Vista Kicks, originally from Sacramento, had released 3 tracks on their own between 2014 and 2015, which have amassed 3.4 million Spotify streams and over 3.2 million YouTube plays. They’ve since relocated to Hollywood and in early 2016, released the self produced 6 track collection, ‘Chasing Waves’, on their own imprint Little Hook Records.
About ‘Chasing Waves’, vocalist Derek Thomas says, “We made it in Sacramento in the presence of our closest friends and family, this first EP is the most honest representation of ourselves currently.”
Chasing Waves (2016) made Apple Music’s Featured New Artists page and lived on the homepage of iTunes for four consecutive weeks. They’ve toured the US with Swim Deep, and now they’re touring the West Coast and Southwest this spring with Save Ferris. Vista Kicks’ music is a fast blend of good ol’ Rock N’ Roll, Funk, and Pop. Their shows are electric, they make impossible not to dance and have a great time.
“…Chasing Waves has all the warmth, the fun, and the strife of a young band reeling from the unadulterated struggles of being twenty-somethings just trying to get by in a fucked-up twenty-first century world..” – Mitch Mosk, Atwood Magazine
The state of things today is very much on the mind of frontman Jon Scarpelli and bandmate Scott Simon on the latest record by electronic-rock duo, Low Swans. “The Whole World Has No Clothes” is a 10 song meditation on the waning of modern society set to ambient 80’s tinged synth textures, neo-prog electronic beats and dexterous vocals. Released on November 1st of 2014 to a sold out show, the new Low Swans record has only begun to permeate the scene. With influences as far and wide as EDM, classical minimalism and post-rock, the record is a stylistic leap from their past records. Carrying the thread is Scarpelli’s take on the complexity of the human situation and the underlying tragic beauty. While songs like “Cannibal” and “What you Wanted” harken to specific catastrophes in recent history, they ask the wider question of whether or not the calamities of the past or the future are avoidable. Other songs like “Not Today” and “All of the Lies You Settle For” complement this idea by suggesting that we can be redeemed by our relationships even while the world spins out of control. “Little Boy/Fat Man” goes so far as to suggest the massively destructive power of unexamined conflict between two people.
Low Swans has been a long time coming for frontman Scarpelli with some of their material dating back over a decade, and on this new record, their sound seems to have finally coalesced. Starting in earnest in 2013, the Low Swans sound had been forming Scarpelli’s mind over several years and in a way completes a circle. Jon started out experimenting with electronic music in his formative years in a very primitive form and on a computer that struggled to keep up. Recording raw sounds and editing them into a full composition was his first foray into the medium. Taking inspiration from Radiohead, Bjork and Sigur Ros, this thread of musical interest seemed to get buried over the years by multiple projects in vastly different styles. Over the next 12 years, from punk rock to alt-country, he focused on song craft rather than sonic craft. Building up a huge repertoire of songs all the while leaving the appetite for more elaborate and synthetic texture unsatisfied and confined to files on a computer. Emerging from these other bands an accomplished songwriter, the opportunity had come to put together the production aspirations with the songs to start creating the Low Swans sound which would end up featuring long time collaborator, vibraphonist and multi instrumentalist, Scott Simon. Starting with a 10 song demo in 2011 called “Before & After Disasters”, Low Swans began to develop into what we hear on 2014’s “The Whole World Has No Clothes”. Though preceeded by a notably acoustic EP “Blood & Tolls” in 2012, “The Whole World Has No Clothes” arrives as a moment of synthesis where experience, craftsmenship & spirit emerge as a distilled, genre-defying statement
Clyde Stubblefield All Stars is a Clyde Stubblefield tribute band based out of Madison Wisconsin and led by musical director and Grammy nominated drummer Joey B. Banks. The band plays a monthly “Funky Monday” happy hour show at Madison’s High Noon Saloon and features an All Star Band of local, regional and nationally known musicians. The band performs all of Clyde Stubblefield’s hits with James Brown, and songs from “The Original” and “Revenge of the Funky Drummer” albums. The band also performs some of Clyde’s favorite Funky Monday jams. The band will be performing tribute shows all over the Midwest region and will be working to keep Clyde’s musical legacy alive for years to come.
“A Tribute To Old Blue Eyes” is Chicago’s premiere Frank Sinatra Tribute Show. Entertainer & Performer – Bill Pantle brings his baritone sound to the classic Sinatra standards we all know and love and many selections from The Great American Songbook. The act started in 2013 in small clubs and restaurants that had a need for some live music. Since then, the show has evolved into a full fledged Variety style show of the 50’s & 60’s. Now the group consists of vocalist – Yaz Shamanreh and piano player – Bane Djordjevic.
Yaz has brought a soulful sound to numbers from artists like Etta James, Billie Holiday and Peggy Lee. Bane brings his classical and Jazz background to the keyboard and adds a live element to each show. Every show contains classic standards, comedy, audience participation and lot’s of laughs and has grown to fill music venues, clubs and festival grounds.
THE HAZYTONES
The Hazytones is a group of stoner rock founded in 2015 in Montreal. The trio stuns the audience with his stage presence and intensity. Riff after riff, the group is known for his fat sound and heavy destructive saturation.
The band is acknowledged for the powerful voice and guitar playing of Mick Martel (former founding member of Madcooks). Supported by the accuracy of their drummer Antoine St-Germain (current member of God Bless America) and the rigor of the bassist Frederic Couture (former founding member of Reckless Ride), The Hazytones are sanctioned for their energetic rhythm section.
In September 2015, The Hazytones began the production of their debut album recorded and mixed at ReelRoad studio located in Rosemont – La Petite-Partie in Montreal. After a few month of labor, the band launched his first single ‘’Living On The Edge’’, followed by a music video. To mark the imminent release of their first titled album, the trio got on the road across Canada(23 shows) from August to September 2016.
The band launched their first titled album on September 22nd at La Rockette bar in Montreal at the Pop Montreal festival. The album was well received by the stoner/psychedelic community in Canada, USA and Europe.
More recently, the band toured Europe (UK, Belgium, Switzerland and France) for 28 days and 10 days after they embarked on a Canadian tour that led them all the way to Vancouver and back.
Coming back from tour Frey Coaster parted ways with the band to pursue his career. The Hazytones luckily found Adam Gilbert to join the band on bass and back vocals. Since then, the trio has been playing a couple of shows and writing songs.
For the Hazytones future, a full U.S.A tour is scheduled in January and a second album is on it’s way. The band has been signed to two labels, Ripple Music and Kozmik Artifacts. Both labels will produce Cd, Vinyls and handle the digital distribution. Everything is set to be release on November 3rd.
I’m THY ANTICHRIST founder, vocalist, and manager.
I’m a student of psychology in the United States. I study closely
through the scientific research of the different complexities of human behavior, its strengths and weaknesses. In the philosophy and ideology that marks the band you can find a consistent message, from the reality of our own existence.
I do not want to spread ignorance through the messages and lyrics of the band, only a reflection from a different perspective on human responsibility for our actions.
THE INEFFABLE KINGS OF BLACK METAL
Sweden’s Dark Funeral are without doubt one of the most notorius and highly regarded of the Black Metal genre. They epitomize the dark essence that is and always will be at the true heart of the European scene.
Frequilibrium is a 4 piece blues/roots rock fusion band based out of Chicagoland. A relatively newer act, the four naturally harness the power of the Southern rock greats, drawing influences from The Allman Brothers Band and The Marcus King Band, while offering the progressive ingenuity of the next generation and a solid understanding of multiple genres. Their music is formed playfully but with much precision and care, intending to have the listener feeling their vibes within the first few bars.
The band’s main goal is to leave their audiences vibrating on a higher plane, which is evident by the heartfelt, soulful lyrics and melodies they deliver. You won’t want to miss them when they roll into your town – the crowd always has just as much fun as they do; trust ’em when they say that’s a lot.
Richie Kotzen has never been an artist known for playing by the rules. And for this ever-adventurous triple-threat songwriter/guitarist/vocalist, that meant putting on the brakes after a nonstop flurry of band-related activity in order to refuel the creative process for the ten heartfelt and hard-hitting songs that comprise his vibrant new solo album, Salting Earth, out April 14 via his own custom label, Headroom-Inc. In other words, Kotzen tossed convention on its ear by actually taking one step back in order to move two steps forward. “It’s something I really needed to do in order to reset myself,” Kotzen explains.
Kotzen’s “charge to recharge” was officially put into play following the mega-success of the 2015–16 tour behind his band The Winery Dogs’ sophomore effort, the oh-so-appropriately named Hot Streak. And the man’s reset manifesto wound up hitting all the right buttons too. The proof is on display deep within the grooves of Salting Earth, which veers from the balls-out, heads-up declaration of the opening track “End of Earth” to the burning-sky harmonic thrust of “Thunder” to the Prince-like funk-jazz swing of “This Is Life” to the acoustified take-me-as-I-am self-reflection of the album’s final song, “Grammy.”
Once Kotzen caught his creative breath, the ideas for Salting Earth just kept on a-coming. “I have a theory about writer’s block,” he offers. “Basically, I don’t believe in it. In my experience, when I don’t feel inspired or I don’t have any ideas, it equates to not having any output. In order to have output, you need input. So it really comes down to the balance between your artistic side and your life side. You need balance between the two, and that’s why it’s so important for me to take long breaks from music.”
Kotzen’s reaffirming commitment to that life/work balance soon begat vibrant, new music. “It’s in that time when I’m away from it where ideas begin to take shape,” he continues. “Then, when I find myself coming back to music, I end up in a situation with a wealth of ideas and creative energy. When I’m in that zone, the music literally writes itself. Lyrics, music, production, performance — it all happens simultaneously on its own.”
The majority of Salting Earth is the result of Kotzen’s one-man production machine, with the exception of Julia Lage adding background vocals to “Make It Easy,” a tasty, sing-along groove stew. “It’s really not deliberate when the record is finished and suddenly I’m the only performer on it,” Kotzen admits. “It actually comes out of my process of writing and documenting my ideas. It started back in the late-’80s when I had a makeshift studio in my parents’ barn. I grew up fairly isolated, and I soon realized in order to get this music out of my head and onto a format where I could listen to it, I’d have to figure out how to do it alone.”
Part of Kotzen’s Salting Earth reset process also meant having a commitment to challenge himself. “I’m not sure I can totally define how or why my creative process works the way it does, but I will say once again that I believe long breaks help me stay inspired musically,” he reiterates. “I do know that on this record, I wrote a lot more on the piano. The song ‘My Rock,’ for example, has absolutely no guitar in the recording — it’s just piano, bass, drums, and vocals. Not that that is an odd choice, but being that for most of my career I’ve been highlighted as a guitarist, I suppose for people who never bought one of my CDs in the past, this would be surprising. But it’s not so surprising to me.”
For the artist within, the music mined for Salting Earth ultimately came down to being about the relationship between song and vocal. “That’s really it,” Kotzen agrees. “Every other choice is made based on what I feel suits the composition and what will support the lead vocal. That is the foundation on how my music is built. I suppose it’s just how I hear things. If you think about it, when your mind hums a tune, you are humming the melody. When you sing ‘Happy Birthday,’ you don’t sing the drumbeat, do you?”
Kotzen’s previous solo release, 2015’s diverse, far-reaching Cannibals, was a well-received hit among his core fan base, and Salting Earth cuts like the aforementioned “End of Earth,” “Thunder,” and “Divine Power” all showcase the scorching guitar solos and soaring vocals that one would expect from a Kotzen solo album. That said, there’s also quite a vulnerable side on display here that’s perhaps best demonstrated in the stripped-down approach to the album’s closing salvo, “Grammy.”
“That song came to me in the oddest way at the most inconvenient time,” Kotzen reveals of the track that can be filed in the “first thought, best thought” category. One night when he was home alone, “I basically woke myself up with the chorus melody in my head, and in my haze, I knew that if I didn’t at least record the idea, it would be forever lost,” Kotzen explains. “I ended up programming a simple drum beat, and then recorded the acoustic guitar. The lyrics pretty much wrote themselves. By 6 in the morning, the song was finished. I was going to do more overdubs, but I kept playing it over and over, and I just felt like there was something so personal coming out of the speakers. By messing with it, I’d likely destroy the magic — so I left it as it is.” (Good call on that one, Richie!)
Bringing Salting Earth live to the people is Kotzen’s next holy mission. “My real outlet is touring — playing live as much as I can, wherever I can, whenever I can,” he says enthusiastically. “It’s one of the few things you can’t copy, steal, or download. It’s an engaging human experience that’s a give-and-take between both the performer and the audience, and there is nothing else like it on this earth.”
To that end, Kotzen will launch his Salting Earth Tour on April 21 at The Canyon Club in Agoura Hills, California, and then the man and his band will tour extensively throughout the United States and continue their journey into Mexico, South America, and Europe. Further tour details will be posted on Kotzen’s official website, www.richiekotzen.com, and additional information regarding upcoming shows and releases can be followed on Twitter (@Richie_Kotzen) and Instagram (richie_kotzen).
Kotzen is clearly eager to hit the road. “I know this is going to be a long album cycle of touring, and already we are talking about going to places I’ve never been before — like Australia, for example,” Kotzen notes. “With the new record being done and knowing dates are being booked around the world, I can feel my creative energy surging once again.”
Said energy surge has been seeded quite liberally all throughout Salting Earth, an album that shows Kotzen as the pillar for how to harness newfound creativity in the best light imaginable. Come and dig his Earth.
I was born at a very early age, songwriter, guitarist, hand model, amateur surgeon, producer, Owl Stretching, Saigon Kick, quipster, director of frivolity & music freak.
The Chicago music landscape is changing. It is not only Chicago and the Midwest that have taken notice. This evolution takes place on a national stage, where the world awaits what is next to come. The sounds of the Windy City now belong to a new generation, a REDEFINED generation. Leading this movement is a young artist: Mentality the Redefiner. Since the age of eight, MTR has had a goal to bring a brand new approach to authentic, an innovative guide to genuine, and a pioneering perception of today’s hip-hop. MTR has a unique perspective on the music scene he immerses himself in. Originality is what he chooses to stick to. Introspective thoughts combined with smooth beats is what makes his sound so distinct.
When clients laud you for your passion and energy and your work is streamed millions of times and performed at festivals and venues across North America, it’s hard not to bring the good vibes. Drew Mantia’s musical style is a feel good blend of Pop, Soul, EDM, Rap, Jazz and Rock, the culmination of various career incarnations. From University graduate in Jazz studies to singer/songwriter, composer, to Chicago beat producer known for collaborations with the likes of ProbCause, Saba, The Palmer Squares, Chance the Rapper, Psalm One, Twista and more. Drew’s skills include professional grade audio recording and mixing, songwriting, and a multi-instrumentalist production style utilizing guitar, bass, keyboard, vocals, programming and the aid of other talented studio musicians. Drew currently leans towards producing and engineering Dance, Pop and R&B, music directing live shows, and fronts Electropop/Alternative Dance band The Belief Cycle.
Cody Johns is a recording artist, actor, influencer and entrepreneur. Cody was born and raised in South Florida and began his career as an social media pioneer. With early viral internet success in 2013, he generated millions of fans and brand deals with Coca-Cola, Disney, Microsoft, Sony & more. Cody was also instrumental in the creation of Niche, a startup business that links brands with social media influencers — which would eventually be acquired by Twitter. Cody also worked on a variety of projects in the theatrical space, including Hulu’s original “Dimension 404,” Hey USA X, YouTube Red Original “Alexander IRL,” Maker Studios “Summer Forever,” and independent feature “FML.” Even with this early success, Cody’s first love is music. Growing up in the church, Cody was always a singer and songwriter. In 2017, Cody penned an iTunes #1 Songwriter single for his brother Marcus Johns. Later in June 2017, Cody released his solo debut single “There You Are”, followed by “Tropical Romance” in September 2017 (premiering with Entertainment Tonight) and then “Trust Me” in November 2017 (premiering with Access Hollywood). Cody has received coverage from Forbes, BuzzFeed, AdWeek, NBC News & more.
Louisville, KY native Jack Harlow has been rapping since he can remember. There’s never been a doubt in his mind that this was going to be his career. Now that he’s graduated high school, his tunnel vision to success has reached an all-time high. He obsesses over making music at the highest level possible, pushing everyone around him to be competitive and reach their potential. With his unsuspecting look, he causes jaws to hit the floor when he starts to flow. Jack built his following on Soundcloud and Youtube early on, and has since gathered a collective around him comprised of like-minded artists and producers called, Private Garden Records. Private Garden’s debut release and Jack’s newest mixtape, 18, is his most personal work to date – but there is more on the way. His talent and passion are more visible than ever, and this is just the beginning.
Jason Richardson is an American guitarist. He is best known as the former guitarist of All Shall Perish, Born of Osiris, and Chelsea Grin. His playing style is known to be extremely fast and technical.
Tough times call for smooth tunes. This is a gathering place for fans of Yacht Rock. Stay tuned for Yacht Rock events hosted by DJ Dusty Winds, live-band shows, karaoke, polls, contests, and plenty of easy, easy updates.
“Yacht Rock” is the popular term for soft-rock, singer-songwriter tunes, one-hit wonders, and “Album Oriented Radio” (AOR) hits from the seventies and eighties.
Think Michael McDonald. The Doobie Brothers. Steely Dan. The Eagles. Orleans. Hall and Oates. Kenny Loggins (with or without Messina). Lionel Ritchie. Bread. America. Seals and Crofts. Toto. Gerry Rafferty. Asia. The Commodores. Bob Welch. Ambrosia. Earth, Wind & Fire. 10cc. Billy Joel. ELO. Al Stewart. Stevie Wonder. Fleetwood Mac. Early Michael Jackson. Gordon Lightfoot. Paul McCartney and Wings. Styx. Supertramp. Carly Simon. Boz Skaggs. Bill Withers. Ace. Air Supply. The Little River Band.
The list goes on and on.
Yacht Rock evokes a time and a place where the shirts were polyester, people met at singles bars instead of match.com, and people enjoyed—or dreamt about—an breezy, easy Southern California lifestyle.
In 2010, the acoustic duo known as MEDS ascended from the ashes of art-punk quartet Phistine Verona. Guitarists Chocolate Danny and Kurtis E. Flush (nee Ed Shafer and Mike Greaney) found a new vehicle in MEDS for their unique blend of harmony and humor.
Traditional Ska and Rocksteady music based out of Los Angeles, CA.
THE DUPPIES
Ruddies in search of traditionalism and the smooth rock steady sounds that aspire to be kin to all that is the founding sounds of Jamaican/Brixston Rock Steady Ska Reggae. The Duppies are a high powered seven piece rocksteady ska band of eleven years from Gainesville FL. Their sets include an attention getting rhythm section prone to causing fits of dancing fury backed up by rip roaring horn solos from the sax and trumpet. Top it all off with smooth vocals and stream lined percussion.
With a minimum of 600 shows under the belt The Duppies have played with such acts as The Slackers, The Toasters, Less than Jake, King Django, New York City Ska Jazz Ensemble, Pato Banton, Westbound Train, members of the Skatalites, Whole Wheat Bread, Void Union,Slightly Stoopid, etc. Tours have included playing venues such as Middle East in Boston, Trash Bar in Brooklyn, Churchills in Miami, Dragons Den in New Orleans, The Social in Orlando, The Mohawk Place in Buffalo and many more plus the Fest 3,fest 13, Sun Fest, Suwanee Music Fest and The 12th & 13th Annual Grace Jamaican Jerk Festival.
The Duppies are a unique Florida gem keeping the rocksteady alive in the Southeast with a loyal following and a level of professionalism that keeps people wanting more.
The Native Howl is a four-piece band. Their music is “Thrash Grass,” a blend of rock, bluegrass and experimental genres that give it a uniquely rustic and
“Coming across like a psychedelic Electric Wizard, REZN are making a huge noise on their debut full-length record; the guitars are tuned to their fuzzy maximum while the drums echo from the gut and the vocals drone into a tripped out phenomena. . . . It crushes your soul, and that’s all we can really ask for.”
~ Heavy Planet
“Musicians often get shuffled like a deck of cards until the right hand comes up aces. Case in point: Salt Lake City sludge trio the Ditch and the Delta. Guitarist Elliot Secrist and drummer Charles Bogus have been honing their steel for years in various outfits. Enter bassist-vocalist Kory Quist of Making F*ck, and here is a lineup to be reckoned with. Musically, it’s a refreshingly original take on territory that has otherwise been tread into the ground. It’s heavy as hell (a la Neurosis), rhythmically twisted (a la Melvins), and keeps things hooky and melodic without ever going soft (a la Lost Goat)”. -Nate Carson
Conan – the sound of unending hammer blows into the earth. A galloping charging war horse heading for your town. So heavy that the gods look away, intimidated by their unearthly delivery. ALL MERCH….. www.hailconan.com/shop
MOTHER NATURE IS THE IRRESISTIBLE FORCE OF KLEVAH AND TRUTH—EMCEES DEVOTED TO BUILDING A LEGACY FOUNDED ON DEFIANCE AND SELF-DISCOVERY. THE CHICAGO AND HOUSTON-BASED DUO IS THE ANSWER FOR LISTENERS SEEKING BOTH SUBSTANCE AND SIMPLICITY. AS EDUCATORS, THEY HAVE MASTERED THE ABILITY TO DELIVER WEIGHTY CONTENT THROUGH UPLIFTING BARZ THAT PIERCE THE CONSCIENCE. MOTHER NATURE HAS INDEPENDENTLY TOURED GLOBALLY WITH THE MISSION OF REBUILDING TRUE HIPHOP CULTURE, AND IMPACTS YOUTH THROUGH THEIR NONPROFIT WORKSHOP SERIES THE MISEDUCATION OF HIPHOP. WITH PEACE AND LOVE AS THEIR WEAPON AND COMMUNITY AT THEIR FOUNDATION, THESE THINKAZ ARE ON THEIR WAY TO PROVOKING A PIVOTAL SHIFT IN THE NEXT GENERATION.
BoJo’s Mojo is a band from central Wisconsin, playing original & cover music that all crowds will enjoy. A wide variety of influences and genres can be heard in the original material. Our long but engaging songs can be attributed to our love of musical masterpieces by such greats as The Allman Brothers and The Grateful Dead and our strong passion for music & song chemistry. From blues to rock and folk to reggae, each member brings an experience with a unique and enjoyable style to the group. Already making appearances at some well known venues in Wisconsin and beyond, the band is looking to grow their fan base and share their music. Most importantly they have a great time doing it. Separately each band member is a skilled musician but combined the chemistry is undeniable.
Flow is the mental state in which a person performing an activity is fully immersed in a feeling of energized focus and enjoyment in the process of the act
The Smokin’ Tones was formed as the official band of Columbia Tonight, Columbia College’s late night show, in September 2016. In preparation for the show’s premier, the band quickly came together and began its quest for zesty, transcendental music and killer tone. Since then, the band has continued writing and performing original music along with unique twists on covers that appeal to musicians and music enthusiasts alike.
Based in Ann Arbor, MI, Chirp is a four-piece band that does their fair share of genre-hopping. Often playing in the styles of progressive rock/funk and jazz-fusion, their sound maintains a melodic center. The group features a wide array of originals and covers in their live sets and puts together dynamic, high-energy shows. Though their music ties in many technical elements, an equal emphasis is put on grooving and keeping people moving. Chirp takes influence from Snarky Puppy, Steely Dan, Led Zeppelin, James Brown, Yes, Daft Punk, Vulfpeck, and The Beatles to name a few. Chirp has been hard at work since their formation in 2015, touring and recording consistently since the project began. Their fresh sound has taken them touring across the Midwest to play a large variety of venues and festivals. Chirp released their self-titled debut studio album in March 2019 as well as three live-recorded EPs: “Live from Brownstown” (in-studio, 2016), “Live at Willis Sound” (in-studio, 2017), and “Live at Ann Arbor Summer Festival” (2018). All of which have been met with great reception and have helped along with live performances to build an extremely enthusiastic fan base. Chirp is Jay Frydenlund, Brian Long, Sam Naples, and Patrick Blommel.
CRISP is a Progressive Jam Funk band from Chicago, IL.
CRISP’s humble beginning’s date back to August of 2013, when Elburn, IL native Kevin McMahon (bass player/band leader/composer and arranger) moved back to Illinois after a living in New Orleans for the previous five years. Upon his return to the Chicagoland area, he had a goal in mind; to assemble a band of like minded, talented musicians to compose and preform original Funk/Jazz/Fusion music, in a time when DJ’s and tribute bands rule the landscape of modern nightlife entertainment. Kevin is honored to have secured the talents of Stewart Ream: Keyboards/Vocals, Constantine Alexander: Trumpet, Ian Letts: Saxophones, Joel Ream: Guitar/Vocals, Jerry Williams: Saxophones, and Greg Essig: Drums, to CRISP’s line up of sensational musicians. Over time, CRISP has come to embody Fusion driven composition with open improvisation. Or as we prefer, PROGRESSIVE FUNK with WEIRD LYRICS…ENJOY
We are a 5 piece Rock band from Berwyn, IL. We enjoy soft couches and peppermint tea. We play all around Chicago in crowded venues, empty basements, and everything in between. If you can beat us at Call of Duty you get a free CD. Download our music for free at aiming4average.com
Commonweather formed as a 4-piece rock band in the winter of 2014. Combining their music tastes from the 90’s rock and grunge scene to early 2000’s emo, they have managed to self-produce and record 3 EPs with their latest being ‘Apparitions’.
From playing venues like the historic Cubby Bear in Chicago and various house shows around the suburbs, Commonweather continues to grow organically around the Midwest and gain exposure.
At the end of 2016, Commonweather teamed up to record with engineer and producer Sam Pura at The Panda Studios to work on their 4th EP ‘Nausea’ available now.
Ethan is a young rock guitar player who leads The Ethan Brosh Band as a national touring act. In addition to recording and touring with his own music, Ethan also sometimes steps into playing for high profile musicians as a session guitar player who can replicate other people’s music in the most accurate way and adding lots of energy to it on stage.
Ethan Brosh was born in Suffern, NY yet spent his childhood years in Israel. It was there that Ethan discovered Bach’s Toccata and Fugue in D minor, event which awakened his love of music. At the age of 12, he developed a taste for playing guitar and started taking up classical guitar lessons. Soon enough, he picked up the electric guitar and began studying under the mentorship of Eyal Freeman. Originally influenced by artists such as Iron Maiden and other groups of that era, Ethan gradually grew into writing his own music. Therefore, he went on to study at Berklee College of Music, where he earned a Bachelor’s Degree in Songwriting, eventually becoming a part time teacher there at Berklee.
Upon graduating, Ethan formed a hard rock band called Burning Heat along with singer Adrian Araiza, which started working the local New England scene intensively, Getting asked to open for lots of national acts, Burning Heat continued traveling and playing all over as well as being on a number of rock festivals.
After writing music for several years it was time for Ethan to record his first solo record. A two and a half year process of working with the best people in the field and trying to create an over the top instrumental album as Ethan’s debut recording brought to life Out of Oblivion. Released in 2009 under Mike Varney’s Magna Carta Records label, the album featured guests such as George Lynch, Greg Howe (Michael Jackson) and Mike Mangini (Dream Theater, Extreme). The artwork was created by Derek Riggs (Iron Maiden), while the album was mixed by Chris Tsangarites (Judas Priest, Depeche Mode).
During the same year of 2009, Ethan toured opening for Eddie Money, played with Terry Ilous (XYZ, Great White) and Pat Travers and started playing guitar for the band Angels of Babylon. The band, which featured Rhino(Manowar) on drums and David Ellefson(Megadeth) on bass guitar, released their debut album, Kingdom of Evil, on various labels all over the world in 2010, followed by a second record, Thundergod, in 2013. After Ethan moved on from Angels of Babylon to focus on his own music, he and David Ellefson continued with several more collaborations, including them playing on each other’s records.
Complex, technical and melodic, Ethan’s debut record was followed by Live The Dream, released in 2014 under Carmine Appice’s Rocker Records label featuring Dave Ellefson (Megadeth). It was the mix of producer Max Norman (Ozzy), whom Ethan convinced to come out of retirement and perform his first mix after 20 years. The mastering was the work of Grammy winning mastering engineer Bob Ludwig. The artwork was a real painting done by Joe Petagno (Led Zeppelin, Pink Floyd) as well as most of the record being recorded analogue in high end recording studios to create a realistic feel and an immense production not usually heard on rock records in this day and age.
Between 2013-2015, Ethan toured with a great number of acts such as Yngwie Malmsteen, Jake E. Lee, Marty Friedman, Michael Schenker and many more. In 2013, The Ethan Brosh Band was the direct support act for Yngwie Malmsteen on a major 25 show tour, while in 2014-2015 they did a couple of tours with Jake E. Lee’s Red Dragon Cartel in support of Ethan’s second album, Live the Dream. Between the tours performed with his band, Ethan played guitar for Carmine and Vinnie Appice and went on the road with them, which resulted in a live record called Drum Wars Live!, released on Cleopatra Records. In 2015, Ethan played guitar for the band SteelHeart in South Korea opening for the Scorpions, and acoustic guitar for Eric Martin of Mr. Big.
During those years, Ethan received a great deal of press and media coverage being featured in many guitar and music related magazines around the world and doing countless radio and print interviews.
With a third record in the making and many other projects to delve into, Ethan Brosh will surely continue to deliver his music to new audiences and keep being an important part of the guitar and rock world.
Nydge is a producer and songwriter from Detroit, MI. He was born in a hospital, and despite being named after a race car driver, he drives a reliable Honda Civic. He loves podcasts, but he hates the talkshow ones. He likes plants, but all of his plants are dead and he feels bad about it. He can replace the brake pads on your car. He knows more about synthesizers than he does about microeconomics. Like most of America, he dropped out of community college. He used to love Trent Reznor.
In summer 2017, He stepped out from a behind-the-scenes producer role and started releasing the tracks he’s produced and co-written as the artist “Nydge”. Since beginning his steady release of singles, his music has been streamed over 700,000 times and he’s opened for acts like BANKS, SG Lewis, Flint Eastwood & Vesperteen. With the help of spotify’s curated playlists (Alternative R&B, Young & Free, Weekly Buzz, Indie-pop), Nydge has received the attention of blogs and listeners alike. Indieshuffle speaks highly of his most popular single Won’t You Call Me: “Another rare gem from Detroit, some wonderful collision of atoms. The reaction is straight chemical; the perfect high.” Nydge has also placed songs on TV and is played in retail stores around the world.
Robert J. Zimmer? is dedicated to exploring the fundamentals of universal mechanics through a multidimensional musical approach that blends the study of macroscopic acoustic environments with quantum interactions of sound waves. In essence, it is “that one band that I saw at that one place that one time that played some [good] stuff.” This, and other proclamations of ecstatic enjoyment, represent the general response of those fortunate enough to encounter the tunes of RJZ.
Thrown into the public eye and forced to face a world of harsh criticism and rejection, Robert J. Zimmer? has emerged a hardened power and decorated name in the Hyde Park community. Hailed as a “musician’s musician’s musician’s musician’s musician’s band” it is far ahead of its time while still managing to touch the minds of simpletons via a synergy of intricate complexities that results in a sound of such emotional power it touches the roots of man’s most fundamental sentiments.
When possible, Robert J. Zimmer? plays
-Atlas Cabinets
-Carvin amplifiers
Playing original compositions and arrangements of bassist Robert Castillo, The Sextet plays music to move to and moved by. Castillo originally formed the group in the fall of 2015 in Portland, OR and when Life called him back to his native Kansas City, he reformed the group with childhood friends and other prominent KC musicians.
Robert’s writing incorporates elements of funk, soul, and dance, as well as jazz song structures and harmonies. The result is contemporary groove jazz that a listener of any background can bob their head to. The songs are influenced by life events and experiences – a set can include a variety of emotions including joy, anger, frustration, and bliss.
The Sextet’s debut album was released just before Castillo left Portland and was listed on KMHD Portland Jazz Radio’s Top Top Albums of 2016 list.
In October of 2017 The Sextet released their sophomore album “Blob Castle” shortly after being named KCUR 89.3 Band of the Week.
Big Blu Soul Revue bring the soul of San Francisco to their music and live show. With an extreme passion for the music of 60’s and 70’s soul, funk and jazz, the band shares music influences ranging from soul legends like Stevie Wonder, Sly Stone, Aretha Franklin, Bill Withers and Marvin Gaye to funk and jazz artists like The Meters, Herbie Hancock, Jimmy Smith, Grant Green and many more. Their fresh approach brings a wide array of infectious dance grooves to their high-energy live show. The band released their highly-anticipated debut album, Tongue & Groovin’, in late 2016, and is now available everywhere including iTunes, Amazon, Spotify, CD Baby and many more sites.
The band formed in 2012 by long-time Bay Area guitarist and vocalist Jason Movrich (The Mission Players, Jason Movrich & Friends). The band is comprised of a tight group of top notch musicians including Bay Area bassist John Bartlett, southern California native Blake Ritterman on drums, along with multi-saxophonists Brian Lassiter and Hermann Lara, and also featuring the incredible vocalist Miss Lydia Walker.
The band’s music is strongly influenced by the classic sounds of Motown, Stax, Daptones and Blue Note Records but with a fresh and original spin. “Our ultimate goal is to connect with our audience, get you to feel the groove that makes you want to dance,” says Movrich.
2017 brings live shows throughout the West coast to support their latest album release. The band has recently been performing to strong and enthusiastic audiences, regularly performing at famed Bay Area venues such as Yoshi’s, Sweetwater Music Hall, Boom Boom Room, Brick & Mortar Music Hall, Elbo Room, deYoung Museum, Ashkenaz, Lagunitas Taproom, as well festivals like For the Funk of It (Belden, CA), Gilroy Garlic Festival (Gilroy, CA), Music on the Beach (Lake Tahoe) and many more. The band has also recently shared stages and co-bills with Fred Wesley, Glen David Andrews, Jelly Bread, and many more great artists.
Big Blu Soul Revue is:
Jason Movrich :: Guitar & Vocals
Lydia Walker :: Vocals
Hermann Lara :: Tenor & Alto Sax
Brian Lassiter :: Alto & Baritone Sax
John Bartlett :: Bass
Blake Ritterman :: Drums
Forq is an instrumental quartet with an aggressive sound and a penchant for sonic exploration. This all-star band based in New York has just completed their third album – Thrēq – released on August 4, 2017. Originally founded by keyboardist Henry Hey (David Bowie, Empire of the Sun, Jeff “Tain” Watts) and bassist Michael League (Grammy-winning founder of Snarky Puppy), Forq is joined by guitarist Chris McQueen (Snarky Puppy, Foe Destroyer, Bokanté) and drummer Jason “JT” Thomas (Roy Hargrove’s RH Factor, Marcus Miller, D’Angelo). Their group sound draws from various musical paths of it’s members. Henry Hey is the keyboardist and co-leader of groundbreaking instrumental quartet, Rudder, and some of that sound can be heard in the music of Forq.Drummer Jason Thomas has a musical history rich in authentic Texas blues and swampy funk. Guitarist Chris McQueen brings his singular sonic approach coupled with highly melodic soloing. Joining Forq on this tour is bassist Kevin Scott whose incredible low end groove can be heard with guitarist Wayne Krantz as well as with Atlanta music legend, Colonel Bruce Hampton.
Kashena Sampson ain’t the first unknown singer to move to Nashville with stars in her eyes, but music city’s most powerful new voice may be the first to have toured the world and partied like a rock star before doing so.
Though the Las Vegas native grew up singing three-part harmonies in a band with her sisters, Sampson found herself post-college living in Los Angeles, waiting tables, and doing the struggling actor thing. She also was doing a lot of drugs. “I kinda stopped doing music because I was doing nothing but drinking and doing drugs,” she laughs. “People didn’t know I was a singer.”
Now a shimmering enchantress of a performer, who effortlessly expands a 70’s rock aesthetic with an elegant wardrobe and lungs that could shake the walls of an opera house, it’s hard to believe Sampson was once a self-confessed “trainwreck,” who had lost sight of her musical roots.
It was only after belligerently getting thrown out of a party that her friends staged an intervention, setting her on the path to sobriety. After a little soul searching, it was also the path which led her back to music. “I was doing a lot of meditating, trying to figure out what I should be doing, and the answer was music,” she said.After a few years of focusing on paying the bills and staying sober, at a friend’s urging, Sampson began singing at an L.A. Irish bar’s open jam night. She chose songs from artists she admired, including Dolly Parton, Stevie Nicks, Bob Dylan, Bonnie Raitt and others. “It was like a 70’s country music club,” she said.
Then, one day, she got an email informing her that the music director from a top Las Vegas show had seen her singing on Youtube, and wanted her for a gig on a high-end cruise ship. She got the gig without an audition. It was as if some of that Irish bar’s luck had rubbed off on her. “The day I left for rehearsals was the day the lease was up on my apartment,” she says. “I was supposed to be gone for seven months doing this cruise ship, and I ended up doing it for three years.” While traveling what she says was “the whole world,” Sampson performed everything from 60’s and 70’s folk and country, to The Beatles, to Motown, and even opera. But despite her diverse repertoire, she was often told that she would do well in Nashville. The plan all along was to make enough money working on the ships that she could record an album of her own songs, but the money didn’t last. After three years at sea, she decided to go home to Las Vegas, where she got a job bartending and singing at a downtown piano bar. Again, while singing there, people told her she oughta give Nashville a shot. It wasn’t long before luck found her again — this time, Lady Luck.
In a most “Las Vegas” scenario, she was contacted by a cast member of the musical Million Dollar Quartet, who invited her to sing lead vocals on a song written by Miss Nevada USA. The studio band was Olivia Newton-John’s band, who happened to be in Vegas performing, and were all from Nashville. “I kinda listen to signs. I try to do what the universe is telling me,” Sampson said. When Miss Nevada told Sampson she was moving to Nashville and needed a roommate, it was the final sign she needed. Without enough money to pay the rent, let alone make an album, Sampson put up her sails and set out for music city in the winter of 2015. She landed at The Nashville Biscuit House, a popular East Nashville breakfast spot, but no luxury cruise ship. “I was broke. I hated it,” she laughs. “I lasted three weeks there.” The experience is hilariously recounted in her song “Greasy Spoon,” a clever, coming-to-Nashville country romp, which, if there’s any justice in the world, will one day be a honky tonk standard. But despite moving to Nashville and immediately penning a perfect country song, Sampson doesn’t consider herself a country singer.
“I don’t consider my music country. I think if anything it’s more folk, and a little soul,” she says. “Really, what I like is rock and roll, but my music comes out the way it comes out.”
Her debut album, Wild Heart, recorded live to tape in just a couple days at popular East Nashville recording studio, The Bomb Shelter, is an intimate reflection of the voyage she has been on, seamlessly drawing from the musical styles she loves, while also forging her own identity. “I wanted it to sound real, raw. We didn’t do any auto-tuning or anything like that. I wanted it to have feeling, especially with my vocal,” she said. “That’s why people sing. It’s supposed to make you feel something.” The empowering, “She Shines,” which Sampson says is about “knowing your self worth and holding on to your power in the face of rejection,” tips its hat to Fleetwood Mac’s “Landslide,” before soaring into new territory on the back of a lush string arrangement. The haunting “Come Back to Me,” about an ex-lover who died tragically in a car accident while Sampson was at sea, emotes as strongly as The Animals’ 1964 classic “House of the Rising Sun,” and features powerful swells recalling The Beatles’ “A Day in the Life.”
The 10-song Wild Heart is set for a late summer 2017 release, but already Sampson’s reputation for her live performances has landed her steady bookings in Nashville’s most popular clubs, including trendy East Nashville’s largest venue, The Basement East, where she was invited to sing with a group of standout Nashville acts at a packed Linda Ronstadt tribute concert. She may appear to be the new kid on the block, but Sampson’s mature artistic vision and embrace by one of the world’s best music scenes is not surprising, considering that she’s been around much more than the block, and she is no kid. “At sea, it was three years of performing every night for a live audience,” she said. “When I left California, I was a girl. And when I returned home from the ships, I was a woman. I just matured. I grew up.”
Through his innovative work as a solo artist and his contributions as a sideman to Joe Satriani and Steve Vai, STUHAMM has firmly established himself as one of the most influential electric bassists of the past half-century. Extending the non-traditional function of the electric bass previously revolutionized by Jaco Pastorius and Stanley Clarke in the 1970s, Hamm helped to reshape the contemporary concept of the bass guitar as an unaccompanied instrument with the utilization of polyphonic, two-handed tapping, slapping and popping techniques, chords, and harmonics. Although Hamm certainly wasn’t the first bass player to debut during the 1980s and employ an unorthodox approach to playing the electric bass, he was undoubtedly at the forefront of his generation who effectively fused the application of these unconventional techniques.
STUHAMM is a world class, utterly entertaining story-teller, legendary bass guitar icon, known also for playing and recording with some of the greatest guitarists of the recent decades: Steve Vai, Joe Satriani, Greg Howe, Alex Skolnick, Richie Kotzen, Mike Keneally, Allan Holdsworth, Frank Gambale, Michael Schenker, Richie Kotzen. and many others. Stu has been a monumental influence in jazz/rock style for many bass players worldwide.
STUHAMM is endorsed by Warwick basses, MarkBass amps and GHS strings.
In a hip-hop career that has stretched past a decade, Blackalicious has earned respect the old-fashioned way–rising through honesty, commitment, and artistry. Blackalicious is an American hip hop duo from Sacramento, California made up of rapper Gift of Gab (born Tim Parker) and DJ/producer Chief Xcel (born Xavier Mosley). They are noted for Gift of Gab’s often “tongue-twisting”, multisyllabic, complex rhymes and Chief Xcel’s “classic” beats.
Like a few other West Coast rap acts, including the Pharcyde and Jurassic 5, Blackalicious has generally favored what hip-hoppers call the “positive tip”; in other words, its lyrics have often been spiritual and uplifting rather than violent or misogynous. Like a lot of experimental alternative rappers, Blackalicious can be quirky and eccentric; nonetheless, spirituality is a big part of the group’s music. Although Blackalicious wasn’t formed until the early ’90s, its members had known each other since the late ’80s. Founding members Gift of Gab (Timothy Parker) and Chief Xcel (Xavier Mosley) first met in Sacramento, CA, in 1987 when they were students at John F. Kennedy High School. Neither of them was originally from Sacramento; DJ/producer Xcel (who was going by DJ IceSki at the time) was a native of the San Francisco Bay Area, while rapper Gift of Gab was from Los Angeles’ suburban San Fernando Valley.
The two went their separate ways after Gift of Gab (also known as Gabby T) graduated from Kennedy High in 1989, but they were reunited in Davis, CA, in 1992. By that time, Xcel had become a student at the University of California at Davis and the Gift of Gabhad moved to Davis to form Blackalicious with him. UC Davis was where Xcel had started working with a hip-hop crew named SoleSides, whose members included DJ Shadow, Lateef the Truth Speaker, and Lyrics Born. SoleSides Records was the name of the SoleSides Crew’s Northern California record company and in 1994, that label released Blackalicious’ debut single “Swan Lake.” Although not a triple-platinum smash, the single was a small underground hit that fared well among alternative rap audiences. The following year, SoleSides Records released a Blackalicious EP titled Melodica. By late 1997, SoleSides Records had transformed into Quannum Records, and in 1999, Quannum put out another Blackalicious EP, A2G.
In 2000, Quannum released the group’s full-length debut Nia (whose title is the Swahili word for purpose). After being together eight years, Blackalicious finally signed with a major label when, in late 2000, the Californians were added by MCA. In April 2002, Quannum/MCA released Blazing Arrow, which boasted guest appearances ranging from vocalist Zack de la Rocha (of Rage Against the Machine) to the Roots’ ?uestlove to veteran soul singerGil Scott-Heron. After the requisite tour, both Xcel and Gab began developing solo material; Quannum released both Maroons’ Ambush (Chief Xcel with Latyrx’s Lateef the Truth Speaker) as well as a Gift of Gab solo LP, Fourth Dimensional Rocketships Going Up. The pair returned in 2005 for their third album, The Craft, with a contract in hand from the Anti- label. By Alex Henderson – All Music Guide.
Established in early 2017 by Deyv Dee and Mike Rongo. Dead Wolf was looking to bring an old sound back to current times. With power packed lyrics and catchy guitar licks Dead wolf needed a strong back bone drummer, and Paul Mancuso fit the spot perfectly. After recording the 6 song EP at Populist studio in Wheaton, Illinois, in two days. Dead Wolf released their first single “Trendy” as a music video on Friday October 13th in 2017. Directly after that Dead wolf made a FM debut with the same song “Trendy” a week later. With the addition of Daniel Miller on additional guitar, Dead Wolf now carries the full pow, blow for blow at every event/concert/backyard party alike.
New music from Robert “Chicken” Sulzmann of She Likes Todd. More coming soon.
I have been involved in many music projects in the Chicagoland area, including SET FIRE TO REASON, MACGYVER, DICK’N YER FACE, and SHE LIKES TODD. SLT was my passion project, and it did pretty well. We toured the country a few times, played with so many great bands, and put out some of the music I’m most proud of. While we still play shows, we are not nearly as active as in the past, and we’ve all spread out to other projects. I continued to write solo music under the name DOWN SOLO, and while that kept me sane, it’s still not the same as getting on a stage with a few friends and rocking out. So, in the eternal quest to brand myself, I decided to use CHX, short for Chicken, as my name and get as much help from my fellow musician friends to put out new killer music for everyone to enjoy. And with that, CHX Collective was born.
