GET NAKED cannot be generalized into any genre just yet. How can you put a label on something with no specific sound? Keep your eyes and ears open for updates as they come.
This experiment is composed of four young gentleman from Chicago, IL with Devin Wilson on bass, Evan Hinkle on guitar and melody, Robby Allen on beats and skins, and Jim Farley on guitar.
A product of the Nebraskan good life, this ATX transplant is looking to make the rounds in September in conjunction with his first EP. Moving out of the garage of the 90’s and into the sun soaked beaches of what could be the late 60’s, Casey Beans has come into his own. Taking I’D DIE FOR LO-FI out of the safety of his imagination and releasing it to the masses. Not one to let details slip through the cracks he is recording everything himself. Drenched in the Lo-Fi trappings of a forgotten time he is looking to transport you to the hazy remnants of a party in the sands.
music inspired by old Kung Fu movies, action films and other sorts of blowing stuff up cinema, an Asian film is a rock band that plays rock music
Performing today’s Top 40’s as well as reviving #1 hits of the Old West with triple-threat harmonies, pop beats, and a little twang, Whistling Dixies is a female- fronted powerhouse in Chicago’s Country Music scene.
As previous members of one of the city’s most prestigious cover groups, this rebranded band will knock your socks off to trade for dancing boots with their perfect instrumentation, incredible vocals, and electrifying performances.
Come see for yourself!…We aint just Whistlin Dixie.
El Drifte has been writing, recording, and performing the ass kickin’est music in the world for over 20 years. Starting as a bar band singer in his home town of Minneapolis, he then moved his show to the warm temperate climate of Austin for a period of 10 years where he cut his punk rock and honky tonk chops with the cream of the Texas crop. Spending the best part of the 1990’s travelling the country as singer, co founder, co writer, and rhythm guitar player of the now infamous Fallopian Plummers, El Drifte made a name for himself under his former moniker of Elvis Eastwood.
Now, back home in Minneapolis, the El Drifte era officially begins! Hold on to your hats, friends, it’s going to be a wild ride!
Punk Band with a message. Speaking out about corrupt america as well as fun drinking with your friends, T.I.G.T. will have you entertained all night.
When Q. was 8 years old she got her first punk album, …And Out Come The Wolves by Rancid. When she turned 12 she picked up the guitar. Then by the time she was a fresh, angry, 14 year-old punk she decided to start writing songs. By the time she reached the age of 16 she went on her first acoustic tour with about 10 – 15 songs under her belt.
Then she met Mr. Matt Spiewak, a musically trained Jazz drummer with influences such as Tool and Primus. They jammed, and despite the musical differences, it worked. After they decided they wanted to get a band going they began looking for a bass player and a singer. That’s when Jordan Post, a friend from the same high school, joined the crew. Being the amazing bass player he was, Mr. Post fit in quite well musically. Though the looked, they never ended up finding a lead singer so Q. just took over singing, even though it was originally her plan to do back up vocals. Since she had been singing, playing, and writing her original songs, she relaxed into the position of lead singer.
After many band practices they fell into the name: The Half-Ass Shits. Not much happened with this line up, as Jordan eventually moved to Milwaukee to do college and have a life of his own. Matt and Q. continued as a 2 piece band, who played basement and park shows occasionally. With month breaks at a time not alot was happening for them musically. After dealing with personal issues such as moving, college, addiction, relationships, and just the chaos of moving into adulthood things started looking up for the two piece duo.
In the fall/winter of 2012, after almost half a year without playing together, they began practicing again. That March, Q. put together a Spring DIY show. For a brief period of time they added Jessie Shackelford on bass. They practiced, and played that DIY show in March. He only played with them for that show. Though the show was unsuccessful, it got them back to playing what would be a year of many more shows.
A month or so later they got a gig at a basement venue called The Owl Sanctuary [RIP] and that’s when things started to speed up again. That’s where they met Sir Dave Bonson. The Half-Ass Shits were in need of two things: A bass player and a new name. They wanted to change their name, because that spring they had a segment on the local radio station 89.9 WORT and they had to censor their name. So Dave joined the band and with that they changed their name to Skizzwhores.
Even though Dave had never played bass in a band before, he picked it up faster then most would have. …and finally! Skizzwhores were full and ready to tear up each show that they played. They played more basement venues. The Frequency. The Wisco. The Dragonfly Lounge. Down and Over. The Pollock In and other places.
They released their first OFFICIAL demo: “Exploding Ovaries.” It was recorded at the music space on Park Street by Mr. Mike Scheutte and the cover was designed by Sam Urai. They are free for download and free in person [donations are appreciated for band fun moneys though].
Recently, they played they played the yearly Maximum Ink Halloween show on Freakfest. Doing a split tribute to Joy Division and Bikini Kill they had a blast. We called ourselves Division Bikini for the show, as the line up for it was:
Sam Urai – Lead Vocals/Ian Curtis Dancing
Q. – Guitar/Other Vocals
Evan Christiansen – Bass
Dave Bonson – Drums
Skizzwhores had to part ways with their original drummer, Matt Spiewak due to personal issues. But not all was lost. Since the line up for Division Bikini had great chemistry they decided to keep Evan on bass and had Dave drum.
Bumsy and the Moochers from Chicago, IL have been around since 2012 riding a tidal wave sound reminiscent of 90s pop punk and ska. Known for their energetic and fun live sets, Bumsy and the Moochers never disappoints. For fans of Less Than Jake, Dance Hall Crashers, Mustard Plug, and The Hippos.
Andy Baker & Ken Partyka have assembled the city’s finest performers, writers and arrangers to form a world-class band that is uniquely Chicago
South Chicago Indie rock band Skyway Stereo. Featuring Steve Rodriguez (Guitar, Vocals), Memo Rodriguez (Drums, Vocals), Tony Martinez (Bass, Vocals), Eddie Torres (Lead Guitar,Vocals).
Since October of 2007, CircleSwitch put into motion a band with an artistic, melodically driven, and straightforward brand of Hard Rock. Together they found chemistry very unique to their previous endeavors and decided to pursue a sound that paid tribute to the old school, yet different enough to be on the cutting edge of something entirely new. In 2009, the band released its debut album, “Hard Rock Certified”, along with a DVD featuring music videos of “Revolution” and “Lay It Down”. On July 3rd, 2013 CircleSwitch launched the regional tour for the new album titled “Ritual”, opening in direct support for Drowning Pool at Summerfest. CircleSwitch brings a new energy to the stage that has defined the meaning of the words “Dynamic and Unleashed”
The new music Videos “Drink Me “Till You’re Naked”, “What The Cat Dragged In” and “Long Leg Solution” are now available www.youtube.com/circleswitchmusic. More Videos are on the way in support of the new album with a DVD release in the works for late winter of 2014! CircleSwitch has recently began production on their third full length album, slated for release in Spring of 2014. The Circleswitch PR machine is set at maximum. Recent endorsement deals with Wornstar Clothing, Steve Clayton Picks, and Rat Rod Drums have opened new doors for the band. Plans to release music videos and establish a tour to follow the release of the new album, 2014 is set to be the biggest year ever for Circleswitch.
The Trouble Notes was formed by violinist Bennet Cerven and guitarist B-zy Brain in New York City late in 2012. In June 2013, Bennet and B-zy embarked for London where they would meet percussionist and future Note, Oliver Maguire, who added a new pulse to the compositions and completed the group’s sound. The Trouble Notes have since performed in many cities around the world, embracing the different cultures and musical styles, thus allowing them to leave their print on the group’s repertoire. The group describes its music as an eclectic fusion of genres from every corner of the musical spectrum, creating a listening experience that is truly unique to its own. The Trouble Notes released their first EP, “Court the Storm”, in August 2013 and currently reside in Berlin where they are finishing their second EP, set to release world wide in August 2014.
Nationally acclaimed singer-songwriter Leslie DiNicola has a rare gift for the sonic snapshot—through the poetic accessibility of her writing style she captures personal moments with a universal perspective.
“I want to share my experiences in song so that others can see their lives mirrored and pass through the door of whatever is troubling them or holding them back,” the NYC-based artist explains. Each of Leslie’s releases is a photo journal, a collection of “in the moment,” unposed music portraits that reveal the core of herself and her artistry. Her latest, the EP Some Greener Yard, is her most well composed and elegantly revealing body of work.
Leslie has been frequently described as “combining the grittiness of Janis Joplin with the vulnerability of Alison Krauss.” It’s a potent sensibility that has endeared her to critics, fans, other established artists, and industry vets. Things To Do, See & Eat in NYC succinctly enthuses: “This girl is going places.” October Project’s Julie Flanders says: “DiNicola pours her full soul and tremendous heart into songs you will recognize for their mysterious way of telling your secret story with her powerful voice.” Leslie has worked with such respected music biz names as Ron Allaire (Keith Richards, Madonna, David Bowie, Shakira), Julian Coryell (Aimee Mann, Leonard Cohen, Jewel, Alanis Morisette), Erich Gobel (John Mayer, Ray Charles), Mark Schulman (P!nk, Cher, Foreigner), and Ellis Traver (Diane Birch, Fischerspooner, Sean Lennon, and Mark Ronson).
As a live performer, her commanding vocals and smoldering stage presence have enabled her to sell out solo shows and hold her own alongside renowned artists like Tyler Hilton, Howie Day, Jaymay and October Project. Leslie is also a highly in-demand artist singing the “National Anthem” at major league sporting events across the country.
Leslie experienced a creative watershed time period recording her previous EP, Draw Back Your Bow (2011). This was a sophisticated and imaginative covers collection that resonated deeply with the public, and her mesmerizing renditions of Journey’s “Separate Ways” and U2’s “With Or Without You” peaked on the CMJ charts all over the country. Simply put: Studying world-class pop songs helped Leslie become a sharper and more expressive songwriter. There is a gracefulness to her latest five-song collection; Some Greener Yard feels quaint, emotionally direct, and hopeful. The elegantly elegiac “Weight” tenderly salutes a deceased friend. The redemptive “It’s Alright” features pastoral folk guitars and subtle gospel-y organs and sends a message of love and warmth to a friend who lost her father. And the euphoric Motown-esque-meets-1980s new wave “Stay” brightens the EP with the uplifting message that people can always fall in love and still feel that childlike wonder of new relationships.
This is Leslie’s second project with Julian Coryell, and he has been an essential artistic ally during this period of her career. “Julian doesn’t allow anything between me and the songs except the truth,” she explains. The two are currently working on their third project together, crafting a slew of boldly creative tracks to be released in November 2014.
“When I look back at the work I’ve done, it’s like going through scrapbooks,” Leslie says thoughtfully. “Each song is like a photograph of the person I was in a particular moment. It tells a story that my soul needed to tell. I hope these songs comfort people and give them an inherent sense of hope against life’s sorrow because that’s why I listen to music. And that’s why I write music.”
Carl Palmer is a drummer’s drummer. A consummate professional, a brilliant technician and a dynamic showman, he has thrilled listeners and audiences alike for nearly four decades with some of music’s most memorable bands including Atomic Rooster, The Crazy World Of Arthur Brown, Asia and Emerson, Lake & Palmer. Along the way his dazzling speed and mastery of the drums, combined with his infectious stage personality, have secured for him a respected place in history as one of Rock and Roll’s greatest drummers.
Carl Frederick Kendall Palmer was born in Birmingham, England, on March 20th, 1950. From the beginning it was clear that music was in the stars for the young Carl Palmer. His grandfather played the drums, his grandmother was a symphony violinist, his mother played an assortment of instruments, and his father sang, danced and played the guitar and drums as a semi-professional entertainer. In a musical family where even his brothers picked up the guitar and drums, Carl’s fascination with music began early and classical violin studies followed.
As he grew older, his tastes began to broaden and on ABC’s “In Concert” Palmer recalled how he was influenced by a film he saw during these formative years. The 1959 film “Drum Crazy” (aka “The Gene Krupa Story”), starring American film icon Sal Mineo (“Rebel Without A Cause”, “Exodus”), captured Carl’s imagination and set him on his way – he was hooked. His biggest influences from that point forward were Krupa and drum legend Buddy Rich who would later become a close personal friend of Carl’s. For his eleventh birthday he received a new drum set and immediately began to study the instrument. Over the next three years he studied with local instructor Tommy Cunliffe, played in a radio orchestra (the Midland Light Orchestra) and performed with his father’s dance band.
At age 14 Carl Palmer joined his first professional band, a six-month stint with The Mecca Dance Band, for which he was paid a whopping 23 pounds a week. At 15, Palmer enlisted in the Motown influenced King Bees along with Richard King on guitar, Len Cox on bass and Geoff Brown on lead vocals. The band would later be known as The Craig.
Already a respected working drummer by 16, Palmer moved on to join Chris Farlowe and the Thunderbirds which also featured guitar great Albert Lee (later with Eric Clapton, Albert Lee & Hogan’s Heroes, Emmylou Harris, Dolly Parton, Bill Wyman & the Rhythm Kings) and keyboardist Dave Greenslade (later in Colosseum). Pete Solley would eventually replace Greenslade in the band. Recalls Palmer, “yeah that was a blues band, a soul band with saxophones and everything. At the time, we were produced by none other than Mick Jagger.” It was Jagger who had originally discovered Farlowe. With Palmer in the band the Thunderbirds enjoyed moderate success with the single “My Way of Giving” but it was the Rolling Stones cover “Out Of Time” which propelled Farlowe to the top of the UK charts.
At the age of 18, replacing drummer Drachen Theaker, Carl Palmer joined up with The Crazy World of Arthur Brown at the absolute peak of their success following the smash single “Fire” (“I am the God of Hellfire…”). Top 10 around the world and feeling the weight of success, cracks had begun to form in the band, there were personnel changes and Palmer arrived at a time when the band were touring with some of the biggest names in music. After brief rehearsals the lineup set out on an arduous U.S. tour alongside the cream of the rock world including the Grateful Dead, Jimi Hendrix, Premier Cast of Hair, Iron Butterfly and others.
The concerts were bombastic, pyrotechnic spectacles bordering on insanity, including the eccentric Brown setting himself on fire in asbestos suit, and the tour was a blur for the band. Speaking to Janis Schacht of Circus Magazine Palmer recalled, “I don’t know how the audiences were. I couldn’t see them with Arthur Brown. I was wearing too many masks, there were too many strobe lights, it was very hard to tell. The audiences were nothing like what we have today and with Arthur being so visual you never got a chance in the band.” He added, “The audience anticipation was all Arthur’s. So, musically, I was left behind. They would clap when he lit his fire helmet up. If I did something good, they wouldn’t clap. Mind you, it might not have been good. I have no impressions from the last time.”
Continuing pressures, management problems, health issues and personality conflicts eventually took their toll. The disillusioned Brown became increasingly difficult and the band splintered. Speaking about Brown, Palmer recalled, “It was no use talking to him so I just left him in the middle of the night.” Carl, along with ailing keyboardist Vincent Crane, returned to the UK to form Atomic Rooster.
It was with Atomic Rooster that Carl Palmer enjoyed his first real success as a founding member of a band. Media and fans alike immediately embraced Crane, Palmer and bassist/vocalist Nick Graham as the late 60’s progressive rock scene was thriving. Their debut album, Atomic Rooster, hit number 49 in the U.K. All the while, fueled by his brilliant drum solos, Palmer’s reputation grew as a drummer with phenomenal skill and dizzying speed.
In the spring of 1970, Carl Palmer received a phone call that changed his life forever. Keyboard virtuoso Keith Emerson, himself enjoying Top 10 U.K. success with The Nice, was forming a new band with King Crimson founder Greg Lake who had also just experienced real success with his band’s legendary “In The Court Of The Crimson King”. After trying out several drummers, including Mitch Mitchell, the two wanted Palmer to audition for a spot in the new trio but Palmer was uncertain if he wanted to leave the growing success of Atomic Rooster behind. Reluctantly, he agreed to meet and rehearse with the band and thank God he did.
The trio’s first rehearsal mostly featured Nice and King Crimson standards, including “Rondo” and “21st Century Schizoid Man”, and all three musicians describe it as a “magical feeling” when they first played together. The session blew everyone away and Palmer was offered the job right there on the spot. Still not convinced however, he told Emerson and Lake that he would need to think it over. Returning the next day to another brilliant rehearsal, Carl Palmer accepted the invitation and joined the band.
Immediately dubbed a “supergroup” by the media, Emerson, Lake and Palmer (ELP) entered the musical arena with great expectations.
In August of 1970, while they were still working on the tracks that would eventually form their first album, ELP played its first show at Plymouth, and moved on immediately to the legendary Isle of Wight Festival. Following their set, which included an explosive version of “Pictures At An Exhibition” (complete with cannons), the fallout was massive. Said Palmer of the festival, “I don’t recall how well we played. All I know is that we went down incredibly well.” Even that may have been an understatement. Perhaps signaling the path of the band itself, critical acclaim was monumental and overnight the band was thrust down the path to superstardom.
The following month the group finished its self-titled debut album, which was released in November. Instantly successful, it climbed to the Top 5 in England and the Top 20 in America. The classic single “Lucky Man” became a hit, and their stage show quickly became the stuff of legend.
The 1971 follow-up album, Tarkus, propelled the ELP’s sound in new directions and was the first real test for the band’s cohesiveness. Emerson, wanting to further experiment with the range of the Moog synthesizer, had composed a musically unorthodox, extended piece and Palmer had come up with an unusual drum pattern he wanted to incorporate. Arguments ensued and when Greg Lake, who was producing the album said he wouldn’t be involved it looked like that might be it for ELP. In the end there was agreement (or agreement to disagree) and the album, which for many came to define ELP’s sound, was released.
On the heels of Tarkus’ rise to #1 on the UK charts and Top 10 in the America, ELP arrived at Newcastle City Hall on March 21, 1971, to perform and record live their signature adaptation of Modest Mussorgsky’s “Pictures At An Exhibition. When released, that album too became a great success.
Following a blistering schedule which saw the band touring furiously, the world over, ELP returned to the studio and released another impressive effort in “Trilogy” which saw the band’s partnership fully back in balance.
1973 saw ELP returning to touring and Carl traveling to the Guildhall School of Music in London where he studied classical timpani. That year also saw ELP return to the studio to record the album Brain Salad Surgery, perhaps the band’s definitive work. Bearing such memorable work as “Karn Evil 9”, “Still You Turn Me On” and “Jerusalem”, the album is highlighted by “Toccata”, a reworking of Argentine composer Alberto Ginastera’s Piano Concerto No. 1, and some of Carl Palmer’s most amazing drumming and synthesized percussion work, including the world’s first electric drum solo. So incredible and original was the performance in fact that Ginastera himself endorsed the recording. “Everyone thought it was Emerson on a keyboard but it was infact, my custom made electric drums, which were built in London,” says Palmer.
An insane touring schedule followed and the legendary scale and musicianship of ELP’s live show continued to grow as evidenced by the release of the epic triple live album Welcome Back My Friends To The Show That Never Ends, released in August 1974. Tired from a grueling four year run which had seen the release of 5 albums as well as untold hundreds of tour dates, the band decided to take a hiatus to explore other projects and to recharge their creative juices.
In reality, much of the material created during this period later went on the form the ELP albums Works, Volume I and Works, Volume II and when the band reunited for the former, a double album, it was decided that each would have a solo side followed by a forth side featuring the band as a unit. For his part, Carl Palmer’s contribution featured big band recordings recorded with 60’s and 70’s pianist & big band leader Harry South, as well as some individual tracks, including “LA ’74” with guitarist Joe Walsh of the Eagles. The real gem from this period however was Palmer’s own epic “Concerto for Percussion” which, sadly, would wait nearly twenty years before finally being released.
Following the Works albums and a grandiose, bank breaking orchestral tour the band returned to the studio one last time for the album “Love Beach”. “In Concert”, a testament, to the Works orchestral tour followed and in 1979 ELP quietly disbanded and exited the musical arena.
Looking for new horizons beyond ELP Carl Palmer formed his own band, PM, for which he recruited vocalist Todd Cochran from the band Automatic Man and blues guitarist John Nitzinger, along with Erik Scott and Barry Finnerty. The band, an attempt at Top 40-style rock, released one album, entitled 1:PM, which was released in 1980 in Europe only. Success eluded the album and the band, which broke up shortly thereafter.
Opportunity knocked again for Carl Palmer when manager Brian Lane approached him in 1981. Lane was trying to put together a supergroup concept for Geffen records and, reportedly, one of his first attempts brought together Palmer along with bassist/vocalist John Wetton (U.K., King Crimson), Rick Wakeman (Yes) and guitar ace Trevor Rabin (Rabbit, Manfred Mann and later Yes). A deal with Geffen is said to have fallen through when Wakeman bailed. Still intent on his idea of a supergroup, Lane introduced John Wetton to Yes axeman Steve Howe. When that musical fit seemed right Lane brought in Palmer and keyboardist Geoff Downes (The Buggles, Yes) filled out the lineup. The group Asia was born.
Recording with Asia, and the concept of performing as a band rather than a fusing of solo artists, was something of a new experience for Carl Palmer who said, “We have tried to create a sound collectively rather than a project as individuals.” The band’s self-titled debut album “Asia” was released in 1982 and a small tour began. Palmer and Wetton have said that they had a feeling in the studio they were doing something special but no one could have been prepared for what happened next. Asia exploded on the charts, right to number one, and over 7 million copies of the album were sold worldwide. Along the way singles such as “Heat Of The Moment”, “Only Time Will Tell”, “Wildest Dreams” and “Sole Survivor” dominated the charts for months. Asia was a perfect fit for the musical climate of the time.
“We were unique,” said Palmer. “Asia was English rock with a technical side. It’s sophisticated rock mixed in with melodies and singles. It was taboo in those days. And you very rarely hear that today, either.”
After an exhausting 18-month tour, Asia followed up with their second album, Alpha, which spawned two charting hits, “Don’t Cry” and “The Smile Has Left Your Eyes”. With the inevitable pressures that accompany such phenomenal success came signs that Asia was beginning to come apart.
Pressures from management and personality clashes in the band finally came to head with the sudden departure of John Wetton late in 1983. Committed to a live MTV broadcast, “Asia in Asia”, Asia brought in Palmer’s old ELP mate Greg Lake to fill Wetton’s shoes. Shortly thereafter Lake went his own way, the band brought Wetton back in and Steve Howe departed the band for good. Astra, the band’s third album, followed in 1985 with Mandy Meyer taking Steve Howe’s spot but the album failed to match the success of the earlier albums. A planned tour was abandoned and Asia went their separate ways.
In 1988 the chance came for Carl Palmer to team up once again with Keith Emerson in a new group with California-based singer/bassist Robert Berry. 3, as they were called, released their only album, To The Power Of Three, on Geffen records. Though the group received respectable FM airplay and followed with a successful club tour, their release generated little interest and they disbanded early in 1989.
Later in 1989 the Asia banner was raised once again when an invitation play a series of stadium dates with the Beach Boys brought Carl Palmer and John Wetton back into the Asia fold along with hired guns John Young and Alan Darby. Encouraged by the reception they received, Asia arranged another tour for the fall and convinced Geoff Downes to return.
Hoping to generate interest in another Asia album the group set out on a feverish touring schedule accompanied by guitarist Pat Thrall. For the well traveled Carl Palmer it meant a return to the road and successful tours ensued in Germany, the U.K., Japan, Brazil and Russian. The Russian shows in particular represented another high in the Asia saga and were captured for posterity in the CD and video releases of Asia Live in Moscow. As Asia prepared to write a new album in 1991 John Wetton decided to leave and Carl Palmer jumped at the chance to reunite with his old mates Keith Emerson and Greg Lake in ELP.
Originally the band had only intended on writing and recording music for a planned film score but the chemistry was clearly still there and eventually it was decided that they should record an album. Signed to the newly founded Victory Records, ELP returned in 1992 with Black Moon, a strong effort produced by Mark Mancina. A video was released and an ambitious tour followed. To the surprise of many the tour was quite successful and saw ELP circle the globe on a tour that lasted from the summer of 1992 well into 1993. Recalled Palmer, “I knew we’d be OK but I never dreamed it would be to this magnitude.”
ELP headed back into the studio but problems with Keith Emerson’s right arm and production that didn’t really gel with the sound of ELP plagued the effort. In The Hot Seat was released in 1994 but failed to attract any real attention. ELP headed their own ways to concentrate on medical and personal issues but returned to touring in 1996 and over the next three years they were accompanied on the road by such notable acts as Deep Purple, Dream Theatre, Kansas and Jethro Tull. In the winter of 1998, and in the midst of great anticipation about a much hyped, forthcoming concept album Greg Lake left ELP which left Carl open to another reunion that was in the works.
The wheels had begun to turn again and excitement grew for another reunion of the Asia originals. Negotiations continued and the band began to rehearse together in February 1999, joined by guitarist Dave Kilminster. The feeling among the principals was that the magic was still there and a world tour was announced, set to begin in June. Following a world tour, Asia had hoped to record a new album and Geoff Downes and John Wetton had already begun writing songs again. Said Carl Palmer at the time: “There’s some new material that is being rehearsed and recorded which will be played on the upcoming tour. I would say that there would be a new Asia album in the works for the year 2000. That’s where we are at the moment.”
Unfortunately that is as far as it went. Almost as quickly as the whole project had begun it came crashing down with the announcement by Geoff Downes that he was abandoning the reunion. The event, which so many had hoped for, would have to wait. It did lead however to the brief reunion of Wetton and Palmer, along with guitarist Dave Kilminster and keyboardist John Young in the band Qango. Sporting a set list consisting of classic ELP, Asia, and King Crimson material, along with some new songs, Qango played a well-received series of dates. “It was a wonderful feeling to be back on stage playing this material with our new band,” said Palmer. “The shows went down very well and have made us excited about continuing with more tours and the recording of new material.” One memorable night even saw the band joined onstage by none other than Keith Emerson. Once again though, hope was short-lived and John Wetton departed the project leaving Palmer to ponder his next move.
Not one to sit around, Palmer set out on a schedule that included instructing drum clinics & master classes and once again set out to create his own new band and along with bassist SIMON FITZPATRICK and guitarist extraordinare PAUL BIELATOWICZ he formed the progressive trio “Palmer”. The thought of Carl Palmer assembling a progressive trio might seem like he was relying on formula, especially since the band’s material consisted mainly of ELP classics, but this was indeed a new direction. Purely guitar driven, this band put a new face on such tracks as “Toccata”, “Hoedown” and Fanfare For The Common Man” and performed them with dizzying complexity and an energy perhaps not heard since the earliest days of ELP.
Fans fortunate enough to see the group live immediately embraced their raw power and virtuosity and critics were quick to agree. Malcolm Dome of Classic Rock Magazine wrote, “The venerable Palmer, who is still great Drummer, leads his current line up though impressive reworkings of ELP music” and added, “There’s an energy and edge here that belongs to (today) 2003. The music might go way back, but the musicianship is most certainly from here and now.” Tim Jones of Record Collector magazine observed, “If you like instrumental virtuosity this should sit well with you.” Palmer, the band, began touring at will.
In 1991, Carl Palmer released his much-anticipated two-disk anthology Do Ya Wanna Play, Carl. The collection showcased Palmer’s greatest recordings with ELP, Asia, Atomic Rooster plus and several rare and never-before-released tracks from every professional group had ever been in. Highlights included cuts from sessions with British rock artist Mike Oldfield, and a live track featuring Carl with his childhood idol, drum jazz icon Buddy Rich and his Orchestra. Perhaps the biggest gem for fans was the inclusion of the piece fans had been asking for since the seventies.
“Concerto for Percussion” made its debut fifteen years after it had been recorded. In a 1991 interview he said, “The album has been in the works since 1976, when ELP took its hiatus to do solo projects. What came of it was the WORKS double LP, with one band side and three solo sides. It was then that I did the “Percussion Concerto.” It didn’t make it to Works, Vol. 1 or Works Vol. 2. I have always wanted to release it and now it has finally come out.”
The Carl Palmer Band lineup did a highly successful US tour in 2006 and continues to tour throughout the world. Featuring Paul Bielatowicz on guitars; Simon Fitzpatrick on bass and Palmer on drums, the band will also embark on a 29 date tour of Canada, The US, and South America. The band has released a concert DVD and three acclaimed live CDs, Working Live Vol 1. Vol 2, and Vol. 3.
In 2006, Carl also regrouped for the long awaited reunion of the original ASIA, with Steve Howe, Geoff Downes and John Wetton. The band has done five world tours and recorded two new studio albums PHOENIX, released on Frontiers and EMI Records in 2008, and Omega, released in the Spring of 2010.
In July 2010, Palmer also participated in a one-time reunion of ELP, staged before 30,000 at the High Voltage Festival in London.
Says Palmer: “I have the best of both worlds now. I have an active schedule with The Carl Palmer Band, and I continue to tour and record the original line up of ASIA. It is very satisfying and gratifying to know the fans are still out there and willing to support and enjoy the music I create. I hope to keep doing this for many more years to come.”
“Mere opinions, in fact, were as likely to govern people’s actions as hard evidence, and were subject to sudden reversals as hard evidence could never be. So the Galapagos Islands could be hell in one moment and heaven in the next, and Julius Caesar could be a statesman in one moment and a butcher in the next, and Ecuadorian paper money could be traded for food, shelter, and clothing in one moment and line the bottom of a birdcage in the next, and the universe could be created by God Almighty in one moment and by a big explosion in the next–and on and on.” Kurt Vonnugut – Galapagos
For each member of the band, music has always been a passion. Fueled by a common faith and mutual friendship, a band was formed first in late 2012. Over the next year there would be various personnel changes as well as a name change. Still through it all there remained a common purpose. The heart of the band has always remained the same. The desire to make music people would want to listen to, and to share a message of hope to a world who needs it. There is so much hurting and pain in our society, and if through music one person can find hope and freedom, then its worth it all.
The story of PEARS is not exactly an incredibly long one: The hardcore punk band came together in early 2014, after its members had kicked around the New Orleans punk scene for long enough before finally wising up and realizing they were meant for each other. However, it is a story that is remarkably fast-paced: The band’s first demo, …In Diapers, was released days after their first practice. The band’s 10-song debut album, the absolutely electrifying Go To Prison, was written over the course of 14 hours and recorded a mere five weeks after the band formed. Really, there’s no way PEARS should be as good as they are—something frontman Zach Quinn fully realizes. “The big secret is that me and a couple of the guys were in a band called the Lollies for a few years,” Quinn says. “That band broke up, we took some time away from each other and then just tried to do it right this time. I guess we really kind of lucked out. We didn’t make the same mistakes—the same mistakes being really too fuckin’ drunk to do anything.”
Of course, coming out of the NOLA scene, it’s tough to be anything but debaucherous. “The city is so decadent, it’s a great place to be a piece of shit,” Quinn says. “There’s plenty of punk rock. Not a lot of it is very good, but everybody’s having fun.” It’s that anything-goes attitude that informs Go To Prison, an album that straddles the line between in-your-face hardcore and sugar-sweet traditional pop-punk that’s surprisingly lighthearted. It’s evident in their logo (some might call it an homage to Fear; “I haven’t heard from Lee Ving’s lawyers yet,” chuckles Quinn), all the musical easter eggs scattered throughout the record (including references to Descendents and Suicidal Tendencies), plus an absolutely ripping cover of the Ramones’ “Judy Is A Punk” that is one whole second shorter than the original (a feat we didn’t even think possible). But just because the album comes off as humorous at times doesn’t mean PEARS don’t take themselves seriously. “I definitely take what we do very seriously, but it doesn’t mean it ain’t funny,” Quinn explains. “Humor is an aspect of everything. People without a sense of humor are either dead or lying. There’s humor in everything if you know where to look.” Take, for example, the band name. “The name ‘PEARS’ came from this really terrible mushroom trip I had,” he admits. “I ate way too many mushrooms and things just got really bizarre. Pears and bananas became archetypes for everything that is good and pure and everything that is terrible and shitty—pears are the terrible and shitty things. After that bad trip, pears became slang between me and my friends for bullshit: ‘That shit’s pears.’ I suggested the band name, and everybody thought that was dumb, but I talked ‘em into it.” The band were lucky enough to befriend Off With Their Heads frontman Ryan Young, who loved the band so much he put out Go To Prison on vinyl on his own label, Anxious And Angry, last year. Since then, PEARS have been on the road nonstop, supporting the likes of the Dwarves, the Queers, Teenage Bottlerocket and Strung Out, all leading to the re-release of Go To Prison on Fat Wreck Chords on July 24th. That’s no excuse to stop working, though: While their first album might finally be hitting a record store near you this July, the band will be back in the studio recording its follow-up with none other than Fat Mike in the producer’s chair. (“I never thought anything like that would ever happen,” Quinn says of Mike’s interest in his band. “I remember buying The Decline when I was 12—it’s really weird that I have anydegree of separation from that.”) While 2015 might be the busiest year of PEARS’ short existence thus far, it’s clear 2016 has potential to be even bigger.
“Honestly, what we have done up to now, I hadn’t even dreamed of,” Quinn admits. “I’m not gonna stop climbing. I wanna see how insane this can get. We’ve always said the last thing we’ll do as a band is play North Korea. Then we’ll be done. That’s the ultimate goal—even if we sneak in and play to nobody. I don’t care. I can’t wait to see what I get to do.”
After debuting on Century Media Records in 2006 with the critically acclaimed ‘Death To Tyrants’ album and celebrating their 20th anniversary in the same year, SICK OF IT ALL certainly deserve being labelled a “living legend”, and still prove that classic New York hardcore is alive and kicking! With a career spanning 20 years and hundreds of thousands of albums sold worldwide, the band’s highly anticipated new album ‘Based On A True Story’ will add an exhilarating new chapter to the SICK OF IT ALL legend.
Doubtlessly the band’s hardest hitting effort to date, ‘Based On A True Story’ easily meets the high quality of its predecessor and offers tons of soon-to-be-classic hardcore hymns like ‘Dominated’, ‘Long As She’s Standing’, ‘The Divide’ and ‘Lowest Common Denominator. It features the most catchy and powerful material the band has ever written. It’s astonishing to see the band still boiling with rage at a world gone wrong and successfully transforming this natural and honest aggressiveness into hardcore hits. Two decades of experience as skilful songwriters, endless touring, plus an undying hardcore spirit make SICK OF IT ALL anno 2010 sound stronger and more determined than ever. ‘Based On A True Story’ is undeniable proof that the quartet is simply unstoppable and unrivalled within the hardcore scene in terms of quality and sheer impact.
Formed during 1986 in Queens, the band released their first self-titled EP on Revelation Records and began to accumulate a strong local following by playing famous clubs like CBGBs (‘A Month Of Sundays’ actually pays tribute to these glorious days at this legendary venue). Soon after, the band released their first full-length record ‘Blood Sweat And No Tears’ on In-Effect Records. Often revolving around politics, social injustices and life on the streets of New York, the band wore their heart on their sleeve and made no apologies, often including threads of positivity. When their second album ‘Just Look Around’ was released in 1992, it was a benchmark for the band and the New York hardcore scene, and kicked off their globe-trotting expansion with tours in Europe, South America and Japan. They released their breakthrough album ‘Scratch The Surface’ in 1994 on Atlantic, followed by the seminal album ‘Built To Last’ in 1997. After releasing three albums on Fat Wreck Chords, as well as a live album and a collection of rarities, the band took on the challenge to push themselves further. ‘Death To Tyrants’ was the band’s first cooperation with Century Media and was mixed by renowned metal producer Tue Madsen (The Haunted, Heaven Shall Burn, Dark Tranquillity,) adding a refreshingly heavy edge to the band’s trademark NYHC sound. ‘Death To Tyrants’ was extremely well received by media and fans alike and followed up with three years of relentless touring.
The new album was also recorded with Tue Madsen, this time at Starstruck Studios in Copenhagen in Copenhagen, Denmark, resulting in a massive metallic heaviness which increases the punch and drive of the new opus. Craig Ahead (bass) comments: “The end result of our three and a half weeks in the studio is something that we are all very proud of. An album that is pure SICK OF IT ALL and will stand up against any of our previous work and I believe raises the bar to a new standard. I hope you enjoy our offerings. We look forward to its release so we can again stomp the world. See you on tour!“ To walk the talk, the band plays a European tour with Dropkick Murphys in January/February 2010, followed by a UK run with AFI in April. More festival shows and touring activities are in the works.
‘Based On A True Story’ is another sonic statement that SICK OF IT ALL are an institution of hardcore. Their longevity and conviction has kept the band’s reputation untarnished and legendary. As Metal Hammer (UK) puts it: “SICK OF IT ALL – despite their ever-increasing age and fierce competition – are still the finest spokesmen for hardcore’s social conscience and values”, and this new release will allow them to maintain this leading position for many years to come!
Guitarist Paul Bielatowicz and bassist Simon Fitzpatrick are two of the UK’s finest virtuosos. Aside from their own solo work, they have been members of legendary drummer Carl Palmer’s touring band for several years and have performed over 500 gigs in 30-plus countries around the world. Individually, they have also performed and toured with such musicians as Dream Theater, Neal Morse (of Spock’s Beard), Joe Lynn Turner (Rainbow, Deep Purple), Kee Marcello (of Europe) and Les Paul. For this special show, Bielatowicz and Fitzpatrick will take you on a roller coaster ride of the most challenging classical virtuoso showpieces – all played as you’ve never heard them before!
The Mint Lab Astronauts. Chicago-natives and brothers, j.pak and pak.one, have been successfully bringing brand new sound to the genre of Hip-Hop. What makes M.L.A. such a talented duo is their entire in-house approach to the music they produce. Everything from the music production to mixing and mastering all the way to the album art work is accomplished by these two alone. This ability to create and deliver a modern, jazzy, genre clashing sound, with clever wordplay by each artist, puts them ahead of their respective peers. They have done several shows at local venues across Chicago, for the past couple years, and have managed to establish a solid following that has continued to grow. M.L.A. is currently unsigned with intentions of growing their presence in the industry and fan following, by any means necessary.
Booze, heartache, devil, misanthropy and love inspired country music from the middle United States.
“They have the throwback grooves of Buddy Holly and the troubadour lyrics of Woody Guthrie” – Clint Wiederholt (VocalsOnTop.com, tuningfork.tv)
– Clint Wiederholt, Live Concert Review: The Souveneers (Jan 30, 2013)
The Cannibal Ramblers Proudly Play Abstract Ashcan Delta Swamp Backwater Stomp.
The Cannibal Ramblers are a three (sometimes four) piece band from Boston/Providence. Their influences range from Mississippi Delta, surf music, punk, rock, Jazz and deconstructive performance sound art. These disparate styles jump together creating a unique and idiosyncratic sound, blasting with energy. Together for four years, they play an intense schedule of gigs from Vermont to NYC, from Mississippi to Michigan and FRANCE!
They have a deep reservoir of original music.
Nashville, TN / Bloomington, IN: Scott Schmadeke, Josh Morrow, Owle Sigman, Max Mullen:
The Feral Ghosts formed in the winter of 2014, emerging from Chicago’s late night scene. Originally a five-piece band, the more recent trio consists of Alex on the guitar, Lucy Boots on drums and Annu on vocals and bass. The subtle influences of these bands span from Post Punk to Psychedelic, and everything dark in between. It inspires the sound that has become the unique characteristics of TFG. Blending heavy intense tracks with raw emotions.
The Moth and the Flame have been creating earnest and heady alternative indie-rock since 2011. They have been heralded as one of the top emerging artists in the western United States, and as a “band to watch” coming out of their new home in Los Angeles.
Formed in the high desert of Provo Utah, TM&TF is singer/guitarist Brandon Robbins, keyboardist/vocalist Mark Garbett, and drummer Andrew Tolman. Their songs feature weaving layers of Robbins’ haunting baritone, dense instrumentation, and fresh moments of simplicity. The band extends this layered philosophy to their audience by integrating installation art with their live performances; filling cities with twenty-foot-tall anthropomorphic giants, and transforming venues into lunar visions, starry nights, and floating-lantern dreamscapes.
TM&TF’s latest release, &, is a collection of five complex and thematic songs produced by celebrated drummer Joey Waronker (Beck, Atoms for Peace). Released in late 2013 as the band joined Imagine Dragons on their European Night Visions tour, & begins with their first major single, Sorry. It follows the success of their 2011 debut, a self-titled album, and their signing to RED Distribution/Hidden Records.
The success of & has anticipation already buzzing for the band’s next full-length album, produced by Peter Katis (Interpol, The National, Jonsi) and featuring string arrangements by Rob Moose (Bon Iver, Sufjan Stevens). It was tracked while living isolated in Katis’ Connecticut studio for several weeks, and is set for release in late-summer 2014.
In late 2005, the first song was written. By late 2006, the skeleton for the first record was laid out and scratch recordings were underway. In February of 2007, the first show was played to a small room of around 150 people and Old Southern Moonshine Revival was born. In October of 2007, Old Southern Moonshine Revival released their self-titled debut album to a sold out Ziggy’s crowd in Winston-Salem, NC…
Flash forward five years to 2012. With their second full-length album debuting its first few weeks inside iTunes Top 100 Country Albums, Old Southern Moonshine Revival is touring in support and is turning heads everywhere they go. “It has been a ton of hard work, but we love what we do. We have to do this. It’s not something we can turn off.” says lead vocalist Marcus Kiser.”These songs hit close to home for us, and we are finding that they hit close to home for a lot of people. That’s a pretty special connection between the artist and the listener. We don’t take that sort of thing lightly.” Neither do the fans. Old Southern Moonshine Revival has shipped music or merchandise to 40 different countries around the world, have 45,000+ online friends/fans/followers, and “The Revival”, as they call it, is still growing. “We love our job. We take it very seriously, but it is hard to not have fun playing music for a living” explains lead guitarist Brent Lain. “We enjoy the hard work side of this business. It is gratifying to see our hard work come together into something way bigger than ourselves.”
Old Southern Moonshine Revival has a unique sound and a unique approach of making that sound heard. “Passion. Above all else. Passion.” adds bassist Jamie Shaver. “People know when you’re faking it. They know when you don’t believe in what you’re doing. Passion breeds followers. I am a perfect example of that.”
No one knows what the future holds, but if Old Southern Moonshine Revival has anything to do with it, The Revival is going to keep right on spreading. Around your town. In every state. Everywhere there is an ear to hear, The Revival is coming…
Useful Jenkins is a contemporary acoustic band with a foundation rooted in bluegrass, and readily taps into other genres, such as folk, funk, rock, and hip hop. Their music generates emotion and sends a message to a wide range of listeners, giving them an eclectic group of followers from all walks of life. The band is a 4 piece at its core (bass, lead acoustic, rhythm acoustic, mandolin) and has currently been integrating the violin as a fifth melodic layer. 4-part vocal harmonies accompany the wall of stringed instruments, leaving listeners with a strong, clean, and unique sound. Useful Jenkins thrives on energy; they flourish in the moment and have an unmatched resonance with the crowd. While frequenting Minneapolis, MN, the band was established in, and currently resides in Mankato, MN.
Formed as a 5 piece band in 2007, Useful Jenkins remained under-the-radar during their first few years performing. Open mic’s and campfire jams were their source of inspiration, which allowed them to form a strong and intimate bond between band members and fans alike. As their message grew, so did the network of friends who supported their direction. In February of 2009, the band released their first full-length album “Fast Eddie” which was the catalyst for their initial, and continued success in the Minnesota music-festival scene. Their second album, “Festival Express,” was released in September of 2012. It provided a more dynamic sound by capturing the raw bluegrass elements of “Fast Eddie” and combining them with funk and soul. Useful Jenkins continues to write and create music, on pace to release their third album in the spring of 2015.
The best way to experience Useful Jenkins is live in concert. Whether you are barefoot at a festival or standing shoulder-to-shoulder in a theatre, you will undoubtedly feel the pulse of their music and leave the show with a smile on your face. Their songs are memorable and easy to relate to, leaving them stuck in your head long after the performance. So if you are a sucker for acoustic music with a strong message, do yourself a favor; call up a group of your closest friends, clear your calendar, and go see Useful Jenkins. It’s a moment you will not soon forget.
Out with the old and in with the new as Voodoo Boogaloo chants, sings, and dances for you. This imaginative band entertains with their flavorful and intentional compositions. It’s change the world music. As this duo embraces the sonic arts, they remind all of us that magic is real and that fun is a creation to be shared.
This is a band for the ages. This is a band for your heart. This is a band of the New Way. Come and get your cup filled.
A stripped down, brazen rock and roll band from Colorado, accompanied by overdriven acoustic guitars and a trap kit. Inspired by Whitman’s promise to “sound my barbaric yawp over the roofs of the world,” the Yawpers have created a sound that is equal parts frenetic, earnest, and menacing, all while bringing together disparate pieces of the American musical lexicon. Though less than three years old, the Yawpers have played over 350 shows on both coasts, and everywhere in between, and have shared the stage with: the Reverend Horton Heat the Heartless Bastards, the Black Angels, Cracker, the Nadas, the Supersuckers, the Delta Spirit, Reverend Peyton’s Big Damn Band, the Stone Foxes, Joe Buck and many others. Following the release of an EP in 2011, their critcally well received LP, “Capon Crusade”, released in late 2012, debuted at #1 on the Colorado Music Charts, and is now in its second printing.
The boys in the Madison-based metalcore quintet Look, I’m Burning are proof that dairy is not the only notable export coming out of Wisconsin.
Aside from keeping their feet in the roots of breakdown metalcore, Look, I’m Burning prides itself on crafting creative chords over an intelligent and relentless rhythm section. This produces a more full sound and provides an opposite and more melodic side to their music. Throw in mind blowing tapping, sweeping and solo riffs and Look, I’m Burning starts to round out its sound. His brutal lows, guttural mids and piercing highs mix extremely well with Matt Tyler’s angelic singing.
Drawing from numerous influences,this five piece creates music that appeals to all fans of heavy music. With this wide variety of musical influences, Pangaea experiments with combining progressive yet crushing breakdowns and technical melodic riffs with colorful vocal harmonies that tastefully complement dynamic underlying guitar passages.
Lux Deluxe had a very specific goal for their new album, It’s a Girl, out April 15 on SpiritHouse Music. It’s the second LP from a group that has clearly hit its stride, and at an enviable age: the oldest of them is just 22, and they play with rare self-assurance. It shows on It’s a Girl.
“What we wanted it to be, more than anything, was a coherent piece of art you can listen to all the way through,” says bassist Jacob Rosazza, who is one of the band’s two primary songwriters, along with singer Ned King.
It’s a Girl is certainly that. Lux Deluxe wanted the album to reflect their combustible live performances. To get there, they spent the better part of two years honing their songs and their sound, merging the divergent personalities of the musicians — three cousins who have been playing together for a decade, and two friends — into one distinct band identity that reflects the strengths they’ve been developing since joining forces in 2009 in Northampton, Mass.
“This record is a lot more about the band than the songs,” says Rosazza. “You really get the vibe of the band.”
That’s not to downplay the songs. It’s a Girl features 10 smart, catchy tunes that evoke Lux Deluxe’s influences — think revered veterans like the Beatles, Dire Straits and NRBQ, along with latter-day favorites including Wilco and Dr. Dog — while moving the band out from under their shadow. You can hear it in King’s easy drawl over a tight bassline and swirls of keyboards from Gabe Bernini on opener “So Far Away,” or in the way “The Last Volunteer” builds from a looping keyboard line and King’s vocals to thick ropes of noisy guitar from Caleb Rosazza uncoiling over a rock-solid beat laid down by drummer Jake Edwards. The lush sound of strings sweeps through the synth-centric “What You Need,” while a tangle of punchy, in-your-face guitars leaps out of “Talk to Her.” On every song, there’s always something more to discover, which was very much by design.
“When I listen to a record, I like to hear stuff I didn’t notice the first time,” King says.
The band’s attention to detail is a valuable asset, especially in a place like Northampton: it takes more than luck to stand out in a western Massachusetts scene that is home to a wide array of acclaimed musicians, including members of Sonic Youth, the Pixies and Dinosaur Jr.
“You want to earn the respect of those people, you want them to notice you,” King says. “Becoming a serious band here means earning your place. It’s a high bar, but it’s a good bar to set for yourself, to always be better.”
It’s a Girl is the work of a decidedly serious band, and with it Lux Deluxe has earned a place among the ranks of acts well worth paying attention to.
TS3 (Timothy Seisser Trio) is thrilled to announce the release of their debut album, “It’s Just O.K.”. This new project from Chicago based Electric Bassist, Timothy Seisser, is a unique sonic mashup of Jazz/Rock/Fusion, featuring Seisser’s dazzling virtuosity on the 6 string electric bass. He is one of the best kept secrets in the Bass world, but sports a performance/recording history as a sideman that puts him at the top of the list in the Chicago Bass world. Ready to take on the leader role again, Tim started this new trio at the onset of 2020, after a chance encounter with legendary Bassist, Tim Lefebvre. The trio is rounded out by longtime friends and fellow Chicago collaborators, Drummer Jonathan Marks (Hey Champ, Monakr, Dessa, Liquid Soul, Lupe Fiasco) and Keyboardist Andrew Lawrence (Bonelang, Bonzo Squad, District 97).
TS3 is joined on this record by some of the jazz/improv world elite, including Donny McCaslin, Fareed Haque, Howard Levy and Tim Lefebvre. The production work and added electric bass work of Lefebvre is especially notable. The collaboration between Bassists makes for a truly unique sounding project, especially when finished with the stellar mixing and mastering work of top L.A. engineer, Marc Nelson. Lefebvre’s endorsement on the project will surely make some in the bass world step up, and discover Seisser’s unique approach to the Electric Bass.
Though they met in middle school, it wasn’t until their high school graduation ceremony in their hometown of Sedona, AZ that Jenna & Daniel Watters first sang together. Performing as a folk duo for many years while battling long distances between travel and school, they decided to join forces permanently, moving to Denver in 2009 to start a band. After immersing themselves in the Denver music scene, they began dating (and eventually married) while shaping a unique sound with their 5-piece ensemble. “The Oak Creek Band” began touring the Rocky Mountains and Southwest restlessly in 2011 and 2012, logging over 32,000 miles in their beloved van, “Justin Beeper”. Having played concerts, festivals, dive-bars, weddings, private-parties and even the Daytime Emmy Awards in Los Angeles, they have been winning over fans as diverse as the events they have been apart of with their high-energy performances and beautiful vocals. After releasing two EPs in the span of two years, they have crafted an eclectic mix of Americana, Rock, and Indie-Pop that feature addictive melodies and soaring harmonies. The band relocated to Nashville, TN in February 2013 and they are currently producing their debut full-length album in Music City USA.
Taz Rashid (DJ TAZ) brings a high vibrational energy to any room instantly by mixing the beats and rhythms of Love, Ancient New World, House, Kirtan, Devotional, and all the cosmic sounds. His vision is to be a channel to cause the expansion of all those around by tapping into the creative wisdom of the body and allowing them to feel, let go and awaken.
He has been producing and part of creating conscious events in the midwest over the last few years and as a musician, he plays guitar, keyboard, Native American Flute, didgeridoo and hand percussion. He takes these instruments and connects to the Divine and what comes through has the ability to move his crowd to connect to their Divine higher selves. Recently he has been performing and DJing at events such as Bhakti Fest, Serendipity Festival, Denver Chant Fest, Lightworkers Midwest Conference, Greenheart Transforms, Bodhi Spiritual Center and many more conscious gatherings. In Chicago, he and his team produce Club Divine a monthly spiritual dance party with high vibrational DJs, healers, body workers, artists and amazing musicians.
John Paul Keith, the brilliant singer-songwriter and blistering guitarist who exploded out of a self-imposed musical exile in Memphis with 2009’s critically acclaimed Spills and Thrills and 2011’s The Man That Time Forgot, returns with Memphis Circa 3AM—his most accomplished and moving collection of songs yet.
The Truss, is a Chicago based band that is said to be related to Incubus and The Dave Matthews Band. Their original sound is crafted by mixing powerful melodic and vocal content with tight rhythmic grooves. With a strong focus on the “Live Show” experience they are becoming one of the top rock acts in Chicago.
Pushing the envelope. Experimenting with sound. Exploring the art of production and songwriting. Meshing the genres, yet appreciating them all. There isn’t one kind of music that has totally influenced Mike Gallagher. Alternative Rock is at the core of his new album “The Edge of the Dream.” He’s three-dimensional: guitarist, keyboardist, and vocalist. A versatile artist educated by everything from books to the Blues. Audiences can hear remnants of country, R&B, and soul to accompany the compilations of sound. “I must remain true to the characterization of the song. I know what instruments I hear lyrically.” The stakes are aimed high and his quest for success is a common thread that knits us all universally. Mike has been enlisted to perform with many of the industry’s most notable performers. This repertoire of artists range from different genres of music: Yolanda Adams, Bebe Winans (gospel), Roy Ayers (jazz), George Clinton (funk), Kindred and the Family Soul (R&B), Carole King (folk), M.C. Lyte, Rhymefest (hip-hop) Rick Nielsen {Cheap Trick}, Jim Peterik {Survivor} (rock). A melting pot of melody, harmony, and acoustic sounds accompanied by the song – the story. Mike Gallagher is the ladle that stirs all these influences and creates a style all his own!
Elder is Nicholas DiSalvo, Jack Donovan, Michael Risberg and Georg Edert.
Elder is a genre-pushing rock band that melds heavy psychedelic sounds with progressive elements and evocative soundscapes. Formed in a small coastal town in Massachusetts in the mid aughts, the band has reinvented their sound over the course of five albums to grow from a stalwart of the stoner/doom scene into one of the most unique voices in the rock underground. Their long-scale compositions unfold as journeys, running the gamut of styles from the 70’s to the present within a single song with a penchant for “sheer gatefold-era grandeur” (Rolling Stone).
By continuing to incorporate new elements to their sound, Elder’s output has repeatedly set benchmarks for their peers. Beginning with 2008’s Elder and 2010’s Dead Roots Stirring, Elder made ripples in the stoner rock scene with their uniquely melodic approach to the genre. In 2015 they surprised again with Lore, a watershed moment in the band’s career (recently crowned “Album of the Decade” by The Obelisk) which brought in elements of post-, prog- and space rock into the Elder sound. Despite several years of heavy touring surrounding the album, Reflections of a Floating World was released just two years later, earning a spot at the top of many best-of lists including Rolling Stone (#5, 20 Best Metal Albums Of 2017), Stereogum and others.
In 2019, a tour pitstop in Berlin, Germany yielded the experimental EP The Gold & Silver Sessions. Recorded live based off ideas largely crafted while on the road, the release showcased Elder’s softer side; motorik beats, lush keyboards and sparse compositions replaced the usual colossal riffs and dense structure. Almost a decade and a half after the first sludgy riffs were recorded and the first demo pressed, the door for Elder stylistically remained wide open.
Elder’s 2020 album Omens answered any speculation about new directions with affirmation: evolution or extinction. Lush, intricately interwoven melodies grow and dissolve into spaced-out jams; massive riffs thunder down into a churning sea of psychedelic sounds and unpredictable grooves carry away the listener. Elder paint pictures with their music, and Omens shows the band experimenting with an even more colorful palette – with good reason. After thirteen years, this was the first full-length recorded with a new lineup including guitarist Michael Risberg and new drummer Georg Edert, along with guest performances by Fabio Cuomo on Rhodes piano and synthesizers.
During the pandemic of the early 2020’s, Elder continued work on new music despite having their wings clipped at the beginning of a new album release. Channeling the surreal and bizarre everyday developments into music, a body of work quickly came together that would become the band’s newest album Innate Passage. Recorded and mixed at Cloud’s Hill Studio in Hamburg, Germany during two sessions over the course of 2021, this new album shows the band’s ever-expanding musical vocabulary and joy for sonic exploration as never before.
2024, dispite being planned as a year to work on new music, was busier than anticipated with Elder being invited to open for Tool on their US tour in January/February. The first support tour the band had done in almost a decade was a big one with performances in arenas from Madison Square Garden to the (former) Staples Center. A few months later the band unveiled its latest offering, a the live album Live at BBC Maida Vale Studios. Recorded while on tour in summer of 2023, the album showcases the band’s powerful live performance on that tour.
As of now, Elder are working on their next album, roughly scheduled for release in 2025.
Kings Destroy, NYC’s hybrid of stoner rock, doom and hardcore, unites musicians from many of the genres’ most prolific bands. Hailing from the Greenpoint section of Brooklyn, KD features guitarists Carl Porcaro and Chris Skowronski from legendary, 100k album selling ‘Killing Time’, vocalist Steve Murphy from ‘Uppercut’, drummer Rob Sefcik formerly of ‘Mans Ruin’, ‘The Begotten’, ‘Uppercut’ and ‘Electric Frankenstein’ and bassist Aaron Bumpus. With influences like The Melvins, Yob and Cro Mags, KD describes their sound as “brutal Sabbath heaviness with hardcore outbursts and disturbed vocals verging on the demented.”
Surely one of the most unsung bands in the history of American hard rock music, BANG released three full-length albums for Capitol Records in the early 70′s, that criminally sank without a trace. Capitol artist development at the time just did not know what to do with the band that was often called America’s answer to Black Sabbath.
BANG‛s first significant break came when the Philadelphia band gate-crashed a Rod Stewart show in Orlando in 1971 convincing promoters to put them on as the warm up act. With the interest of the major concert promoters of the day, East Coast Concerts and Concerts West, the band soon became major contenders in the hard rock arena.
The 1971 self-titled debut album “BANG“ is considered an important forerunner to the early Doom Metal genre. This was followed by the monumental “Mother/Bow To The King” album in 1972 which should have exploded. Changes in personnel at their record company and an externally forced line-up change led to frustration and bewilderment before releasing their swansong 1973 album “Music“.
Undoubtedly the heaviest of America‛s ‘proto-metal’ bands from the period, BANG also had a strong sense of melodic power, which should have led them to much bigger things as chronicled in the BANGstory.
Highly regarded as a cult act by many for years, it‛s now time for this truly amazing rock band to be enjoyed by a new audience. As can be heard, the versatility and songwriting skills of BANG were (are) second to none.
Ned Hill writes music that simply and quietly suggest his small town, country background without running up the flag pole for a prize.
The brass kicks are a rock and roll 3 piece from Joliet IL. The group released their first EP titled ‘Barn Salon’ in 2014 and after years of fine-tuning the band’s first full-length E.P. is set to release Spring, 2018. Members include Marco Palandri on lead guitar and vocals, August Bryan on kit, and Ben Sweetnam on bass and backup vocals.
Chuck Prophet shapes his restless career with inimitable subtle flair: a vivid parade of razor-edged one-liners camouflaged in a slack-jawed drawl, songs about heartbreak and everyman heroism, drenched in twisted lines of rude Telecaster.
When the early stages of a financial melt-down coincided with a rare San Francisco heat wave in the summer of 2008, with the window open wide and Dwight Twilley, Iggy, Thin Lizzy and the Knack blaring out the hi-fi, Prophet wrote a collection of political songs for non-political people. Later, in April 2009, he journeyed to Mexico City, where, in the clutches of a Swine Flu panic and earthquakes, he recorded ¡Let Freedom Ring!, his most incendiary record, every bit as urgent as the title demands.