Bruce Lamont wears many hats, he has been a member of the long running experi-metal band Yakuza, also a member of Bloodiest, Brain Tentacles Corrections House, Circle of Animals and dozens of other projects, large and small, collaborating with an ever-growing network of like minds.
Initially assembled in 2012, The Twenty Committee are a young band from New Jersey with a modern, melodic sound — a unique blend of musical theatre and classic prog. Comprised of Geoffrey Langley (keys, lead vocals), Stephen Kostas (lead guitar), Justin Carlton (guitars, keys, vocals), Joe Henderson (drums, vocals) and Richmond Carlton (bass, harp), the band released their debut album, “A Lifeblood Psalm,” in April of 2013. Recorded in the space of two weeks at Neal Morse’s Radiant Studios, and produced by Jerry Guidroz (Neal Morse, Transatlantic), “Psalm” has continued to receive significant critical acclaim since its initial debut. The Twenty Committee have done shows in the greater Philadelphia area, including a bill for the NJProghouse, and have been featured in numerous podcasts and online radio stations.
Strange Changes is an eclectic nine piece rock band comprised of musicians from the Boston music scene. Residing in Allston, they mix elements of American popular music with classical, jazz, metal, and more, in the tradition of the great American pop composers Frank Zappa and Charles Mingus.
ALPHA LIGHTING SYSTEM was formed in Mexico City in 2013. The band members are Alam HERNÁNDEZ, lead vocals, drums and keyboards, Jaco JÁCOME, bass and backing vocals, and Joshua San MARTIN, guitar and backing vocals. Their debut album, Walking On An Eartlike Planet, produced by Billy SHERWOOD (YES, WORLD TRADE), released in 2015, showcases the group’s unique blend of space rock, jazz fusion, and classic prog sounds.
A TRIO OF TWO BROTHERS AND ONE LONGTIME FRIEND WHO PERSONALLY PRODUCE, PERFORM, AND PASSIONATELY CONJURE UP DARK ALTERNATIVE POP PUNCTUATED BY ROCK AND R&B, AUSTRALIA’S CHASE ATLANTIC BLUR THE LINES BETWEEN A NOCTURNAL AESTHETIC AND PRIMAL BLISS ON THEIR 2017 SELF-TITLED DEBUT FOR WARNER BROS. RECORDS.
THIS DELICATE BALANCE QUIETLY TRANSFORMED THE GROUP—MITCHEL CAVE, CLINTON CAVE, AND CHRISTIAN ANTHONY—INTO A VERITABLE SENSATION DOWN UNDER WHILE STILL IN THEIR TEENS. SINCE FORMING IN 2011, THE BOYS HAVE PACKED MULTIPLE HEADLINE TOURS ACROSS AUSTRALIA, AMASSED AN IMPRESSIVE DIGITAL FOOTPRINT OF FOLLOWERS, RELEASED TWO SUCCESSFUL INDEPENDENT EPS, DALLIANCE [2014] AND NOSTALGIA [2015], AND SPAWNED A VIRAL SINGLE WITH “FRIENDS,” WHICH GARNERED AN INCREDIBLY LARGE COUNT OF SPOTIFY PLAYS.
HOWEVER, THEIR SHARED AMBITION ALWAYS EXCEEDED THE CONFINES OF THE BEDROOM STUDIO WHERE THEY INITIALLY RECORDED. “WHILE ALL OF OUR FRIENDS WERE DOING GAP YEARS AND FINDING THEMSELVES, WE WERE WORKING ON GETTING THE WORLD TO NOTICE US,” ADMITS MITCHEL. “WE MADE THIS AGREEMENT WITHIN THE BAND THAT WE WEREN’T JUST GOING TO STAY IN AUSTRALIA. WE WANTED TO SIGN TO AN INTERNATIONAL LABEL, AND WE WOULDN’T STOP UNTIL THAT HAPPENED.”
“WHAT WE WERE DOING WAS DIFFERENT FOR AUSTRALIA,” ADDS CHRISTIAN. “IT FELT LIKE WE WERE THE ONLY ONES PUTTING OUT MUSIC THAT WE PRODUCED AND MADE ENTIRELY BY OURSELVES. THAT’S THE PROCESS. IT’S REAL.”
THAT SPIRIT CAUGHT THE ATTENTION OF THE MADDEN BROTHERS DURING 2015. MULTIPLE MEETINGS IN AUSTRALIA FOLLOWED, AND THE THREE-PIECE SIGNED WITH THE INDUSTRY ICON’S MUSIC COMPANY, MDDN. IN 2016, CHASE ATLANTIC FLEW TO LOS ANGELES SCORING A DEAL WITH WARNER BROS. RECORDS.
“THE MADDENS LOCKED US AWAY IN A BURBANK STUDIO FOR THREE MONTHS AND THREW AWAY THE KEY. WE REALLY GOT TO PRESERVE THAT ORGANIC SOUND,” SAYS CLINTON.
WITHOUT OUTSIDE INFLUENCES, THE THREE-PIECE PRODUCED, PLAYED, AND RECORDED EVERY NOTE, INCLUDING SAXOPHONE. ALONG THE WAY, THEY HONED AND FINE-TUNED A DEFINITIVE STYLE EQUALLY REVERENT OF TAME IMPALA AND SKRILLEX AS IT IS OF THE WEEKND AND TRAVI$ SCOTT.
“TO US, PRODUCTION IS THE MOST IMPORTANT THING,” MITCHEL GOES ON. “IT’S THE MOST CRITICAL ELEMENT OF CREATIVITY. WE PUSH OURSELVES TO FURTHER WHAT WE CAN DO EVERY DAY, WHETHER IT’S PRODUCING OR PLAYING. WE REALLY FOUND OUR MUSICAL IDENTITY THIS PAST YEAR.”
NOW, CHASE ATLANTIC ROARS TO LIFE ON THE FIRST SINGLE “CHURCH.” GLITCHY SYNTHS BLIP IN THE BACKGROUND AS MITCHEL’S BREATHY VOICE HAUNTS AND HYPNOTIZES. BELLS RING WHILE THE HOOK—“I’M ABOUT TO TAKE YOU BACK TO CHURCH”—SIMPLY SEDUCES. “IT’S VERY FORWARD, SEXUAL, AND AGGRESSIVE,” EXPLAINS MITCHEL. “THE LYRICS ARE SEXUALIZING RELIGION IN A WAY, AND THE SONG ENDS UP BEING THE COMPLETE AND TOTAL OPPOSITE OF WHAT CHURCH REALLY MEANS TO MOST PEOPLE.”
ELSEWHERE ON THE RECORD, THE AIRY “INTO IT” TEMPERS A DOWNTEMPO GROOVE WITH AN UNSHAKABLE REFRAIN BEFORE A JAZZ-Y SAXOPHONE SOLO TAKES THE SPOTLIGHT. “IT REPRESENTS THE TRANSITION INTO A NEW, MORE INTENSE LIFESTYLE,” SAYS CHRISTIAN. “YOU’RE ACKNOWLEDGING THAT THIS SOMETHING YOU’RE INTO AND CAN ROLL WITH. IT’S OUR STORY.”
MEANWHILE, “RIGHT HERE” URGES FOR A CARPE DIEM MOMENT WITHIN A RELATIONSHIP. “IT BASICALLY SAYS, ‘FUCK EVERYBODY ELSE. IT’S JUST YOU AND ME’,” MITCHEL REVEALS. “ALL THAT MATTERS IS THE TWO OF US IN THIS MOMENT.”
ULTIMATELY, CHASE ATLANTIC FORGE A LASTING CONNECTION THROUGH THAT HONESTY.
“THE ONE THING WE WANT PEOPLE TO TAKE AWAY FROM THE MUSIC IS THIS ELEMENT OF REALLY FEELING THEMSELVES,” MITCHEL LEAVES OFF. “A SONG CAN MAKE YOU GO, ‘FUCK YEAH,’ AND YOU’RE THINKING ABOUT IT AND SINGING IT ALL DAY. YOU’RE NOT LEFT UNDERWHELMED. YOU’RE OVERWHELMED. WE WANT THAT.”
“AND WORLD DOMINATION,” AGREES CLINTON.
Los Unos has been described as a band you might hear on college rock radio…in the 80’s. Influenced by such notables as The Blasters, The Replacements, The Smithereens, R.E.M., Drivin’ N’ Cryin’, The Jam, Minutemen, X, and The Clash there’s probably some truth to that. But ultimately they’re an all-original power trio that combines equal parts Garage Rock, Power Pop, and Roots Rock.
Kill Lincoln is a ska/punk band from Washington, DC.
Between 2004 and 2006, Tempano continued to gain international acclaim through their work on several compositions for international musical projects, The Odyssey, The 7 Samurai and Hell, all produced by Musea (France) and Colossus (Finland).
In 2008 Tempano offered the public a free download of there newly completed album Selective Memory. This work included a combination of re-mastered tracks recorded for Musea Records and Colossus, along with new compositions and arrangements that had not appeared in any of there previous work.
Throughout these years Tempano’s record sales were also correlated with increasing exposure at national and international music festivals where Tempano served as the opening act for such greats as Roger Waters (Pink Floyd), Yes, Kansas, Steve Hacket (Genesis) and many others.
And then, in December 2014 Tempano met in Miami and headed back to the studio where Pedro Castillo, Miguel Angel Echevarreneta, Giuglio Cesare Della Noce and Gerardo Ubieda began recording there newest work, Nowhere Now Here. The album has already been completed and has a release date set for the end of 2016. For the first time since the days of Atabal Yemal, the quartet will release their work on vinyl.
Between 2004 and 2006, Tempano continued to gain international acclaim through their work on several compositions for international musical projects, The Odyssey, The 7 Samurai and Hell, all produced by Musea (France) and Colossus (Finland).
In 2008 Tempano offered the public a free download of there newly completed album Selective Memory. This work included a combination of re-mastered tracks recorded for Musea Records and Colossus, along with new compositions and arrangements that had not appeared in any of there previous work.
Throughout these years Tempano’s record sales were also correlated with increasing exposure at national and international music festivals where Tempano served as the opening act for such greats as Roger Waters (Pink Floyd), Yes, Kansas, Steve Hacket (Genesis) and many others.
And then, in December 2014 Tempano met in Miami and headed back to the studio where Pedro Castillo, Miguel Angel Echevarreneta, Giuglio Cesare Della Noce and Gerardo Ubieda began recording there newest work, Nowhere Now Here. The album has already been completed and has a release date set for the end of 2016. For the first time since the days of Atabal Yemal, the quartet will release their work on vinyl.
Inner Ear Brigade (IEB) is an ensemble of musicians based in the San Francisco Bay Area who play a unique mix of progressive rock, jazz, and experimental pop, all delivered through their originally detailed compositions and arrangements. They recently released their 2nd full length album “Dromology”. The music is “fun, happy, accessible, and proggy.” Steeped with a vintage analog sensibility, effects processing, and synthesizers, IEB crafts their sounds from “ RIO elements (Rock In Opposition), Canterbury (Sound), and Zappa”. IEB is Bill Wolter (guitar and compositions), Ivor Holloway (sax), Andrew Jamieson (keyboards), Stephen Wright (bass), Alison Niedbalski (vocals, synths) and Christopher Lauf (drums).
No More Pain is a four piece band from central New Jersey. They are concentrated as a true progressive rock arrangement with a grungy epicenter. The current lineup of the band consists of Michael Roman (Guitar/Vocals), Dan Rainone (Drums/Vocals), Matt McDermott (Keyboards/Vocals), and John Moroney (Bass). No More Pain employs virtuosic musicianship with songwriting to match. Their music can best be described as a mellow soundscape, followed by a direct kick to the face, and are still to this day: “The only band preferred by both God and Satan.” No More Pain stands on the thin line between rock and progressive, where hard hitting riffs and emotive vocals combine with complex harmony, rhythm, and thought provoking lyrics.
As of January 2015 the band is working on new material for their second album, and are working towards getting international distribution for this forthcoming album as well as becoming a more active band in the live circuit.
The literal definition of Escaper is “one who escapes confinement”. Founded in 2016, the Brooklyn based Post-Rock/Space-Funk Fusion quintet strive for a sound without limits.
**Just named one of “5 Bands You Need to Know” in a feature of Relix Magazine (October 2017 edition).**
The band released their first album with Ropeadope Records in May 2017 to critical acclaim including being named one of three “Release Day Picks” by JamBase. Live for Live Music said, “Their sound is a reckoning force of funky fusion music…there’s no telling how high this band can climb.”
The band released their 2nd album in February 2018. As with the first album, it was recorded at The Bunker Studio in Brooklyn, with all five band members playing together simultaneously, while in isolated rooms. Recording this way helped capture the great live synergy between the players which you can witness during their performances. Their live sets tend to be open with many in-the-moment improvisational aspects, and this essence was not lost during the studio recordings. Bandleader and guitarist, Will Hanza, expresses, “The term ‘jam’ can be a loaded one, but the idea of having some concrete ideas, while still allowing the music to be open to take advantage of the moment is really important to us.”
Arising from a sweat-drenched Halloween house party debut in 2011, Gramps The Vamp has become equally known for it’s “tight-as-a-rope funk” [My Spilt Milk] as for its dedication to break the funk mold and carve out its own genre. In 2014, a year after being named Best New Band by Chicago Reader on the merits of its demos and live shows, Gramps The Vamp released its self titled debut LP produced Sergio Rios (Orgone, Killion Sound). The album’s vintage-noir style, which the band half-jokingly calls “Doom Funk,” drew the interest of filmmaker Alaric S. Rocha, who used over half of the songs as the soundtrack for his 70s inspired horror film “Demonoid (1971)”. In 2016 the band released its sophomore effort, “The Cave of 10,000 Eyes”, which brings together afrobeat, deep funk, ethiopian-jazz, and spooky soul for a further exploration into the dark, wild, and strange side of the funk.
Chicago based crooner & harmonica rocker, Russ Huffer, has honed his harmonica chops by sharing the stage with international touring artists such as Billy Branch and The Sons of Blues, Jason Ricci & The Bad Kind, Ray Fuller and the Bluesrockers, R.J. Mischo & His Red Hot Band, as well as Deak Harp. Fresh from releasing his debut EP album “Soul 4 Dayz”, Russ is creating his own brand of Roots Rock & Blues tinged with electrified, hook-laden harmonica. Russ is endorsed and uses products by: Seydel Harmonicas, Lone Wolf Blues Company (effects pedals and amplifiers), Sugar Cain’s Custom Harmonicas (custom Seydel harmonicas), and Turner Kustom Chops (harmonica microphones).
Chicago’s lead Rock N’ Souler – Bailey Dee found the rock and roll handbook and reads it right! Reminding many of Sister Rosetta Tharpe, with the sweetness of Lorrie Collins, and the ferocity of a young Etta James. A full band backs her featuring members of legendary R&B Chicagoan Andre Williams band and ex-Million Dollar Quartet.
Screaming on a rocker in a way that would make Jay Hawkins proud, or coaxing tears from jaded audiences with a pining ballad, Bailey Dee covers the spectrum with ease.
Her northern soul/r&b and pre 60’s rock repertoire is spot on, due to her extensive collection of vinyl which she DJs at legendary whiskey purveyor Delilahs every second Tuesday of the Month.
Come see what the fuss is about with this THREE TIME AMERIPOLITAN NOMINEE and most recently the 2018 WINNER IN THE ROCKABILLY FEMALE CATEGORY!!-
Bailey Dee and her Late Night Bait
R&B,Roots Rock, Rockabilly
Lead Guitar/Vocals
Bailey can also be found playing shows with-
The Saluda Moonlighters
Golden Age Western Swing, Hillbilly Bop, & Country Music
Rhythm Guitar/Vocals
Jonas Friddle and The Majority
Orchestral Folk, Progressive Bluegrass, Old-Time
Cello, Back Up Vocals
We are a Chicago based tribute band to Interpol. We love playing out live and hope you all can join us on this journey 🙂
Contrived by fellow Smiths/Morrissey fans, Louder Than Bombs evolved when a couple of Memphis musicians insisted upon a collaboration.
The idea was to produce songs which were always instantaneous and listenable whilst also provoking deep thought; emulating Morrissey’s vocals with Marr’s music in a sound which, above all, would stand apart without being inaccessible or esoteric. The guitar-based songs would blend melody without havoc, as the words – born out of absolute physical necessity – would tug at the strape of cultural straightjackets. Christened as an antidote of a prevalent idea that modern groups would need only far-reaching, multi-syllable name, to authorise their artistry.
As a live group, Louder Than Bombs believe that it is possible to replenish appetites of both the soul and the pelvis simultaneously. They are urban, but never bleak; there is humor in tragedy, solace and unity. The voice is the collective rage of all suppressed hysterica.
Always Memphis-based, Louder Than Bombs contend that ‘One has to live somewhere….’ and plan to rewrite the history of their city.
Billy Flynn is an American Chicago blues and electric blues guitarist, singer and songwriter.
over the past few years, madison beer has grown into herself as the world watched. for the jericho, long island native, music is what propelled her into the spotlight after she started recording and posting cover songs to the web at the age of 12, striking a chord with the listening public and accruing a sturdy fan base that, today, has helped push her overall youtube views past 83 million. but as her social media following swelled and she racked up millions of clicks and streams across various platforms, she finally reached a point where she felt comfortable releasing a project that sufficiently conveys the person she’s become.
“i wanted to just not hold back with anything and have it come through my heart and be all of me,” says beer, now 19. for her debut ep as she pleases, independently released february 2, 2018, she fully comes into her own as a musician, co-writing on the set’s seven tracks that blend the sheer pop sensibilities of her earlier work with hints of weathered blues, plucked acoustic balladry and hearty r&b. “i wanted it to be a true representation of me and the things i like—there are a lot of aspects that are really true to me and who i am.”
as she pleases plays as an embodiment of the teenage experience, from the pangs of adolescent attraction (“teenager in love,” inspired by 1950s artists like dion and the belmonts and santo & johnny) to being able to admit when a relationship has overstayed its welcome (“fool”). to beer, that meant mirroring the person she is on social media—she’s amassed 10.7 million instagram subscribers and 2.6 million twitter followers—in her music and remaining as authentic as can be. that began with the ep title, where she harnesses an ethos of self-empowerment in an effort to embolden her audience. “i wanted it to be as she pleases, meaning you can do whatever you want when you put your mind to it,” she explains. “you don’t have to be scared of anything or do anything you don’t want to do.”
it also meant looking to her personal life for source material. “tyler durden,” a bare ballad where her fluttering vocals warm to an arpeggiating, plucked guitar, is inspired by her favorite movie fight club, its lyrics playing off of lines from the film, while the bopping “home with you” rebuffs the advances of clueless guys when she’s out trying to have a good time. so far, a few of the ep’s songs have struck a chord: the electro-splotched “dead” has racked up more than 41 million spotify streams since release in august 2017 and got a boost with a remix from cedric gervais (lana del rey’s “summertime sadness”), while “say it to my face,” produced by grammy-nominated producer fred ball (little mix, rihanna) sped to 1.5 million spotify streams in its first week-and-a-half of release in nov. 2017.
releasing as she pleases is the next logical step in beer’s progression from youtube singer to budding star. since its release, her debut offering has garnered more than 100 million collective streams, while her first-ever tour sold out in europe near instantly upon announcement, with the u.s. to follow. nightly, her rabid fans flocked to catch the beer in person, singing back every word from her as she pleases. the guardian wrote, “the american teenager pulls off somersaulting vocals and pin-drop performances with regal poise,” adding, “in full you-go-girl flight, beer is impossible to resist.”
growing up, music became an escape from the mundane of long island, where she realized she wanted to pursue her love of the art form when she was 10. by 12, she began posting to youtube, and the following year, her soulful cover of etta james’ “at last” caught the attention of justin bieber, who tweeted out the clip on his twitter page and helped sign her to island records. but after she was given opportunities like recording the theme song for monster high and collaborating with cody simpson, she inevitably felt more comfortable on her own, and in the years that followed, she developed herself as an artist as authentically as possible.
the multifaceted artist also launched a fashion collaboration with global fashion brand missguided in spring 2018, which gives a subtle nod to the classic ‘90s style, inspired by beer’s unapologetic attitude. she was also one of the faces of bvlgari’s omnia pink sapphire fragrance launch, cementing her brand amongst the fashion elite.
now, with as she pleases, beer is ready to show the world who she truly is, and hopefully inspire a few listeners along the way. “i wanted to be a voice and wanted to have people look up to me like, ‘if madison can do it, then i can do it,’” she says. “that’s something i’ve always been really interested in communicating. i hope that’s how it’s translated, and that people listen to it the way that i’m trying to portray it.”
Crossover/ Metal played by five guys who love music.
Jose – Vocals
Nick – Guitar
John – Guitar
Casey – Bass
Rob – Drums
Metallic Hardcore from Northwest Indiana consisting of members from Blood In Blood Out, Blackwater, Choking on Reality, To Tha Pavement, & Shut the Fuck Up
Few punk bands have remained in business for as long as the veteran Canadian trio, Dayglo Abortions, has. Since 1979, the band (in one configuration or another) has been offering up no-holds barred punk rock (that was eventually merged with heavy metal), as well as some truly over-the-top (and unforgettable) album cover artwork/images. And the lads are back with their first studio album in twelve years (and ninth studio set overall), ‘Armageddon Survival Guide,’ which will be unleashed on March 25, 2016, via Unrest Records.
Since the beginning, the group has been led by Murray Acton AKA “The Cretin” (guitar and vocals), and made their mark on the punk underground throughout the ’80s, with such over-the-top classics as ‘Out of the Womb’ (1981), ‘Feed Us a Fetus’ (1986), and ‘Here Today, Guano Tomorrow’ (1987). But it was also during this time that the band found themselves in hot water with the law, after obscenity charges were brought against the band and their then-label, Fringe Product, after a police officer’s daughter bought a copy of ‘Here Today,’ and the officer failed to appreciate the band’s irreverent sense of humor. Happily, all charges were dropped in 1990.
Dayglo Abortions continued on their merry way throughout the ’90s with such additional recordings as ‘Two Dogs Fucking – Deux Chiens Fourrent’ (1991), ‘Little Man in the Canoe’ (1995), ‘Corporate Whores’ (1996), ‘Stupid World, Stupid Songs’ (1998), and ‘Death Race 2000’ (1999). And it was around this time that The Cretin was joined by bassist Willy Jak, who has remained a member of the band to this very day. The early 21st century saw the arrival of further albums, including ‘Holy Shiite’ (2004) and ‘Live 2011’ (2011), which led to the arrival of the group’s modern day drummer, Blind Marc (who is indeed legally blind), as well as the aforementioned ‘Armageddon Survival Guide.’
“Just like Armageddon, our new album has been rumored to be coming out for ages now,” explains The Cretin. “In fact it says in the Bible, that in the end times, the world will go totally to shit, everyone will be sinning their goddamned asses off, and they will all be listening punk bands like the Dayglo Abortions, who clearly couldn’t give a shit about God or the Devil. Now those aren’t the exact words used of course. But that was a long time ago, and what the fuck did they know anyway. Anyway…those days are here, the world has gone to shit, Lady Gaga is rubbing her Satan worshiping vagina all over the Super Bowl, and the new Dayglo album is out.”
“The ‘Armageddon Survival Guide’ is gonna kick the shit out of you. It’s gonna scare the fucking Jesus out of God and all his sissy angels. We’re not sure how Satan will take it, but we don’t believe in him anyway, so fuck Satan. Let your head get smashed in by the ‘Armageddon Survival Guide,’ brought to you by those Messiahs of the UN-sane, the Dayglo Abortions.”
“Ion deal in a form of progressive, stream-of-consciousness Black Metal which merges visceral fury and immersive ambience in a manner that should appeal equally to fans of the feverish ferocity of Krallice, the psychedelic soundscapes of Orannsi Pazuzu, and the wandering atmosphere of Wolves In The Throne Room.”
Cthulhu doomnoise from the forgotten corners of Chicago. Downtuned, heavy, atmospheric.
Pronounced “Batjushka”, the band’s Cyrillic name Батюшка means “father” and is used to address an Eastern Orthodox priest. Despite their themes and imagery, they are not a Christian band.
The identities of the members are unknown, but they are involved with other bands. Their live line-up contains 8 members.
bartender, mediafire junkie, whiskey guzzler. i’m a talker. oh, and lots of espresso in there somewhere too
A Benefit for Gilda’s Club
Lord Nelson has won many fans over the last several years with their spirited live performances and serious musical chops. Those fans should raise a glass, because they’re about to get their ears blown off with the new full-length album Through the Night, set for a late spring release. The album possesses a depth of sound that can only come from the frequent addition of piano, organ, and horns to guitar-based rock. This set of songs, written on the road and between tours, explores dark themes of relationships, the political climate of the country, and what it means to spend your days in a van, traveling the highways of America.
Produced over the last year by Dave Stipe (Rockfish Music) at Monkeyclaus Studio in Nelson County, VA, the record has a full, Rock’n’Roll identity, heavily laced with Americana and Soul. Whether it’s a fat horn section under a slide guitar riff, propelling it powerfully forward, or a harmony vocal giving the song an extra dimension, the album illustrates the power of a band bringing lyric driven songs to full expression. As anyone who has seen their live show will tell you, while there are several excellent solos and impressive individual moments, the thing that gets you – the thing that keeps you coming back – is that full sound. Sonically, the band is greater than the sum of its parts, in the best possible way. With a full tour of the east coast and points west in the works, this is a band in command of their sound, bringing strong songs in hard times to towns across the country. Keep your head up.
The Midwest’s premiere Turbonegro tribute band. Disagree? Ride with us.
Serving as the unofficial house band for Small’s Bar (named by Real Detroit Weekly the best small venue to see a big band), where Turbonegro themselves actually played in the fall of 2008. Scandinavian Pleather formed when the members realized that show was probably the last time anyone in Detroit will see Turbonegro live. Scandinavian Pleather is made up of members of Detroit rock bands such as Wolfbait, Bump-N-Uglies, Snakeout, the Sirens, Fiesty Cadavers and Snake Oil Slick.
Londonn AKA NOVA is a thirty-two year old Chicago native who grew up listening to music played by family members. At the age of five, she was introduced to the recording studio by her cousin MILD. Londonn’s natural talent, hard work and unique style landed her standing ovations in Chicago, New York, and Los Angeles. Professional Entertainment Experience: 1993-present Performed at the 14th African/Caribbean International Festival of life (Chicago, Ill) Fisk University Poetry set, (Nashville TN). Mode Talent Agency/ Generation 1 Music Company Music Conference, (Chicago Ill). Black Expo (Indianapolis Indiana opened for one of the ..1 rap group Boyz N Da Hood. Winner of the 107.5 WGCI/102.7V103 ..1CHI-TOWN HOOD AWARD Best Local Artist. New York Music festival at Madison Square Garden. Commercial work for radio personality First Lady of 107.5WGCI (guest). Chicago’s Bud Billiken Parade (a Guest). Appearances on local and out of state radio stations Minnesota Minn, Gary Ind. & Los Angeles CA. City of Chicago Back to School Jams. Show Time @ the Apollo/Contestant/ Winner. Keep the peace tour-performed hour-long concert to encourage youth continue their education and stop the violence (Chicago Ill). On Camera LA workshop (Los Angeles CA). Performed at the Regal Theater Local Talent Show (Chicago, Ill). ASCAP showcase at the Roxy (Los Angeles CA). ShowTime @ the Apollo-taped contestant (New York NY). Ed McMahons Star Search-taped contestant (Orlando FL).
V103 & 107.5 WGCI (Chicago Ill), Video shoot work (Accapella Media Chicago, Ill), Weekly Performances @ Mr.G’s (Chicago Ill), LB Productions (Mattenson Ill). Universoul Circus opening act, and Opening Act for Hip Hop Artist “TOO SHORT”. Nova continues to perfect her craft and is now the number 1 artist for Chicago’sGoGettersEntLLC.
Blazing a trail out of Memphis, Tennessee, Joecephus and the George Jonestown Massacre are on a roll. Having been referred to as “a cross between Motorhead and Merle Haggard” and having served as opening acts for such diverse artists as Shooter Jennings, David Allan Coe, Jesco White The Dancing Outlaw, Jim Dickinson, Unknown Hinson, Green Jello, Scott Biram, The Reverend Horton Heat,H. R. of the legendary Bad Brains and many more. Joecephus and company are ready for full auditory assault in any venue that can take it. Exhibiting a tireless work ethic, the band has played Honky-tonk venues as well as Punk/ Metal clubs throughout the tri-state area. They have created a unique style by mixing “outlaw” country sounds with rockabilly rhythms in combination with hardcore metal drumbeats, blurring the boundaries of country, metal, and punk. Rigorous time spent in the studio and on the road has not prevented the band from finding time to write and record a song for the soundtrack of the movie, “The Importance of Being Russell”. “Cityfied,” was used in this film while the song, “Going Back to Memphis” was featured on the compilation CD, “Yells from the Crypt” from Gravewax records.Another movie, “Grim Sweaper” uses their song “Quittin’ Time” Featuring members who come together from a prestigious list of some of Memphis’ finest bands, this is just the beginning for a band that will be tearing shit up for a long time to come. Do yourself a favor and experience the electrifying energy of Joecephus and the George Jonestown Massacre when they roll through your town.
Sunlord is a heavy metal/rock NYC band.
MOL K BANDA DE ROCK EN ESPAÑOL Y FUSION CON RITMOS LATINOS Y UNA QUE OTRA LETRA SIMPATICA PARA EL BUEN HUMOR.
Calaveras LD es una de las primeras bandas multiculturales de rock en espanol comformada por nueve a once miembros (voz,guitarra,bajo,trompeta,sax, trombone, violin, percusion, bateria) con ritmos influenciados por musica de jazz, mariachi, funk, latin, y rock. Atravez de Calaveras escucharas covers de musica de rock 80’s hasta musica moderna. Lo que hace unico escuchar a Calaveras es las nuevas ideas/spice que anade a las interpretaciones de los mas grandes exitos que az escuchado. Asi que siempre que escuchen a Calaveras LD, esperen escuchar algo nuevo y fresco.
Sabrina Claudio is an American singer and songwriter. In late 2016, Claudio uploaded several songs to SoundCloud, before compiling a select collection as part of her debut extended play, Confidently Lost, which was released independently in March 2017. Her single “Unravel Me” peaked at number 22 on the Billboard Twitter Emerging Artists chart, and her single “Belong to You” peaked at number 2 on the same. Her debut mixtape, About Time was released on October 5, 2017. It peaked at number 13 on Billboard’s Top R&B Albums chart.
Basement are an English rock band formed in 2009 in Ipswich. They went on hiatus following their This Is Goodbye tour in November 2012. On 29 January 2014, the band announced in a post on their Facebook page that they would be reuniting.
Gang of Youths are an Australian indie rock group from Sydney. The band consists of principal songwriter David Le’aupepe (lead vocals, guitar), Max Dunn (bass guitar), Jung Kim (keyboards, guitar), Joji Malani (lead guitar) and Donnie Borzestowski (drums). They are known for their 2017 single “Let Me Down Easy” which became their first top 50 single in Australia. Their debut album, The Positions, peaked at No. 5 on the ARIA Albums Chart in May 2015 and was nominated for multiple ARIA Awards.
The second album Go Farther In Lightness released by Gang of Youths debuted at No. 1 on the ARIA Albums Chart in August 2017 and was nominated for 8 awards at the ARIA Music Awards of 2017, winning four: Album Of The Year, Best Group, Best Rock Album and Producer of the Year (Gang of Youths & Adrian Breakspear).
Who killed Matt Maeson? Maybe the devil, who haunted his parents, two reformed teenage outlaws who played in religious heavy-metal bands and wouldn’t let him listen to rock on the radio. Or maybe it was the volatile spirit that brought Matt to prison the first three hundred times. He played shows with his mom and dad, proprietors of a prison ministry since he was young. The family lived on the Chesapeake Bay in Virginia, and worked wherever the faithful wouldn’t feel like they belonged. They drove south to Florida and west to Montana, rumbling through maximum-security lockups with fire and benediction, drums and guitars. Matt spent years on the road to prisons and biker rallies: he played songs about salvation in front of strippers and Hell’s Angels at Sturgis, one of the biggest motorcycle rallies in the world.
Restlessness ran in the family, and it never went away. The men in Matt’s life-his dad and uncle-were most comfortable in the margins, whether in glory or disgrace. They were all fighting an inner rebelliousness, against their own darker instincts as well as against a Southern community preaching that long hair brought men closer to hell. By the time he was playing with his parents, Matt had already gotten into drugs, and then into trouble-and then into drugs again, to pay off the trouble. For a year, he worked construction for twelve hours a day, doing community service on his one day off. “I was mad all the time,” he said. “People in my life were condemning me, and not with compassion. Not this is wrong, and we love you. It was this is wrong, and don’t ever come back.”
But he came back-unevenly, in front of standing ovations in prison yards, traveling across the country with a notebook and a guitar. He posted his first songs online at the nexus of 2015 and 2016, and the phone started ringing the next day. There’s a rare directness to Matt’s music: he sings like the dead singer-songwriters, full of troubled and tensile grace. His sound is spare and rich and restless. Vines of guitar weave around his voice; half-remembered melodies drift overhead like ghosts. “Tribulation” is a love song about when love feels impossible. “Straight Razor” pairs its title with “stargazer” in the first two lines, an ember that catches fire in the track’s anthemic gang vocal finale. “Cringe,” his debut single, feels like canon, as profound and arresting as Jeff Buckley or King Krule; it’s got the stark, urgent intimacy of a spotlight trained on a pair of sinners in the dark.
Matt headlined his first US tour last summer, presented by Communion, an artist-led organization founded by Mumford & Sons’ Ben Lovett. The pairing was appropriate in both aesthetic and name. Driving between venues alone, he slept his car, a dusty Hyundai named either Frank Elantra or Carmen Elantra, depending on the day. Journeying south to the middle of nowhere in Iowa one night, as the black country swallowed up every light around him, he saw a Walmart and an abandoned Wendy’s in the middle of the dark. He bought a bottle of whiskey at Walmart, grabbed his blanket, climbed on top of the empty building, and wrote EP standout “Me And My Friends Are Lonely,” a raw confessional that crackles with strength. As with all of Matt’s music, it asks the same questions his life has-about desperation, redemption, and love. The extraordinary Who Killed Matt Maeson EP arrives March 31st on Neon Gold/Atlantic Records.
Sworn Enemy, fronted by Sal LoCoco, established itself in 2000 with the release of “Negative Outlook” on Jamey Jasta’s Stillborn Records. The record was a mix of old school hardcore punk and new school breakdowns, and quickly gained the band attention in the underground scene.
2002 marked their next release, “Integrity Defines Strength”, which contained 3 new songs and a live set from the legendary New York venue, CBGB.
In 2003 a release deal with Elektra Records was signed with the result being the break through record “As Real As It Gets”. The band changed their style as the CD featured a large thrash metal influence, as well as abrasive, near-black metal vocals. The new style and worldwide distribution led to the spawning of two videos for the songs “As Real As it Gets” and “Sworn Enemy.” The band earned their place on major tours with Sepultura, Anthrax, Soulfly, Biohazard, Fear factory, Six feet under, Hatebreed and many others around the globe including a stint on Ozzfest in 2003.
In early 2005, the LP “The Beginning Of The End” was released on Abacus Records, (Century Media) The new record expanded on the thrash influenced direction the band had been moving toward. During this period the band toured alongside As Blood Runs Black, Too Pure to Die, Suicide Silence and appeared on the highly anticipated Earth Crisis reunion tour. This record also saw the release of two videos in the forms of “Scared of the Unknown” and “All I have.”
2008 marked the band releasing new music once again with the disc entitled “Maniacal.” The disc featured some of the fastest & heaviest material to date. Tracks “Ignorance” and “Destroyer” quickly became staples of the bands live set. March 29, 2008 saw the release of the video “A place of Solace.” (Dir. David Brodsky and edited by Allison Woest)
In 2009, “Total World Domination” was released through Century Media Records. The record was produced by Tim Lambesis from As I Lay Dying. The concept was to fuse the bands previous records into a sound that is way faster, more aggressive and harder than ever.
During the summer of 2010 the band embarked on a headlining tour across Europe along with support slots at multiple festivals. This would be the first Sworn Enemy tour with current drummer Danny Lamagna. Later that autumn, the band with addition of guitar player Jeff Cummings toured the east coast of the United States for what was the last leg of the “Total World Domination Tour.”
During the next few years the band saw some lineup changes. In May of 2014 the band regrouped with new members and released “Living On Borrowed Time” on Rock Ridge records. They followed the album with several tours including tours in the U.S., Canada, and Europe. Sworn Enemy is still touring in support of “Living On Borrowed Time.”
The Summoned is technical metal band hailing from Massachusetts, United States. Often compared to a plethora of bands and genres The Summoned are no strangers to pushing the boundaries of traditional heavy metal. With technical riffs, head bobbing grooves, sing-along choruses, jazzy interludes, and epic solos there is always something to grasp onto for all likes of music fans.
Formed in the winter of 2007 since the beginning they had one goal in mind and that was to always push the limits to what heavy metal is supposed to be. Utilizing their various separate influences including Sam’s love for death metal, Shaun’s passion for progressive metal, Stephen’s fascination with mainstream metal, and Jarred’s fondness of guitar virtuosos they utilized those styles to create the sound you hear today.
In the winter of 2011 The Summoned released their first full length titled “If Only Minds Could Paint Pictures” to critical acclaim including a perfect 5 out of 5 on TheNewReview.net and an 8/10 on theheaviestmatteroftheuniverse.com, as well as praise and continuous airplay on Rock 101 The Summoned felt it was time to embark on tour to support the album.
In the Summer of 2012 The Summoned embarked on a 23 day headline tour spanning the US and Canada with a homecoming show to play the 2012 Summer Slaughter Tour with Cannibal Corpse, Between The Buried and Me, The Faceless and more.
After a year of playing shows up and down the east coast along with dates in Canada The Summoned felt it was time to begin writing a new their new album “Sessions” in hopes to top the critical acclaim of their predecessor “If Only Minds Could Paint Pictures”.
In the winter of 2013 The Summoned entered the studio with long time friend Evan Sammons of Last Chance To Reason (Prosthetic Records) to begin the recording process. For the next 3 years The Summoned would spend time in the studio writing, working on every nuance of the album to ensure the technicality and sound quality was leaps and bounds ahead of their previous effort, they have achieved that goal.
“Sessions” is the journey through the mind of a troubled mental patient who is struggling to confront his own personal demons through a series of sessions with a psychiatrist. Each individual song resembles those sessions. Whether they’re spastic to give the feeling of panic the patient is feeling or the soothing realization of what in fact is going on “Sessions” is not just an album but an experience.
With praise their peers, various US and Canada tours under their belt, merch and albums sold world wide, featured in publications such as Sick Drummer Magazine, and all while being an independent band they have shown that through hard work and creating their own vision of heavy metal their music strikes a nerve.
Drawing inspiration from such forward-thinking metal heavyweights as Decapitated, Meshuggah, and The Dillinger Escape Plan, Oklahoma City’s Dischordia brings a fresh perspective to the scene by combining tried-and-true US death metal brutality with far-flung ideas from a multitude of global influences. The band’s music-first ethos has been forged through years of stylistic refinement and questing for a sound to call their own.
October of 2011 saw Dischordia release the debut EP, Creator, Destroyer, with which the band made a noticeable impact. Positive press and relentless independent touring across the USA for this offering led the band to sign with Rogue Records America for the release of their debut full-length album, Project 19 in July 2013. The band supported the release across the USA on several tours in 2013 and 2014, along with a follow up covers EP, Sources, in 2015 and 2016. November 2016, brought the band’s second full-length, and most ambitious release to date, Thanatopsis, and was met with overwhelmingly positive praise and reviews.
Dischordia have toured across the United States and secured opening slots for the likes of Between The Buried and Me, Gorguts, Revocation, Intronaut, Fallujah, Vektor, Dying Fetus, Fleshgod Apocalypse, Periphery, and more. Their innovative assault stands tall alongside these names, and with Thanatopsis to represent them, the band is set to continue conquering fans across the metal scene.
…And Justice for All is the fourth studio album by American heavy metal band Metallica, released on August 25, 1988, through Elektra Records. It was the band’s first studio album to feature bassist Jason Newsted after the death of Cliff Burton in 1986.
The band recorded …And Justice for All during early 1988 at One on One Recording Studios in Los Angeles. Musically, the album is progressive, with long and complex songs, fast tempos, and few verse-chorus structures. It is noted for its sterile production, which producer Flemming Rasmussen attributed to his absence during the mixing process. The lyrics feature themes of political and legal injustice seen through the prisms of censorship, war, and nuclear brinkmanship. The album’s front cover, designed by Stephen Gorman on a scheme by James Hetfield and Lars Ulrich, features a representation of Lady Justice, bound by ropes, with two breasts bare and its scales tipping toward one plate filled with money. The phrase “…And Justice for All” appears spray-painted in the lower right corner. The album title is derived from the American Pledge of Allegiance. Three songs from the album were released as singles: “Harvester of Sorrow”, “Eye of the Beholder” and “One”; the title track was released as a promotional single.
Rust in Peace is the fourth studio album by the American thrash metal band Megadeth, released on September 24, 1990 by Capitol Records. Following the departure of band members Jeff Young and Chuck Behler in 1989, Rust in Peace was the first album to feature guitarist Marty Friedman and drummer Nick Menza. Rust in Peace received universal acclaim from fans and critics, and was responsible for bringing Megadeth to the attention of a mainstream metal audience. It has been cited as one of the best thrash metal records of all time by publications such as Decibel and Kerrang!, and listed as one of the 1001 Albums You Must Hear Before You Die. The album was nominated for a Grammy Award for Best Metal Performance at the 33rd Grammy Awards.
Two singles were released from the album: “Hangar 18” and “Holy Wars… The Punishment Due”, which have become staples of the band’s live performances. Rust in Peace features complex musical structures and lyrical themes such as nuclear war and UFOs. The album’s cover art references “Hangar 18”. A remixed and remastered version featuring four bonus tracks was released in 2004. In 2010, the band announced a North American tour to commemorate the album’s 20th anniversary. The performance at the Hollywood Palladium was filmed and released as Rust in Peace Live on CD, DVD and Blu-ray later that year.
Acoustic ukulele musician based out of the middle of nowhere.
Y’all ready to get sad?
Amanda Fish is an Indie Blues artist from Kansas City who scratched her name into the scene as a solo artist before teaming up with slide guitarist and Stone Cutters Union frontman Sean McDonnell to form the Amanda Fish Band in May 2014. This Roots Rock and Soul quintet features dual slide and rock guitars and Amanda’s signature ‘from-the-gut’ vocals locked into a sturdy groove.
In 2015, she released her first LP, “Down In The Dirt”, on VizzTone Label Group, for which she was awarded the 2016 “Sean Costello Rising Star” Blues Blast Music Award.
Amanda and her band set Beale Street on fire in the 2017 International Blues Challenge Semi Finals, playing new material slated for her next release.
Dequantes Devontay Lamar (born October 4, 1989 in Atlanta, Georgia), better known by his stage name Rich Homie Quan, is an American singer, songwriter, and rapper. He is signed to independent label T.I.G. Entertainment and Motown Records.
A two piece psych-doom rock and roll band.
WIZZO, the enigmatic quartet from the Chicago, United States, has emerged as a force to be reckoned with. Their sound is characterized by a clever mix of fuzz and groove progressions, guided by a hypnotic voice that carries the listener through their melodic and solid songs. With influences from bands such as Failure, Kyuss, Red Fang, Torche, Alice In Chains, Queens of the Stone Age, this band has created a unique sound. Despite their enigmatic nature, the band has a clear direction, showcasing their creativity and musical prowess. This quartet is one to watch as they continue to evolve and innovate.
Microcosms cultivates their own kind of hardcore – one where it’s okay to crack the tough exterior; one where it’s okay bemoan both the highs and lows of overwhelming love and the fact that freedom doesn’t exist in seemingly “free” societies in equal measure. In other words, it’s one where listeners can feel free to cry and laugh about all of life’s many fickle features together. It’s music to revolt to.
Bassel & The Supernaturals combines neo-soul and funk with captivating lyrics about love, loss, and a war in Syria that has affected Bassel Almadani’s family along with 10,000,000 others.
The soulful Syrian-American vocalist and his ensemble raised over $11,000 during the preorder campaign for their full-length album, Elements (2017), with over $3,000 in donations for humanitarian aid in Syria. Their album was premiered by Noisey (Vice) and led to their involvement in the nationally-acclaimed SXSW showcase ContraBanned: #MusicUnites featuring artists from the diaspora of the countries targeted by the travel ban. They’ve since been featured on PRI, Al Jazeera, Reuters, Paste Magazine, Huffington Post, NowThis, and many others. In addition to performing in clubs and festivals across the nation, Bassel partners with universities and charity organizations nationwide to host seminars, workshops, and benefit concerts drawing attention to the crisis in Syria.
The Human Circuit is a nine-piece, Alt-Pop, Psych-Rock band from Austin, Texas with catchy, orchestral grooves ranging from the mystic vibes of David Bowie to the intricate arrangements of Arcade Fire.
Just a Young Rockstar from Orlando Florida living WILD & RAGING HARD!!!
MEMORIES WITHER formed in 2007 with a passion to write and express their musical aura. A no compromise approach to writing songs the way they want to write. Not to fit a certain genre or affiliation. Aggressive, Brutal, catchy and clean describes the path we choose as a musical outlet.
Flamethrower Action Rock from Chicago, IL. Get ready for live drinking music to shake your ass to. Get it!
The shakes are focused on creating a brief escape from the daily hamster wheel they both created and consider themselves blessed and grateful for. The music is a journey though privileged suburban life with a feeling of knowing they clearly overachieved based on their own capabilities. If Social Distortion and Elvis had a love child whose god parents were Frank Turner and the Black Crowes it’s name would be The Shakes, it would always be a little achy, and it’s first words would be “not dead yet.”
The band’s DEBUT ALBUM, “Ladies and Gentlemen, Remember Jones!”, available via CDBaby, iTunes, Spotify, Apple Music, and other outlets, was created after raising close to $19,000 through nearly 300 small donations via Indiegogo, and created in front of a live studio audience with a 25-piece band. It was released in May 2016 at Asbury Park’s Convention Hall, the first independent local band to play this venue in many, many years. POPDOSE calls the album “…uncanny magic… remarkable vocalist… Remember Jones is heading for big things.”
He fronts a tribute project “back to BACK TO BLACK”, a recreation of the entire AMY WINEHOUSE album with an orchestra of 15-25 musicians that has SOLD-OUT 3 times in Asbury Park, as well as a tour of the show packing venues in Brooklyn, Detroit, Louisville, Nashville, Milwaukee, Philadelphia, and more, including a sold-out show at LINCOLN HALL in Chicago that was streamed live by AUDIOTREE. He has SOLD-OUT a theater re-creation of JOE COCKER’s MAD DOGS & ENGLISHMEN with a 20-piece band and was the first ever to present and sing R. KELLY’s TRAPPED IN THE CLOSET LIVE alongside a 20-piece orchestra. His work with GRAMMY-nominated guitar legend and songwriter GARY LUCAS will lead to upcoming recordings of unreleased JEFF BUCKLEY material, following a successful string of dates recreating the entire GRACE album in July 2016 (Lucas co-wrote “Grace” and “Mojo Pin”). A recording session with Daytrotter was released in February 2017.
Audiences throughout the East Coast have jumped to their feet for Remember Jones’ tribute to JOE COCKER for the past 6 years as part of Glen Burtnik’s SUMMER OF LOVE EXPERIENCE TOUR, selling out 1000+ seat venues: THE COUNT BASIE THEATRE (Red Bank, NJ), MAJESTIC THEATER (Gettysburg, PA),THEATRE FOR THE PERFORMING ARTS (Patchogue, NY), INFINITY HALL (Norfolk, CT), EMENS AUDITORIUM AT BALL STATE (Muncie, Indiana), SHEA CENTER FOR THE ARTS (William Patterson University), THE STATE THEATRE (New Brunswick, NJ), and many more, with the show touring the midwest and more in 2016-7. As a member of other projects and theatrical events, he has played to rousing audiences in live music venues from WEBSTER HALL in NYC, WORLD CAFE LIVE in Philadelphia, SCHUBAS in Chicago, and more.
Whether you see him fronting a piano, a 4-piece band, or a soul orchestra of 25, Remember evokes the energy of the great front men and women, with one of a kind song styling (“the vocal child of Tom Jones and Patti LaBelle”, says award-winning singer/songwriter Glen Burtnik) and expert storytelling that keep audiences on their toes and emotions in the moment.
Mormon Toasterhead is the figure-flattering outfit of Ben Klawans. Accompanied by Charlie Libby Watt and Nolan Marchi, amongst other friends, they dare to create the most titillating pseudo-pop music your itty-bitty ears have never heard.
Kick is the sixth studio album by the Australian rock band INXS, released in 1987 by WEA in Australia, Atlantic Records in the United States and Mercury Records in Europe.
As the band’s most successful studio album, it is certified six times platinum by the RIAA, and spawned four US top 10 singles, “New Sensation”, “Never Tear Us Apart”, “Devil Inside” and “Need You Tonight”, the last of which reached the top of the Billboard singles charts. At the 1988 MTV Video Music Awards, the band took home five Moonmen for the “Need You Tonight”/”Mediate” video.
The album was produced by British producer Chris Thomas and recorded by David Nicholas in Sydney, Australia, and in Paris, France. The album was mixed by Bob Clearmountain at Air Studios in London.
Reckoning is the second studio album by the American alternative rock band R.E.M., released on April 9, 1984 by I.R.S. Records. Produced by Mitch Easter and Don Dixon, the album was recorded at Reflection Sound Studio in Charlotte, North Carolina, over 16 days in December 1983 and January 1984. Dixon and Easter intended to capture the sound of R.E.M.’s live performances, and used binaural recording on several tracks. Singer Michael Stipe dealt with darker subject matter in his lyrics, and water imagery is a recurring theme on the record. Released to critical acclaim, Reckoning reached number 27 in the United States—where it was certified gold by the Recording Industry Association of America in 1991—and peaked at number 91 in the United Kingdom.
Three Initiates; hailing from the harsh realms of Northwest Indiana.
We play rock music.
Chevonne — Vocals/Keys
Chris Ricci — Vocals
Chris Bookstaver — Guitar
Doug Hoekstra — Bass
Nick Potters — Drums/Keys
Joey Hayek — Guitar
New LP “Chevonne and The Fuzz” is OUT! Download it now:
http://bit.ly/ChevAndTheFuzz2016
The brainchild of Erik Ogershok, COTS was initially manifested in the winter of 2006. Several local appearances and line up fluctuations later, life happened, and the project laid dormant. 2014 saw the return of Ogershok as he recruited new musical personnel in the form of drummer Adrian Voorhies & bassist Alex Davis, both of the Austin based Black Metal outfit Humut Tabal and once more brought the doom trio to life to melt the faces of all who sought shade in the Canyon walls.
After numerous regional gigs both opening for touring colleagues & spearheading an array of craft beer events & festival slots (including two SXSW appearances), the band closed the year with a blistering performance at the End of the World Fest in Houston along side Austin brethren The Sword and Eagle Claw. 2015 saw the creation of the bands first recording, a two track monolith of doom metal spanning 38 minutes, recorded at Wooden Horse Studios in Dallas & mastered by none other thanProscriptor McGovern of the mighty Texas mythological metal gods Absu. Now, as the band prepares to hit the road in October for their first regional tour of the country, only one message can truly be counted on: Abandon All Hope!
Drawing the moon down through the mountains and into the valley, the Giant of the Mountain rears his head to breath his dreadful anguish unto humanity.
Formed in May of 2011, rising from the ashes of the black machine, invoked after many moons, Disenchanter is a heavy rock band riding the currents of doom, casting riffs of rock, and melding the elixirs of metal to bring forth a fantasy of sci-fi wrapped in a stoner groove!
“Described as ‘minimalist’, ‘menacing’, and ‘raw’ with ‘a groovy blues vibe reminiscent of Electric Wizard, Coven, and Black Sabbath itself,’ Disenchanter has been playing heavy rock since 2011, when they formed as a four-piece unit in Santa Rosa, California. A few line-up changes later and relocation to Portland, Oregon, the power trio is now casting spacey, doom-laden stoner riffs with songs that explore fantastic lyrical themes.
Sabine Stangenberg heads up Disenchanter on lead guitar and vocals, giving the band a powerful melodic feel with her commanding, emotive voice and infectious, bluesy solos. Joey DeMartini lays down the low end on bass guitar with fuzzy tones and solid grooves.
-Billy Goate, Doomed and Stoned
Having released two self-produced EPs, “Back To Earth” (September 27th, 2013) and “On Through Portals” (January 11th, 2014)—both recorded at Lowbrow Studios with Chris Hill and mastered at Audiosiege by Brad Boatright—Disenchanter has recently released their first full length album, “Strange Creations” (September, 19th 2015), also mastered at Audiosiege, this time recorded and mixed by Fester at Haywire Recording.
Digital copies of “Strange Creations”, as well as our previous releases can be found on our bandcamp page:
http://disenchanter.bandcamp.com/
Despite Nashville’s reputation for assembly-line pop country, the town called Music City is a place of deep history, where brilliant songwriters and virtuoso session players keep dozens of musical legacies burning bright. Nashville’s preeminent fuzz-psych power trio Howling Giant live in the pocket of that lineage, and on their eagerly awaited second full-length, Glass Future, they kick out the righteous jams with furrowed determination and wild abandon.
Howling Giant formed in Nashville nearly ten years ago with the union of guitarist/vocalist Tom Polzine, drummer/vocalist Zach Wheeler, and bassist/vocalist Roger Marks. From day one, the trio locked into a musical groove of thunderous metal, proggy acrobatics, psychedelic flourishes and soaring melodic vocals, telling stories of fantasy and adventure with such sheer force of will that they seemed capable of opening a window to other dimensions. Their early years saw a flurry of recorded activity, with an acclaimed self-titled EP in 2015 and an audacious concept piece split across two EPs, 2016’s Black Hole Space Wizard Part 1 and 2017’s Black Hole Space Wizard Part 2.
On the strength of those EPs and a growing, fervent fanbase, Howling Giant set out to bring their arena-sized energy to the people with the hunger of true road dogs. Throughout 2017 and 2018, they crisscrossed the United States, pouring out heart and soul (and sweat) while flying the flag of emotive, intricate heavy rock and roll. This tireless energy eventually brought them to such prominent festival stages as Psycho Las Vegas in 2018 and both SXSW and Psycho Smokeout in 2019. Around this time, Marks left the band and Howling Giant achieved its current form with the addition of bassist/vocalist Sebastian Baltes.
In early 2019, Howling Giant teamed up with Blues Funeral Recordings to release debut full-length The Space Between Worlds, an album which saw the band channel the bristling electricity of their live sound and push further into both cosmic drift and punishing heaviness.
As the COVID-19 pandemic put an embargo on live music, Howling Giant found new ways to connect with their ardent fans. Through a weekly schedule of live-streamed events on Twitch, the band continued to nurture community during an isolating, disorienting time. In addition to Dungeons & Dragons sessions and cooking lessons, Howling Giant opened up their rehearsal process to the fans, streaming writing jams that led to instrumental EP Alteration in 2021 and planted the seeds for their next album.
Now in partnership with Magnetic Eye Records, Howling Giant are poised to release their second album Glass Future.
From the first notes, it’s clear that the band has tapped into the next level of the cosmic vibrations that power them. Tom Polzine’s guitar licks dance across the frets with airy precision and lunge at the listener with red-lined roars. Sebastian Baltes’s bass stalks and coils like a snake and digs deep into mile-wide grooves. Zach Wheeler’s drums are as frantic as they are restrained, tossing out cross-meter fills and stepping out with stuttering snare runs that dare the others to match their bristling energy. Long-time friend of the band Drew Harakal provides crucial accompaniment on organ, piano, and synths, suffusing these future anthems with vintage tones and contemplative depth.
Howling Giant’s not-so-secret weapon is their honey-rich and wisdom-worn vocal attack. With all three members pitching in, Glass Future reaches some of its most glorious highs through soaring, indelible choruses and tight triple harmonies. Lead single “Sunken City” is a roiling, locked-in rocker with a massive chorus hook and searing instrumental break that rides a cresting wave of impossibly triumphant momentum. Whether it’s on the powerful gallop and nasty, swaggering groove of instrumental knockout “First Blood of Melchor” or the loping sprint of the parallel guitar and keyboard leads on the title track, whether the wide-open golden chug of “Siren Song” or the lilting, forlorn psychedelic trip of “Tempest and the Liar’s Gateway,” Howling Giant fires on so many cylinders across these taut 41 minutes that the reeling mind has no choice but to follow their assured stride.
Is Howling Giant’s music like a dream tour of Mastodon and Rush supporting the Beach Boys in 1970? Does Glass Future sound like Queens of the Stone Age, Devin Townsend, and Torche holding a songwriting clinic in Pink Floyd’s backyard? Friend, Howling Giant doesn’t owe you those answers, but their whirlwind new album might give you some new questions to ask, new rivers to cross, new frontiers to explore.
With Glass Future burning a hole in their pocket, 2023 finds Howling Giant setting out on a far-reaching North American tour with Elder and Ruby the Hatchet and playing the illustrious Desertfest Belgium. On Glass Future, they play with the thoughtful, careworn ease of people who know hardship and pain yet decide to press on because that’s the only thing we can do. As they sing on the album’s elegiac closer, “There’s no company, save for those we create.” With this remarkable album, Howling Giant extends a hand, saying: let’s find the future together.
Sebastian Baltes – Bass/vocals
Tom Polzine – Guitar/vocals
Zach Wheeler – Drums/vocals