and they appeal to pretty much everyone, from their fellow hardened criminals to little girls and everyone in between.
Now, they’re back on the lam in support of M.I., featuring thirteen tracks of broken hearts, broken promises and breaking and entering. Recorded by Matt Alison at Atlas Studios in Chicago (Alkaline Trio, Lawrence Arms, Menzingers), M.I. boasts the Intruders at their toe tapping, jewelry stealing best. I mean, if there’s a better title for a love song than Don’t Run Away, I sure as hell haven’t heard it.
In support of M.I., and in order to stay a step ahead of their parole officers, the Intruder duders are hitting the road nonstop, traversing the globe, from Europe to Australia to the US of A, with bands like the Dwarves, Face To Face and more, bringing their heart-stealing songs to the people, all while merch dude, stage security and exquisitely mustached lawman Officer Bradford makes sure that hearts are the only things Masked Intruder steals. Officer Bradford may not wear a smile during a Masked Intruder show, but everyone else in the house sure is, and you can bet your ass that whether live or on record, the boys in Masked Intruder are sure to have you singing along and looking for your wallet. Oh, that prison in Louisiana is called Angola. Score one for memory. Take that, Google
Ellen Miller: Blues harmonica ace and leader of Nelson Street Revival band which features international blues sensation Peaches Staten, Anne Harris on fiddle (of the Otis Taylor Band), and Cathy Richardson, Grammy-nominated solo artist and currently lead singer of Jefferson Starship.
The Countess became fascinated with music at an early age, inspired by her grandmother’s singing and music. She won a poetry contest writing about her mother’s murder in 1996. Now all her passion comes from the pain of a mother gone to soon. One minute sexy and seductive and the next down right rough. Her style pays tribute some some of the best: Nancy Wilson, Rachelle Ferrelle, Billie Holiday, Gladys Knight, Aretha Franklin, Bill Withers, Al Green the list goes on. She has performed with the Mike Wheeler Band, Carl Weathersby, Charlie Love, and was a finalist for Chicago Blues Divas at BLUES on Halsted. Her comedian side and creating a song on the spot adds a extra touch to her show. She will leave you on the edge of your seat waiting for her next performance.
“Miss Ivy Ford, wise beyond her years,”
Ivy Ford, singer, musician, entertainer. Waukegan born and raised, at just 22 she is quite the up and coming artist of the Chicago blues and live music scene. Ivy Ford started performing live with Kenosha based band The Real Deal, managed by Steve Rainey at 13 and since then continues to nurture her niche and calling to the music. She plays piano, alto saxophone, drums, bass guitar and guitar which are primarily self taught. In late 2012, Ford joined a local blues band which in time evolved into Ivy Ford and The Cadillacs and gained fair amounts of popularity.
Fast forward two years and Ivy Ford has managed to take the Chicago scene by storm. In January,2015 Ivy Ford opened for the legend, Buddy Guy at his club in Chicago and continues to share the stage with Chicago blues hall of famers, J.B. Ritchie, Joe Moss, Toronzo Cannon and Tom Holland. She fronts her very own band and besides obtaining the title of “Chicago’s Blues Kitten,” performs song selections from not just the blues genres but RnB and soul. Aside from performing every weekend at both private and public event, clubs and venues, she is in the process of recording an unplugged album including originals. Some recent event for Ford include, radio shows on 90.9 WDCB, and In a Nutshell radio show on 98.3 WRLR. She’s been apart of Buddy Guys Legends, Artist series and traveled to Minneapolis, MN to perform at Artspace’s 2013 Celebration at the Cowle Theater. Ivy Ford has been featured in Buddy Guy’s Blues and Music News, Lake County Magazine and Blues Guitar Expert’s online forum. To follow or check into Ford’s shows and happenings go to www.Facebook.com/IvyFord or Twitter at #MissIvyFord.
Ivy Ford, is one of the leading “youngbloods” of blues and brings a refreshing yet classic face to the music. She handles her cherry red, Epiphone-339 with as much confidence as any of the bluesmen today and can belt out notes to fill a room and serenade a phrase sweeter than sugar in ways that make anyone and everyone tune in to what she has to say. Ivy Ford, always respects the history and tradition of roots and blues music, while presenting it in a fresh, young and trendy way.
Passing The Torch…
When not fronting her own blues party, Ivy is quite respected backing up Chicago Blues Hall of Fame Inductee, J.B. Ritchie. Legendary guitarist and frontman as his bass player. Ritchie has played alongside some of the greats himself and has been amongst famous artists such as Muddy Waters and Johnny Winter.
Steven Joseph lives life in color. Destroying the perception “normal” beauty standards and promoting self love one rainbow bright act at a time.
“the closest thing to the beatles in 2016, in chicago” – a girl
“they’re good, but they’re so unprofessional” – unknown superfan
“Just listened to the new Soft Candy album while doing a sinkful of dishes and everything turned out with a crystalline tangerine gleam.”- Wink Stone
“you should change your band name” – alex b (former member of soft candy)
Budway Ferris: guitar, vocals
Kelsey Tortorice: vocals
Jake Gold: guitar
Benji Jacobs: bass
Elliot Borg: drums
Dina Moore: Drums and Vocals
Eric Newmiller: Bass, Noise, Grounding Force
Egon Schiele: Painter? Guitar, Vocals, Dance Instructeur
Erin Delaney: Vocals, Poetry, Confidence Booster (Vitamin Water?)
Flake Michigan (Sergio of Black Bear/Brown Bear)
London 4 Piece Soul/Electronica
Ron Gilmore Jr. is an American musician, keyboardist, producer, and composer from Nashville, Tennessee. He is best known for his work as the keyboardist for Lauryn Hill and J. Cole’s performing bands, along with his production work on J. Cole’s certified platinum album, 2014 Forest Hills Drive and Bas’s most recent release, Too High To Riot.
Ron is a product of the Nashville School of the Arts. Originally pursuing music through local Nashville churches, Ron continued his musical studies and training through college and his military service from 2002-2008. At the conclusion of his service, Ron briefly toured with 90’s R&B artists such as Angela Winbush.
In 2010, Ron moved to New York City in search of a greater musical stage. He was quickly introduced to world renowned bass player Nate Jones, and landed an audition for Lauryn Hill. He was immediately chosen as her keyboardist and toured with Lauryn Hill performing on both her domestic and international tours from 2010-2012. The two still maintain a working relationship to this day. Ron was also introduced to hip-hop artist J. Cole during this time in 2010. J. Cole quickly recognized Ron’s musical ability and added Ron to his tour band. Ron led the keys for all of J. Coles domestic and world tours from 2010-2015 including last year’s highest selling hip-hop tour, The 2014 Forest Hills Drive Tour featuring J. Cole, Big Sean, Jeremih, YG, Jhené Aiko, and Pusha T. Ron also accompanied and performed with J Cole on a variety of additional performances and music festivals including SXSW, Drake’s OVO Fest, Governor’s Ball, Lollapalooza and the Late Show with David Lettermen.
In 2012 Ron shifted from performing musician to a producer and composer. He began composing beats and added production for J. Cole’s Cole World: The Sideline Story (certified Platinum), Born Sinner (certified Platinum) and 2014 Forest Hills Drive (certified Platinum). Additionally, Ron went on to executive produce hip-hop artist Bas’s latest project Too High to Riot and Last Winter and Co-produce Omen’s Elephant Eyes. Ron continues to work with Lauryn Hill, J. Cole, and Dreamville Records leading into 2016.
Ron recently completed his first ever solo musical project, set to be released on April 27, 2016 titled: The Maturation of Little Ron
CEO| Tha Committee | Tha man
I’m a Super Mookin Fiend and DreamVillain from NYC with roots around the world.
Subversive modern pop/rock with heavy elements of funk, r&b, jazz, and sci fi. Sailing the Galaxy….. Ahoy Paloy!
SAVE MONEY
In the name of Rites, the Graciousless, the Merciless. Master of the Day of Judgement …Guide us in the Left Path!
For any band, it’s terrifyingly easy to get lost in the shuffle, especially in a city as vast as Chicago. Setting yourself apart, or even finding kinship with other like-minded acts, are tough tasks with all the booking and promotion that needs to be done. But from the start, it seems The Fox & The Hounds have never had such issues. Self-billed as “Chicago’s only burlesque rock n’ roll band,” the area sextet create seductive and sensual sounds with elements of high-drama classic rock, baroque chamber pop and cabaret-style performance. There truly is nothing like them in the Windy City, and upon the release of their debut album, they’re well on their way to making their mark.
Baby Money is the brainchild of Chicago based songwriter Pamela Maurer. What started as a solo project has evolved into a 3-piece band based in the Windy City. Her original songs, ranging from gritty, sparse arrangements, to soulful, roof-shaking foot-stompers, are inspired by 1960s girl-groups, soul, old time revival, gospel, and traditional rhythm ‘n’ blues. Want to hear more? Baby Money’s new EP, which features local heartthrobs, the Bribes as a backing band is out now! Get your hands on a hot copy of surfy and surreal ‘shy-CITY,’ VOL. 1:pyramid!, or Baby Money’s first full-length record, In Memory of John Doe, released in May 2014 at www.babymoney.bandcamp.com.
Consider 2015 something of a fresh start for Hawley Shoffner. The songwriter and musician has always pursued her passion and even released music, but she’s now reclaiming her sound and voice while showcasing new skills.
Although she has played piano since she was a child, and guitar for the past four years, she only recently began taking lessons. Shoffner is less an overall perfectionist, more interested in transforming the way she works and performs.
“I think now I’m less scared of failing,” Shoffner said about changing how she works and playing the guitar. “I used to be scared of playing in front of people, even when I started up a band a couple of years ago. It’s nice to be prepared and, when talking to people, know what key this is in or whatever notes sound good with it.”
In the process, she adopted the use of alter egos. The songwriting process can be daunting for any artist, but for Shoffner, a musician who is open and vulnerable about her struggle to stay open and vulnerable with her writing, songwriting provides unique challenges. “My trick is to write a song usually as someone else or someone talking to me,” she began. “Sometimes when I’m writing as myself, I’m too critical of myself. It’s really hard to write honest lyrics that way.”
This past winter she created Bunny, a side project/alter-ego. Shoffner began writing songs in the character of Bunny, eventually finishing 15 monologues and a storyline that includes a signature pink wig and a personality imbued with naivete. Based on Candy Darling, an Andy Warhol Superstar and a muse for The Velvet Underground, Shoffner says her character is also an exploration of songwriting processes that differ from her normal routines. “It’s just easier sometimes to picture your life in a different way and just to write songs for someone else,” she said. Despite the alter ego, Shoffner makes a point of identifying these alter egos as all her. “I think it’s important to do some stuff under my actual name for a second.”
Her latest project is Tiger, an upcoming 7-inch release, which serves as an emotional release and a statement for the person (and musician) Shoffner has become as she’s gotten older and wiser. The title comes from a song on the release which has shifted meaning over time. Originally about a bad relationship and, what Shoffner describes as, “the girls who go to shows and try to date and hang out with the guys in the band,” she now says the track details the evolution of her sexuality and sense of self.
“I was in a bad place and I was jealous, but now that I’ve been single for a while, it’s kind of turned more into learning about my sexuality so that girls are an option,” she said. “It makes more sense now than it did then.”
The rest of the songs on the 7-inch were also written around the same time as a previous relationship. For Shoffner, the tracks represent a part of her life that is now gone. “I just feel like I’m a completely different person now,” she said. Musically speaking, the release is also a letting go of her “past musical self” and everything it entails. Whether the newness of her instrument, overcoming the struggle to write the songs she wants to write or reclaiming her recording sessions, Shoffner is in a newer, better, stronger place. “I think I’m finally at the point where I sound exactly how I want to sound,” she said.
I am a singer/songwriter who is indie-electro focused. And dedicated to fusing music with fashion, photography, and film.
Drewsif Stalin’s Musical Endeavors (or DSME for short) is a metal collective from Baltimore, Maryland. Focused on heavy grooves and emotive melodies, DSME sets out to convey a strong message while smirking the entire way through.
“Furious and Triumphant two piece black metal”
Based in Minneapolis, self-described as “blackened sludge punk,” they pull from things they loved about old school black metal/post-punk/hardcore/doom/rock and infuse that into something truly honest. No bullshit Satanism or sensationalism, just pure honest hatred for religion, capitalism, politics, sheep mentality and typical human behaviour.
With simple, memorable, and truly hate-filled metal anthems for themselves and all the other blue collar, working poor, and generally unsatisfied people who are looking for something raw and classic as soundtrack to rise up and fight the status quo around them in any way they see fit to do.
The Black Flowerz Movement is a Chicago based urban rock fusion band, merging various genres of music to come up with a sound that quickly develops a happy bond with your musical taste and emotional intelligence. The band consists of seasoned veteran players in the games that have come together to change the landscape of modern music today. The music of Black Flowerz Movement does more than offer a new twist to a music genre; rather it delivers a powerful lyrical message they hope will resonate with today’s urban youth community. That message being…The Black Flowerz Movement is all about the cause for justice and peace. Without justice there can be no peace! The senseless shootings in Chicago needs to stop. Police brutality needs to stop. The Implicit racial bias needs to stop. We can in fact all get a long, but everyone must put in work, No one is exempt.
WINGTIPS began in southern Illinois at the end of 2012 as a duo between Vinny Segretario and Kyle Crider. Together they wrote the the first release, “AMBIGUITY”. Shortly before moving to Chicago in 2013, Vinny took over the project as a soloist and has continued under the moniker to present day, releasing two full length albums, “RECOVERY MODE” in 2014, and “ULTRAVISION” in 2015. Immediately following the most recent release, WINGTIPS played a clutch of shows in the midwest and toured the east coast in summer 2015, with newly added instrumentalists Hannah Dickerson, and Henry Zimmerman. WINGTIPS, now in the process of writing new material, functions as a three piece band.
CURRENT LINEUP:
VINNY SEGRETARIO
HANNAH DICKERSON
TESSA JURECZKOVA
Members: Jay Emmons, Chris Koster, Adam Paquette, Chris Huot & Brett Emmons
Maximum Chicago Rock n Roll!
You are Jack. We are The Coax.
Disaster Sounds is the instrumental-rock brainchild of guitarist Mike O’Meara. With the help of longtime friends Tony Tabor on drums and Ben DeBiasio on bass, Disaster Sounds will take listeners down a winding road of guitar-driven rock that will pass through realms of funk, jazz, and metal. You know, it’s like “eclectic” or something…
The Smiley Tillmon Band was formed in early 2008 when Smiley Tillmon and Tom Rezetko began playing blues together at local open jam nites throughout the Chicagoland area. After a few weeks, the jams got funkier and the crowds got bigger, which led Smiley and Tom to seek out a band. Smiley likes to mix up the group to achieve a modern and unique style of blues, funk, soul and jazz.
Entertainer, Showman, and profound Guitarist, Smiley Tillmon was born in Jefferson County, Georgia in 1941. After a short while, he relocated and was raised in Ft. Lauderdale, Florida where he started playing R&B and Calypso in 1957. His biggest influences were George Benson and Matt Murphy.
After moving to Chicago, IL in 1959, Smiley decided to make the blues his priority, playing full-time until 1976. During this time, Smiley performed with established artists such as Junior Wells, James Cotton, Zora Young, Lefty Dizz, Sunnyland Slim, Johnny Dollar, Bob Stroger, and helped start the career of Denise LaSalle.
In 1977, the music became Smiley’s 2nd priority, as he raised his family and maintained a full-time job at a Chicago school district until 2007. During this time, he was still playing part-time and working on his chops more than ever.
In 2007, Smiley emerged back on the scene, with the help of Tom Rezetko, to fulfill his calling as a music man and start a blues revival on Chicago’s Southside.
Since his comeback, Smiley has performed with the likes of Lonnie Brooks, Jimmy Johnson, Eddie Clearwater, Twist Turner, Rockin’ Johnny Burgin and countless others. He has graced the stage at venues of all sizes, including Kingston Mines, The Checkerboard Lounge, Chess Records, The Beverly Arts Center, and even Toyota Park.
Now, at the age of 70, Smiley’s passion for music is higher than ever before, constantly learning new playing tactics and teaching future generations of musicians to come.
Keeping true to the true spirit of rhythm and blues, The Smiley Tillmon Band blends Chicago Blues, Stax and funk favorites to keep the party groovin’!
Joel Paterson is one of the most respected guitarists on the Windy City music scene today. The blues/country/rockabilly/jazz guitar wizard has spent the last 10 years touring and recording with acts like Dave ‘Honey Boy’ Edwards, Wanda Jackson, Carl ‘Sonny’ Leyland, Jimmy Sutton’s Four Charms, Deke Dickerson, and his own Joel Paterson’s Blues Roundup and the Modern Sounds (who were voted best Chicago Jazz Band in the 2009 Chicago Reader Poll). While Paterson can recreate the sound and feel of guitar greats like Django Reinhardt, Tiny Grimes, Chet Atkins, Wes Montgomery, and Merle Travis, he can also nail the Chicago and delta blues idioms of guitarists like Blind Blake, Robert Nighthawk, Jimmy Rogers, and Freddie King. If that wasn’t enough, this guy can also tear it up on a pedal steel. Plain and simple this cat can play.
“Their debut release, “Pretty Girls” is a grouping of jittery, garage-rock jams with a healthy dose of group choruses, fuzzy vocals and steady percussion. A. Sinclair is a mature project aiming for honesty and joy in the music itself. They’re not flashy or glamorous, finding more musical satisfaction in simple tone work and phrasing. The pace is always quick and varying; boosted by a sense of urgency and a clear message.”
-Audiotree
“Staying away from the traditional constraints of a single genre label, Misanthropy fuses mind dissolving dissonant melodies, twisting hyper speed technicality, foundation-shattering low brutality, and hooks that will worm their way into your brain and take up permanent residence “
Thrashole is South Jersey Thrash Metal. Bringin’ back classic Thrash to the masses! Debut EP, “Blasphemy” out now!
Weresquatch was founded by guitarist/vocalist Eric Eisenhauer in the summer of ’09. Thrash metal inspired Heavy Metal Band.