A BIG GOODBYE
Prog rock with a dash of alternative. Garnish with horns and orchestra. Enjoy.
DREAM THE ELECTRIC SLEEP
Matt Page – Vocals / Guitar / Keys
Joey Waters – Drums / Vocals
Andrew Hibpshman – Guitar
Chris Tackett – Bass
Dream The Electric Sleep are a progressive, concept-rock band from Lexington, KY.
Formed in winter 2009, guitarist and vocalist Matt Page and drummer Joey Waters recruited bassist Chris Tackett, formerly of the bands Chum (Century Media) and Hyatari (Earache). The band spent the following two years self-producing their ambitious debut album, “Lost and Gone Forever” (2011).
“Lost and Gone Forever” received international critical acclaim, gaining a wide variety of print and online reviews (including Classic Rock Magazine, Eclipsed Magazine, The Big Takeover, Progression Magazine, among many others), and was an underground favorite amongst many in the progressive rock and crossover/heavy rock communities. As a result, the band was asked to perform at one of the premier progressive rock festivals in the United States, the Rites of Spring Festival (RoSfest), and were given the coveted “Church of Prog” slot.
The band returned from RoSfest in May 2013 to finish producing their sophomore LP, entitled “Heretics”. Over two years in the making, the album is set for release on January 31st, 2014.
Featuring 11 tracks and over 70 minutes of new original material, the band continues to evolve its signature genre-bending sound. Described by veteran publisher Jack Rabid as “Prog/Shoegaze”, DTES have again produced an album that draws from an incredibly diverse pool of influences. Among them are the classic progressive sounds of Genesis, Pink Floyd, King Crimson and The Moody Blues – intertwined with such bands as U2, Ride, Catherine Wheel, and Radiohead.
With “Heretics”, DTES continue to push the envelope – not only on the band’s album themes and subject matter, but sonically as well. Fans will discover an extremely dynamic, thought-provoking work in “Heretics” – an album that reveals a band that is more focused than ever, and becoming increasingly difficult to pigeonhole.
WINDSTRUCK DIDGERIDOO
Born on Planet Earth on 4.20.1985. Brought to Chicago, USA in 1997. I make Didgeridoos out of windstruck trees in the forest. I have been making music since 1999. With 15 years of experience in making music under my belt, the quality of my albums gets better every time. Recently featured 2 world wide compilation CDs and working on my 8th cd. The music never ends! Enjoy, Peace and Love
HELMET
Seeing Eye Dog, Helmet’s seventh album, is one of the band’s most uncompromising and ambitious releases, embodying the classic and utterly unique Helmet sound and pushing it into regions the band has never before explored. One big reason for that spirit of musical adventure is the record is essentially self-released (through the Work Song label). “I just felt completely free to do whatever I wanted to do,” says frontman Page Hamilton. “It was really fun to make this record because I just felt this…freedom.”
Freedom can also arise from limitation, something Hamilton knows well–as ever, he insisted on having few overdubs and edits on Seeing Eye Dog. “This album is human and honest,” he declares. “People have always commented that we sound like our albums live, and our recording approach has a lot to do with that. Humans playing music will always be better than chop-shop rock.”
Besides Hamilton, the humans on Seeing Eye Dog include drummer Kyle Stevenson, who joined Helmet in 2006, guitarist Dan Beeman, who’s been on board since 2008, and long-time Helmet bassist Chris Traynor. (Dave Case is the band’s touring bassist.) The album was produced by Hamilton, with additional production by Toshi Kasai (Melvins) and vocal production by Mark Renk.
Some history: In 1989, Page Hamilton co-founded the New York-based Helmet, fusing Zeppelinesque riffing with a vehement post-hardcore precision, augmented by dense chords and offbeat time signatures based in Hamilton’s formal jazz training. The combination was that rarest of visionary creations–it was successful in its own time. After their 1990 debut album Strap It On (on revered indie label Amphetamine Reptile), Helmet unleashed the major label Meantime (1992), a widely acclaimed album that earned a Grammy nomination, went gold, and launched a thousand other bands. Betty followed in 1994, successfully branching out from the band’s ferocious attack and into more varied musical waters. (In 2010, Helmet issued via their website a digital-only deluxe version of Betty that includes 14 original album tracks plus five bonus tracks.) Another acclaimed album Aftertaste followed in 1997 and after nine years and thousands of shows, Helmet called it a day in 1998.
Hamilton went on to do soundtrack work for major Hollywood movies like Catwoman, S.W.A.T., Titus, and Saw, among others, formed the band Gandhi, and, following in the footsteps of greats like Adrian Belew and Stevie Ray Vaughan, played lead guitar in David Bowie’s band in 1999. In 2004 Hamilton restarted Helmet, releasing two acclaimed albums–Size Matters in 2004, Monochrome in 2006–and co-headlining the Warped Tour that year. Helmet did extensive US and European touring in 2009 in preparation for the new album.
Bands such as the Deftones, Rise Against, Pantera and Tool have all cited Helmet as an influence, and not just for Helmet’s blistering, aggro approach but for the band’s sheer musicality and brains. See, Helmet, among other things, is a work of art. Hamilton is a trained musician who happens to make heavy, brutal music, a guy who digs Bartok and Minor Threat. Which is why, as Seeing Eye Dog proves, Helmet is a surprisingly flexible concept.
“The Helmet musical vocabulary is well established at this point, but I continue to work on a variety of musical projects that inevitably influence the Helmet songs,” says Hamilton. “I’ve been working on movies with Elliott Goldenthal and co. for 17 years now and had never really experimented with incorporating these soundscapes (or shit sculpting as I prefer to call it) into Helmet songs. We had a much better recording situation in which I felt much less time pressure and was working with an engineer who was patient and very creative (Toshi Kasai), so away we went. I started layering upper parts of the chords and was digging the sound so I went with it.”
“So Long” and the title track embrace the classic Helmet approach: raging slabs of guitars, drill-sergeant vocals, drums like an expert beating, and guitar solos that scrawl hectic graffiti across the band’s monolithic attack. The lyrics, as Hamilton has said, spring from a combination of “comedy and disgust,” particularly in the scathing Welcome to Algiers and In Person.
But Seeing Eye Dog also finds Helmet pushing at its own boundaries–the grimly affecting White City, for instance, is as close to a ballad as Helmet has ever dared. LA Water sounds like a Beatlesque Helmet and later, And Your Bird Can Sing is a Helmetesque Beatles, with the band wielding the Fab Four’s standout Revolver track like a molten sledgehammer. The mostly instrumental Morphing, the luminous sound sculpture in the middle of the album, might seem unlike any other Helmet track, and yet it has the same monumental quality as the band’s most brutal work. (And if you hunger for Helmet in all its live glory, Seeing Eye Dog comes with a bonus disc, a blistering live set from the San Francisco stop on the 2006 Warped Tour.)
The freedom and adventurousness of Seeing Eye Dog (title via Ezra Pound, by the way) didn’t come out of nowhere. Hamilton encountered some record label interference in the past and vowed that it would never happen again. “After that, I said, I built this thing and this is the way it is,” Hamilton says. “Fortunately, those experiences ended up helping me maintain a singular attitude that’s really conducive to writing rock songs.”
– See more at: http://www.helmetmusic.com/bio/#sthash.LcGU82bv.dpuf
BRUISED
Scrappy rock band from Cicero, IL.
Songs about disappointment.
TOTAL CHAOS
Thirty years ago, TOTAL CHAOS was founded in Pomona Valley, California to save the dying genre of punk rock, which was commercialized at the time. The band did not want to lose the style, but especially their space to express political and social views. They came up with the idea that punk brings social responsibility by organizing "peace punk" picnics or demonstrations against the Gulf War. Their music had a meaning and stood for something.
Today TOTAL CHAOS has seen many things come and go – but they have stuck to these ideals all this time. Whether you are pop punk, street punk, hardcore, straight edge, political punk, goth punk, skate punk, crust punk, metal punk, straight punk rock (and so on), TOTAL CHAOS unites you all into one scene PUNK-ROCK!
SHAM 69
Sham 69 was formed in 1975 with the members Jimmy Pursey, Neil Harris, Albie Slider, Billy Bostik and Johnny Goodfornothing. The band played at many of the famous punk hotspots during this time, performing fan favourites such as ‘Borstal Breakout’ and ‘Hey Little Rich Boy’.
By late 1977 the band line-up was changed on advice of the management. Guitarists Goodfornothing and Harris were replaced by Dave Parsons, and Mark Cain replaced Bostik on drums. Slider stayed on to record the first single, ‘I Don’t Wanna’ – produced by John Cale of The Velvet Underground; the success of this single on the independent charts saw Sham 69 signed to Polydor Records. Bassist Slider was replaced a few months later with Dave Tregunna. This line-up stayed stable until 1980 when Cain left and was replaced by Ricky Goldstein.
Thanks to the popularity of punk rock in the UK at the time, Sham 69 scored a string of five consecutive top 20 singles with ‘Angels With Dirty Faces’, ‘If The Kids Are United’, ‘Hurry Up Harry’, ‘Questions And Answers’ and ‘Hersham Boys’, some of which were performed on Top of the Pops. The band’s first three albums, ‘Tell Us The Truth’, ‘That’s Life’ and ‘The Adventures Of The Hersham Boys’ charted at numbers 25, 27 and 8 respectively.
However, like the times, punk began to lose its bite and many bands either broke up or started making new wave music. Sham 69’s gigs were often plagued by violence and this played a major part in the band’s demise in 1980, just after the release of its fourth album, ‘The Game’. Many fans saw this as a sell-out as the band tried to evolve into a new style of its own, heavily influenced by classic British rock bands. Pursey went off to pursue various projects including a solo career, whilst Tregunna and Parsons formed The Wanderers with the late Stiv Bators of The Dead Boys. Later, Tregunna and Bators would form Lords Of The New Church with Nick Turner of The Barracudas and Brian James of The Damned.
In 1987, Pursey and Parsons reformed Sham 69 with Ian Whitewood on drums, Andy Prince on bass, Tony Bic on keyboards and Linda Paganelli on saxophone. They released an album called ‘Volunteer’ which was as far from a punk album as it was possible to get; to cement this change in style, the band’s comeback show was at London’s premier goth club, Slimelight. The next album, 1991’s ‘Information Libre’, saw the band move back from the synthesisers and processed drums to a more standard rock sound, though keyboards were still a major part of the songs – this time played by Patricia de Mayo. This album produced just one single, ‘Uptown’.
The next album, ‘Kings & Queens’, was made up of re-recordings of the 70s material with a couple of new songs thrown in for good measure. This, as well as jettisoning the keyboards and saxophones and the addition of new bassist, Mat Sargent, marked a more concerted effort by the band to return to its punk roots which continued with ‘Soapy Water and Mister Marmalade’ in 1995 and ‘The A Files’ in 1997. In 2001 Sham 69 released ‘Direct Action: Day 21’, which took influences from the alternative rock scene at the time and was a cross between a punk and a Brit pop album.
Over the next few years, the band’s activities began to slow down. But, in 2006, the band was approached by Virgin Radio DJ, Christian O’Connell, to re-work a version of ‘Hurry Up Harry’ into ‘Hurry Up England’ (featuring Blur guitarist Graham Coxon) as an alternative football anthem for England’s entry in the 2006 FIFA World Cup. On 18th June, the single became their first to chart in 28 years debuting at number 10 in the UK chart, two places below the official song of the England squad, ‘World at Your Feet’ by Embrace.
In October 2006, the NME published a statement by Parsons that read: “Sham 69 have left Jimmy Pursey on the eve of their 30th anniversary. The band had become increasingly fed up with Jimmy’s lack of interest in playing live and continually letting down both promoters and fans by pulling out of gigs at the last moment.”
In the aftermath and upon the attempt to disentangle the band’s business affairs, the real extent of the mishandling of the band’s shows, business and reputation made them realise the damage that had been caused and the management team was sacked in order to bring all business dealings in-house.
Parsons and Whitewood continued as Sham 69 recruiting Tim V on vocals and Rob Jefferson on bass. This line-up worked hard to restore Sham 69’s reputation, performing tours of Canada and the United States, playing festivals across Europe, and releasing the album, ‘Western Culture’ – or ‘Hollywood Hero’ as it was known in the U.S. – in August 2007.
After re-establishing itself with promoters and agents around the world and having them witness the impact Sham 69 made on audiences, it wasn’t long before the band received requests from all around the world and embarked on tours of Australia and Japan, and played one-off shows in Brazil, Mexico and New Zealand. In 2008, Sham 69 became the first UK band ever to tour China, which was filmed as part of a documentary called ‘This Band Is So Gorgeous’. By 2009 Jefferson had been replaced on bass with U.K. Subs’ Al Campbell and the band released the album ‘Who Killed Joe Public’ in 2010.
In July 2011, Parsons left the band and was replaced with founding member Neil Harris and Tony Feedback from Angelic Upstarts. A new bassist, John Woodward, was also recruited. This line-up went on to tour relentlessly and released ‘Their Finest Hour’ in 2013 after which Feedback was replaced with Paul Brightman who recorded the album ‘It’ll End In Tears’ in 2015. In 2018, Neil Harris passed away but Ian, Tim and Paul continued as a single-guitar line-up and Ryan Monshall was recruited on bass. Sham 69 continued to play around the world until the Covid-19 pandemic stopped them; however, they still managed to record the album ‘Black Dog’ in 2021.
The current line-up consists of Ian Whitewood, Tim V, Paul Brightman and newest recruit, Tom Austin-Morgan on bass, and is gearing up for the future. This line-up plays with real purpose, belief and positivity – something it feels is needed in these post-pandemic times.
J BOOG
J Boog is a man of many influences. The singer of Samoan descent was born in Long Beach and raised in Compton, California. Growing up in the rough streets of Compton, the strong sense of tradition and culture that J Boog absorbed from his family was instrumental in his path to stay off the streets and begin a successful music career.
At the age of four, after hearing his older sister playing the piano, he developed an interest and started watching her and learning about music. Soon, J was singing along to the notes & melodies he heard his sister play. A while later, she brought home a Bob Marley song book. Even at this young age, J knew Bob’s name and his music. Upon hearing his sister begin to play, something clicked inside J. He hasn’t been the same since.
The first time J Boog performed in front of an audience, he was nine years old. It was a large family reunion at a church and there were about 200 people present. J’s mother and sister insisted for him to sing Whitney Houston’s “One Moment In Time” and J obliged them. Though he was nervous, it went quite well.
J Boog’s music career became serious in 2005, when a couple of brothers from his neighborhood brought him to one of J’s favorite artists, George “Fiji” Veikoso”. The two began working together immediately and J ended up moving to Hawaii in 2006 to continue developing his craft. After releasing his debut album “Hear Me Roar” in 2007, he joined the musical family Wash House Music Inc, a record label based in Hawaii and San Francisco.
A year later, in 2008, J Boog met Gramps Morgan of Morgan Heritage and there was an instant chemistry. Gramps was keen on working with J, and set out to make a way. Shortly after, Gramps, J Boog and other Wash House family members were in Jamaica recording in such prestigious places as Bob Marley’s “Tuff Gong” Studio, Don Corleone’s “Hit Maker”, Bobby Digital’s “Digital B”, Shaggy’s “Big Yard”, Sugar Minott’s “Youth Man Promotion” and more.
The results are apparent when listening to Boog’s new music. It is authentic Island Music and genuine Jamaican reggae at the same time. Truly a new and exciting combination. There is a natural theme to Boog’s writing: love. It recurs throughout his work and never once seems contrived. When you listen, you will feel he truly knows matters of the heart.
These days Boog is either in a studio, on a stage or catching a flight. Radio interviews have become a daily thing and it’s a little overwhelming for the young artist, though he has been smart enough to keep his humility. He has a great sense of humor and an even better sense of reality. He can be overheard saying how blessed he is on a daily basis. It’s easy to see why J Boog has been winning over fans when you meet him. He has the right spirit and attitude to carry him to the next level.
His new album, “Backyard Boogie” is slated for release September 27th 2011 and features Tarrus Riley, Jacob Hemphill (of SOJA), Peetah Morgan (of Morgan Heritage), Fiji and others.
Leading up to the release of his official new album, J Boog released the “J Boog EP” on June 14th 2011 via Wash House Hawaii/EMPIRE Distribution. The EP featured five brand new songs, along with three previously released songs, including his smash hits “Let’s Do It Again” and “So Far Gone”
STONED AND BEAUTIFUL
Stoned And Beautiful – We Like To Rock, If Your Face Likes To Rock, We Will Rock Your Face!
Stoned And Beautiful Is A “Garage Funk” Power Trio That Will Move You And Groove You! …But That’s Not All!!!… Celebrating The Release OF Their Debut CD “Stoned And Beautiful ~ Songs For Mom” a hugely diverse collection of songs ranging from Funk to Punk and Rockin’ & Rollin’ from start to finish. Featuring Josh Laird On Guitar & Vocals, David “Dreadlock Dave” McDougald on Bass & Vocals and John Smith on Drums & Vocals… Come Catch A BUZZ!
POONTOOF
Dustin Pyka- Vocals/Guitar
Lewis Dever- Bass Guitar
Kenny Ruano- Drums
THE BISHOP’S DAREDEVIL STUNT CLUB
The Bishop’s Daredevil Stunt Club, known for their distinctive roughed-up power pop sound, has garnered attention on Chicago’s WGN radio and TV, as well as WXRT’s Local Anesthetic, Q101’s Demo 312, WNUR’s Powerpop Shoppe, and CHIRP Radio. Their single “Hold You Up” earned them WXRT’s Big Beat artist of the week recognition. With memorable performances at esteemed venues like Metro, Lincoln Hall, House of Blues, Bottom Lounge, Reggie’s, and Cubby Bear, the BDSC has made a solid impact on Chicago’s music scene. Their national and international ventures took them to New York, Liverpool, and London, showcasing their albums “End Over End” (2019), “Please Stand By” (2022), and the “Vanishing Point” EP (2023). Fronted by vocalist/guitarist/multi-instrumentalist William Giricz, the band features drummer Dave Boenzi, high-energy rhythm guitarist Darin Greg, and the multi-talented Mark Watson on bass, ensuring each live performance is a high-energy, visual and auditory spectacle.
THE BROTHERS STARRACE
Born and raised in Little Village, of Chicago’s southwest side, brothers Richard and Raul Juarez have been making music their entire lives.
The brothers dedicated much of their time learning guitar and piano, respectively, while continually working on vocals and harmonies.
Both Richard and Raul played in separate bands in high school and college until they decided to start their own band where they could have complete creative control over their music.
Thus THE BROTHERS STARRACE was born!
Since their first show in September, the brothers have expanded from a two-man acoustic shtick to a complete band playing shows around the city of Chicago, expanding their fan base and spreading their sound.
TED STEVENS
Ted Stevens and the Third Rail are a band dedicated to the traditions of great rock music, classic rock sounds underpinned by a modern Indie sensibility, their music is rife with hard edged guitars, heavy drums, and power pop hooks
THE POWDERED TOAST MEN
The Powdered Toast Men is duo of singers/guitar players performing songs from the days when all the bands went unplugged. Formed in early 2014 as a result of a mutual love for the rock music of the early 90s and the belief in the greatness and purity of the stripped-down acoustic sound, The Powdered Toast Men seek to bring all of your favorite 90s alternative rock, grunge, and pop classics from bands like Nirvana, Alice in Chains, Pearl Jam, and the Smashing Pumpkins as well as one-hit-wonders and deep cuts you haven’t heard in years.
ROCK ISLAND LINE
Rock Island Line is a new band out of Chicago featuring Ray Mckenzie (Tanqueray Mist), John Maher (CRYSIS BAND), Michael Mejia and the Kleinberg brothers (Fruitful Dave, The Stone Masons). Mostly original music featuring styles of folk, rock, blues, jazz, country.
CHICAGO BLUES ANGELS
Armando Cortez, founded the band in 1999. Having shared the stage with such performers as Kid Ramos, Kim Wilson, Lynwood Slim, Nick Moss, Rockin’ Johnny, Nick Curran, and Willie Smith, he sights influences such as Johnny Guitar Watson, Muddy Waters, Albert Collins, Freddie King, Earl Hooker, Robert Lockwood and others…
Brad Ber has been playing professionally since age 19, recording, writing and performing with bands of all styles, from punk to rock and roll, rockabilly to country. In the American Roots genre of music, he has played with roots pioneers Sleepy LaBeef and Billy Lee Riley, as well as many other bands across Chicagoland and the nation. After a call from Mondo in early 2003, Brad filled in for a gig and has been playing with the Chicago Blues Angels ever since.
Herman Hines came to the band as a happy accident in 2001. Mondo heard Herman while he was singing karaoke at Just One More in Joliet. Needless to say, they hit it off and Herman became the lead singer with CBA. Now, the crowd anticipates Herminator’s powerful vocals as he delivers their favorites. Herman’s distinct range delivers B.B. King crooning to low down Howlin’ Wolf and everything in between.
BUFFALO KING
Buffalo King is a four-piece based out of Columbia, MO. Their genre is one that is hard to categorize but has been described as “a wall of sound, like buffalo stampeding”, “Mars Volta with a kick”, and “like Mastodon but more atmospheric. The band refers to their genre as heavy, experimental indie jams and jokingly “post-heavy-indie-core” and “popmetal.” Their genre may be a mystery but one thing is for sure, Buffalo King brings high energy and hard-hitting jams that will get you banging your head whether you’re watching them live or jamming out on your own.
STOOD WITH GHOSTS
manufacturing ear bliss
YUNG LEAN
DJ FRANK X
FUNKY HOT GRITS
Funky Hot Grits is an eclectic soul band based in Chicago. We draw inspiration from musical traditions along the Mississippi and her tributaries – Memphis soul, New Orleans Funk, Chicago rhythm and blues- to create a fresh cohesive voice.
Our sound contains elements of Stevie Wonder, Bill Withers, and James Brown, and contemporary voices like Ray LaMontagne, Marc Broussard, and Amy Winehouse.
VUKARI
“The more I hear “Divination,” the more I am excited about the music itself and Vukari in general. The plot of the album is sobering and a little terrifying when placed against modern times, and the music builds expertly from the tale’s seeds being planted to the cataclysmic ending. This is one of a handful of really great, eye-opening black metal albums that have come out this year, and it’s well worth your time to immerse yourself in this body, mind, and spirit. And you might even get a step ahead of so many other people by actually learning a little something from history.” – Meat Mead Metal
“Vukari is clearly a band that know what they’re doing in regards to operating within their genre, writing tracks that strike the proper balance between atmospheric and engaging, situated right at that rare point where the music is hypnotic yet still interesting to listen to and not something that just becomes background sound after a couple minutes. Where lots have tried to pull together the many intertwined threads of American black metal into a compelling, powerful album, Vukari is one of the few bands that has succeeded with flying colors, presenting a smorgasbord of sounds that all play off one another in kind, as well as just writing a damn good black metal album to boot.” –Heavy Blog is Heavy
DIRT CHURCH
“Chicago Occult Doom”
BLACK CROWN INITIATE
Black Crown Initiate is the sound of a sentient being at war with itself and everything else; an entity holding on for dear life as its inner and outer world dies.
RUNNING
The screech. The wail. The slanted-floor nausea. There’s not a word for the signature cyclical howling that Chicago’s Running have harnessed and tortured into submission. They play with their food before they eat…flay into a terse punk trance, a Kraut-beat psycho riff for ages, mesmerize or terrorize…but invariably they unleash The Sound upon us just when it seems most likely to bring back your lunch. That they’ve built such a mean, spare, and evil band around such chaos is to our benefit – the circular mayhem alone would be a fascinating stand-alone curiosity – but lucky for us, they’ve captured their cacophonous, rotten heart in the black glove of blank-stare punk.
TOUPÉE
Chicago quartet Toupée conjures a sweet blue nostalgie dangereuse – an ol’ lilt and spacey croon flecked with doom. Like a mystery drug, their live show induces the best of waking dreams and the worst of waking nightmares.
KEVIN ABSTRACT
Atlanta’s 17-year-old crooner, Kevin Abstract, has been brewing up some buzz the last year and has no plans to stop. Frontman and creator of the alternative hip-hop collective AliveSinceForever (ASF), Kevin along with ASF have been building up a following in areas from Houston, TX and Miami, Fl, to the north in Hartford, CT. As the collectives following increased, Kevin has been able to support the likes of Chance The Rapper and BIG KRIT as well headlining his own shows with his crew last summer across the US and is setting off on his first solo tour this summer. A unique niche, similar to those of reminiscent Kid Cudi, Kevin brings a rather dreamy and opaque style accompanied by his signature crooning adding a highly melodic feel to his songs without comprising his storytelling ability. With a new project, ‘MTV1987’, dropping this summer; Kevin is working to fuse intricate sounds to redefine a more melodic approach of what hip-hop should sound like.
NATHAN KALISH AND THE LASTCALLERS
Midwestern atom bomb rock and roll dirtbag softspoken candle light reader song and dance show
THE ARCHITECTS
“We’re doing this, in the first place, because we’re jealous of Green Day and we’re jealous of the Foo Fighters and we’re jealous of Queen and The Who because they are all able to give their fans an experience that cuts deeper than a catchy single, an album concept or a flashy stage show.” Or so says Brandon Phillips of Kansas City’s The Architects. While his tongue may be tucked firmly in cheek, it doesn’t diminish the overall importance and ground-breaking nature of the band’s latest undertaking… BORDER WARS, a concept album and comic book presented in five episodes.
Equal parts epic album, visual artistic expression, and heavy storytelling, BORDER WARS is a breathtaking series of five connected episodes told through a collection of comic book stories and their accompanying soundtrack releases. The concept album is the culmination of nearly two years of blood & sweat-sodden labor, consuming tens of thousands of cigarettes and thousands of midnight hours to bring fans the biggest, coolest experience possible. Set to release in five episodic forms, the band was able to cram Border Wars with a multitude of quality tracks without the constraints of adding any “filler.”
To really understand Border Wars, you first have to wrap your head around The Architects outlook on the current state of the music industry as a whole. As the world’s definition of epic shift from Beatlemania to Biebermania, the Kansas City natives look to redefine and reestablish the modern idea of “doing something big.” With a “you may well be able to outsell me, but you’ll never out-create me” approach to their latest release, Brandon Phillips and company are set to shatter the preconception that auditioning for American Idol or The Voice is the only way to succeed.
When The Architects joined forces with Skeleton Crew Records and illustrator Mallory Dorn, an enviable project was born. Accompanying the music part of the “project”, Dorn’s vivid artwork illustrates this first installment of the serialized novel. As a companion piece to their modern take on meat and potatoes rock, the book helps define the unique vision that the band has constructed.
What would begin simply as a collection of ideas from the mind of singer and principal songwriter Brandon Phillips would eventually become BORDER WARS, which tells the story of Tom & Josie, two kids from a tiny town in southwestern Texas. Their backgrounds could not be more different. Tom is the only son of a wealthy televangelist minister. Josie is a runaway, currently employed by meth cooker. Their paths weave and interact with the city’s corrupt sheriff and his reality show, an ex-cartel boss on death row, hookers, scumbags, mob lawyers, crooked senators and a pair of wise morticians, culminating into a blood-soaked denouement.
Following the split of The Gadjits in 2004, the band has pushed forward, balancing a punk mentality with a solid, blue-collar work ethic. With four well-received full lengths under their belt (Keys to the Building 2004, Revenge 2006, Vice 2008 and The Hard Way 2009) the band is no stranger to release day. Aimed for a July 16, 2013 street date for Episode One, Border Wars is intended to keep fan on the edge of their seat, jonesing for the next chapter to drop.
They’re here to remind you that music is not a temporary fashion accessory fling.
THE WHO “MEATY BEATY BIG AND BOUNCY”
Meaty Beaty Big and Bouncy is a compilation album of singles by British rock band the Who.
CROSS HAMMER
Metal band from Chicago, Illinois
CLARK COLBURN
Clark Colborn is an award-winning guitarist based out the American Midwest. He writes & records sophisticated hard rock, metal, & experimental music with primal undertones that has been praised by reviewers from Europe, Australia, and across America. His guitar playing has been compared to everyone from Steve Vai & Joe Satriani to Brian May & Jimmy Page, and his music compared to everyone from Rush to Zappa to Queensryche.
Clark has released 5 albums to date and has built a dedicated following due to his unique sound and energizing live performances. When Clark and his white-hot band take the stage, they have a single goal: to rock their audience with an energetic and cathartic performance. Clark and his band are not afraid to display their technical prowess, nor are they afraid to embrace a primitive power- chord based ri, if it moves the song forward and engages the listener. They understand that an audience is looking to be entertained, even thrilled, and every show is an opportunity to take the audience on a ride away from their day-to-day routines and challenges by giving them a truly unique and engaging musical experience.
L’ASSASSINS
While songs like “Backseat Bomp” immediately conjure classic artists – think the Trashwomen, the Cramps, the Sonics and Wanda Jackson – Minneapolis-based four-piece L’Assassins never sound like a throwback. In just two short years the band’s surf- and rockabilly-tinged garage rock has landed them spots opening for Cherie Currie, the 5.6.7.8’s, Andre Williams and Ronnie Spector, as well as Dum Dum Girls and Detroit Cobras. The ladies also have two European tours under their belts (documented in the video for “Lovin’ on the Run”), having just returned from Spain in early 2014.
Keep up with L’Assassins on Twitter and Facebook, and check out their YouTube page for more videos.
STEVE SOTO & ALLISON JUNE
Steve Soto is a Southern California punk rocker with a musical backpack that includes the Adolescents, Agent Orange, Manic Hispanic etc …
According to Steve the first “punk record” he ever owned was Johnny Cash live at San Quentin “I loved the way he talked to the guards and the let the prisoners know he was in charge it was amazing … and I always loved the duets he sang with June ”
On his down time from Adolescents tours Steve started doing the solo singer songwriter thing …(which included tours with X and the Squirrel Nut Zippers) but he was always on the look out for a woman to sing duets with ala Johnny and June or Gram and Emmy Lou …
Early this year he ran into Allison June a Los Angeles native, who has big voice, a love for soul and Motown, with a passion for punk rock that got wrapped up in country, folk and bluegrass…. that made total sense to Steve so he had her sing a song with him and it worked but there was a problem Allison was weeks away from moving to Chicago … Not ones to let distance get in the way and armed with the notion that thanks to the internet everyone is your neighbor Steve wrote songs and sent them to Allison she learned them and now they are in the process of making a record … Lots of strumming and sweet harmonies to ensue … You heard it hear first…
TURBO FRUITS
“they’re everything you could ever want in a Nashville garage rock band.” –VICE
“one of the most joyous rock n roll records that 2012 has had to offer… Pick it up and fall in love with rock n roll again.” –Pop Matters
“the band’s casual charm and rough edges make the album a joy to listen to” –Paste Magazine
“one of Nashville’s most exciting acts, regardless of genre” –Associated Press
“a buzzy, beer-and-adrenaline set of (mostly) unabashed rock ‘n’ roll (think Black Lips/Reigning Sound neighborhood)” – Uncut
BRIEF LIVES
Richmond’s Brief Lives have been playing in one form or another for five years, but the post-hardcore outfit’s earned a recent surge in attention thanks to their new singer: Valient Thorr’s livewire frontman Valient Himself. Brief Lives’ existing catalog is a spare collection of punk sinew, not a far cry from that of fellow Richmond act Cloak/Dagger. It’s not hard to imagine Himself’s bellow ripping through those earlier tunes, but the band is reportedly taking a more psychedelic approach to new material. “It’s basically me singing for a punk band that started writing stoner jams,” Himself recently told the UK blog Thrash Hits. At Neptune’s, Brief Lives leads an after-party for the Diarrhea Planet show upstairs at Kings; at The Cave, they’re joined by Tar Heel heavies Revolving Beast and Bitter Resolve. —Bryan C. Reed
COLE THOMASON
Introduced to performing and music at a young age, Cole Thomason has been on stage since the age of 10. School Choirs and professional traveling choirs were instrumental to Cole’s development as a singer. By the time he was fifteen, his love for singing had taken him across America and to Europe were he performed for audiences in places such as Notre Dame Cathedral, Verona Coliseum, Saint Marks Cathedral, and the Luxembourg Music Conservatory.
Primarily a vocalist up until this point, in 2004 Cole discovered his talents for songwriting, guitar and the harmonica. He began writing songs about experiences from his own life as well as his imagined inspirations. He immersed himself in songwriter circles and festivals, jamming and collaborating with other musicians and songwriters. He co-founded the band “Pan Handle” which was a mix of songwriters and musicians who played shows throughout California’s Central Valley. Cole’s desire to create and arrange musical moments has him off on a new tangent, creating new songs and touring his new self-title release. “Cole Thomason”
Cole’s infectious energy translates well through his high charged up-beat songs as well as through his soulful ballads. Cole has hoped to expand his collection of homespun original songs into an eclectic mix of genres including; Bluegrass, Folk, Blues, Rock, Soul, and Americana that will appeal to a broad range of audiences. Cole can currently be seen performing across America on a series of tours promoting his debut, self titled album, which released in January of 2012.
SPELLCASTER
Spellbinding Heavy Metal
ONE EYED DOLL
We enjoy wiggling around and making pretty sounds! Always either on tour or recording new music..
THE INFATUATIONS
“Detroit Block Party” is the only title appropriate for The Infatuations first full-length album. The Infatuations are simply… Detroit. This band is a celebration of every sonic movement borne of the Motor City; the well-crafted pop-soul of Motown, to the sheer in-your-face bravado of Parliament Funkadelic, to the raw untamed energy of the MC5. Imagine you are at a summertime block party with every milestone Detroit-produced band, the jam session at the end would bring you The Infatuations. Danceable, unforgettable catchy pop-rock-soul-n-funk, that hits the craft sonic signatures of decades of Motor City styles, but with a modern flair. The new singles evoke current culture and build on the cornerstones and high-water marks of their industrial renaissance hometown.
Like the band’s live performances, the album is diverse, fun, soulful, gritty, and always positive and uplifting in tenor. Their songwriting also provides rich storytelling in the tradition of Curtis Mayfield or Marvin Gaye. It gets you on your feet like Rare Earth, hits you like The MC5 and grooves you like P-Funk.
The Infatuations’ range of appeal is forefront in the acts they’ve shared the stage with in the last year… from George Clinton and the P-Funk All-Stars to Third Man Records’ breakout artist Willy Moon, to Here Come The Mummies. Indeed the band is a perennial favorite on the summer festival circuit, reliably proving time and time again that all generations and cultures like to get up and dance!
The Infatuations live performance is electric, energetic, and engaging. These guys are so musically tight you couldn’t wedge a sheet of paper in between their hooks and modulations. Still, they radiate warmth and inclusiveness, making the audience gel as a community for the duration of the set. Singer Caleb Gutierrez, guitarist Christian Draheim, bassist The Wolf, guitarist Nick Behnan and drummer Robert Myers draw new fans into the “family” during every set. “Reliably fun and top-quality” according to promoters, “I can dance to every song, they’re familiar yet new”.
In 2014, The Infatuations brought home 5 Detroit Music Awards out of an astounding 14 nominations across multiple categories including Outstanding Live Performance. “You want to know how Detroit actually parties…watch The Infatuations,” says Gnyp, from 93.9 FM The River. “The Infatuations are a must-see band”.
The Infatuations are currently on tour in search of new friends, new parties, sweaty summer festivals, and bringing their “Detroit Block Party” around the country.
SCAR INC.
Scar Inc. is a melodic death metal band hailing from Chicago, Il. A hard hitting line up of veteran musicians from the Chicago metal scene; Guitarist Rich Knight (Twelfth Gate/Ion Vein), Guitarist Alex Manske (Degradation), Bassist Rob Such (Twelfth Gate/Ion Vein), and Drummer Joe Manske (Degradation), were brought together by band founder and singer/songwriter John Barr (Eden’s Fall).
LITTLE CHARLIE BATY
LITTLE CHARLIE BATY – is the former leader and masterful guitarist from Alligator Records recording act”Litle Charlie & the Nightcats”. Charlie and the Nightcats have recorded 12 albums on Alligator and have been one of the West Coast’s most successful blues acts, touring the globe for over 25 years. They’ve played every major Festival you can think of and every blues joint from Maine to Spain.
Guitar World declares, “Baty’s straight blues playing is eye-popping…he stretches solos to the breaking point, skittering on the edge, where one wrong note will bring the whole thing crashing down.” “Little Charlie Baty plays as much guitar as Eric Clapton and Buddy Guy put together,” raves The Village Voice. “He is one of the swiftest, most fluent guitarists working in any genre”.
ANSON FUNDERBURGH
ANSON FUNDERBURGH – a native of Texas, has spent the majority of his adult life playing the blues. Anson has earned the respect of artists like Delbert McClinton, Boz Scaggs, Jimmie & Stevie Ray Vaughan and Ronnie Earl. Over the years, these musicians have called on Anson to lend his tremendous guitar talents to their projects.
Funderburgh recorded with the Fabulous Thunderbirds on their Butt Rockin’ album, and went solo in 1981, when the New Orleans-based BlackTop label released Talk to You by Hand, the label’s first release. Funderburgh added Myers on harmonica and lead vocals in 1986. Myers had traveled for years on the chitlin circuit, where he had the chance to accompany people like Elmore James and Robert Junior Lockwood. Funderburgh continued his association in the ’90s with Black Top releasing Tell Me What I Want to Hear (1991), Live at Grand Emporium (1995), and That’s What They Want (1997). After releasing nine albums on Black Top, in 1999 Funderburgh changed record labels with the release of Change in my Pocket for Bullseye Blues, a cd which won several W.C. Handy Awards.
Since the passing of long time musical partner Sam Myers, Anson has concentrated on raising a family, working local gigs and performing at a smattering of festivals around the world. Now Anson has caught a renewed dose of the performing bug and will begin to perform more regularly with the distinct possibility of regular tours in the coming years.
“Funderburgh remains a musician’s musician. He’ll explode into a fiery and melodic solo, and then seamlessly recede into a song at just the right moment to propel the rhythm…he makes sure the songs both breathe and burn…a band that truly understands the essence of the genre.” – Blues Revue
“None of the younger crop of blues guitarist come close as Anson does to achieving the classic Stratocaster tone defined by Otis Rush in the ’50’s and Magic Sam in the ’60’s. The Rockets have landed and Anson is at the bridge.” –Guitar Player
MARK HUMMEL
Grammy Award nominee Mark Hummel started playing harmonica in 1970 & has gone on to become one of the premier blues harmonica players of his generation. Thanks to over thirty recordings since 1985, including the Grammy nominated 2013 release Blind Pig recording “Remembering Little Walter”, part of the Blues Harmonica Blowout cd series Hummel started in 1991. These events have featured every major legend (Mayall, Musslwhite, Cotton, etc.) on blues harp as well as almost every player of note on the instrument- a who’s who of players.
Mark Hummel is a road warrior – a true Blues Survivor. Along the way, he has crafted his own trademark harmonica sound – a subtle combination of tone, phrasing and attack combined with a strong sense of swing. Mark has been with Electro Fi Records since 2000, releasing five CDs. Thanks to Mark’s earlier albums, constant touring and appearances at the major blues festivals, he’s firmly established his solid reputation around the US and Europe.
Hummel was born in New Haven, CT but raised in Los Angeles till he graduated high school. Mark moved to the Berkeley at age 18 to pursue a career in blues music, where he felt the music was taken more seriously.
Mark started the Blues Survivors in 1977 w/ Mississippi Johnny Waters. By 1984 Hummel began a life of non- stop touring of US, Canada & overseas, which he still continues at least 130-150 days out of each year. Hummel has toured or recorded with blues legends Charles Brown, Charlie Musselwhite, Lowell Fulson, Billy Boy Arnold, Carey Bell, Lazy Lester, Brownie McGhee, Eddie Taylor, Luther Tucker and Jimmy Rogers.
Hummel penned a memoir in 2012 for Mountain Top Publishing, “BIG ROAD BLUES: Twelve Bar On I-80”, to which Huey Lewis says “This book should be required reading for ANY aspiring blues musician, LOVED it!” The memoir has been heralded in Blues Revue, Living Blues plus many blues publications coast to coast.
Besides the Blowouts Hummel has continued the Blues Survivors plus an All Star side project called Golden State/Lone Star Revue w/Anson Funderburgh & Little Charlie Baty. This group appears on Hummel’s brand new ElectroFi CD “The Hustle Is Really On”. Mark has had three Blues Award nominations for best Blues Harmonica (2007, 2008 & 2009) plus the Little Walter CD has garnered two nominations in 2014 for best CD & best Traditional CD.
GOLDEN STATE – LONE STAR REVUE
GOLDEN STATE-LONE STAR Revue is a concept of a cross country meeting of the minds between California and Texas musicians. All have known each other for years. The rhythm section has played in bands since high school but all share a deep passion for REAL BLUES. MARK HUMMEL’S been steadily on the road since 1984 and released 17 albums and CDs since starting out. His latest is a Little Walter Tribute called REMEMBERING LITTLE WALTER on Blind Pig Records w/Charlie Musselwhite, Billy Boy Arnold, Sugar Ray & James Harman. Hummel has recorded for Flying Fish,Tone Cool and ElectroFi Record (his current) labels since the early 90s. Mark’s been nominated for three years in a row for Best Harmonica by the BMA Awards. Hummel’s has been performing and producing the BLUES HARMONICA BLOWOUTS in CA. since 1991 and has performed with these multi artists events with the top players in the genre all across the planet.
OLD MONK
The two founding members of Old Monk were separated by thousands of miles when they began writing their first EP. It took years of swapping answering machine recordings and exchanging lo-fi demos over the internet to complete. The successful collaboration finally convinced drummer Ian Burns to leave his native Colorado, joining guitarist Joshua Carrafa in Brooklyn. Deciding they must showcase their new music around Brooklyn and Manhattan, the two enlisted bassist Tsugumi Takashi and dubbed their project Old Monk.
CHAD SUGG
Chad Sugg is an american singer-songwriter from Clarksville, TN. Widely known for his main musical endeavor, Backseat Goodbye, he started a new side-project under his own name in order to release new music in a different light.
JACOB BRIGELL
With an individual blend of soul and traditional New Orleans style music Jake Brigell is a talented solo performer. Normally a funk and R&B bass player, he was drawn to the front to showcase his energy and charisma. He is not interested in fame or fortune, getting heads nodding, feet tappin and booties shakin are his only goals.
INVISIBLE CARTOONS
Invisible Cartoons is a Smile Rock band from Chicago that blends catchy melodies, intoxicating voices, bounce-inducing beats, dynamic guitar rhythms, and dramatic wordplay about love, friendship, and fun.
Their debut album “Characters” was released on Feb. 11, 2016, with a full-color CD package and an online release at invisiblecartoons.com.
THE WANDERING DIRT
OLD SALT UNION
The five young men who make up Old Salt Union grew up in Belleville, Illinois. You’ve heard of Bluegrass, and you may have no affection for it. But before you dismiss these guys, stop and listen. It’s not just Bluegrass. This is Newgrass. This is Popgrass. This is what happens when you fuse together guys who have pure and raw talent, each with a voice which stands on its own. They were flown to L.A and received 2 IMC Awards, released two albums, played at the Daytona 500, and have been extensively touring the country. In 2013 they were named RFT’s Best Bluegrass Band in St. Louis, and are nominated for the 2014 Best Country Band. Their immediate influences are contemporary, and their sensibility is lyrical, romantic, and loose. They’ll win you over with their harmonies and homesick fiddle, and get you dancing with their rhythms. This band has got a bright future and many picking parties yet to crash.
MY GOD, THE HEAT
A little slice of Midwestern Punk Rawk Rock n Roll. If you like oohs and ahhs and Doo Wops in your punk rawk then we would be your cup of tea.
ALLAN HOLDSWORTH BAND
Allan Holdsworth is widely regarded by fans and contemporary musicians as one of the 20th century’s most prominent guitarists. He is one of a handful of musicians who has consistently proven himself as an innovator in between and within the worlds of rock and jazz music. Many of music’s best-known instrumental masters cite Holdsworth as that rare and shining voice—a legendary player who continues to push the outer limits of instrumental technique and the electric guitar’s range of tonal and textural possibilities. Particularly during the 90s, Holdsworth has enjoyed the recognition so many musicians strongly feel he deserves, given that he has developed his career outside the big label mainstream and has consistently produced his own recordings with complete creative control since the mid-80s. Despite the uncompromising nature of Holdsworth’s predominantly genre-defying solo projects, he’s no stranger to all-star jazz festival line-ups or large venue rock audiences. Musician Magazine placed Holdsworth near the top of their “100 greatest guitarists of all time.” There’s never been a shortage of media attention or acclaim for Holdsworth’s accomplishments and originality. An inductee of Guitar Player Magazine’s Hall of Fame, Holdsworth is a five-time winner in their readers’ poll.
Beyond his ability in improvising mercurial solos and sculpting the guitar’s voice into an ever-expanding range of textures and colors, Holdsworth has dedicated his energies to develop many different aspects of guitar technology. This has included new “baritone” variations of the instrument, his own custom 6-string designs (one most recently manufactured by Carvin), the invention of electronic components for the recording studio, and exploring the possibilities of guitar-based synthesizer controllers. Holdworth’s ability to improvise over complex and challenging chord voicing’s always reveals a deep emotional base and a strong, imaginative personality that is as instantly identifiable as any among Holdsworth’s generation of guitar and jazz masters.
THE FINE CONSTANT
Sarah Longfield formed The Fine Constant when she begin performing her solo experimental progressive metal material in a live setting.