CONFLICT

Conflict is an English anarcho-punk band originally based around Eltham in South London that formed in 1981. They have been described as the world’s most influential anarcho-punk band, along with Crass. They influenced the punk movement with their non-conventional approach to music and philosophy. Fierce, tense, cajoling and militant, the reverberation alone is enough to provoke an emotional response. They can be looked on as a combination of what The Clash and Crass could have been, all over a ferocious punk band. The history of rock music has always been intertwined with that of protest, from Bob Marley to Public Enemy, the Stones to the Pistols, etc. Conflict delivers the sound of timeless rebellion.

ANATHEMA

ANATHEMA began their journey as pioneers of melodic heavy music, influencing a myriad of bands to follow them, before outgrowing all genres and limitations as they fearlessly explored new territory and ways to express feelings through sound. Formed in Liverpool in the early 90’s, the band’s musical vision has continually evolved over the ensuing years while always remaining true to their original goal of creating forward thinking, meaningful, passionate and honest music. With each release they move beyond the boundaries of limited scenes and pigeon holes, creating a complex and emotive atmospheric sound.
Countless world tours have built up a very loyal international fan base and the “Natural Disaster” tour saw them playing hundreds of shows in over 30 countries.
The line-up is really a collective of two families, who were quite simply born to play music. Anathema consists of brothers Vincent, Daniel and Jamie Cavanagh, alongside childhood friends John Douglas and his sister Lee, who is an incredible singer in her own right. The line-up is completed by Les Smith, who beings much in the way of production expertise to the band. There is a deep bond in the group that transcends usual band politics, ego and avarice. They have a shared vision and are about to take the band to a whole new level. Anathema are currently working on an album of brand new material. A multi coloured, multi layered work of unbridled emotion, passion and intensity, it is set to be an album beyond all expectations!

PAUL COUTURE

Paul Couture has toured the country working with top notch musicians that are most likely featured on your IPod right now. As a producer, songwriter and collaborative artist, Paul has performed with artists such as LMFAO, Shawyze, Ludacris, Dev, Far East Movement and Mike Posner.

You may have spotted Paul on stage during New York Fashion Week, Free Press Summer Fest, South by South West Festival. You also may have noticed Paul’s music on The New Dance Mix USA Vol 1 & 2, Chelsea Handler’s “Are You There Vodka… It’s Me Chelsea”, MTV and more. Paul’s hit single, “Freak Out”, is routinely spun on Sirius XM’s number one dance station.

“I wouldn’t categorize what I do as just singing, rapping or making beats; I just go with where the music takes me.” – Paul C

 

CAM MEEKINS

With a flow as smooth as the pros, a shocking level of creative intelligence, maturity beyond his years and confident swag that will catch anyone’s attention, Cam Meekins is the definition ofthere’s more than meets the eye. Taking his nice and neat look for granted would be a mistake. Cam strings together lyrics that surpass his young adult peers and could challenge any of his superiors. More than just a hip hop artist, Cam is a learned musician, songwriter and visionary in control of his own destiny.

BRANDENBURG 4

Julie Brandenburg is a composer, singer, songwriter and pianist. She has written music for films and chamber ensembles as well as quirky solo songs and heavy prog rock band music. Julie’s previous bands have enjoyed regional success and national sponsorship by GHS Strings, Zildjian Cymbals and others. She has a masters degree in Music Theory, Technology, and Composition from the University of Wisconsin and teaches voice, piano, song writing and composition as an adjunct professor in the Milwaukee area.

FIEND

“There is no greatness without a passion to be great, whether it’s the aspiration of an athlete or an artist, a scientist, a parent, or a businessperson.“  No truer words can be spoken of Louisiana recording artist, producer, writer, and entrepreneur, Fiend.  Already boasting two gold records, a Grammy nomination, a successful independent record label, a lucrative management company, a boutique clothing line and a burgeoning film company, Fiendcontinues to drive his career to new heights.  With plans for multiple releases alongside his Jetlife brethren and a green-lit motion picture release planned in conjunction with Jetlife Films, 2013 proves to be an instrumental year in the career of the renowned Louisiana recording artist, Fiend aka International Jones.

Jet Life Presents: The Red Eye Tour

For Everything Curren$y, Trademark Da Skydiver, Young Roddy, Street Wiz, Fiend – International Jones, Corner Boy P, Nesby Phips, Smoke Dza, Mikey Rocks & Everything Jets International.

NOURA MINT SEYMALI

Noura Mint Seymali is breaking ground. Heir to a Mauritanian Griot lineage stretching back for untold generations, Noura is blasting forward on the ancient spaceship of pentatonic desert blues and carving out a personality on her way as vanguard Diva of the Sahel.

SMIDGEN

“In a world of disposable heroes, autotune and a mindless TMZ culture that has all but declared Rock and Roll dead…there is one band that stands alone. “Smidgen” is traditionally defined as a very small amount of something but Chicago’s Smidgen brings it big. Comprised of longtime veterans of the Chicago music scene, Smidgen has answered the call to fight for what’s right…to fight for Rock and Roll.” – Marc Brown, Music Critic

Our sound contains strong melodies, hooks, and straight ahead power….its a blend of classic rock, progressive, super pop, and alternative with a dash of indy sound put into Vegomatic blender on pulse. See us live.

OCEANBORN

Oceanborn incorporates a blend of alternative rock, progressive rock, classical, jazz & latin into their heavy metal compositions. Many songs include strong dynamic shifts in feeling and/or genre blending. Thus far, the guitars and piano have been the driving force for the instrumentation, often with strings and synthesizers providing an extra layer. The dramatic nature of the lyrical concepts compliment the musical landscapes very well.

M@T8

Matt Tate is a Chicago-based Chapman Stick artist, Guitarist, Composer and Instructor. For over the last 10yrs he has been dedicated to mastering the Chapman Stick and performing Solo and in bands. Currently, he is composing music for a Solo Stick record (M@T8) to be released this Fall, launching a new website, touring, and working on multiple recording/performing collaborations (metal-math-prog-experimental). His current musical leanings are in the vein of the technical-death-shred of Blotted Science to the rhythmic madness of Frank Zappa, the interlocking poly-rhythmic spiderwebs of King Crimson and the stark, overwhelming beauty of Arvo Part.

He has played in:

– Destroyer Or Liberator (relentlessly pulsating, destructively harmonious, melodically chaotic, and always cut with blistering humor, wit, and spontaneity) Debut album, “Incoming!” released in January 2013. (www.DestroyerOrLiberator.bandcamp.com)

– DjM Trio (“Jungle-Bop!!” If Mulatu Astatke, Squarepusher, Fela Kuti, King Crimson, Charlie Hunter, Lee “Scratch” Perry, Postal Service, Miles and Coltrane played the soundtrack for The French Connection in 2015) Debut album “The Intrigue” released in Fall 2010. The followup album will be posthumously released later this Summer/Fall. (www.DjMTrio.com)

– The Odd Trio (King Crimson meets Mr. Bungle meets Sleepytime Gorilla Museum meets the World’s ethnic musics).

 

EVER FORTHRIGHT

“Ever Forthright is a progressive metal band from one of the most musically diverse places in the world, New York City. Artfully fusing modern jazz, progressive metal, hip-hop, electronica, and other styles of music into an auditory landscape is one of the reasons why Ever Forthright are quickly becoming known as true architects of modern music.Most of the members have attended and/or graduated from some of the top jazz performance schools in the world. A wide range of musicians/groups fuel this bands sound, such as Meshuggah, Kneebody, Cynic, Deftones, Wayne Krantz, Suicide Silence, Jill Scott, Kurt Rosenwinkel, and many others. No filler, no rehashed riffs, just pure, original music.

Shortly after their debut release, Ever Forthright gained a solid, ever-growing fanbase and were instantly known as masters of their genre. Fans instantly recognized their natural ability to blend a wide range of styles and concoct an amazing display of technical genius that set them apart from all others.

Ever Forthright is currently endorsed by Toontrack, Skerversen, Mayones, and bosphorus.”

EL DUB

Lee “El Dub” Walsh: Lyric Extraordinaire, Musician, Composer, Multi-Instrumentalist, and Vocalist, with a love of music to no end and an even bigger passion to share it!

El Dub is what you call a “looper” or “One man Band”. He plays all instruments live including, beat boxing, guitar, bass, keys and harmonizing vocals and loops them into layers that end up sounding like a full band with just one guy. El Dub uses the RC50 Loop Station as well as a Godin Synth Guitar, and Roland GR55 guitar synth pedal for sounds like horn sections, flutes, organ, piano, and wah clavi, which help him create the staple sounds of a true funk band. You may recognize this type of performance from other “looping artist” like Zach Deputy, and Keller Williams.

DOUG JOHNS

SuperFunky musician, Doug Johns, is known for his raw presence, energy, and all-around crowd-wowing prowess. Doug has had the privilege of working with such icons as Victor Wooten, Buddy Miles, Chuck Rainey, The LA Mass Choir, Aaron Lindsey, and many others.

The culmination of his musical experiences led Doug to his first critically acclaimed solo CD, Doug Johns, released in 2006. Doug followed up his very well-received solo debut with his 2008 release, “Pocket Fulla Nasty,” and received an outstanding reaction from the bass community, as well as catching the ear of the general public very quickly. Doug’s third release, Stank (October 2010), brought ten stank-funk tunes with returning artists Oz Noy, Kenny Anderson, Otmaro Ruiz and Chris Ceja. With fat slammin’ horns, intimate, artful composition and beautiful solo bass.

Armed with a fresh approach and Doug Johns’ unique brand of greasy bass, BLOMP! hits you with 10 superfunky tracks. When you turn to the band and say, “Hit me,” the sound you hear in return had better be BLOMP! Introducing drummer, JSimms, BLOMP! hits the shelves in November, 2012.

Bass Player Magazine on Johns: “One of the most credit–deserving bass virtuosos in America…it’s his inventiveness that’s consistently compelling.”

SNEED

HOTSAWCE

“The Hotsawce Recipe”

Take a big portion of post punk a la gang of four and add two tablespoons of grunge and a pinch of stoner rock. Mix the melodic mass with tasty cowbells and fresh distortion. Cook it up to 450 degrees F and the Hotsawce is ready. For best listening pleasure serve live and loud!

FIT FOR AN AUTOPSY

Corrupt politicians, manipulative mainstream media, government surveillance, mass shootings, clean water shortages, religious warfare, aggressive agribusiness, climate change, GMOs and a whole host of mind-numbing problems certainly make it feel like humankind is “going to hell in a hand basket,” as they say. There may be nothing that can be done about it at this point. But at least we have a killer soundtrack.

Fit For An Autopsy’s Hellbound is the perfect score with which to watch the flames rise. Punishing, unrelenting and alternately both heavy and dissonant, the New Jersey metal band’s first album for Good Fight/eOne conjures visions of Nero vigorously attacking his fiddle, even as Rome was engulfed in fire all around him. Esteemed English actor Michael Caine delivers perhaps the best line in Christopher Nolan’s “The Dark Knight” trilogy: “Some men just want to watch the world burn.”

Death metal often chooses to deal in devils, demons and horror-movie inspired gore. “Deathcore” detours into broken relationships and introspective issues, much like its scene cousins in Metalcore and alt-rock. Fit For An Autopsy blaze their own path, opting to address the dirty, gritty and grimy reality of modern day life. There’s no fantasy, no plaintive odes to lost love. This music is hell. These songs are Hellbound.

Scene queens, careerist cartoons and poseur-iffic hacks best step aside when confronted with the self-assured, art-for-art’s-sake vibe of Fit For An Autopsy. As MetalSucks observed early on: “The band’s brutal, glowering take on [deathcore] reminded [us] of the squandered potential of the genre. Hardcore grooves and swagger, when incorporated correctly, blend quite well with death metal.”

On Hellbound, Fit For An Autopsy expand upon their commanding approach to an often maligned subgenre by synthesizing the rhythmic experimentalism of Gojira, the aggressive post-Noisecore of Converge, the esoteric and meditative tribalism of Isis, a virulent dose of the New Wave Of Swedish Death Metal (At The Gates, Dark Tranquility, early In Flames), the legendary progenitors of Floridian death metal (Death, Morbid Angel, Cannibal Corpse, Obituary) and the “deathcore” acts who offer actual proficiency in the genre (Suicide Silence, All Shall Perish, Whitechapel).

Each nuanced building block is meticulously assembled together to form a near-perfect modern metal masterpiece, all with the confident vibe of a group of people making the music they want to make for its own sake, trends and “hype” be damned.

There was justifiable reason to be excited about Fit For An Autopsy from the start. The rich pedigree of its core members foreshadowed the momentous music that was to come. Guitarist Will Putney is an accomplished metal producer, mixer, engineer and cowriter. Putney’s fingerprints are all over currently relevant albums from Stray From The Path, Reign Supreme, Misery Signals, Vision of Disorder, Counterparts, For Today, Like Moths To Flames, and more. Guitarist Patrick Sheridan is rightly well regarded for his work on the fretboard as well as with a tattoo machine. The rhythm section of bassist Shane Slade and Sick Drummer-approved Josean Orta is beyond formidable.

The earliest rumblings of Fit For An Autopsy emerged on a 2008 demo. The self-released Hell on Earth EP arrived the following year, eliciting interest from Guy Kozowyk, The Red Chord vocalist and Black Market Activities label honcho. Kozowyk released Fit For An Autopsy’s devastating debut, The Process of Human Extermination, in 2011. Sputnik Music paid particular attention to Johnson’s dominating presence. “The dude’s a swamp creature,” they wrote of his “absurd” (in a good way) delivery. “When you hear him scream, it’s like, ‘What the —- was that?’ You realize whatever it is would probably eat you if you ran into it in the woods.”

The group’s seething contempt for modern society is rivaled only by the sonic bombardment dropped upon the unsuspecting all over Hellbound, a record that is equal parts challenging and engaging. It’s an album designed to make people feel uncomfortable, while at the same time, counter-intuitively soothed by its catharsis. Criminals, junkies and the systems that fail them; deadbeat parents; poisoned food; BS celebrities and false idols; they’ve all led humanity here. Hellbound draws a line in the sand. It’s a declaration that even it’s all going down the proverbial drain likeminded individuals can take some solace in the expression of shared rage.

EXTREMELY ROTTEN

Extremely Rotten formed in 2009 by Juan Campo on drums, Jim Greco (wurgarg) on guitar, and Mario Antolines on vocals, after 2 months Mario had to leave and Franz Huffman joined on vocals, 4 months later the self titled demo was recorded and self released and was distributed by sevared records, with Jim Ross on studio guitars, the band played several shows all over florida, in 2010 Franz left the band and was replaced by Chris Gaines also Chris Mason joined on guitars, the band kept working on the writing process for their full length, and toured the east coast from florida to NYC and in mid 2011 , Mike Shaw joined on guitars and Cliff Newkirk on bass, the band played several shows and played the goregrowlers ball 2011 with Shawn Whitaker(viral load) filling in on vocals, after that performance the band got asked to play las vegas death fest 2012 and got signed to Show No Mercy records, in 2012 the band toured the summer from florida to las vegas, shortly after Michael Pinkard joined the band, in august 2012 the band entered the studio and recorded their first full length “grotesque acts of humanity” and for the album Both Jim Greco and Jim Ross recorded the guitars, Mike Shaw the bass, Michael Pinkard recorded the vocals and Juan on drums, the album was mastered by James Murphy(Death, Testament, Obituary) and was released february 8 2013 now the line up stands with Mike Shaw on guitars, Juan on drums and Michael on vocals, the band is writing their second album and will be on tour stating fall 2013!.

EXECRATION

We are Execration a blackened brutal death metal band from Colorado Springs CO. We released our full length sophomore album “The Acceptance of Zero Existence” in October of 2012 on Comatose Music. Please visit our website for news and updates on the band.

THE HARMED BROTHERS

Based out of Eugene, Oregon, The Harmed Brothers are an up and coming force in the Folk/Roots/Independent music scene. Chronic touring and constant writing have made up the last four years for the “indie-grass” group. Founded in North Carolina, the band took its eventual shape in Cottage Grove, Oregon upon the meeting of guitarist/vocalist Ray Vietti and banjoist/vocalist/keyboardist Alex Salcido. Soon after teaming up, The Harmed Brothers released their acoustic debut “All The Lies You Wanna Hear,” in 2010. Since its release, the band and their live show have evolved into a beast within themselves. From bluegrass trio, to a manic-mariachi duo to five instrument outfit, the Harmed Brothers have never lost the key elements that have made their show and their music so special: driving guitars, a raging banjo, soulful harmonies, vocals and songs that howl at the moon and scream into the abyss. These tales of love, loss, despair, curiosity and triumph are the separate and collective works of co-songwriters Vietti and Salcido and are shared and exchanged vocally in-studio and on-stage. Backed by drummer Ben Kilmer and upright bassist Zach Kilmer, the end result is a unique, emotional roller-coaster of storytelling and performing. The Harmed Brothers have slung-shot back and forth across the country, building a following and strengthening an ever-growing repertoire and becoming part of a giant family within the new American independent music scene. In May 2012, The Harmed Brothers released their sophomore effort, “Come Morning,” on LackPro Records. The album has met rave reviews, stretching across greater North America and Europe. The Harmed Brothers have recently finished a seven-month U.S. tour. They plan on touring throughout part of late Fall and are preparing for their first European tour in early 2013.

WAFFLE GANG

Butter and Goose Eggs

 

THE ELECTRIC HABIT

The Electric Habit started as a song writing project, that has recently started to transform into an actual band. Our main goal is to morph as many genres into our tunes as possible; we hope to never be tied down to one style of music.

Our band name is a reference to the book, Do Androids Dream of Electric Sheep?, by Phillip K. Dick. In the book, humanity becomes addicted and relies heavily on technology to understand their own human emotion. In an age of smart phones, and other distractions, our society seems to be heading in this same direction.

So put down your phone, turn off the tube, get those old headphones out, and let your mind wander to The Electric Habit.

MOLLY GENE ONE WHOAMAN BAND

“Molly Gene One Whoaman Band, is a down-home young woman, all cowboy boots and t-shirts and flannels, all soul and grit and fire. Her bottleneck slide technique is reminiscent of the old blues greats, though with a rock ‘n’ roll edge. Her raspy whiskey and cigarettes vocals, which do not come across as androgynous but remain entirely feminine, join together with her big plugged-in guitar sound to form songs that are as wicked as a desert rattlesnake, as sharp as a straight razor, as fiery as a sip of backwoods moonshine, as sultry as summer nights in the Deep South, and nearly as sexy as Molly herself.” —James Carlson Philadelphia Examiner

 

LONELY PARASITE

EDDIE B

Eddie B is a singer/songwriter from just outside of Chicago, IL. He sings, plays guitar and bass guitar, and writes music. Eddie B has recorded some demo versions of songs, most of which are listed above, a couple of years ago. Currently, He is playing out here and there, and just tries to write and play whenever possible.

 

KAROLINA LUX

Karolina is a professional belly dancer from the San Francisco Bay Area, currently residing in Portland, Oregon. This versatile artist, performs with a variety of traditional, theatrical, and fusion groups, and represents belly dance in contexts as diverse as Moroccan restaurants, grand theaters, to vaudeville tours, and burlesque revues. Karolina is a dancer and musician for Vagabond Opera, the NorthWest’s premier Eastern European cabaret experience! She also runs Sepiatonic, the theatrical belly dance network, and visual component for Vagabond Opera.

ERIC STERN

Eric Stern is the Northwest’s own premiere operatic tenor, accordionist, pianist, composer and consummate showman, an unparalleled devo with incendiary stage presence and devilish virtuosity. Trained in Europe he has performed there and in the U.S. and Canada garnering critical acclaim for his musicianship and his stunningly imaginative songwriting.

Eric Stern has appeared with the Decemberists, Devotchka, Pink Martini, Balkan Beat Box, and many more artists…In Portland Oregon he leads Vagabond Opera, a Balkan Arabic Klezmer-based, original absurdist cabaret ensemble. Eric Stern composes, arranges, fronts, and is the lyricist for the band. Eric Stern has appeared on NPR and all over the world from Portland to Paris to Poland.

In Portland he was commisioned in 2007 to compose the music for Tears Of Joy Puppet Theatre production of Pinocchio and most recently composed the full-length opera “Queen of Knives” which premiered in Portland.

TUCKER JAMESON

Where were you when Napster slammed the coffin lid shut on the old-school music business? Tucker Jameson was writing songs in his suburban Connecticut bedroom and playing guitar till his little 10-year-old fingers ached or his mother commanded, “Lights out!” While his classmates pored over Harry Potter books or glued their thumbs to Nintendo games, Jameson scrutinized the liner notes to Revolver andNevermind.

Jameson is part of the first post-CD generation, yet he’s steeped in the rock classics that form a necessary foundation for anyone hoping to build a music career lasting longer than the blink of a YouTube video.

After some early adventures in recording, Jameson toured the country and landed in Austin, determined to use his rock appreciation and Berklee-honed skills to write modern songs that speak to his own generation. He spent a year working in the studio, finally emerging with a group of tunes that unequivocally achieve his goal. “Son of Superbia,” “Technological Warfare” and “Ritalin” couldn’t have been written in the ’60s or the ’90s, but they contain the kind of power-pop songcraft that fans of any rock era can identify with.

VINCE CLARKE

Vince Clarke is an electronic music pioneer whose analog synths, samples and chilly beats have accounted for some of the most memorable chart-topping hits and toe-tapping dance grooves of the last three decades. He is a founding member of Depeche Mode and writer of many of their most seminal and beloved tracks, including “New Life,” “Dreaming Of Me,” and “Photographic” from the group’s debut “Speak And Spell” album, as well as the classic single “Just Can’t Get Enough,” cited by Rolling Stone magazine as one of the100 Greatest Pop Songs Of All Time. The track returned once again to the UK singles chart in April 2009 via a Comic Relief benefit cover by UK girl group The Saturdays.

Following his departure from Depeche in 1981, Clarke demoed a new song “Only You,” with a hometown acquaintance, then unknown Basildon blues and punk vocalist, Alison Moyet. The massive success of the track inspired the pair to record an entire album as Yazoo (Yaz in the U.S.), one of the first, and still most influential, male/female pairings in synth pop. Their two classic albums, “Upstairs At Eric’s” and “You And Me Both” not only set the standard for innovation in songwriting, composition and production in their own time, but pointed the way to the future for all the artists who followed in their wake. The 12” mix of “Situation” remains a benchmark in the history of dance music and virtually began the long love affair between alternative music and club culture.

After the short-lived partnership with Moyet dissolved in 1983, Clarke continued writing and recording, entering evermore productive collaborations. First with Yazoo producer Eric Radcliffe and singer Feargal Sharkey as The Assembly in 1984, then in 1985, he embarked on most successful and enduring partnership of all, Erasure.

With singer and co-songwriter Andy Bell, Erasure have sold more than 25 million records and charted some of the most beloved songs of the past twenty years, from “Sometimes” and “Oh L’ Amour” to “A Little Respect, “Chains of Love” and “Always” among dozens of others, all recently collected in the career-spanning box set “Total Pop.” The group’s musical and cultural influence continues to this day through their latest albums and the careers of the next wave of electronic musicians, from Hot Chip, La Roux and Ladyhawke to LCD Soundsystem, Fischerspooner and The Faint.

Clarke’s obsession with melody, song structure and constant mission to bring warmth and heart to digital technology have rightly earned him acclaim as the Godfather of Synth Pop. Nevertheless, he has often strayed into more experimental territory, on Erasure’s self-titled 1995 album, and most recently in collaborations with Human League and Heaven 17 co-founder Martyn Ware. The pair have recorded two cds of ambient music created using a proprietary 3-D digital technology specifically designed for large spaces.

With the launch of The Cabin, his new studio in Maine, Clarke has created a home for his world-class collection of vintage synths as well one of the few places where the most complete range of analog and digital instruments, equipment and recording technologies can interface to create for others the kind of soundscapes that have made him a pop superstar and a respected sonic architect the world over. Recent remixes for such pop, rock and indie superstars as Franz Ferdinand, The Presets and The Saturdays are proof of his enduring influence across all genres and vision as a songwriter, musician and performer.

MARTIN REV

As the quieter half of the extremely influential late ’70s electronic, proto-Industrial duo, Suicide, Martin Rev’s job was to provide the droning, hiccuping beats and textured backdrops for his partner Alan Vega’s animated rantings and onstage abusiveness. When the band split, Vega went on to pursue minor successes with stripped down electro-Rockabilly and two-note rock, while Rev’s solo records continued with Suicide’s sweet, childlike melodies and simple lyrics over desolate, monotone, minimalist electronics.

SHWAYZE

Shwayze’s story of success is considerably short, taking in mind that gut was all he needed to achieve his dream.

In 2005, Shwayze made his own destiny by jumping on-stage with Cisco Adler during a Whitestarr show and free-styling. That defining moment was followed by regular meetings between the two and the result of their creative sessions was more than they could ask for. A bunch of fresh tracks serving as a melting pot of hip-hop rhythms, acoustic guitars and easy-listening melody created a wave of success for both. Shwayze was then signed to Geffen/Suretone Records where he recorded and released his self-titled debut in 2008.

Following the success of their first album, Shwayze and Cisco released two more albums together; 2009’s edgy, experimental electro-rock release Let It Beat and last year’s more contemporary Island In The Sun.

With the mixtape he just released in collaboration with Sky Blu and Mark Rosas – known all together as W.E.E.D. (We Evolve Every Day) – Shwayze is taking in all aspects of music, experimenting with new sounds and working on creating his first solo album — due out in fall 2012.

Keep an eye out for what’s to come, but in the meantime… sit back, relax and have yourself a Shwayze summer.

THE WINERY DOGS

The Winery Dogs is a band formed by Mike Portnoy (Dream Theater, Adrenaline Mob, Avenged Sevenfold), Billy Sheehan (Mr. Big) and Richie Kotzen (Poison, Mr. Big).

GEORGE BOWLES

ROBERT GONZALEZ

Robert Gonzalez from the Gravetones.

MAX PLANKTON

What’s a Max Plankton?

It’s a band made up of experienced players from Chicagoland playing original rock. Their style has been described as Power-Prog-Pop. The music is fun, melodic and catchy, but they like throwing in some progressive adventures. Lyrics are clever and entertaining. Max released one full-length album called “Equations” that came out in 2012, and they’re continuing to develop new songs. They’ve garnered some loyal fans and they love playing live!

Who’s in Max Plankton?

Rick Bennett is the lead singer and bassist. Before Max Plankton, Rick and John Griffin headed up a rock trio called Frankenpony. They had four full-length albums, played often in Chicago (Elbo Room, Beat Kitchen, Lion’s Den, Gunther Murphy’s, Cubbie Bear) and downstate, and even had a song played in an episode of the TV sitcom “Help Me Help You” on ABC.

John Griffin is the guitar master (and studio wizard). In addition to Max, John plays in the legendary punk-art-rock band, Tutu and the Pirates, and he gets his blues groove on with The Bluesniks. John also records many bands at his suburban studio, Griffin Audio Media.

Brian Robery drives the drums and sings harmonies. Brian had a long stint touring with Uncle John’s Band (popular in the Midwest as a Grateful Dead tribute band). Outside Max Plankton, Brian has other steady drum gigs, too. He also makes drums in his spare time!

 

ACIDRODENT

Where industrial dub is concerned, Acidrodent doesn’t take the friendly route: Prepare for heavy distorted beat punishment intertwined with mangled metal guitar fragments.

In the middle of the mayhem there is a political message though. Because that’s what industrial has been about since the very start: To confront, criticize and assault.

When it comes to filthy grinding industrial dubstep, Acidrodent delivers the goods plentiful and with exactly the right dosages of filth and grind 🙂

EVAN BREWER

I’m a really regular person who loves playing music. I use a bass guitar as my preferred tool to create. I have 4 cats and an awesome wife. I also play in a band called The Faceless. I have another project called Climaxes that has yet to be released. I’m always looking for new, exciting, musical opportunities so please feel free to reach out!

LAST CHANCE TO REASON

Last Chance to Reason is an American metal band from Augusta, Maine, formed in 2004.

LCTR have toured with The Faceless, All That Remains, Suffokate, The Contortionist, Within the Ruins, Atheist, Revocation, Intronaut, Animals as Leaders, Obscura, Job for a Cowboy, Protest the Hero, Scale the Summit, Goatwhore, and Dying Fetus among others.

LOS MORUCHOS

half-bred in salamanca and exiled in trouble town, a distinct rumbling has begun to be heard off the coast of lake michigan.

too loud for the martini crowd, and too far out for the blue ribbon purists. they attempted to put a finger on them, but they couldn’t come close, for despite their repugnant appearances, these bulls were very fast, and quickly ran off, taking all the marginalizer’s women with them.

these mariachi-suiciders are strumming hard til’ the end. will you dare to listen?

BRIAN AUGER’S OBLIVION EXPRESS

The legendary Brian Auger’s Oblivion Express has returned. The famed B3 and Hammond Organ keyboard player, has created a distinct voice that combines jazz, rock, soul and funk, that is clearly recognizable to his millions of fans. With over 20 albums to his name and lengthy stints on the RCA and Warner Bros. labels, Brian Auger has accumulated Grammy Nominations, 10 albums charting in Billboards Hot 100, a #1 single, and the title of “The Godfather of Acid Jazz”. Brian’s bands over the years have featured Rod Stewart, Long John Baldry, Julie Driscoll and even Jimi Hendrix.   In addition, Brian has recorded with great luminaries as The Yardbirds, Eric Clapton, Van Morrison, Eric Burdon and Down To The Bone. The new incarnation of the Oblivion Express is a family affair featuring Karma Auger on drums and Ali Auger on vocals, who live up to the Auger name and make the Oblivion Express smoke.   Rave reviews and demands for return engagements follow this artist wherever he goes.

INTER ARMA

INTER ARMA‘s music resists generalization and categorization, but if there’s one thing that’s consistently true, it’s that the VA quintet possesses an unparalleled sense of scope. Few artists today accurately convey the complexity that INTER ARMA (Latin for “in times of war”) does – the band creates terrible and often hauntingly beautiful portraits of humanity through music that is deeply organic yet still mystical and modern. INTER ARMA are just as committed to the live circuit as they are to their records: the band has performed extensively throughout Europe and the US, sharing the stage with the likes of Kylesa, Baroness, Cough, Royal Thunder, Black Tusk, Ulcerate, Russian Circles, Windhand, and dozens of others. INTER ARMA‘s raw, uninhibited approach merges doom metal, psychedelic sludge, black metal, prog and more, and over the course of the last ten years, has established the band as a uniquely innovative force in contemporary extreme metal.

Founded in Richmond in 2006, the versatile and genre-defying five-piece released their debut full-length Sundown via Forcefield Records in 2010, and like all great artists, had a well-defined sound right from the start. Sundown found INTER ARMA widespread critical acclaim, and, combined with the band’s relentless touring schedule and DIY grit, quickly helped INTER ARMA make a name for themselves in the underground. Following Sundown, the band released the 12″ EP Destroyer via Toxic Assets Records. That record was strong enough to catch the attention of Relapse Records, who signed INTER ARMA later in 2012, and in 2013, the band unleashed the monolithic Sky Burial, a doomy, hour-long excursion through unpredictable textures and timbres. Just two years later, the band followed Sky Burial with The Cavern, a 45+ minute, single-song EP. Originally written during the summer of 2009, then slowly reworked and perfected, The Cavern was recorded in 2013 during breaks from the band’s non-stop tours. Both The Cavern and Sky Burial were widely hailed as some of the best records of their respective years and garnered INTER ARMA accolades from the likes of Pitchfork, NPR, Rolling Stone, and many other publications worldwide.

Two years after The Cavern, INTER ARMA are poised to return with their heaviest and most multifaceted work to date. Paradise Gallows is more than an hour of lush, colorful melodies and textures blended with the heaviness of the earth’s impending death. Like the band’s previous works, the new album Paradise Gallows is direct and foreboding while maintaining a nuanced, artful perspective. INTER ARMA‘s signature palette of dissonant high-end and abyssal low-end has been augmented with swathes of thick, impressionistic melody that lend Paradise Gallows a truly biblical sense of scale, both lyrically and in terms of the album’s sonic content. Harsh and acoustic passages (including the band’s first-ever foray into clean vocals) spar with complex rhythmic structures across nine sweeping tracks of expansive, progressive heaviness. The album was again recorded with Mikey Allred (Yautja, Hivelords) at Dark Art Audio in Nashville, and features gorgeous cover art by Orion Landau. Dense, funereal, and richly evocative, Paradise Gallows is a rich blend of doom, post-metal, sludge, and black and death metal, and is a singular and powerful new addition to the band’s already monumental discography.

Ken Mode

KEN MODE

 

Kill Everyone Now mode. KEN mode: an ethos legendary Black Flag frontman Henry Rollins would use to describe the band’s state of mind while taking the stage for the endless touring cycle of their genre defying classic album ‘My War’. This proved to be the psychological foundation and attitude for the project Royal Conservatory of Music trained brothers Jesse Matthewson, B.Comm (Hons) and Shane Matthewson CA/CPA, B. Comm (Hons), would dedicate their entire adult lives to, seeing them spread a manic form of metal and hardcore infused noise rock across the globe.

Cutting their teeth in the early aughts, when chaotic hardcore was at its peak, KEN mode would find breakout underground notoriety with a quintet of critically acclaimed records in the 2010’s, working with a who’s who of metal and hardcore producers in Kurt Ballou (Converge) for their Venerable LP (2011), Matt Bayles (Botch, Isis) for Entrench (2013), Steve Albini (Nirvana, The Jesus Lizard) for Success (2015), and Andrew Schneider (Unsane, Cave In) for Loved (2018), all while maintaining an unrelenting tour schedule with such acts as Russian Circles, Torche, Deafheaven, Norma Jean, Kylesa, Pelican, Daughters, Revocation, Full of Hell, Inter Arma, Today is the Day, Birds In Row, and more; along with seeing them hit a multitude of major festivals like SXSW, Hellfest Open Air, CMJ Festival, Pitchfork Festival Chicago, Hopscotch Festival, and Roadburn Festival; and doing live sessions for renowned institutions such as BBC Radio 1 and Daytrotter.

The NULL / VOID album arc, may be the group’s quintessential statement of mental collapse and despair made sonic, a direct psychological reaction to the collective experience of the last two and a half years. Drawing from not only the desperate noise and industrial sonics of the 80’s and 90’s ala Swans, Einsturzende Neubauten, or even a Nine Inch Nails, the band has mixed in a decidedly more desperate tone to their already pointed metallic hardcore influenced “extreme noise rock” (see Melvins, Today Is The Day meets Converge and Botch), that has become their signature.

Seeing this vision through would require the long-time three-piece, composed of Matthewson x 2 and bassist Skot Hamilton, to become a four-piece – welcoming multi-instrumentalist Kathryn Kerr into the fold on saxophone, synth, piano, and backing vocals. Kathryn provided saxophone duties on the band’s last juggernaut, the Loved album, and works with the brothers as a consultant bookkeeper for their day jobs managing the financial side for a who’s who of Canadian metal, punk, and hardcore bands in MKM Management Services – so it just seemed a natural extension to utilize her skills on significantly more instruments and take her on as a full-time member.

But NULL / VOID are so much more than a mere expansion of instrumentation. The works expose the emotional core of combating mental illness when one’s fine-tuned coping and management mechanisms have been involuntarily stripped away, and you’re forced to navigate this intensely divided and miserable political climate through a global pandemic. The fury, fear, and confusion, followed by a profound sadness and mourning, drags you down while it cuts and pummels, like you’re experiencing every one of your lowest moments over and over again.

Armed with these new works in this new decade, the band is prepared to take their seat as one of the kings of metal and hardcore’s noisiest sub-sets.

 

PISSED JEANS

The Straight World is a shallow, boring, soul-sucking vortex. This is where most folks spend their quiet, desperate lives. Working to consume, consuming to achieve status. Distractions like celebrity watching and religion are supposed to provide entertainment and meaning. Here, life on the edge means driving a Ford. It’s nearly impossible for those of us who despise the Straight World to avoid it. Many of us spend 8 hours a day there just to survive. The Straight World doesn’t take kindly to aberrance. That’s why some of us would rather not reveal ourselves. We move like shadows through the Straight World, keeping our secrets. We don’t need smoke to make ourselves disappear.

Matt Korvette has a secret. He’s a mild-mannered claims adjuster by day, up to his white collar in the Straight World. But as soon as he clocks out, he rips off his shirt revealing the sweaty, loose-limbed punk fronting the Pissed Jeans. No one at the insurance company has a clue. At 25 he’s been playing in bands for over half his life, mostly with guitarist Bradley Fry. Bradley’s got a secret too. The folks in Account Management have no idea that he’s the solid-statesman of Pissed Jeans renown, the one behind those brutal, beautiful feedback-drenched riffs. Matt and Brad grew up with bassist Dave Rosenstraus in the all-ages scene which coalesced around the Allentown, PA free-for-all fun-space, Jeff the Pigeon (RIP). Before recording their first single for Sub Pop, the stunning “Don’t Need Smoke to Make Myself Disappear” (which sold through two pressings!) the trio hooked up with ex-Navies drummer Sean McGuinness who relocated to PA from DC.

Pissed Jeans offer Hope for Men, their new album on Sub Pop. It kicks off with “People Person,” a frenetic, pounding rhythm over which Brad spews reverb and feedback like an aural Pollock while Matt mocks a shallow, handsome, glad-handing co-worker. It’s one of two fast songs on the record. In the other, “I’m Turning Now,” Dead Joe gets tubed before abruptly cutting back and morphing into Sabbath playing “Miserlou” just as the song’s protagonist, one of the Straight World’s “good people” gets fed-up with life’s many little indignities and runs a long red light to make a well-deserved left turn.

Pissed Jeans take several turns on Hope for Men, weaving brutality, humor and pathos throughout. There’s the heavy swing of “A Bad Wind” and “Fantasy World,” the vintage Lubricated Goat-like rhythm of “Caught Licking Leather,” and the riff-less excursion of “The Jogger.” “Scrapbooking” provides the “We Will Fall” moment of the record. A sparse four note descending bass line anchors this atmospheric exposé of the dark underbelly of the world of crafts while Matt rolls around under the piano, alternately channeling Alan Vega and Sylvester the Cat. “I’ve Still Got You (Ice Cream)” and “Secret Admirer” would be hits if we could cast off the crushing yoke of the Straight World, a shallow place where lightweight, semi-clever, indie pop is considered cutting edge. Fuck that. Hope for Men closes with “My Bed,” an honest-to-God punk rock epic. Clocking in at 8 minutes, the first half wouldn’t sound out of place on side 2 of My War; the second half sounds like a rolling, no-holds-barred battle royal. By the time the last squall of feedback dies away, it’s clear that the last band standing in this bout is Pissed Jeans.

Pissed Jeans went deep cover in the Straight World before sequestering themselves with Dan McKinney (of the Original Sins!) in his geodesic studio (appropriately enough, called Dan’s House) and emerged with Hope for Men. This, their second album, their first full-length on Sub Pop, is one of the best punk albums in decades. Pissed Jeans play heavy and loose post-hardcore sludge that follows the holy tradition of the four noble Fs: feedtime, Flipper, ‘Flag, and fuck it. Hope for Men delivers a piledriver to the Straight World and a folding chair to the face of the Indie Effete.

Addendum: Since the recording of Hope for Men, Dave Rosenstraus, who’d been converting cars to run on vegetable oil as a sideline, left the band to pursue diesel mechanic school and open his own shop. Replacing Dave is old pal Randy Huth, former Pearls & Brass guitarist. Coincidentally, everyone, except drummer Sean, has known each other since middle school and played in the Gate Crashers, the band that, after an instrument swap, became Pissed Jeans.

Jamie Lono

JAMIE LONO

Jamie Lono is a recording artist who has lived through more than his 23 years suggest. The blue-eyed soul singer/songwriter’s musical journey has been turbulent: from facing health complications at a young age, a family financial bankruptcy, and living in a hotel, to gaining national fame as a solo artist through an appearance on NBC’s ‘The Voice” and releasing his solo debut “The Feel Good Nation” in August 2012.

He’s received praise from the likes of Cee Lo Green, Blake Shelton, and Maroon 5 frontman Adam Levine and shared the stage with acts such as Tim Reynolds and Los Lonely Boys. Those accolades, plus television appearances and performances around the country, have allowed Jamie to grow both his audience and his message. His music continues to evolve; drawing on his influences – Ray LaMontange, James Taylor, Florence & The Machine, Bruno Mars – while expanding into uncharted music territory.

With “The Feel Good Nation,” Jamie demonstrated his ability to make “feel-good” music as sunny as his personality (and his ability to succeed while releasing music independently). According to Jamie, his sophomore effort – which is still in the “writing” stages – is a “Nation” populated with heavier themes and hopeful idealism.

The hope and heaviness are the byproducts of Jamie’s musical and personal maturation, but he hasn’t stopped dreaming. In fact, Jamie acknowledges that juxtaposing harsh reality with his optimistic worldview may be the only way to grow as a person and an artist, and that is reason enough for all of us to keep listening.

DR. DJ MCCOY

HEZEKIAH