DEAD COUNTRY GENTLEMEN
Hailing from the Mission District of San Francisco, Dead Country Gentlemen combine high gain guitar, thundering drums and haunting organ to deliver heartfelt shows that reflect their unsettling lyrics.
Hailing from the Mission District of San Francisco, Dead Country Gentlemen combine high gain guitar, thundering drums and haunting organ to deliver heartfelt shows that reflect their unsettling lyrics.
At Fillmore East is the first live album by American rock band the Allman Brothers Band, and their third release overall. Produced by Tom Dowd, the album was released in July 1971 in the United States by Capricorn Records. As the title indicates, the recording took place at the New York City music venue Fillmore East, which was run by concert promoter Bill Graham. It was recorded over the course of three nights in March 1971 and features the band performing extended jam versions of songs such as “Whipping Post”, “You Don’t Love Me” and “In Memory of Elizabeth Reed.” When first commercially released, it was issued as a double LP with just seven songs comprising four vinyl sides.
80s/90s Vinyl DJ Dance Party
Chicago Metal Band
Clara is an opinionated, loud-mouth, sometimes vulgar, often silly, gin drinking feminist singer/songwriter living in Chicago, Il.
The name Life Once Flourished Here is in reference to the multitude of injustice both against humyn beings and the world we live in. Though things in life sometimes seem to progressing forward, in many accounts humanity has taken giant steps backwards.
A truly original sound that is creating a big wave throughout the USA, Anthem provides musical enchantment and diversity for lovers of all reggae, from roots to dancehall.
Anthem is a diverse family that wants everyone to have as much fun listening to the music as they do playing it.
The live shows provide entertainment for your ears and your eyes,
and raise the vibe to levels unlike any you have previously experienced. Come vibe with Anthem to experience the harmonious sounds of the new millennium!
Sister Carol – Third World – Yellowman – Jimmy Cliff – Big Mountain – The Wailers Band – Burning Spear – Black Uhuru – Judy Mowatt – The Neville Bros – The Isley Brothers – Maxi Priest – Buju Banton – Capleton – Chacadimus and Pliers – John Holt – Ken Booth – Dennis Brown – Super Cat.
D.O.V.E. Muzik[Development of Vital Energies Muzik] is a Reggae Recording Label, Studio & Live Band. D.O.V.E. Muzik, founded by Tzaddi Wadadah I circa 1983. Presently D.O.V.E. Muzik is led by son Tzaddi Wadadah II on a musical mission to create VITAL ENERGY for the edification of the people all over the earth in need of that vital energy. D.O.V.E. Muzik features artists such as Nego Hights, Princess KazaYah, I-dre, Ras Arcane, Tzaddi Wadadah I, Wadadah II & others. Rastafari Bless
This is heavy. Weight has nothing to do with it.
Johnny has been playing in bands since he was 14. He’s much older now. He likes writing. Also turtles. He Doesn’t believe in free time. He’s a real sonuvabitch. He used to front Chicago Punk/Soul powerhouse Tracer Bullet, and currently fronts his new group, Johnny Chastain & The Heart Beats.
Band from Chicago. Asthmatics. Mixtures of 60’s harmonic pop, merseybeat, and psych pop.
Bullet Tooth is excited to announce the worldwide signing of KNOCKOUT KID from Chicago! Their unique brand of aggressive, metal-tinged pop punk has solidified them as a frontrunner of the scene, and they’ve spent the last two years touring the U.S. and Canada extensively in support of their self-released debut, “It Comes With the Job Description.” Having been compared to Four Year Strong, A Day ToRemember, and The Wonder Years, KNOCKOUT KID released their label debut 12 song album, “MANIC,” in-stores and digitally via Bullet Tooth on 2/26/16. The album also features guest vocals from Kid Liberty singer, and Bullet Tooth alumni, Trey Sexton, on the track “Jurassic Park After Dark,” the first single off the record. “MANIC” LPs will be available with an unheard bonus track in two variations – blue splatter and gold – in early fall of 2016. The first music video from the album, “Empire Business,” will be out in summer ’16.
Speaking on the signing, the band said, “Joining the Bullet Tooth family is a dream come true for KNOCKOUT KID. Having grown up on bands from Josh and Bullet Tooth, it’s only right that they release our most ambitious album to date. The future has never been brighter.”
Since its release, “MANIC” has garnered critical acclaim. New Noise Magazine called it the “most important record of 2016” because of its forward-thinking lyrical content. Chicago’s own Reckless Record’s hails “MANIC” as a “songwriting masterpiece for instrumentation & lyricism.” The record also earned the band a personal invitation to play Belgium’s Groezrock Festival in April of 2016, one of Europe’s top ten rock festivals.
KNOCKOUT KID is touring full time to show the world “MANIC.”
Quod natura non dat, obscuritas non prestat
Black Metal from Chile
Copperhead Road is the third studio album by Steve Earle, released in 1988. The album is often referred to as Earle’s first “rock record”; Earle himself calls it the world’s first blend of heavy metal and bluegrass, and the January 26, 1989 review of the album by Rolling Stone suggested that the style be called “power twang”.
SONAR stands for SONic ARchitecture: sounding architecture, sometimes delicate and interlaced, sometimes raw and powerful.
The man who wears many musical colors.
Those seven words eloquently capture the multifaceted essence of Donald Lawrence. Songwriter. Producer. Composer. Music/choir director. Recording artist. The guiding force behind such No. 1 hits as “Encourage Yourself,” “Back II Eden” and “The Blessing of Abraham.” Equally at home in both the inspirational and contemporary arenas, the multiple Grammy and Stellar Award winner has collaborated with a diverse roster, including such marquee names as Karen Clark Sheard, Donnie McClurkin, Kirk Franklin, En Vogue and Mary J. Blige.
“It’s said that the music you do is where you’ve lived,” says Lawrence of his creative journey. “What I do isn’t contrived. I don’t think in terms of genre or religious perspective. It comes from being honest. I just honor the gift and purpose I was given to touch the world and inspire. And people have paid attention to that.”
Sacramento technical death metal militia, ALTERBEAST, is pleased to unleash their full-length debut via Unique Leader this Spring! Titled Immortal, the eight track monster offering was meticulously assembled in several locals throughout 2013. With guitars and bass recorded at Augmented Audio in Los Angeles with former The Black Dahlia Murder bassist Ryan “Bart” Williams, vocals arranged at Mayhemeness Studios in Sacramento by Bob Swanson (Rings Of Saturn) and drums tracked at Castle Ultimate Studios with Zack Ohren (Light This City, All Shall Perish, First Blood, Cattle Decapitation, Warbringer et al), who also mixed and mastered the release, Immortal promises to deliver some of the most dynamic, instrumentally adept and plainly crushing material of the year.
Elaborates ALTERBEAST on the outcome: “Immortal is what was spawned from hard work, dedication, and downright brutal musicianship. It has intricate solos, absolutely crushing interludes and brutal circle-pit anthems. ALTERBEAST sets the scene with grievous piano preceding the onset of ‘Flesh Bound Text’ which comes in with blistering drums and guitars effortlessly making their way around the fret board. Every piece truly has its own personality on this record, whether it’s the apocalyptic soundscapes of ‘Ancient’s Retribution,’ the devastating aggression of ‘Vile Remnants’ or the unmerciful grooves in ‘Throne of Maggots.’ This album has something for every listener and comes together seamlessly to form as a breathtaking whole. Immortal is exactly what we intended it to be: a gripping and intense death metal album.”
Chicago band A Silent Truth is a continuation of an idea started in 2009. Dan Hardman formed the band through several line ups until stepping down in Spring of 2017. The band is made up of members of several chicagoland groups that share a single vision of the world of music. John Partipilo (Ditchwater) on bass guitar, Nathan Moderski (Ignescent) on rhythm guitar, Steven Larocco (ignescent) on lead guitar, and Justin Pferschy on drums with a Vocalist to be named later. Look for a new EP in 2017
Los Angeles based hard rock band featuring former members of BREAKING BENJAMIN and HEART-SET SELF DESTRUCT.
Dead Horse Trauma is a 5-headed war machine dedicated to infecting the masses with procedures and tactics used by our world to feed us the lies we are spoon-fed since before we can crawl. It’s the exposure of the perversity and falsities we are subliminally directed by. It’s your wake-up call, or the means to your end.
Dummy is the debut studio album by English electronic band Portishead. It was released on 22 August 1994, by Go! Beat Records. The album received critical acclaim, winning the 1995 Mercury Music Prize. It is often credited with popularising the trip hop genre, and is frequently cited in lists of the best albums of the 1990s. Although it achieved only modest chart success overseas, it peaked at number 2 on the UK Album Chart, and saw two of its three singles reach number 13. The album was certified gold in 1997 and has sold two million copies in Europe. The album was certified double platinum in the UK in 1996, for sales exceeding 600,000 copies. It had sold 825,000 copies in the United Kingdom as of September 2011.
Iconoclastic 3TEETH frontman Alexis Mincolla is dedicated to exploring the relationship between archetypes, mythologies, history, and the hypocrisy of the human experience. “We’re constantly dissecting the space between chaos and order in the eternal psychic battle between forces with opposing beliefs or perspectives, that we call the cosmic taint,” he says.
3TEETH use corrosive rhythms, acerbic samples, blazing guitars and a confrontational polemic to inspire listeners to question the ideologies that we hold sacred. It’s the same kind of musical activism sparked by groups like MC5 in the ‘60s and reignited in the ‘90s by Rage Against the Machine.
“I saw Rage four times when I was a kid and that had a profound effect on me,” says Mincolla, who holds two political science degrees. “I took out Che Guevara’s ‘Guerrilla Warfare’ from the library in seventh grade because I wanted to know who this guy on the t-shirt was. And that stuck with me.”
The dualities between the left and the right, the haves and the have nots, and the variegated results of governmental oppression and total anarchy are touchpoints for 3TEETH, a band that doesn’t believe in aphorisms or absolutes and seeks liberation through angry, yet accessible music. The band’s third album, METAWAR, is a powerfully political compendium of songs which are both enlightening and infectious.
“I wasn’t writing for the left or the right or anything like that,” Mincolla says. “I just wanted to write stuff that reflected the whole insane, absurdist political theater and wrap it all up in this nihilistic approach of bringing it all to an end. There’s something really rewarding about creating this funhouse mirror that we’re holding up to things like the military-industrial complex. You warp it in this sardonic way and reflect it back at people – it’s like sucking the poison out of the mass-production society and then spitting it back in its own fucking face.”
Having established themselves and cemented a following with their first two albums, 2014’s self-titled debut and 2017’s <shutdown.exe>, and having toured with Tool, Rammstein, Danzig and HIM, 3TEETH is in a good position to lash out with their most fiery, catchy and confrontational album to date, METAWAR. Mincolla and his bandmates started working on the songs in their home studio. When they had a batch of material they were happy with, they called industrial music guru Sean Beavan (Nine Inch Nails, Marilyn Manson) to produce the album. And this time, there were no external distractions.
“This was the first record where we weren’t working side jobs and just getting together on free time and cobbling together a record,” Mincolla says. “We put our total focus into this and that helped us find our real sound and hone it. We self-produced our first two albums, and that was cool, but having a producer as experienced as Sean to help push us really brought out our best. And we had a fucking blast.”
One listen to the syncopated beats, misanthropic vocals and uncanny melodies of the opening track “AFFLUENZA” illustrates 3TEETH’s determination to stretch boundaries and shatter preconceptions. The rest of the album is just as impacting. The first single, “AMERICAN LANDFILL,” starts with a sample redolent of industrial chainsaws and the threatening sound clip, “You gonna buy American next time?” Then, the track launches into a surging number fueled by the contempt of ignorance and a celebration of decay. Mincolla’s vocals see-saw from aggro screams to haunting melodic crooning and the band compliments his delivery with chugging riffs, pulsing keyboards and battering ram beats.
In addition to drawing inspiration from the biggest names in industrial music, 3TEETH are well-schooled in the pioneering demolition of the scene’s progenitors, including Skinny Puppy, Front 242 and KMFDM, to name a few. In addition, the band is inspired by the skewed sounds of bands such as Tool, Sepultura and Deftones.
“Time Slave” is a mid-tempo barrage of pummeling rhythms, piercing synths and driving riffs colored by a tuneful refrain and “President X,” which begins with an ominous whoosh that morphs into the shouts of a riotous crowd, is a masterful mélange of mechanized vocals, martial beats and keyboards that compliment the scathing, non-partisan message.
“We’re really trying to find a weird space in between everything else that is maybe anti-systemic, that isn’t on the left or the right, and is underrepresented,” Mincolla says. “On ‘PRESIDENT X,’ we’re not making fun of President Trump. We’re making fun of every president. It doesn’t make a difference who the president is. It’s all the same bullshit.”
Digging underneath conventional wisdom to reveal the rotting underbelly and impure motivations of the corporate mainstream is a major part of 3TEETH’s aesthetic and Mincolla relies on his knowledge of numerology, theology, sociology and history to wake the complacent pacified by misinformation and call out the parasites that feed off the ignorant. Even the band’s name is a means of bonding with the enlightened and educating the curious.
“3TEETH is this cryptic way of explaining the Trident, which is the divine weapon of creation and destruction of the gods,” he says. “But I like codifying it in this very gritty and almost disgusting way. You hear 3TEETH and maybe you think of a meth addict or someone who has been smashed in the mouth. So, you’re either in the know or not, and if you don’t know, it almost has a guard up against you unless you really want to delve into it.”
Understanding or interpreting the meaning beneath the surface has been important to Mincolla for years. One of his greatest epiphanies came when he was a 21-year-old college student and he was hanging out under a statue of Giordano Bruno. Unbeknownst to Mincolla, Bruno was a 15th Century Italian philosopher, astronomer, mathematician, and occultist whose theories predated modern science.
“While I was standing there, I was talking to my history professor and he explained that Bruno was burned at the stake,” Mincolla says. “The Catholic Church thought he was a heretic because he was interested in Numerology, Neoplatonism and other esoteric things that they condemned. When I found that out, I dove down this rabbit hole to learn about hermetic wisdom, symbology, the western occult, Rosicrucianism and Egyptian mythology. I dug as far back as ancient Sumerian origin texts like the Enûma Eliš where I became obsessed with this concept of the trident – it was the god Marduk who represented order, who killed Tiamat who represented chaos, thus creating the universe.”
Unlike most bands, which form to write songs, play gigs and maybe make some money, 3TEETH were born out of a synthesis of visual art, inventive thought and unconventional music. At the time, Mincolla was a creative director of an L.A. tech noir nightclub called Lil Death. Soon, after, he met keyboardist Xavier Swafford, with whom he had much in common. “I found out we actually lived next to each other and he was a producer,” Mincolla says “We started getting together and making some music but we were really just doing it because we were bored. Then we got more into it. Having a background as an art director, I started creating all this memetic force by creating imagery and leaking teasers about what we were doing. Everyone was like, ‘Who are these guys and where do they come from?’ That’s when we thought, ‘Damn, maybe we should just keep writing and do a record.’”
Mincolla and Swafford outsourced guitar and drum duties to various friends and peers until they teamed up Andrew Means (modular synth/ bass), Chase Brawner (guitar) and Justin Hanson (drums). In 2014, the members of 3TEETH met up once or twice a week to work on what became their self-titled debut album. A year later, an indie label in Toronto offered them a deal. As part of the contract, Mincolla stipulated that the album be released in limited edition on vinyl, which the record company was initially against.
“At that point, I didn’t know I wanted to be in a band and tour,” he says. “I just knew I wanted to have an album on vinyl so when I was 50 I could hold up the record and say, ‘Hey, look what I did.’ Because I remember my older brother saying to me, ‘It’s not final until it’s on vinyl,’ and that phrase stuck with me. The label said, ‘We don’t do debuts on vinyl. It’s costly and we’re small and we don’t want to lose our shirts.’ And I said, ‘Guys, if we produce this vinyl, I promise I’ll make sure it all sells.’ They agreed and I started creating all this memetic culture around the band and the visuals. It caused all this hype and the pre-orders started flying. The next thing I knew, we started getting offers for shows. We didn’t even have a manager at that point.”
Adopting a DIY approach, Mincolla served as the band’s manager, booking agent, publicist and frontman. 3TEETH’s first show was at an L.A. club called Complex and the place was packed. Somehow, the band’s second show was at a small summer festival in Canada in front of more than 2,000 people. “We absolutely fucking smashed it,” he says. “It was super kinetic and we had so much fun,” Mincolla said. “Everyone was going ‘Where did these guys come from? What’s going on? It doesn’t make any sense.’ Ever since then, we’ve never looked back. I booked shows in week to two-week long runs whenever we had the time.”
Shortly after, Mincolla met Tool guitarist Adam Jones when the two were groomsmen at the wedding of a mutual friend. During the downtime, the two rockers nerded out about video games, and when the wedding was over, they exchanged information so they could play games together over the internet. The whole time, they never talked about Tool — one of Mincolla’s favorite bands — and the singer never mentioned he had his own group. About a year after the wedding, Jones and Mincolla were hanging out when Jones mentioned the inevitable.
“Hey Lex, why didn’t you tell me you had a band?” Mincolla recalls Jones saying. “Well, because you’re Adam from Tool. I’m sure everyone’s like, ‘Hey, look at my fuckin’ band.’” he responded. “Well, you’re right,” acknowledged Jones. “But I just saw a video you guys did and it was really awesome. I’d love to see you play live sometime.’”
It was a pivotal moment for 3TEETH. Jones attended one of the band’s show at the Viper Room in L.A. and had a great time. Jones then played 3TEETH’s self-titled album for his bandmates, who also dug the industrial vibe of the music. In the end, they agreed to invite 3TEETH to open for them and Primus in early 2016. Suddenly, 3TEETH went from playing for crowds of about 500 to performing for 20,000 ravenous Tool fans in sold-out arenas. “Before we went out with them, I was psyched, but I just didn’t feel prepared at all,” remembers Mincolla. “I didn’t even know what an arena sounded like from the stage. Did we have to switch gear or use monitors? I just knew nothing. But it’s one of those things where you don’t go, ‘Hey, sorry man. I’m not ready. Can we try it next year?’ You just fuckin’ do it. You get thrown into the water and you sink or swim. We did 30 dates and somehow, we didn’t get booed. The crowd liked it, and once you get a taste of that arena blood and what it feels like to get applause in that environment, you’re all, ‘Cool, I only want to play arenas from now on.’”
When 3TEETH returned from the road, they went back into the studio and wrote their second album, <shutdown.exe>, which peaked at #23 on Billboard, and expanded the band’s following. In no time, 3TEETH were headlining clubs and opening tours for Rammstein, Danzig and HIM in the U.S. and Europe.
As they began the process of writing their third album, 3TEETH strived to write heavier, more aggressive songs with strong hooks that would appeal to arena audiences as well as club dwellers.
“I knew it was time to kick this thing into overdrive, “Mincolla says. “In my mind, this was our first official record. I knew I wanted the songs to have strong messages, but at the same time, I wanted to make an album that could appeal to 20,000 people who all wanted to rock out at the same time. I purposely didn’t want to be so heavy-handed that it wasn’t fun. I wanted there to be a certain amount of mindlessness in the music because I think mindlessness in mindfulness. They actually make very good bedmates. If you’re gonna say something really important you don’t want to come across as preachy.”
From the slow, brooding intro to “ALTÆR” to the moody, electronic pop-tinted “SURRENDER,” 3TEETH touch all the pleasure points for fans of metal, industrial, EBM and even new wave while injecting sobering, prescient themes about megalomania, media overload, and mass rebellion. 3TEETH’s reliance on pop culture tropes to overload and overthrow is especially evident in their cover of Foster the People’s mega-hit “PUMPED UP KICKS,” which is manipulated, twisted and abused until it’s an ugly transmogrification. And yet, it’s still fully recognizable to fans of the original.
“You might love it or you might hate it,” Mincolla says. “The point is to formulate your own opinion because you’re never going to get anything at face value anymore. We live in a post-information age where there’s a mutation chamber of identity politics that’s so pungent it’s next to impossible to extrapolate any real information about anything.”
“Our whole thing is about condemning our eyes in so many ways,” concludes Mincolla. “We’ve gotten to the point where even if you see something with your own eyes it doesn’t mean what you’re seeing is real, or maybe it’s just one side of reality. In the end, I think I just want people to think harder and to realize that if you’re not contradicting yourself with whatever you’re doing, you’re probably not thinking hard enough.”
Cave of Swimmers is a band formed by two Venezuelan kids who met in the 4th grade. After moving to Miami in the mid 2000’s, they reunited to form a band with an original take on heavy music. Fast, slow, spooky, sludgy, progressive, you name it: Cave of Swimmers does it their own way.
Their self-titled debut album gained critical acclaim last year after a few tours. They made a name for themselves as a band that’s real with a live show like no other, outta control, and full of raw energy. Their new album “Reflection” was released in the summer of 2015 and they’re touring this February-March and this summer supporting the release.
Beyond Heaven & Hell is where THEE WITCHES dwell.
Proggy doom from the great white North
Bronson Wisconsin is a tasteful collaboration of Alt-Country, Indie-Rock, and everything in between. Growing up as one of 9 kids in a musically diverse home, brothers Bronson and Preston was exposed to all the music they could handle and more than enough instruments needed to express themselves. Spending the long, cold Wisconsin winters the same way they spent the hot and beautiful summers, practicing their craft.
After achieving success as the globally recognized latin duo, Taalbi Brothers, Bronson went on expressing a different side of himself as a singer and as a songwriter. What started out as a “one day one song” demoing session, quickly turned into “3 days, 6 songs” and before they realized it, the brothers had themselves their first EP as Bronson Wisconsin.
“That Damn Piano” was released on Friday, June 10th in Bronson Wisconsin’s hometown of Madison, WI.
“What you get in Bronson Wisconsin is honest songwriting, Midwest sensibilities, dressed up in Los Angeles style. Keep an eye out for these guys as they are definitely going places.” – JOHN ANDERSON, ringmaster and CEO of Hunnypot Unlimited (a cutting-edge organization specializing in discovering and cultivating fresh music talent)
“In the vein of Alt-Country / Americana but definitely with some bite and some grit to it. Very earnest with a “salt of the earth” quality to it, it doesn’t hold back, and is very successful at steering clear of the overtly clean and faux americana that has taken over the ‘dad-rock’ radio market.” -Kyle Kohler, Stage Banter (Podcast)
We play singer-songwriter folk rock & are from the Chicago southside.
Alejandro Chal is a Peruvian R&B singer-songwriter and producer. He released his first EP, Ballroom Riots, in 2013. His debut studio album, Welcome to GAZI, was self-released in June 2016
The original Hymen Moments, Chicago’s only female Misfits party band since 2012!!
Amir Obeid known professionally as Amir Obè, is an American rapper, singer, songwriter, and record producer from Detroit, Michigan. He started his music career in 2009 as Phreshy Duzit and signed to Atlantic Records. He later left the label to reinvent his style and changed his name to Amir Obè and found his own collective Neighborhood PHCK$. Obè rose to fame by releasing the mixtape, Detrooklyn in 2014. In 2015, he released the EP, Happening in the Grey Area and then 2016’s, Won’t Find Love in the Hills. On December 1, 2016, Amir announced that he had signed a deal with Def Jam Recordings, and that an album is set to release sometime in 2017. His debut single on Def Jam, “Wish You Well” was released on March 9, 2017.
Doom began as The Subverters with Jon Pickering (bass/vocals), Bri Doom (guitar) and Jason Hodges (drums). After Jason was replaced by new drummer, Mick Harris (Napalm Death), the band changed its name to Doom…
This line up played one or two gigs, playing in a crossover metal style. Bri and Jon decided this wasn’t the direction they wanted the band to move in. Consequently they left Harris and the metal style of music, and decided to go in a Discharge-influenced crust-punk-style that Doom became known for. Pickering dropped bass to concentrate on vocals and Pete Nash joined as bass player. Harris left for Napalm Death so new drummer ‘Stick’, recently made bandless, joined after a drunken meeting at the infamous Mermaid Pub, this was when the ‘real’ Doom was formed. The band started rehearsing with this line-up in mid 1987…
About this time a small label called Peaceville Records was starting up. They heard about Doom through word of mouth and asked if they were interested in contributing songs to the first peaceville compilation A Vile Peace. Doom went into the studio to record their first demo on 28 August 1987. Nash unfortunately broke his wrist just before Doom’s recording debut, so bass player Jim Whitley (of Napalm Death and Ripcord Fame) filled in on the recording. Three songs were recorded (two of which appeared on A Vile Peace)…
On the strength of this first recording Peaceville asked Doom if they would record a full LP for them, which they agreed to do. The “War is Big Business” demo was recorded on 27 November 1987, which the band sold as a cassette at gigs. In February 1988, Doom went into “Rich Bitch” studios and recorded 21 songs for their debut album “War Crimes (Inhuman Beings)”. All this time the band gigged constantly in the UK building up a following on the way. Another demo “Domesday” was also produced…
At the end of 1988, due to personal commitments Bri announced that he would be leaving the band. He stayed long enough to record the split LP “Bury the Debt – Not the Dead” (with Swedish band No Security) on the Peaceville label. The “Police Bastard” EP (on discarded records) was also recorded at the same session. Doom were also invited to record two sessions for Radio One’s John Peel show around this point. Bri left the band in April 1989 after completing a lengthy European tour…
Doom continued with different guitarists but did not settle with four members, so Pickering turned to vocal and guitar duties. This line up continued until a final split in August 1990. Following the group’s demise Pickering formed Police Bastard, whilst drummer Stick joined Extreme Noise Terror then DIRT…
Doom reformed..
The band reformed in 1992 with the earlier line up of Bri, Jon, Pete and Stick. They toured Japan and recorded a 12″ of new songs released on the label Vinyl Japan. This proved to be the last recording with this line up. About this point the band almost folded but Bri and Stick decided to continue with two new members. These being Tom Croft from Genital Deformities on vocals and Paul “Mall” Mallen on bass guitar. This line up recorded the split album with Selfish and a split 7″ EP with Hiatus. Mall left shortly afterwards (an amicable parting). He was replaced by bassist Scoot from Largactyl…
This line up recorded the split 7″ EP Doomed to Extinction with Extinction of Mankind, the Fuck Peaceville double LP, and the Hail to Sweden 7″ EP. This is also the line up who appear on the Videodoom video on MCR recorded on a European tour in 1994..
A tour of Scandinavia was organised for September 1995, however Scoot decided not to go due to problems at home, so he was replaced by Denis (of Blood Sucking Freaks) & permanently by Chris Gascoigne (of Suffer) after the tour. Tom Croft also left just before the tour and he was replaced by Wayne Southworth (also of Blood Sucking Freaks). While on the Scandinavian tour Doom recorded the Monarchy Zoo 7″ EP at Sunlight Studios…
The band, now comprised of Stick, Bri, Denis, Wayne and Chris. They went into the studio in June 1996 and recorded a full LP for Flat Earth, called “Rush Hour of the Gods”. In 97 the band recorded again for Flat Earth the split 10″ with CRESS & in 2001 the last full length LP entitled “World of Shit” on Vinyl Japan Recs..
Bri would go on to join Khang (As Bass player), this band then evolving into LAZARUS BLACKSTAR. Stick was also drummer for the band RUIN..
Bri, Stick and Wayne also played in the band THE DEVILS.
DOOM reformed again with Bri, Stick, Wayne and Andy Irvine (ex DISAFFECT, SCATHA and DEVILS).
….On March 18, 2005 Wayne Southworth (lead singer) died at his home. The cause of death was an epileptic seizure…..
2010: Doom is back…. the line-up keeps it “in the family”: ..Bri – Guitar, Stick – Drums, Scoot – Bass, Denis – Vocals
The U.S.-based dark metal band URN® is one on a musical journey exploring the darker aspects of both the conscious mind and the unconscious soul. The band has been captivating audiences across multiple genres and have been establishing themselves as one the more energetic live acts to see. The band has drawn comparisons by national trade media to such artists such as Type O Negative, Lacuna Coil, Amorphis, Nightwish, My Dying Bride and other similar acts that tend to find a certain beauty in darkness.
Steve Silver reading from his first book “This Might Hurt A Bit”
Dr. John’s Gumbo is the fifth album by New Orleans singer and pianist Dr. John, a tribute to the music of his native city. The album is a collection of covers of New Orleans classics, played by a major figure in the city’s music.
With roots in the Bay Area metal and Albuquerque punk scenes, Russian Girlfriends strikes a careful balance between raw youthful energy, infectious melodies, and thoughtful, story-driven lyricism.
The band formed in 2014, comprised of Albuquerque local scene veterans and ex members of Koffin Kats, Adam Hooks and his Hang-ups, and Glitter Dick. The original lineup; Adam Hooks as lead vocalist, Ian Jarrell and Colin Dowell on guitar, and Jeremy Keith on bass, was completed when Sasha Horn (drummer for Heathen, Novembers Doom, and Forbidden.) joined as the band’s drummer.
“Hooks is a songwriting and vocal force of nature. His weapons are his pen, paper, and a voice that can floor you completely and serenade you sweetly. Dowell and Jarrel’s guitar lines Ride the Lightning and bite harder and faster than a pit of Ass Cobras. Horn is a prize fighter behind the drum kit. His precision and power drive each song, while Keith’s bass playing gets your hips shaking and makes it all go down smooth like a fine scotch.” – Gene Simmons
The group is quickly winning fans near and far as they have embarked on four tours across the United States. Most recently they hit the road as direct support for Red City Radio on their 2016 West Easy tour. Upon conclusion of that tour, they signed on with the Atomic Music Group booking agency.
Russian Girlfriends proudly performed at “The Fest 15” in Gainesville, FL.
The band’s full-length debut, “All Around” draws on themes lifted from American history, Native American history, real life events, dreams, and relationships, all told with distinctly surreal and satirical undertones.
BIG UPS A Rock Band™ – Brooklyn, NY
Integrating equal parts black metal savagery and rock n’ roll defiance, WORMWITCH’s forthcoming album, “Strike Mortal Soil”, stands like a monolith commemorating those that came before while dispersing a beacon of hope to the future. Available inlimited edition LP in lightning bolt blue w/ black specks on May 12th.
Aoxomoxoa is the third Grateful Dead studio album. One of the first rock albums to be recorded using 16-track technology, fans and critics alike consider this era to be the band’s experimental apex. The title is a meaningless palindrome, usually pronounced “ox-oh-mox-oh-ah”.
BEACH BOY ONA WAVE
The LA Weekly calls Clownvis Presley “Better than the real Elvis”. A bold statement indeed, but when it comes to quick wit, incredibly catchy songs, and genuine showmanship, its safe to say Clownvis has earned the title “The King of Clowns”. From the sideshow at Coney Island to the hottest comedy events in Los Angeles and everything in between, Clownvis is consistently brining his unique blend of comedy, song, and magic to stages across America.
Thanks to a controversial appearance on NBC’s America’s Got Talent, Clownvis is now familiar to millions of people around the planet. His outrageous audition is a must see (check Youtube). Following this break through Clownvis has become a huge sensation, releasing viral music videos and appearing on Comedy Central, The Tom Green Show, Playboy Radio, Sirius XM, and on comedy bills with legends such as Tim Heidecker, Sarah Silverman, Margaret Cho, Drew Carry, David Spade, Bob Odenkirk, and many more.