KING BY FRIDAY is an original band based out of Libertyville IL. Their music is up-beat and driving, featuring elements of each member’s unique background and style. Their performance resume includes Headlining Chicago’s House of Blues and Double Door, as well as an appearance on ABC7 news! Though they are primarily an original band, they do also have several sets of covers in their arsenal. There is something for everyone at every King By Friday show! In addition to great music, their presence on stage invites the audience to keep tapping their feet all night long! Between the music and the onstage charisma, King By Friday brings a show that is energetic, entertaining, and an all-around good time!
Impulsive Hearts is Danielle Sines. She sings, shouts, plays guitar and synth, and records noises on tape recorders. She likes melodies that remind her of summertime.
+ Max Cohen, Rachael Farinella, Fallon McDermott, Adele Nicholas
For fans of: The Pretenders, Liz Phair, Camera Obscura, Alvvays, Sharon Van Etten, Bleached, Wet Leg, Dum Dum Girls, Fleetwood Mac, and you
The Skatalites began performing in Jamaica in May 1964. The group was so hot that their first rehearsal became a show. So many people had lined up outside the venue, they decided to just charge admission and let everybody in! They were the top musicians on the island at the time, having come together after playing in different bands and on various recording sessions. These records were made to be played at the many competing sound systems around the island. The band became legendary, backing all the developing artists of the day, such as Toots and The Maytals, Prince Buster and “The Wailing Wailers” featuring Bob Marley, Peter Tosh and Bunny Wailer. These groups were all recording on the new beat called ska, which had an infectious rhythm that was catching on like wildfire. Eventually, the beat slowed down into rocksteady, and then reggae. This wildfire spread unstoppably around the world, developing into a huge musical tree with many stylistic branches, including lovers rock, dub, dancehall/ ragga, ska-punk,, and others. Hugely popular groups, like The Police, The Clash, The Specials, The English Beat, Sublime and No Doubt, all have their roots firmly planted in the music of The Skatalites.
Since reforming after an almost 20 year hiatus in 1983, and beginning regular touring as a unit in 1989, they have not stopped thrilling audiences in every corner of the globe. Even after more than 50 years, and various lineup changes as members leave one stage for another, the band continues to perform and record new music in the inimitable Jamaican style, like only they can. The road has been long and hard, and sadly, seen most of the original members pass on. Often asked “when will you stop?” and “how do you keep doing it after all these years?”, the answer is simple: never – It’s the love of the music and the way our fans respond that keep us going Forward!
Featuring original alto sax man Lester “Ska” Sterling and vocalist Doreen Shaffer, along with the current lineup of outstanding musicians they have chosen to accompany them, the band proudly presents live the music of Jamaican Ska.
Forever indebted to the inspiration and talent of: Roland Alphonso, Lloyd Brevett, Don Drummond, Jerome “Jah Jerry” Haynes, Lloyd Knibb, Tommy McCook, Donat “Jackie” Mittoo, John “Dizzy Johnny”Moore, and Lester Sterling, collectively known as The Skatalites.
Formed by Russell Pollard (who formerly played with Sebadoh, The Folk Implosion, and Earlimart) in 2007, Everest caught national attention with the release of 2010 sophomore album, On Approach. While the record helped propel them onto bigger stages and put them in front of bigger audiences, most of the band felt the record only scratched the surface of what they could do. Thus the story of Ownerless begins in early 2011 when the four members of Everest found themselves at creative loose ends. Having been recently freed from a deal with Warner Bros and still slightly road-weary from touring relentlessly behind On Approach, the band set up shop with longtime friend and musical compatriot Richard Swift at his National Freedom studios in Cottage Grove, Oregon. After several weeks of recording, the band eventually returned to LA and enlisted another old friend, Rob Schnapf (known for working on Beck’s Mellow Gold & Odelay, Elliott Smith’s XO & Figure 8, as well as Foo Fighters’ eponymous debut) to produce additional recording sessions for the record. It was the kind of creative kick in the pants that the band needed. “He’s a no-bullshit kind of guy,” says front man Russell Pollard, “If something isn’t working or something isn’t right, he’ll totally bench you. No bullshit, no drama. We didn’t have to rush this time either. Doing things at our own pace, we were able to put our egos aside and just concentrate on making the best record possible.”
Van Gordon Martin is a dynamic virtuoso of the guitar. From slapping it like a bass to playing mind bending solo’s, he derives textures as diverse as his Chicago roots. From the island sounds of Reggae to gritty Soul, Blues, and R&B. VGM covers all the bases. As a youth he was a National Merritt scholar in jazz guitar. Studied for a short time at Berklee Collage of music in Boston. At age 19 he pl
ayed his first show with legendary Parliament Funkadelic keybordist and musical director Bernie Worrell.As former Lead Guitarist and song writer for Boston based band Spiritual Rez , Van has shared stages with the likes of George Clinton and PFunk, Toots and the Maytals, Steel Pulse, Barrington Levy, and Gregory Issacs.
Now embarking on a solo career VGM has made a break out effort in “No Limit to Love”. VGM is touring in support of the album with a full band and solo acoustic.
Zac Hendrix is a dj, producer, and all around funky cat, as it turns out. He was born in the city of Seattle and grew up in nearby South King County. After early years as a bedroom dj, and subsequent years performing locally, Zac officially entered the independent hip-hop game on a full-time basis in 1999. He has traveled extensively as the DJ for Del the Funky Homosapien (since ’02), Bukue One (since ’99), and Insult2Injury (since ’96). He is also a member of The Handsome Skeletons, Hendrix Jones, All Flags Burn, and several other noteworthy groups that you not have heard of yet. Whether he’s rocking a large festival or a small club filled with the most discerning funk aficionados, he’s guaranteed to turn some heads. This is definitely not “dj so and so”.
The message is positive, the beats hit hard, and the vibe is earthy and honest…and did we mention funky?
Zac is a real person in the now, carrying on an amazing tradition of making something good out of lots of nuthin’. That spirit shined in the Bronx of the late 1970’s and it continues to make much needed guest appearances thanks to people like this.
Beware, My Lovely’s sound is deeply rooted in their influences of rock, blues, soul, punk, and everything in between. While mainstream influences do not go unnoticed, the band recognizes the influences of their influences. Our band is fronted by the immeasurable powerful and gritty vocals of Lisa Marchese who is arguably the best female vocalist in the city of Chicago. Her deeply moving and soulful singing will elicit anyone’s attention within an earshot and stop people dead in their tracks. Beware, My Lovely’s songs are melodic and crisp while maintaining the rough edges of their influences. The raw and classic rhythms of Bob L’s guitars are rousing to the senses and provide the backbone to the music. The addition of Mark DeLao’s bass and John Nachay’s drums underscore the music with their primal pulse. The band’s simple philosophy of “If it’s not good, don’t play it” certainly shows in the music and, in turn, will rock even the most novice of music lovers to their core.
Ayanami is a rock band from Chicago, IL, promoting the release of their new LP, Heliotrope – A ten-song LP, drenched in fuzzy guitars, eminently singable choruses, and thundering drums. According to the band, the record is as much a love letter to 70s guitar hero theatrics and the alternative rock of the 80s and 90s as it is a reaction to a perceived narrowing in the world of guitar-based music, where polar opposites dominate and divide music fans. “We don’t want to be the precious indie rock band, or the angry-all-the-time metal band. We think there’s underused space in-between the two,” says frontman Jason Gallagher. Ayanami is a band determined to make a bold statement – there’s still a place for music that sounds unapologetically huge.
Established in 2009 bailout is pop-punk band at the core, yet also blends the stylings of reggae, hardcore, and ska into their music. Bailout has been compared to artists such as Alkaline Trio, Lagwagon, Descendents, Bayside, and The Suicide Machines to name a few… Their fun, lighthearted, and sometimes offensive live show has been a staple over the years yet the recent digital release of “Rad Dude’s, Bad Tudes!” brings a deeper, unique and energetic group of songs. The writing process fueled by coffee, cigarettes and beer adopted by Trestain[25] and Semegen[24] Bailout focused on the intertwining of sub genres of punk rock while still sticking to their 90’s pop-punk roots. Accompanied by lyrics of self-destruction, heartbreak, and defiance of the corporate structure, many agree bailout has matured compared to previous releases. Featuring youthful vocals, fast tempos and a fun live show, bailout has established they don’t have plans of slowing down for the future.
Bakelite 78 was founded by old time music enthusiast Robert Rial.
Rial arrived in Chicago in 2000, eager to engage in the musical styles he loved most: dance orchestra music/swing, country-blues, dixieland, tin pan alley, rock and American folk. He played his guitar and tenor banjo and took solace in his 78 R.P.M. records (some discs were made from an early form of plastic similar to Bakelite). ‘Bakelite 78’s preserved the music of this era and the band was born to keep classic crooner vocals and smokey-speak-easy jazz/lounge/cabaret alive.
The repertoire is an eclectic mix of swing, Dixieland, blues, proto-country, and cabaret, as well as a plethora of originals in hybrids of these styles. The original lineup of Bakelite 78 performed throughout Chicago from 2003 to 2008. The group released their acclaimed debut “It’s A Sin” in 2006, and followed up in 2008 with “Delta Disc”, produced by Jimbo Mathus of the Squirrel Nut Zippers.
In 2009, Robert departed for Seattle and Bakelite 78 went through a personnel change. Robert sought multi-instrumentalists that preserved and expanded the essence of the group’s original sound. The new lineup of musicians includes Robert Rial on tenor banjo, six string, tenor guitar and voice, Erin Jordan on piano, accordion, and voice, Austin Quist on upright bass and sousaphone, Erik Reed on trumpet, Kevin Buster on clarinet and saxophone, and Steve Baz on drums. Within a couple months, the new line-up began performing original compositions (by Rial, Jordan, and Quist), classic standards and rare gems.
The group has performed all around Seattle, including at The Moore Theatre(during the finale of The 1st Annual Seattle International Cabaret Festival), The Can Can, The Triple Door, The Fun House, The Pink Door, The High Dive, The Josephine, The Seattle Tattoo Expo, as well as a number of weddings and parties. Bakelite 78 has recently completed their new album, What The Moon Has Done, to be released soon.
SD, is the 20 year old baby face member and self-proclaimed ‘savage’ of the infamous GBE rap crew/label from the windy and dismal streets of Chicago. Creating a catchy new musical style spawned a slew of imitators in their wake but SD, Chief Keef, Fredo Santana, Lil Reese, still managed to be the leaders of the pack and inspiration to rappers already garnering platinum plaques and Grammy nods. Surrounded by a squad of peers who are all successful breakout rappers in their own respective rights, he finds there is no comparison between himself and his Chiraq counterparts. SD has already found great success in carving out his own identity my creating a niche style of hipster, cool kid rap, gangster rap with features and videos with the likes of Danny Brown, Riff Raff and Lil’ Debbie. As an independent artist he has already released a 3 volume mix tape titled “Life of a Savage I”, “Life of a Savage II”, and “Life of a Savage III” of which, all were repeatedly downloaded and highly acclaimed by hard-hitting rap enthusiasts and critics alike. Every time SD drops a new song, video or mix tape, within days his streams, downloads and video views soar to the millions and above, most notably with his recently released singles: ‘Overdose’, ‘Guap’ and ‘White B!tch*s’. He attributes his success to a mature outlook on life, due to growing up in the reality that any day could be your last on the war comparable streets of Chicago. Looking forward from where he came from, SD says that his driving force in his life is his daughter who shows him a higher purpose for his life than hanging out on the block and possibly getting locked up or dying. This coming quarter he is set to release his next compilation of music which will both break down musical barriers for rappers from Chicago as well as personal milestones he set for himself.
Too Fast For Love is the debut record of American heavy metal band Mötley Crüe
VAN HALEN “VAN HALEN II”
Van Halen II is the second album by American hard rock band Van Halen, released in 1979.
Check out the Video to see “Eddie”
THE PRO LETARIANS
“The saying, “I’d rather be lucky than good,” chooses one of two desirable options, but what if you could have both?
The duo known as the Pro Letarians were fortunate enough to be just doors apart at Indiana university, a school of over 40,000 students. That’s pretty lucky. With JO on production and Jupiter Jim emceeing, The Pro Letarians have created plenty of well-rounded tracks that often uniquely sample familiar songs such as The Beatles’ “Let It Be” and the Jackson 5’s “I Want You Back”. Their tracks possess an infectious enthusiasm that makes it hard not to nod along. That’s pretty good.
The Pro Letarians have already come out with two mixtapes despite having just met each other around 7 months ago and being in school for almost the entire time. Their first tape, The Pregame, may have been a little rough around the edges in some spots, but the tape showcased the duo’s potential and received positive praise in the blogosphere. They followed this up with the March release of Hello, Forever, which made the duo’s sonic evolution apparent. Hello, Forever was a longer, more diverse tape, which like their debut mixtape, had no features. That fact kept the spotlight, and the pressure, on them throughout. It seems like the young duo is heading in the right direction and it will be interesting to see where The Pro Letarians end up. The maturation seen in such a short time is encouraging and further proof that these kids out of Indiana are good enough to make their own luck.” ` excerpt from interview with Peter Kole of rubyhornet.com
A tribute to one of the most influencial bands in the history of Spanish Rock. DiskoEterno conveys the electro and the unique sounds of SodaStereo in a way that sounds so similar to SodaStereo, but with the touch of Disko Eterno, making this tribute a true pleasure to enjoy
Music today seems to thrive on an artist’s ability to adapt to a certain set of rules, as well as possessing a key sound. If the radio is to be used as a sample of what the public wants, it would also dictate that it should be a familiar sound. However, as with all things, sometimes there comes around an artist with his own views that just need to be heard to be believed, and M.G. Bailey definitely falls into that category.
Brought up in the south south side of Chicago, in Glenwood, to be exact, music was never as cut and dried for Bailey. Playing music since fourth grade, he got his start playing saxophone, but wisely switched to guitar, which he played in a number of local punk bands, In and Out being the most infamous of those. In about 2005, he formed Slow Moving Machines with a couple of friends, and enjoyed some success playing across the Midwest, throughout the Chicagoland area, as well as Indiana, Minnesota, Iowa, Michigan, Wisconsin and Philadelphia. They even won the Prairie State Battle of the Bands two years in a row. They also released a full length album, All Space Must Be Filled. Employing such various influences as progressive rock, punk and country, it was a truly unique album among the faceless other punk and alternative groups littering the area.
After the demise of Slow Moving Machines in 2008, he searched for a group that would never dissipate, so he started a one man band.
“I can do whatever I want, but they don’t necessarily make gear for what I do.” So he made his own.
I want to play rock and roll and prove that you can do whatever you want; it doesn’t have to be three guys or two guys or one guy that has a group that comes out and does tours.
And so started the one man band. Using guitars modified with drum triggers, keyboards, as well as live drums that he plays while he strums his six string and sings, it’s an unorthodox method but a sight to see.
I saw a guy do it in Memphis, on the streets, and I thought that one day I was gonna try to do that. He was playing blues/country stuff, but I can play punk, I can play metal…
With a sound that takes a kitchen sink approach to composition without sounding jarring, he used all of his experience as a songwriter in his other bands, and started making mini epics at his home studio.
I wanted to meet music in the middle, somewhere between the laptop musician and AC/DC. I want to create soundscapes, using delays, vocals, drums, guitars…I want to fill space with sound. And kick ass!
While the words on this page could never explain his sound or approach the way seeing it in the live setting could, it’s most definitely his punk rock roots that have informed his music the most. It’s the DIY ethic that has made him who he is, but he doesn’t align himself with that punk background.
It’s too easy for a punk rock band to get together and have a punk sound. It’s not punk rock anymore. You can listen to the Ramones, and say that it sounds like shit but there’s something there that you don’t hear in punk bands nowadays.
And despite this approach, the music makes sense, and that’s what matters most. It clearly comes from the heart, and whether you’re listening to one of his songs at home on the stereo or listening to it live, it’s his heart that fills the most space in the sound.
Mission Statement from the Shell Corporation, for immediate media dissemination:
“We shall continue to deliver best value to our stakeholders by providing superior music to our customers, maintaining our high financial performance and improving our standing as a good corporate citizen of the world by aligning our direction in long-term sustainable fashion”
Contrary to popular belief, The Shell Corporation are a band. Jan, Curtiss, Sean and Jake have been in other bands, but we didn’t come here to dwell on past indiscretions, we gathered here today to talk about their new band. A band that has been described as Hot Water Music, old Against Me, Jawbreaker and The Flatliners, but much more handsome and talented, by their respective mothers.
Money, Fame…The Shell Corporation craves not these things. Ok, money would be nice but for now they will settle for getting on every stage and down in every basement they can find and screaming at you till they blow their voices out. And while waiting for the checks to arrive they will just keep working soulless day jobs so they can continue to make songs about what’s wrong with the world (PLENTY!) mixed with some good ol’ fashioned melody.
They released their debut album “Force Majeure” in September 2011 and a 7″ EP entitled “Bread & Circuses” and immediately began touring Europe and the U.S. shoving their message down the pie holes of anyone that will hear it. This summer will see the re-release of their debut on 12″ vinyl (Solidarity Recordings), as well as the release of their follow up EP “Time and Pressure”. These releases will be followed up with extensive touring the US and a European tour in November, 2012.
The Reverend Deadeye is the Reverend’s son of a Reverend’s son. He spent his youth handlin’ snakes and performin’ at tent revivals alongside his Pentecostal family on the Navajo reservation in Arizona. This sacred musical heritage finds its way prominently into his performances. But don’t expect a Sunday mornin’ church service; instead, expect a Saturday night baptism with fire holy rollin’ revival. With his modified wok-lid resonator guitar, homemade beer can microphone, kick drum, and washtub snare, he delivers a punk-rock version of gritty pre-war delta blues which he blends with fiery gospel interpretations capable of turnin’ the whole room into a spirit filled bar room revival.
The Doors is the debut album by the American rock band The Doors, recorded in August 1966 and released in January 1967. It was originally released in significantly different stereo and mono mixes. It features the breakthrough single “Light My Fire”, extended with a substantial instrumental section mostly omitted on the single release, and the lengthy song “The End” with its Oedipal spoken-word section.
THE ROLLING STONES “LET IT BLEED”
Performed Live By: Southside Musician Coalition
Let It Bleed is the eighth British and tenth American album by English rock band The Rolling Stones, released in December 1969 by Decca Records in the United Kingdom and London Records in the United States. Released shortly after the band’s 1969 American Tour, it is the follow-up to 1968’s Beggars Banquet and the last album by the band to feature Brian Jones as well as the first to feature Mick Taylor.
Come on out and see us at a show! We always enjoy new company!
Rising up from the bottomlands of the Illinois River, Ol’ Red Shed is the mud-soaked moonshine swillin’ band that make music perfect for fishin’ trips, bar brawls, long hauls, and lonesome nights.
Ol’ Red Shed’s current roster for Live shows consists of: Coondog Krisser Glenn-Guitar/Lead Vocals, Dabo Lawson-Fiddle Bass/Vocals, Quincy Watson-Mandolin, John Crowe-Banjo
Ol’ Red Shed is always lookin for pickers for studio and seeking a fiddle player for live performance and recording purposes.
Aran Buzzas is a honky tonk singer/songwriter from Missoula Montana who dabbles in rowdy Irish folk music and has roots in bluesy rock. Aggressive rhythm guitar playing, strong vocals, and lyrics that are both amusing and heart-felt characterize Aran’s country songs.
This Montana native got his musical start playing classic rock in his high school band Groundswell, back in the mid 90s. Since then Aran has been doing the singer/songwriter thing, writing and recording songs on his analog 4-track and brushing up his lead guitar chops. This culminated with the relase of Aran’s homemade debut CD “Just Bein’ Here” in April of 2008.
“Just Bein’ Here” combines elements of strong song-writing, lots of guitars, and innovative back-up vocals from close friend and collaborator Mike Dunn. The songs range from rock to country, blues to Irish traditional, with Aran playing all the instruments.
For the past three years Aran has hunkered down to refine his “sound”. Using the bluesy rock basis of “Just Bein’ Here” as a jumping off point, traditional and outlaw country sounds have been dominating more recently, along with an ever growing element of edgy Irish trad. Released in August 2010, the “Niki’s Closet Demo” features a more stripped down sound. Mostly straight-up honky tonk, with one tragic Irish rocker.
Several of the demo tracks have been featured on such respected podcasts as Outlaw Radio Chicago, IBWIP, Blue Ribbon Radio, Friday Happy Hour, Rebel Rouser Radio, Broken Country Radio, and the White Trash Revival show.
Since it’s release Aran has opened for Hellbound Glory three times, The Clumsy Lovers, The Cheatin’ Hearts and Coffin Hunter, and played the Community Stage at LYME Fest 2011. Winter 2011/12 Aran will be teaming up with Travis Yost to begin work on a new, full-length CD, featuring guest appearances from many of Missoula’s finest roots musicians. Look for many more performances to come, and a new album in late 2012!
Hailing from Central Alabama, T. Junior is a songwriter, solo performer & front-man for the Montgomery-based Honky Tonk Hustlas. His music incorporates eclectic influences like blues, traditional country, bluegrass, punk rock & heavy metal. Armed only with an acoustic guitar & a microphone, T. Junior is able to tap into common emotions and channel them into his music in a way that regular people can relate to with material ranging from rowdy, upbeat hellraisers to deeply introspective songs about life & death.
With hundreds of shows under his belt at venues all over the southern, eastern & midwestern USA, T. Junior has served multiple roles in several bands, all while holding true to his vision & uncompromising his style. After releasing two Honky Tonk Hustlas albums in 2008 & 2011, T. Junior released his first solo EP, Man in Gray, in 2012.
Being an original songwriter, T. Junior performs his own material, but he also pays tribute to the legends. Able to perform shows up to 4 hours long, he’s versatile & willing to travel. He has played all kinds of venues & private events, including festivals, bars, nightclubs, honky-tonks, dives, weddings, parties, race tracks & more.
I am a One Man Band that plays old school juke house blues, (electric and acoustic) from Las Cruces, NM. I sing, play guitar and harmonica and operate a kick drum and a snare with my feet. I have played in Blues Festivals in New Mexico, Mississippi and Minneapolis MN. I just recently returned from a tour of Australia. I have been playing club gigs and festivals in and around Las Cruces and El Paso TX since 2008. This year I also played at the Downtown Streetfest in El Paso. In 2010 I won a NM Music Award for my song “Seen My Baby” for Best Blues Song. I have 3 self-released albums, “Gone”, “Is what it is” and “Ain’t No Use In Moving”
The only child of Waylon Jennings and Jessi Colter, “Shooter” Jennings (who officially shares his father’s first name) lived his first few years in a crib on his parents’ tour bus. By age 5, he was playing drums. Between tours, back in Nashville, he took piano lessons, didn’t like them, stopped, then started teaching himself and enjoying it more. He picked up his guitar at 14 and hasn’t put it down since. He and his father recorded a few things together when they happened to have some microphones set up and the tape recorder plugged in. Then at 16, he discovered rock ‘n’ roll. Driven by a sound he heard coming together in his head — something like Lynyrd Skynyrd mutating into Guns N’ Roses — Jennings left Nashville a couple of years later to seek his fortunes in L.A. There, he assembled a band and named it Stargunn. For six or seven years they tore up the local clubs, built a rabid following and earned praise from the local music press. But the Hollywood party scene eventually began to bother him. He says, “I was posing as a rocker — a country guy trying to be something he wasn’t.” On March 30, 2003, he dissolved Stargunn and moved to New York City to spend time with his girlfriend and sort out what he wanted to do next. An unexpected gig at the House of Blues a few weeks later revived his creativity. He returned to L.A. to form another band, the 357s. After six weeks in the studio, he completed his first solo album, Put the O Back in Country. Universal South released it in early 2005. With guest vocals from George Jones, Jennings’ “4th of July” reached the mid-level of the country airplay charts. Jennings portrayed his father in the 2005 Johnny Cash biopic, Walk the Line. In 2006, he issued the studio album,Electric Rodeo, as well as Live From Irving Plaza.
A Man and His Clone was formed in 2001 as an experimental electronic/noise project of Aaron Brown (ex Krelm) and Conor Goetz (ex Project .44). After a short run of performances the group went into an unspoken hiatus for over a decade, but has returned in a new more mature incarnation.
As a 2 man band, technology still plays a strong supporting role in recording and arranging, but the sound is more focused on traditional rock/metal instrumentation. Influences of post metal, noise rock, drone, doom, and even world music create challenging pieces that evolve with each performance.
This music is intended to be difficult, because music does not always have to be easy…
New Clear Threat is a thrash punk band from the northside of Chicago. Originally starting back in ’97 as ‘Uncle Sam’s Misguided Children,’ a garage punk band that did a lot of Green Day covers, original members, Amit Parekh (bass), Charlie Medina (guitar), and James Kolasinski (drums) decided it was time for a change. After Eric Williams took over on lead vocals (after joining USMC as a second vocalist) and they started messing around with new sounds, New Clear Threat obtained it’s name. Shortly after, Warren Mendoza came in as the second guitarist to compliment and co-create NCT’s unique style. After recording some E.P.’s and playing out, in 2010 Amit went his way to go to Med school and Aaron Jaramillo (bassist of Rather Tragic) took his place.
Kate Flannery (Meredith from The Office) and partner Scot Robinson (Anchorman) are The Lampshades, the funniest fake lounge act in Hollywood. Who else would sing Mandy and Brandy at the same time?
After 10 years of performing live in Hollywood, they are becoming the thing they are making fun of. Thanks, Father Time. Like a fine wine, baby. They are the Dan Bandʼs favorite opening act.
Get ready for some rock and roll and look no further than Black4 from Chicago, Illinois. This band will take your musical needs and drop a hybrid metal/punk/stoner rock evolved earthquake at your doorstep. Black4 has been pushing the limits and building a solid fan base since 2011. Bryan Tunis ( Hungry Onion) brings a life to the microphone that few can deny. In addition, drummer Brian Madurzak (Bello) effortlesssly turns Black4 into a fist pounding roar. With the otherworldly riffs of Curtis Taylor (Guiltrip) on guitar and the thunderous rhythms of Jason Forrester (Guiltrip) on bass, the band is geared to rock Chicago to it’s core.
Starting at the beginning of the trail, the suburbs of Chicago is where they planted the seeds of a new group. Breaking into Chicago’s rock scene is not an easy task especially when the goal is to bring a new angle to the scene that few others have achieved. One that delivers a punch that leaves you with your fist in the air, celebrating the power of true muscianship and solid rock and roll.
Working their way closer to Michigan Ave. with every move and bringing their dedicated fan base with them. Black4 plays out consistently at many venues in Chicago not only headlining but also opening for high profile acts such as Filter, Wino, The Skull and Mondo Generator. This year, Black4 took their act to the South By Southwest Festival in Austin, Texas, playing to rave reviews and leaving the fans wanting more. Leaving a lasting impression, this was definitley a solid step for Black4. A major highlight for this year, but the best was yet to come.
June of 2014 marked the release of their debut album ” The Tales of Cuatro Negro”. Recorded at The Island Recording in Chicago with Paul Norman tracking and Elliot Bancel producing. The delivery of killer riffs, slamming drums and solid vocals Black4 brings it full circle with a force that invites you to come along for the ride. Black4 found a new set of rules to play by when the album was completed, pushing their roots deeper into the Chicago streets. This album presents a sort of rock collection, forged together by influences from Kyuss, Black Sabbath, Queens of the Stone Age, Fu Manchu and Clutch. Spending three months in the studio, the band came out with an true representation of their passion. Black4 found a new shot of adrenaline after the albums release, with awesome reviews and support coming in from all directions especially overseas.
October of 2014 saw Black4 as the featured band on episode #220 of the podcast Tell’em Steve Dave. A podcast on the Kevin Smith podcast network featuring members of the Impractical Jokers and Comicbook Men TV shows.
January 2015 started off with a bang as Black4 was the featured band of the week on Twisters Music. Not only was the music featured, but the week ended with a long, live call in featuring Bryan.
March of 2015 saw Black4 returning to the scene of one of last years highlights, SXSW. Once again proving the force from Chicago couldn’t be stopped, playing to large crowds and rave reviews.
In July of 2015 Black4 was featured in a interview for the U.K. magazine Fireworks. Along with the interview, the track “Combat” was also featured on the magazines CD sampler.August of 2015 saw the band team up with Breakout Artist Music Group for a stop on the Summer Shine tour. This show helped propel Breakout and Black4 into launching a successful Kickstarter campaign to raise funds for a new video single.
The band entered MicroMega Studios in Austin, Tx. with Marcos Delgado in late 2015 to record the new single “Cougar Love”. Mixed at The Island Recording in Chicago by Elliot Bancel and released in April of 2016 with a new video shot by 517 Creative.
The future of Black4 is on the move, with plans to use this momentum as a stepping stone to promote themselves to the right label. With success and their increasing number of supporters, keep an eye out for Black4 as they’ll be hitting the stage like a full steam freight train…
DJ Chuck Wren has hosted the ska radio show “Everything Off-Beat” across the Chicago dial since 1989, currently airing Sundays at 9 PM on WLUW-FM 88.7. Since 1993, his label JUMP UP RECORDS ( www.jumpuprecords.com ) has released over 100 albums including ones by local faves Deal’s Gone Bad, The Drastics, and Green Room Rockers. His monthly night at Delialh’s is Chicago’s longest running ska/reggae night at 18 years, and when he spins you see piles of piles of original Jamaican 45s sprawled all over the place.
Armed with a handful of demo tracks and an EP release expected in Spring 2012, Reflections are a band that refuse to comment on their genre, and rightly so. Included in this deathcore series because they incorporate elements of the musical style (breakdowns included), they are harnessing a sound that, although fitting into the djent bracket too, is not constrained by the sum of its parts. This is promiscuous music that fucks precision into groove into brutality; wielding an A-HA track and a Katy Perry cover in their backcatalogue also shows how willing Reflections are to take conventionality up the chuffer.
However, where this five-piece are strongest is during music of their own creation. So far I’ve managed to eke out of the band the locations of 3 full-length tracks (I’ll link where possible), which, even as demoes, demonstrate the potential of this furious young troupe. Reflections have a sound that is pitched right on the edge of sanity; there is so much technical prowess here, especially during the spidery guitar-work that is so elaborate and dissonant. An Artifact refuses to clamp down, with its spindly solo opener and frenzied underlying chug that soon breaks down into the verse, whilst Advance Upon Me Brethren kicks into a bouncy groove, and then smashes you at freight train speed during the chorus. For all of the shitmunchers who wait with baited breath for the breakdown, there are those too, but framed by some really well executed music that doesn’t just leave you begging for the bass drop.
Reflections earn their stripes, though, not just because their musical skills are far beyond proficiency, but as willing participants in esotericism; this is exploratory music that takes cues from several areas of metal. It’s thought-out, provocative and technical whilst also being explosive and evocative and absent of any pretension. What’s more, they don’t participate in the race to be faster and heavier than everyone else (which gives deathcore its generic ooze), but instead are a far more convincing offering with progressive and groove elements thrown into the mix.
The next test for Reflections will be releasing a record that gives credit to their talent in being a cohesive and dangerous force. So far they’ve proved innovation in a genre that has already been condemned to the grave by some critics, and are pushing the boundaries in all sorts of degenerate ways. Reflections will find their strengths (and their admirers) by remaining as willing outcasts.
Warped time signatures, percussive mathematics, spider-fingered fretwork, dazzlingly atmospheric keyboards and immediately arresting vocals collide within THE CONTORTIONIST, who have achieved a career defining milestone with a “sophomore slump” defying feat of agility dubbed Intrinsic. The Indiana based prog-metal alchemists conjure the kinetic texture of RUSH, the cinematic musicality of DREAM THEATER, the heavy but heady metallic might of jazzy death wizards CYNIC and the studied experimental precision of BETWEEN THE BURIED AND ME while simultaneously fashioning an overall sound uniquely their own.
In a short amount of time, THE CONTORTIONIST has enveloped audiences and nearly swallowed them whole. They’ve toured with a wide-ranging number of acts including PERIPHERY, ALL SHALL PERISH and THE ACACIA STRAIN. The band headlined the inaugural edition of the Summer Slaughter Survivors Tour, as well.
With their earliest self-released work, THE CONTORTIONIST remade the rules within emerging genres like “deathcore” and “djent” as they evolved beyond scenes and categories, even as they were integral enough to be instrumental in defining them. The band teamed with Ken Susi of UNEARTH for their marvelously refreshing, conceptually driven debut, Exoplanet. With album number two, THE CONTORTIONIST entrusted Eyal Levi (DAATH, JOB FOR A COWBOY) and Jason Suecof (TRIVIUM, DEVILDRIVER) to help them capture their at once complex yet defiantly easy-to-connect-with esoteric material, which shatters the boundaries of conventional heavy music note-by-virtuosic-note.
In popular culture we often hear space referred to as “The Final Frontier.” And while it’s true that the vast majority of our universe remains unknown and deserving of further study, much of the inner workings of human beings beg further contemplation and discovery. How wonderfully appropriate, then, that having delved into deep space with their expansive sound and contemplative narrative on the genre-challenging and wholly impressive Exoplanet, THE CONTORTIONIST turns inward with the stunningly mind-bending follow-up, Intrinsic.
Whereas the first album explored the idea of earth’s destruction following the inevitable collapse of our star and the ensuing search for an inhabitable planet to call home, Intrinsic dives deep inside the mind. Moving across several operatic sections, the record transports listeners on a journey through the apparent holographic reality we call “experience,” through our very consciousness and metaphysical archetypes. Toward the album’s conclusion the band ultimately imagines advancements in neuroscience that would broaden and challenge who we are. All of the music, of course, captures these themes.
Canadian thrash architects VOIVOD would surely be proud of the band’s science based subjects. Like IRON MAIDEN before them, THE CONTORTIONIST is the kind of band that can be enjoyed for the basest of reasons but can also send astute listeners running to the library, like all of the generations of people who wanted to read more about the origins of “The Flight of Icarus” or “The Rime of the Ancient Mariner.”
Lyrical inspiration and reference points came from a stack of research, which included books like Antonio Damasio’s The Feeling of What Happens: Body and Emotion in the Making of Consciousness and Simon Young’s Designer Evolution: A Transhumanist Manifesto. Immediate standout cuts “Holomovement,” “Causality” (about a person having a near death experience brought on by an obsession with lucidity in dreaming and astral movement) and “Dreaming Schematics” (where scientific minds develop procedures to strengthen and multiply synaptic networks) are epics. These songs and the rest of the album’s material inspire food for thought and aesthetic pleasure in equal measure.
THE CONTORTIONIST continues to be a study in contrast. In their quietest, most ambient moments, the band is intimately melodic. Alternately their heavy parts are as alarmingly bombastic as possible. An emphasis on songwriting and structure has resulted in a series of musical journeys that are constantly climbing new summits. There is only one song on the album with anything like a “repeating chorus.”
At the same time, the band is always ever careful to tastefully balance technique with purpose. They aren’t shredding for shredding’s sake. Each section of every song is rooted in logic, meaning and reason.
THE CONTORTIONIST has succeeded at creating intelligently tasteful metal that is as memorable and melodic as it is creative and dynamic. Within their formula, a listener paying close attention is as likely to discover elements akin to MINUS THE BEAR as MESHUGGAH.
Just as different genre-pushing bands broadened their own minds, the men in THE CONTORTIONIST are happy to lead fans through the gateway of heavy music down pathways of new music and self-discovery. With fervent attention to every detail of their composition and presentation, the band’s future in the pantheon of heavy music is assured. Intrinsic is the next step in what will become a landmark catalog. THE CONTORTIONIST opens minds from within and without.
After the Burial is an American metal band from White Bear Lake, Minnesota, United States formed in 2004.
Minnesota’s After The Burial broke into the scene in 2004, bringing with them their own style of aggressive hardcore metal. With punishing rhythmic attacks and soaring duels, guitarists Trent Hafdahl and Justin Lowe’s approach on heavy metal shredding has been spreading throughout the underground metal scene like wildfire. Having completed tours with heavy hitters such as Disturbed, Killswitch Engage, Necrophagist, and Hatebreed, their genre transcending style of metal has captured the ears of heavy metal, hardcore, and death metal fans alike. With the release of their album “Rareform”, which showcases their talented use of 7 and 8-string guitars, they have solidified themselves as pioneers of the instrument.
Having rocked the bar many times, Skratch Bastid is now ready to raise it. In 2012, The Bastid has become one of Canada’s most in-demand DJs and respected producers, but don’t think it happened overnight. From his humble beginnings a decade ago as a teenager in Halifax- pumping out mixtapes from his bedroom and earning a loyal following already back then- he slowly spread his skills first at DJ competitions like DMC, ITF, and Scribble Jam and now around Canada and the world as a widely recognized go-to guy for party-rocking. The illest redhead on turntables has since gone viral. Seriously, youtube that shit. Since he is increasingly recognized for his comfort and versatility in different styles – hip hop, funk, disco, club, rock, and just about every other genre that will make you dance – more and more people are getting hip to his style. That’s what keeps this Bastid working so hard. Touring city-to-city with a relentless drive, he’s wowed crowds from coast to coast in Canada, the United States, the Caribbean, Southeast Asia, Japan, New Zealand, Brazil and all over Europe as he averages close to 200 shows a year. For Skratch Bastid, all that energy is brought back to the studio and heard in his music. As a producer, he takes that experience from the stage and lays it down on hard-hitting original music with a wide range of sounds. The formula earned him a Juno Nomination as Producer of the Year for his work on Buck 65’s Situation album, which he lost to Joni Mitchell. You can hear his own music often elevate his live sets along with yesterday and today’s best. In the past few years, the young lad landed in Toronto- after five fruitful years as a Montreal resident- bringing new flavor to the city and making his first mark with a big bang. His Skratch Bastid Presents quarterly event kicked off with a blockbuster collaboration including DJ Starting from Scratch and world-renowned beatboxer Scratch formerly from the Roots. The inspiring first party was a huge success as it breathed new life into Toronto’s night scene. The three noisemakers took the show across Canada. If the next decade is anything like the previous one, you’ll be hearing a lot more about Skratch Bastid. As he continues to find new fans worldwide, his catalog of sounds, styles and tricks will leave a lasting impression. What’s next? Just like in his electric sets, that’s the exciting part! Get down with the sound.
Z-Trip is not just a DJ. He is more than a producer. He is a musical pioneer. And sits at the helm of the highest echelon of DJ royalty.
As a performer, Z-Trip is revered as one of the best live performance DJs in history, by both fans and peers. It’s no surprise fans voted him “America’s Best D” in 2009, beating out over 100 other DJ’s in DJ Times highly acclaimed annual readers poll. His worldwide sold out shows continue to set attendance records while drawing critical praise. “One of the great musical moments from Coachella (2002) was the frenzied set by turntable wizard Z-Trip. He had fans howling and bobbing, closing his set with a surprise appearance by Beck,” wrote the Los Angles Times. It’s a fact that many call him the “godfather of mash-ups”, as he is one of the originators of the genre.
His lengthy career has seen him crisscross the globe numerous times, chalking up rave reviews along the way. He returned to Coachella 2010, for his fourth appearance at the festival headlining the Sahara Tent, where the OC Register noted: “Even against two of the biggest draws on the schedule, Z-Trip raked ‘em in, filling the Sahara with over 15,000 revelers.” His 2009 Detroit Electronic Music Festival performance to over 10,000 stole the festival receiving the lions share of press: “Z-Trip lit up Saturday night, first by jamming with RJD2 then following with a Detroit-saluting mash-up set,” beamed Billboard.
At the vanguard of dance music culture, he is at the heart of the DJ Hero™ video game series. Appearing as an avatar and providing several scorching remixes, Z-Trip’s relentless vision even defied the advanced technology. An 8-bar scratch that he wanted to incorporate into the game was too much for the game’s memory to handle. Beyond being immortalized as a playable character and his contribution of three exclusive tracks to the first installment, he remained a consultant, as well as executive producer, for DJ Hero 2 and created an additional two tracks.
Worldwide sold out shows would be enough for most artists, but not Z-Trip. His career brims with myriad milestones, starting from the now legendary mixtape, Uneasy Listening, which the Phoenix, AZ native put together with Missouri’s notorious DJ P. Back in 2001, the idea of pitting classic rock tracks against hip-hop into a seamless mix that could find the Pharcyde rapping over the Eagles or Metallica grinding it out under the righteous bark of Midnight Oil was unheard of. But instead of hating it as expected, enraptured fans disseminated the initial run of only 1000 CDs across the internet. By year’s end, Uneasy Listening had made Z-Trip a burgeoning DJ star. It went on to receive critical acclaim and helped propel Z-Trip to national attention in 2002. It made album of the year lists in Spin, Rolling Stone, Entertainment Weekly, Wired and XLR8R. More importantly, it also inadvertently created an entirely new genre of music.
Then, on top of being a world-class DJ, Z-Trip established himself as a formidable producer and his major label debut in 2005, Shifting Gears, was given 4 stars by Rolling Stone, and featured appearances from many of Z-Trip’s friends: Chuck D, Chester Bennington of Linkin Park, Murs and Soup of Jurassic 5. It spawned numerous Top 10 singles in the US and abroad.
A lifelong political activist, Z-Trip was a strong supporter of Barack Obama’s successful campaign to become the President of the United States and released Party For Change and Victory Lap in 2009. Both exceeded 500,000 downloads and favorably reviewed by Wired, Urb, BPM, and XLR8R to name a few. Z-Trip’s longtime friend and collaborator Shepard Fairey supplied the art.
After 14 months of sold-out shows at his Friday night headlining residency at Rain inside The Palms, Las Vegas, Z-Trip is taking a rest from his crowd-thrilling stint,”Z-Trip’s Revolution”. Upon displaying his genre bending skills and sharing his stage with many A-level guests including Three 6 Mafia, Common, Rev Run, Too Short, and De La Soul, Z-Trip is taking a rest from stage to focus on his next chapter of recorded music.
Clearly Rezurex has risen from the grave and awoken the dead. A refreshing style of musical mayhem that stands alone in the current music scene, Rezurex brings back the roots of early 1950’s rock n’ roll and combines them with influences of the 1980’s that have long since been forgotten by mainstream music. Rezurex hails from Los Angeles, California, and is influenced by numerous bands and artists including the Stray Cats, The Damned, Billy Idol, The Misfits, Elvis Presley, and The Cramps. They have attracted numerous fans with their haunting lyrics and adventurous spirit. In 2006, Rezurex released their debut album, “Beyond the Grave” on Fiend Force Records (Germany) and quickly caught the attention of Psychobillies, Punks, Goths, Metal heads, and anyone that truly loves catchy sing-along music. In 2008, Rezurex released their second album “Psycho Radio.” The 13 songs found on Psycho Radio include the heartbreaking “Tonight”, a melodic punk psycho anthem entitled “Psycho Radio” and “Vampira Calling”, a tribute song to the late, great, 1950’s television undead hostess, Vampira who passed away in January 2008. In addition , vocalist Daniel deLeon, who has already been recognized for his previous bands, has begun an acting career in television and independent films. This world-touring band keeps busy entertaining audiences with their theatrics and energetic performances year round. Not a show to miss, Rezurex has converted many with their unique sound and stage presence. ..
Based in the South Suburbs of Chicago, The Studs are a five piece punk/alternative/pop/marscore menagerie of musical styling with a little something for everyone. We suck, but you’re not allowed to say it for yourself until you power through a show. Also, two of our members are named Eric(k) and it’s not as confusing as you think
Magic Slim’s got the blues, and he’s not afraid to play them his way. Slim is the driving force in Magic Slim & The Teardrops and they are all about keeping this distinctive American art form of the blues alive.
When this Mississippi born bluesman steps onto the stage he instantaneously bursts into one of this dynamic songs and takes you on a long hot ride as he keeps his guitar cranked up to sweltering levels of the blues as only Slim can do.
Slim is back by a dynamic trio consisting of Jon McDonald – guitar/vocals; Andre Howard – bass; Brian Jones – drums and David Sims – drums.
Slim has a relentless touring schedule and has built up a die hard fan base. Slim says, “I’ve got the blues deep down in my heart and I’ll keep on playing till I can’t no more”.
What makes NAPALM DEATH so special? Well, let’s think back 30 years: Would you have thought that a grindcore band from Birmingham would ever make it into the official album charts with some of the most infernal noise ever put on tape, enter the Guinness book for the shortest song ever recorded or appear in a prominent UK TV series named “Skins”? That it would be part of an Alice Cooper hosted episode of BBC’s Never Mind the Buzzcocks to guess from a couple of look-alikes who is the singer in NAPALM DEATH? Could you have ever imagined a down-to-earth lad named Mark “Barney” Greenway, a soccer fan (Aston Villa F.C.), vegetarian, prog metal freak and one of music history’s most renowned representatives of “cookie monster” style vocals would become a personality within the extreme music realm that is not about beer-drinking and hell-raising but synonymous with sounding hard while being smart? Well, that is where we are at now. From filthy, sweaty rehearsal rooms and tiny clubs and pubs NAPALM DEATH has conquered every music festival you can think of and toured through corners of the world a lot of bands would not even dare to tour while becoming famous for combining brutal music with political engagement and ethical values beyond the usual cliché of sex, drugs & rock n roll. And, as most fans will be delighted to hear, this remarkable story is far from being over…
Dad Horse Ottn was born in an abandoned churchard in the wilds of South Carolina. Or was it Germany? Yes, he’s German! He was a hellraiser and a punk rock scoundrel till, one day, he saw the light. The banjo light. The holy Lord God Jesus told him that he had a song to sing, and to sing it with a banjo, basspedal and occasional kazoo. And, drawing from southern Appalachian gospel and from the depths of his own scarred soul, he started to preach The Word through rough pure honest song. These songs are about salvation and deliverance – they do not carry a religious message but a spiritual experience: the Dad Horse Experience.
So Dad became a conduit of the ineffable truth of Mercy, Resurrection, and Eternal Life, but don’t you evildoers be frightened away by his old-fashioned gospel sanctity. You’ll like him anyway. Sure, his earthly aesthetics were shaped by wholesome folks like the Carter Family and Roy Acuff, but he himself also claims influence by the likes of Hawkwind, Exuma, and Washington Phillips. Sometimes, morbid humor snakes through the heavenward yearning. And why does this German post-post-punk country-gospel mystic one-man-band usually sing in English? Blame the Carter Family for sanctifying the English language for spiritual use.
Dad Horse spent years on the road as an itinerant one-man-band gospel street preacher, and many were saved from perdition and rowdy ways through contact with his banjo preaching. Magdalenes threw themselves at his feet begging spiritual renewal, and punk rockers disavowed their sinful excesses. Happily, this trend only continues to grow. Dad Horse refuses to become a despotic cult leader, and maintains a saintly humility. He emphasizes that he is but the hollow reed through which Godliness is brought forth into our physical world. Let us be grateful, brethren and ladies, sinners and strippers, that we have the voice of Dad Horse to guide us through the night.
Hailing from New York City, Yonas is one of hip-hop’s most-hyped emerging artists. Known for his incredibly unique style, the 25 year old makes it known that he is unlike anyone else in the game.
Although Yonas is just breaking out, he has already built-up quite the list of accomplishments. In 2010, Yonas won a Billboard song writing award for his song “Banga”. Additionally, his hit single “Sky Kidz” was featured on MTVu as well as Fuse TV with no label or marketing assistance. Yonas had begun to resonate directly with his audience, as he released his debut album The Proven Theory in 2011 setting the foundation for something special.
In the summer of 2012, about a year after his debut album, Yonas released The Transition which is now known as his breakout Mixtape. Accumulating over 100,000 downloads in just a short period of time, his independent successes captured the attention of XXL who contacted Yonas to be featured in their Magazine’s “The Break” section. Shortly thereafter, Yonas was invited on a 50 city Tour, which took him across the country and back in 60 days, and due to his electric Live Show, his fan base more than doubled in that time period.
Since then Yonas has gone on to release 2 additional projects, one of which (The Black Canvas EP) reached Top 5 on the iTunes Hip Hop Charts, and Top 25 on the overall Albums Charts for the first 72 hours of its release.
Yonas and his ability to empower and uplift anyone that listens to his music has developed an Artist-to-Fan connection that is undeniable. Currently working on his Sophmore album, Yonas has put himself in a position to make an incredible impact on the music world.
Mano is a Middle Eastern-inspired progressive rock band based in Chicago. Their compositions utilize musical textures and sounds from varied genres of contemporary, classical, and world music. Mano fuses a rock rhythm section with classical and world instrumentation to bring a unique and energetic live music experience that journeys through intense, thematic unison lines contrasted by sections of virtuosic improvisation. Founded in 2013 by flutist/composer Joe LaRocca, Mano includes Greg Firak (guitar), Parker Grogan (electric/upright bass), Collin O’Brien (drums), Najeeba Syed (violin), Desiree Miller (cello), and Marshall Greenhouse (percussion/kaoss).
Founded by Eric Gottesman (See Colin Slash, Psyclon Nine, Deathline Int’l, and occasionally Ayria, Caustic, and practically every other industrial band with the misfortune to pass through the bay area) as a follow-up to See Colin Slash, the cult-classic ’80s culture-inspired band he fronted from 1998 until 2003.
Everything Goes Cold revisits the sounds and ideas of classic ’90s American Coldwave and infuses it with a modern context and sense of humor. And a big, angry refrigerator robot.
Well Jacob Green had been playing the Milwaukee music scene for just about 2 years with band such as ‘ Green & The Grit’ a rockin’ blues party band & also with ‘Infinite Nature’ a Folk Reggae slight Hip Hop beatnik band, and as a solo Blues/Roots artist. Mr. Green had established himself & gotten some recognition but not he we felt he deserved.
Tony C. never really considered himself a musician, but little did he know how music would be a huge part of his world. Tony met Jacob out in Colorado & they jammed ben harper & grateful dead songs, along with Mr. Green originals. Then tony only played djimbe, but with the influences of street musicians on Pearl St. in Boulder, losing your face in the backwoods mountains & seeing some of the best local mountain bluegrass in town! By the time Tony hitched a ride back with Mr. Green to Milwaukee, Tony had had his mind set on a Washboard.
Josh Varichak had already jammed with Jacob Green as a drummer for Green & The Grit & Mr. Green was a back up bass player for Josh’s hardrock band; Billy Dreamer. Josh joined RWT in Feb. of ’11, with punk intensity & lack of being able to stay still Josh brings a lot of energy & momentum as he picks out the bass!
The River Water Tribe ultimately formed in August of 2010 when Jacob Green had returned back from Colorado with Tony & Dom was just itching to jam. Later Josh joined the band in Feb of 2011 and then Robeto Sharon on Saxophone & Andy Apricot on Accordion.The tribe then became a collective of musicians pickin’ up members across the country from Milwaukee to Colorado including Eric Solveson on Lead Guitar & Noah Koerner on Violin.
COPPER & CONGRESS
Copper & Congress is Katie Haverly (vocals, guitar, keyboards), Corey Cottrell (guitar, vocals), Kai Lindstedt (drums), and Patrick Morris (bass). The Tucson, Arizona based band combines elements of indie-rock, alternative, jazz, and folk styles to create an intimately raw yet palatable pop sound. Copper & Congress will be releasing their first album, The Leap Year, on July 20, 2012
The Winchester Sound is about simplicity. We blend jazz, folk, pop, rock, R&B (and just about everything else) into an exciting and truly unique amalgam of styles and songs… including our own original material.
