Won’t Stay Dead is a horror-themed punk band with grunge and new wave influences from Chicago, blending catchy hooks and harmonies with macabre lyrics.
The band formed in 2017 and has been playing with the current lineup since late 2022.
The band’s first full length album, Purgatory, was released in October of ’21 on Don’t Panic Records & Distro
UW Madison Student Formed Rock Experience. Blending funk and psychedelic ideas with our own flavors. We play because we love jamming, and you.
Different Places in SPACE may sound like an ambiguous destination, but the journey originated from a very specific terrestrial plane. Different Places in SPACE is a group of four artists who pull together diverse elements of jazz and rock and mix it with an interactive performance style to create a sonic, and decidedly psychedelic, musical experience. The band has only a brief history in time, dating back to its genesis as a duo in the city of Los Angeles where Michael McCabe Palladini and Daniel Lawrence Ruffolo were roommates.
If LA produced the Big Bang, then the expansion of the Different Places Universe occurred when the pair discovered two other like-minded musicians back home in Pittsburgh. This new connection pulled them back in the PA orbit, although Ruffolo currently maintains a satellite position in Chicago. In addition to Ruffolo, who plays lead guitar, and Palladini, who plays rhythm (they both share vocal duties), the band features Douglas (DJ) Joseph Hitchman on bass and Matthew Austin Newmeyer on percussion. As a unit, the four weave together a pastiche of sounds, styles and rhythms for recording and live performances which incorporates sound with visuals and audience participation. At their shows they encourage audience members to add their own artistic energy through painting and dance which creates a fully interactive experience. Energy is taken from the crowd, then fed back to the audience so that everyone can lose themselves in the experience.
Legendary Chinese rocker XTX (Xie Tian Xiao 谢天笑) brings his explosive live show to the US in April. The tour, produced by seminal Chinese label/promoter Modern Sky, hits nine cities including Seattle, San Francisco, Los Angeles, Chicago, Boston, New York, and Indianapolis.
Originally from Shandong, XTX got his start in Beijing in the mid-1990s, forming the grunge act Cold Blooded Animal 冷血动物 and releasing the band’s self-titled debut on Chinese underground rock label Scream Records in 2000. A 2002 tour of the US, during which Cold Blooded Animal became the first Mainland rock band to perform at SXSW, and two years living in New York City, honed the vision for XTX.
Nearly two decades of wild live shows and a bad-boy reputation have made XTX a mainstay headliner at major Chinese music festivals, and a legend among Chinese rock fans.
Montreal-based industrial rock group, Projekt F, are well-known for their emotionally intense music and powerful stage presence. Founded in 2009, the band is comprised of lead singer and main composer Jonh M. Miller, bassist William Hicks, guitarist Simon Sayz and drummer Fred Linx.
Coined by one reviewer as “the heavy brother of Nine Inch Nails”, Projekt F have over the years evolved into a group that commands as much visual attention as it does musical. They have played to audiences in Canada and the United States, sharing the stage with internationally known artists such as Motionless in White, Combichrist, Dope, and many more. They have also played a variety of festivals in North America, including Kinetik Festival, Montreal Fetish Week-End, GothFest, among others.
In addition to Projekt F’s live performances, their song “Oophorectomy” was featured in the 2013 Cannes Film Festival short movie “Purpl Love” (Les Films de la Muerte), and they appeared in a science-fiction TV pilot, performing their song ‘’Room 13’’.
Projekt F’s music has been played by radio stations around the world. To date they have released 1 album and 3 EPs, to numerous rave reviews. “Stunning”, “powerful”, and “brilliant” are just some of the many words that have been used to describe the music of Projekt F – a band with an all-consuming dedication to musical excellence and vivid live experiences.
Chicago three-piece with Michigan roots.
Drawing his initial inspiration from a bipolar quartet of influences — the Kinks, Small Faces, Prince and Motown — Chicago singer/guitarist Jeff Lescher has been the mainstay of the group Green since the mid-’80s. An ace pop songwriter with a knack for assessing the ups and downs of romance without malice, he possesses a phenomenal voice that can shift between stirring pop-rock singing, an ear-pinning shriek and a gospelly falsetto.
On the debut EP (a four-song 7-inch) entitled THE NAME OF THIS GROUP IS GREEN, the trio overcomes rudimentary production values to skirt nostalgia and introduce Lescher’s mix of ’60s Anglo-melodicism (“Gotta Getta Record Out,” “Better Way”), punky rock (“Not Going Down (Anymore)”) and soul (“I Don’t Wanna Say No”). Amateurish but inspired.
Remakes of those songs join ten new ones on GREEN, an inadequately produced but brilliant collection of weirdly derivative originals played with spirit and power. Occasionally pedestrian lyrics (as on “Big in Japan”) don’t interfere with the rugged pop tunes, a uniquely energetic pairing of Merseybeat and punk. “She’s Not a Little Girl” seemingly takes its chorus straight out of the Hollies songbook; “Technology” employs a catchy Bolanesque bop; “For You” and “Curry Your Favor” are ballads that display a tender, sensitive side. “I Play the Records” introduces the group’s Princely side, while “She, Probably” is achingly beautiful.
With a new rhythm section consisting of Ken Kurson (bass/vocals) and Rich Clifton (drums), the group’s second album ELAINE MACKENZIE improves the ambition and results on all fronts and sports a neat cover painting by Lescher. It was produced by Green and released by Pravda Records in 1987. Upon it’s release, glowing reviews ensued from several rock critics (who seemed to be tripping over one other in an effort to stake claim to discovering the band). PopCulturePress extols the virtues of the album remarking that “By Elaine MacKenzie, Lescher had found his voice, and it remains a mystery why Material Issue and The Posies are fixed in the collective memory as the era’s prime bands when Green was offering up such frothy guitar pop as ‘She’s An Addiction’ and the riff-happy ‘Up All Night,’ which could’ve been a nice mod-rocker in the hands of Steve Marriott.” Greg Kot of the Chicago Tribune described the album as “a minor masterpiece.” Away From the Pulsebeat magazine’s review proclaimed, “Best American band, best songwriter, best singer, best LP. Sweep year.”
ELAINE MACKENZIE was followed by the “REM” 7-inch, the necessary response to R.E.M.’s GREEN album. This release represented an expansion of the ambition displayed on ELAINE MACKENZIE and their self-titled debut. The slower tempos and more considered arrangements of “My Tears Are Dry” and “Love On Thin Air” show a band that’s maturing but without losing any of the manic energy of their previous releases. It also got them a mention on MTV News and a shout-out by Peter Buck on Chicago radio.
Hooking up with a Dutch label and a new drummer (Mark Mosher), Green released another great collection of memorable romantic pop songs. WHITE SOUL (which, ironically, downplays the group’s R&B side) benefits from two significant steps forward: improved production quality and the consistency and maturity of Lescher’s songwriting. Subtle emotions and striking melodies fill simply executed gems like “She’s Heaven,” “Night After Night,” “Monique, Monique” and “I Know.” Kurson’s boppy “My Sister Jane” is a delightful pop-punk vestige of his hardcore background, but it was his swan song with the group.
The group’s first release with ex-Slammin’ Watusis bassist Clay Tomasek in the lineup, the BITTERSWEET ep consolidates all of Lescher’s stylistic impulses into five fine new songs. The ’60s-soul title track gambles with lush strings and horns but laces it all up with a spectacular vocal; “I’ll Have Her” is alluring pop; the brutish hard-rock guitars and punky backing cheers of “Maybe UR Right” are topped off with an inveigling Kinksy melody and Gary Numan synth for a really strange effect. Lescher unloads his professional frustrations in “The Record Company Song,” a wry torrent of regret (“I’ll do anything you ask/My will is broke and I’m tired and sad”) set to a catchy rock tune.
At that point, the indie-label stalwarts — Lescher, Tomasek, and Mosher (all of them inexplicably dressed in drag on the cover) — moved onto a bigger small record company and made THE POP TARTS with Chicago studio hound Iain Burgess, a keyboard-playing guest and a horn duo. The uneven effort fares well on several fronts: the simple soul of “Broken Promises” handsomely introduces the Zombies and Style Council to Antonio Carlos Jobim, “Hear What You Want to Hear” expands a snippet of Elvis Costello melody into fully formed brisk British Invasion pop and “Marga-Marguerite” deftly appropriates the high-toned sweetness of Curtis Mayfield.
After THE POP TARTS, Green returned to Widely Distributed with a new drummer (Gregg Potter) and made the stylistically diverse PATHETIQUE ep, which included the surprise country swing of “If You Love Me (Part II).” Brad Lips reviewed it in OPTION (May/June 1994, No. 56). Lips draws comparisons to the Kinks with Lescher’s songwriting (“three songs as poignant as anything on the Kink’s KRONICLES”) and also compliments his singing (“Alternating between vulnerable falsettos and throaty growls, he uses the sadness of the former and the anger of the latter to show us that he knows about heartbreak”).
Green’s first new album in six years, GREEN 5, is an underproduced but encouraging collection improved by Tomasek’s emergence as the group’s second strong songwriter; the chorus of his “Thinking” — a blunt ’70s rock funk breakup throwback — is especially impressive. The rejuvenated quartet (with Mosher’s brother Jason on guitar) balances Beatlesque tunefulness (as on the gorgeous “Lying in the Grass” and the acoustic “Jimmie”) with ambitious arrangements (between the organ and wailing backup vocals, “Mother” nearly reimagines “Hey Jude” as gospel) and blasts of garage power. As ever, idiosyncrasies — as well as wailing guitar solos — abound. Green deftly dashes off a disguised cover of the Bee Gees’ “Holiday” (as “Photograph”) and titles a crazed arena-leaning Bolanesque boogie “Seize the Means of Production.” On “Tuesday,” Lescher sings the jacked-up romance rock with a frenzied edge that threatens to upend the lyrics.
Three years later, Green (now a trio) spent a week in France, recording EAU DE VIE with Burgess, who sharpens and clarified the sound as never before. Lescher reins in his unmelodic impulses and lets his restrained and tuneful flag fly to heartening effect, mostly rooting around in the popcraft of early-’60s England (so much for any overpowering Gallic influence) for such originals as “I’ll Be Waiting” and “Pardon Me,” which get the album off to a sweet start. Like an echo of the Gram Parsons album, Lescher sings the shit out of a stirring and gorgeous minor-key original, “Memories.” Even the two punky singalongs are mixed within safe sonic borders and owe more to the Move than Motörhead.
In 2009, Green (once again a quartet) released their latest album THE PLANETS. Though Jason Mosher returned to the fold, it was the final album to feature Mark Mosher on drums. Greg Kot of the Chicago Tribune reviewed the album and wrote, “Green has been around since the ’80s, making the kind of records prized by power-pop connoisseurs. After drawing early attention for his gifts as a singer and songwriter, Jeff Lescher has led Green through many incarnations, each producing worthy albums. The band’s latest release, “The Planets” (GangGreen), is one of their best yet, with Lescher digging as deep as he ever has for emotional payoffs. The arrangements brim with the expected hooks but have an epic, anthemic quality that ranks with the band’s most ambitious work.”
In 2010, Mike Zelenko (drummer for Material Issue) joined the group, who continue to play to enthusiastic crowds in the Midwest and Europe. Recently, Jeff and Jason of Green performed an acoustic set as the opening act for The Zombies on 05/29/2016 at the band’s request. Blaine Schultz of Scene reviewed the group’s performance in Chicago on 06/17/2016 and gushed, “Eight albums, plus a handful of singles and compilation appearances in three decades, Chicago’s Green may be the best band you never heard of.”
Power Pop Icon Cliff Johnson, the driving force behind legendary Chicago bands Off Broadway usa, Pezband and d’Thumbs returns home, backed by his new band, The Raine to showcase timeless signature songs “Stay in Time”, “Hang on For Love”, “Full Moon Turned My Head Around” and more in a career spanning set of classics.
Johnson, who cut his teeth in the clubs of Chicago, went on to release two discs for Atlantic Records. Off Broadway’s “On” featuring the hit, “Stay in Time” sold over 300 thousand copies in Chicago alone and propelled Cliff and the band into the world of stadiums and arenas, sharing the bill with the likes of The Beach Boys, The Babys, Cheap Trick, Lover Boy, Ian Hunter, Alan Parsons and Jefferson Starship.
The Raine members are veterans of the Chicago rock scene playing along side local heroes such as The Kind and The Insiders as well as national acts like A Flock of Seagulls. A rock music critic recently suggested that The Raine is “the best kept secret in the Chicago Music scene, today”.
Cliff and members of The Raine met individually over the years under casual circumstances. Having great respect for his music and what Cliff has accomplished throughout his career, the band was on an unconscious course to hook-up with Johnson musically. In 2015, Cliff agreed to join The Raine on stage to perform a handful of Cliff’s tunes in a one-off performance. There was magic in the air that night. Terry Flamm of the Power Pop blog “Broken Hearted Toy” was in attendance, and said of The Raine, “they’d be a perfect match for Johnson”. A month later, Cliff Johnson and The Raine launched. A night of fun turned into a more serious project for The Raine, who enjoy their status as the “who are these guys?” four piece engine supporting the most dynamic singer/songwriter/performer in the history of Chicago Power Pop.
Hailing from Chicago’s south suburbs, Pat Egan & The Heavy Hearts are a rock & roll band formed in 2015 to bring you indie music that echoes with hooks, passion, and nostalgia. Pat Egan & The Heavy Hearts aim to create music highlighting love, loss, and loneliness through the characters and stories within their songs. Coming off the release of their first record “Love & Disruption”, Pat Egan & The Heavy Hearts take a look inward and begin growing and writing together more so than ever before. “I think I was just afraid of letting people into my world when I’m writing.” Says Pat Egan of his creative process. For Love & Disruption, he would bring most of the song to the band and the Heavy Hearts would write parts to the established song. This time around, Egan would come together with guitarist Adam Chorak and bassist Pat Leonard to work out ideas.
Half Full brings an Organic Rock N Roll sound to the Chicago music scene. Fronted by Frank Bongiorno and David Estey, the two musicians have finally found a band to excel with after a decade of performing together.
The group has been building their fan base and honing their skills by performing regularly at Chicagoland bars, venues, and festivals.
Songwriting is a gift and labor of love to them.
In order to pursue that gift, Half Full has learned to entertain audiences with both original and cover songs which funds their dream. Relentless hard work allows continual growth in a competitive music industry.
Most importantly, the band members have come together with one common goal…to have fun performing music for a living!
Be on the look out for a collection of new singles releasing in 2018!
Raw and unapologetic, The Dead Lizardz combine Blues with influences of their Southern upbringing and individual musical tastes, creating a style of music that blurs the lines of what you thought “The Blues” were.
Face to Face is a punk rock band from Victorville, California, formed in 1991 by front man Trever Keith, bassist Matt Riddle and drummer Rob Kurth. The band rose to fame with their 1995 album Big Choice, featuring the radio hit “Disconnected” that was first played by KROQ and appeared in the movies Tank Girl and National Lampoon’s Senior Trip.
Face to Face officially split up in September 2004, allowing the band members time to focus on other projects. During that time all the band members played in a number of post-Face to Face projects including Legion of Doom, Me First and the Gimme Gimmes, The Offspring and Saves the Day. In April 2008, after a four-year hiatus, Face to Face performed together for the first time at The Glasshouse in Pomona, California. Since then, the band has continued to perform and has released three more studio albums.
Current Lineup:
Trever Keith – Vocals, Guitar
Scott Shiflett – Bass
Chad Yaro – Guitar
Danny Thompson – Drums
GREG HOWE “Lost and Found” Tour 2023
Line-Up:
Greg Howe: Guitar
Ernest Tibbs (Allan Holdsworth, Simon Phillips): Bass Joel Taylor (Al DiMeola, Allan Holdsworth): Drums
Legendary guitarist, Greg Howe, will kick off his North American tour ‘Lost and Found” this July 2023, which will feature tracks from a new upcoming studio album, in addition to many of his classic fan- favorites.
The 2023 touring band features renowned bassist Ernest Tibbs (Allan Holdsworth, Simon Phillips) and drummer Joel Taylor (Al DiMeola, Allan Holdsworth) joining Greg Howe on guitar.
Lost and Found marks Howe’s eleventh solo album and follows his 2017 Wheelhouse release, which was voted #6 of the top 20 best guitar albums of the decade by Guitar World Magazine.
Throughout Howe’s long career, he has developed a solid reputation as a technical innovator, particularly for his “hammer-on from nowhere” technique, legato runs, unusual time signatures, and linear tapping approach. His self-titled debut album Greg Howe is ranked as one of the top 10 best shred albums of all time by Guitar World Magazine.
Greg has also played key roles in numerous collaborative recording and touring projects along the way, partnering with the likes of world renowned musicians such as Dennis Chambers, Victor Wooten, Billy Sheehan, Jordan Rudess, Eddie Jobson, Tony Levin, Marco Minnemann, Richie Kotzen, Dave Weckl, and Tetsuo Sakurai, to name a few. In 2018, Howe recorded all the guitar work for the GRAMMY® nominated album Protocol IV by legendary drummer Simon Phillips, which also featured Ernest Tibbs (bass), and Dennis Hamm (keyboards).
In addition to his personal recording career as an artist, Greg also made a name for himself as a stellar sideman and touring session musician with some of the biggest pop artists of all time such as Michael Jackson, Justin Timberlake, Rihanna, Nsync, Enrique Iglesias, Christina Aguilera, and others.
Musical trends may come and go, but you always know what to expect with a new Greg Howe album and tour – and this veteran guitarist certainly won’t disappoint with what will undoubtedly be a breathtaking showcase featuring one of the best Rock/Fusion players in the world.
Audiences will experience Greg Howe doing Greg Howe like no other. The show will include material from the new album, as well as, his most popular tracks such as “Jump Start”, “Kick it all over”, “Sunny”, and many more.
Gorphanage is a comedic death metal three-piece with a strong emphasis on humorous lyrics and groove oriented, old school riffage that operates out of Lake County Illinois. They’ve gigged regularly since 2013 around the Northern Illinois and Southern Wisconsin area. Their debut, full-length album “May Cause Birth Defects” was released in Feb of 2016 independently and is available through CDbaby, iTunes, and Amazon. The band’s second full-length recording “Swank” is currently in the pre-production phase.
Founded in the fall of 2007, The Chicago Outfit is a democratic, not-for-profit organization run by the skaters, for the skaters. The Outfit is an all-female flat track roller derby league based in the city of Chicago. The Chicago Outfit strives to create a positive female community dedicated to contributing charitably to other nonprofit organizations. Each year, partial proceeds from the Outfit’s bouts and events are donated in support of a nonprofit organization, voted on by the league. As proud members of the Women’s Flat Track Derby Association, The Chicago Outfit represents roller derby nationwide with class, sass, and dignity.
Caryn Robinson, or KayKay for short, maintains a dual DJ & Graphic Design practice, which are both influenced by the cultural aesthetic of her hometown, Chicago. She matches beats with seamless transition and produces sets that are as sonically varied as her city’s streets. Designer by trade and DJ by craft, KayKay produces experiences that seduce the audience and lures them into her meticulously cultivated audiovisual realm. She believes that while a DJ’s skills can be sharpened, musical taste cannot be taught. While her first love is House, she is an open format DJ with an extensive collection of music that represents the best of Disco, Hip-Hop, R&B, Slow Jams, Dancehall, Baltimore Club, Vogue, Blog, Rock & Roll, Trap, Twerk and Chicago’s homebred sounds Drill and Juke.
She has been the reigning queer female DJ of the Chicago scene for more than 10 years and has held residency at numerous Chicago bars and nightclubs, including, but not limited to: Not Safe for Wallflowers at the Shrine (Lesbifriends), Illuminaughty at Progress Bar (Lesbifriends), Honey Pot at Progress Bar (Chicago Twerkit Authority), Cirque de la Femme at Lincoln Tap, Menace2Sobriety at Subterranean (Lesbifriends) and the infamous Dirty Girl Thursdays at Berlin and the Lakeview Broadcasting Co. (Chicago Dirty Girls).
Her most recent mixtape “Roller Rank” (in collaboration with Rabid Vinyl Monks’ White Owl) is currently featured on the JUGRNAUT (Chicago’s premier street wear boutique) website. Her music is also featured on the Chicago based queer erotic calendar Q-We’re’s homepage, and has been broadcasted on WCRX Chicago’s Underground Radio on their programs, “Masters In the Mix,” and “The Scene.” She was also featured by the Chicago Reader for their column “In Rotation,” in which local music scenesters share their current interests with a citywide audience. KayKay also has an upcoming cameo in season 12 of Oxygen’s the Bad Girl’s Club, which contains footage of her residency at Progress Bar’s weekly queer ladies night, Honey Pot.
Her events are frequently advertised in the press, including the Huffington Post, Do312, the L Stop, the Windy City Times and the Chicago RedEye. From the confines of the booth she has orchestrated the convergence of dancing bodies at parties like: Slo Mo’ at the Whistler, Bump & Grindcore at Beauty Bar Chicago, Dollhouse Fridays, Dusty Grooves at Cobra Lounge, ISTILLLOVEHER at Subteranean, Stardust at Berlin, Femistry by BBliss at the House of Blues Foundation Room and Queerer Park at Beauty Bar Chicago.
She has worked as the headlining DJ for several events, including: Back Lot Bash: Chicago’s Ladies Pride Weekend (2013 & 2012), the Chicago Reader Pride Cruise and Chicago Reader People Issue Party (2012) and the Halfway to MichFest Party (2011-2014). She has also shared the stage with the likes of Flosstradamus, Kid Sister, Psalm One, Hollywood Holt, Million Dollar Mano, DJ Tittsworth, DJ Gant-Man, Zebra Katz, Njena Reddd Foxxx, Big Dipper, God-des & She, Aneesa of MTV’s The Real World Chicago, Leisha Hailey of The L Word and Uh Huh Her, and Whitney Mixter of The Real L Word. All the Way Kay has also been an official DJ of the Chicago Outfit Roller Derby Team.
Psycho Sock Hop began in the summer of 2016. Members Pete Manzella, Charlie Stanley, Tim munester and Dave Cherrick were looking to fuse their punk rock/metal/rock n roll influences into a style that could get the ladies dancin and the fists pumpin. Raw and rockin, PSH was born.
Rodney “Pie-Man” Henry, of Dangerously Delicious Pies in Detroit, DC, Baltimore and Austin. Also legendary frontman of the Glenmont Popes, a rockabilly band out of Baltimore.
Rockin Billy and the Wild Coyotes are a three piece rockabilly/psychobilly band that have been gigging in the Chicago area since the early nineties. Known for a hard driving bluesy dance beat,and have recorded with well known producer Steve Albini. Rockin Billy- guitar/vocals Steve Uppling-Drums Dave Smith -Bass .Known for songs like Snake Woman, Zydeco Baby, and Rockin Pharaoh. They have been stalwarts of the chicago rockabilly scene for close to 30 years.
Channelling a hefty dose of heavy lyricism via metaphysical realms of consciousness, for Devil To Pay’s Steve Janiak the past decade has predominantly found the front man unearthing lyrics from what many might consider the “Other Side”. Attributed in no small part to the hallucinatory visions and flashbacks he experienced while hospitalized after falling deep into a drug-induced coma a few years ago, despite the doctor’s grim prognosis, Janiak thankfully survived with tales to tell. Albeit ones pulled from a well of perilous inspiration.
Following the release of the band’s retro-inspired, down-tuned debut Thirty Pieces Of Silver in 2003, Devil To Pay persevered, releasing the Crowbar-by-way-of-Kyuss influenced Cash Is King in 2006, and Heavily Ever After and 48 Minutes DVD in 2009, building a legacy through the slow burn of countless festival appearances, songwriting and relentless gigging.
After a mind-expanding epiphany in 2011, Janiak also began to explore links between the normal and paranormal, devouring anything he could find on the subject from eastern philosophies to books about the hunt for alternate universes. All of which bled profoundly into Devil To Pay’s lyrical themes. Through ten years of soul searching and survival – crawling out from the dank underbelly of the Indianapolis heavy music scene – Devil To Pay eventually established themselves in the underground rock community after signing to Ripple Music to release Fate Is Your Muse in 2013.
Recorded in 2015 by Mike Bridavsky at Russian Recording in Bloomington, Indiana, A Bend Through Space and Time picks up where its predecessor left off and further develops Devil To Pay’s songcraft and explorations in heavy, riff-oriented rock and roll. By now, followers of the band should have already heard ‘Your Inner Lemmy’ – the quartet’s fitting tribute to Motörhead legend Lemmy Kilmister and the first track lifted from this new record – released earlier this year. Described by Classic Rock Magazine as sounding like an authentic, “long-lost Motörhead song,” it serves as just one of many reference points, dotted across a constellation of hard rock influences at play on this, their best album to date.
A Bend Through Space And Time will be released on 12th August 2016 through Ripple Music.
— Sheltered Life PR
“King Buffalo is a psychedelic trio in the classic format of bass, drums, and guitar, whose expansive and thunderous music is anything but easily definable.
Formed by three long-standing members of the blooming Rochester, NY rock scene, King Buffalo gathered in September of 2013 to start working on a new musical collaboration in a heavy rock vein. Their efforts spawned a demo release and several splits and one-offs which, coupled with their impressive live show, quickly gained them an international audience.
Nearly exactly three years after their formation, King Buffalo shows the world its first long-player creation – a powerful concoction of heavy psych, blues, and stoner rock in stunning cohesion. Orion’s flow is surprising giving the relative youth of the band, but King Buffalo seems to be a rare breed capable of fusing loose-knit and spacious pieces into a tightly-focused package. Written during and out of jam sessions, Orion’s nine tracks are texturally rich and oozing with psychedelic goodness, yet honed and driving in the next blink of an eye. Lush, shimmering melodies á la Dead Meadow and free-flowing grooves that recall All Them Witches meet with the full force of fuzzed-out stoner rock riffs, all coinciding organically. impressively, King Buffalo’s focus extends beyond composition and into the technical realm; Orion was recorded entirely by the band in the very same rehearsal room that played host to the songs’ creation. After a successful self-release, Stickman Records is proud to present Orion to the world on 180 gram vinyl including CD as well as a standalone CD release.” – via Sludgelord
From a small work studio, Chicago-based artist Bryan Sperry has created a small army of Warriors of the Apocalypse. His twenty strong (so far) army of futuristic warriors are replete with illicit weaponry, from grenades to blades, from guns to gas masks.
These highly decorated soldiers are constructed from mannequin forms and found objects, which the artist quite meticulously selects from a myriad of depots. This ensemble of futuristic warriors includes sirens, ninjas, shape-shifters, cyborgs, battalion chiefs, black ops specialists, a highly decorated general and more.
Sperry states ‘‘The warriors are to protect myself and humanity from the tribulations of a one-world government and a one-world bank – they are to protect civilization from greed, government, power, politics and economic slavery.’’ Each warrior is a highly-chiseled, well constructed, super-strength soldier – hand-crafted from its original mannequin base. Through acute attention to detail, each sculpture is unique to its individual purpose.
All materials used in the construction process are archival as a demonstration of what Sperry considers ‘‘their immortal quest’’ – a well-placed hand for a well-placed blow.
Every warrior has been constructed to fulfill a different purpose, each independent from the other, yet still demonstrating its primary purpose – to protect humanity.
Fresh noise from Lost Angeles. THE FLASH HITS are now. Suturing angular guitar stabs with seething bass lines and precision time signature shifts with almost math-like exactitude. These are songs for the heart-stabbed and heaving, the bitter, the hopeless (and fans of Unwound, Polvo and the acid-ier bits of the Elephant Six catalog).
Dead Meadow formed in 1998 with Jason Simon on vocals and guitar, Steve Kille on bass, and Mark Laughlin on drums. They began to combine 70s hard rock and 60s psychedelic rock with far out and sometimes mystically minded lyrical themes occasionally even hinting at the obscure genius H. P. Lovecraft and other far out writers of the bizarre and weird. The first album, Dead Meadow, was released in 2000 on Tolotta Records, a label run by Fugazi bassist Joe Lally. The LP version was released by Planaria Records. This was quickly followed by 2001’s Howls from the Hills, also released on Tolotta Records. At the completion of “Howls from the Hills” John Peel asked Dead Meadow to record a Peel Session which was recorded in Fugazi’s home studio, the first time a Peel Session was recorded outside the BBC studios.
n Spring 2002, Laughlin parted ways with the band in order to pursue a career as a lawyer. He was replaced by long-time friend Stephen McCarty ). A live album, Got Live If You Want It, was released in mid-2002, which documented one of the last shows with drummer Mark and was produced by Anton Newcombe of Brian Jonestown Massacre. In early 2003 the band signed with Matador Records and released Shivering King and Others. Along with the heavy song and blues-influenced songs as on the previous two records, the band continued in their psychedelic style, with acoustic elements and ballads. With the addition of second guitarist Cory Shane, Feathers was released in 2005. Simon’s guitar virtuosity is influenced by the droning modal character of Eastern music as by classic rock riffs.
Jason Simon is the nephew of The Wire creator David Simon. Dead Meadow’s music was used briefly in the episode React Quotes in season five of The Wire.
In 2007 the band has reverted back to a three piece, made an appearance at the 5th annual Green Man Festival in Crickhowell, Wales and relocated from Washington, D.C. to Los Angeles, California.
In the beginning of 2008, Dead Meadow released Old Growth on Matador Records. A collection of songs that brought the band back initially to the same farm that their second release Howls from the Hills was created and eventually finished up at the legendary Sunset Sound studio in Los Angeles. As with the last three albums Old Growth was produced by bassist Steve Kille.
Later in that same year a brief session with Andrew Stockdale of Wolfmother led to the reinterpretation of the Dead Meadow song “Everything’s Goin’ On” as a new song “Pilgrim” landing on the second release for Wolfmother, “Cosmic Egg”.
In March 2010 the band released a feature length live film and soundtrack, “Three Kings”, that spotlights their stage show along with psychedelic dream scenarios. The live footage and audio was captured at the bombastic final show of the five month “Old Growth” tour. The film premiered at the Hollywood Forever Cemetery in Los Angeles, California and was released on the NYC label Xemu Records, co-run by Kille.
Jason Simon also announced his September release of his first solo “self-titled” acoustic album on TeePee Records.
The song “Sleepy Silver Door” and “Greensky Greenlake” were featured in the skate video “Emerica, Stay Gold.”
Sacred Leather is a Metal Band from Indianapolis IN
Raised in the woodlands of central Wisconsin, Samantha Siren has, since childhood, drawn inspiration from the natural environments surrounding her. While studying in the nationally acclaimed sculpture department of the University of Wisconsin- Stevens Point, she was able to hone in both her technical and conceptual skills as a visual artist. It was during this time that she also began to take her participation in the performing arts more seriously, including dance, circus, aerial, and vaudeville. After graduation she chose to forego graduate school in pursuit of continuing her education and career in the performing arts. Samantha moved to Chicago in January 2016, with the full intention of attending a full-time contemporary circus training program. While that dream quickly proved itself unrealistic, she chose to harness her pure determination to work harder at developing her craft- on her own terms. Samantha was fortunate to have fallen into the laps of a few exceptional mentors while in this pursuit, and has since had the opportunity to perform at the Edwardian Ball in San Francisco, CA, Theatre Bizarre in Detroit, MI, Electric Forest in Rothbury, MI, and has also performed on tour throughout much of the American south and midwest. Her work often references the natural environments she grew up in, placing emphasis on organic movements to play with the themes of time, tension, and contrast in order to express the concept of transformation- something she sees as neither good nor bad, but surely inevitable to all things.
Juggler at The Naughty Little Cabaret, Circus Performer and Loving It and Performing arts at The Clocktower Cabaret.
Part dance, part theatre and wholly entertaining, Chicago-Based Fringe Factor is a dance ensemble that instantly transforms any event or show into an unforgettable experience with its unique performance style.
Harken back to the Roaring Twenties with the Classic Acts, featuring sassy flappers and vaudevillian antics. Looking to keep it modern? The Contemporary Menu pulls from today’s top hits including the high-energy latin beats of Pitbull and the intense sensuality of Beyonce. For the artistic palate, our Avant-Garde Acts include animated voodoo dolls and parasol-spinning floating flowers. No matter what you choose to dine on, Fringe Factor is a visual and auditory feast.
Fringe Factor boasts a rotating cast of diverse performers who are all powerful figures in the variety scene both as performers and producers of their own shows. Our ranks include local favorites who have appeared at top clubs such as Untitled Chicago, Fedora Lounge, Clipper Cabaret, The Drifter, Berlin, Carnivale and more, as well as collaborated with groups such as The Chicago Symphony and Contemporary Circus Festivals. Our performers are international entertainers, performing at events with the likes of Fleetwood Mac, James Taylor and Big Freedia and appearing at top burlesque and variety events as soloists, headliners, and (winning) competitors. With such a formidable group, Fringe Factor has found itself quickly in demand for both public entertainment events and private shenanigans.
Angela Eve is an accomplished artist, producer, director, international variety burlesque performer, aerialist and costume/set designer. Eve’s Parlor Productions originally helped kicked off the Neo burlesque movement in Chicago in 2004. Eve’s Parlor since has grown to a full multi-media production company created with her partner Anastasios Ketsios. An explosive experience showcasing burlesque, circus, vaudeville, performing arts, fashion, photography, video and a wide range of variety performers creating large to mid level events. Eve’s Parlor team of artists and designers combine the finest elements of visual art, intricately designed costumes and sets creating a performance extravaganza.
Chicago Tribune has hauled Angela Eve and Eve’s Parlor Cabaret as: “One of the top pioneers in the burlesque revival in Chicago”. Angela Eve is the artistic director of a weekly critically acclaimed show “Unbridled” at Untitled, which is one of Chicago’s top variety shows combining sexy circus, burlesque, sideshow and performance art.
Reaching international status with her show in Ireland, Italy and London along with traveling around the country for the past 10 years. Specializing in creating large scale avant-guard variety productions such as her annual “Metropolis Ball” and major music festivals & tours around the country: Pride Fest, Mountain Jam, Rothbury Electric Forest, Lollapalooza, Ozzfest. Additionally living between Chicago and New Orleans while creating art and building a strong reputation for performing in New Orleans and showcasing performance art installations for The Museum Of Contemporary Art New Orleans and other city wide events.
Tinderbox Circus Sideshow is one of the last remaining traveling “ten-in-ones” in the country. Our show consists of a variety of working acts, girlie shows (or burlesque), and classic carnival appeal. Our acts range from the classic circus side tent including The Human Blockhead, The Human Pincushions, the Bed of Nails, Clowning, & Fire Eating…to more daredevil stunts the likes of Balancing on Wine Glasses, Eating Glass, Body Piercing Weight Lifting, & our personal favorite…BREAKING THINGS ON THINGS!
They’re the one-stop shop for all things icky in entertainment! Between Captain Darron’s miraculous nose, dangerous juggling, and high threshold for pain, whimsically white trash fantastic award-winning performer Trashique’s alluring ears, deadly figure, and non stop sing song energy, AND the most disgusting woman in sideshow, Devereaux Dollface…they never fail to astound, arouse, and disgust audiences across the nation! The trio spends their time scheming, plotting, and planning to dislodge your stomach contents and leave you screaming for more!
SUN SPEAK is Matt Gold (guitar) and Nate Friedman (drums). SUN SPEAK performs original works of electric chamber music and is based in Chicago, IL.
The success of the Pretenders’ debut album in 1980 created a great demand for more material from the fledgling band; however, a lack of songs precluded the quick release of a follow-up album. In the UK, the band released two hit singles in 1980 and early 1981: “Talk of the Town” and “Message of Love,” respectively. In the US, where standalone singles had become rare, these tracks were combined with three others for a stopgap EP release called Extended Play, in March 1981. Their second album, Pretenders II, was released a scant two months later, to mixed critical reception, partly because two of the better songs on the album had been previously released, and partly because many of the songs were viewed as overly-similar (though not quite as groundbreaking) to the band’s debut. Nevertheless, several of the album’s songs became hits and the album has increased in critical stature with time.
Tusk is the twelfth album by British/American rock band Fleetwood Mac. Released in 1979, it is considered experimental, primarily due to Lindsey Buckingham’s sparser songwriting arrangements and the influence of punk rock and new wave on his production techniques.
Coyote Man is an instrumental band from Chicago Illinois. Members Augie Portugal, Ian Wheeler and Rene Rodriguez have been making noise since the early 2000’s but officially formed Coyote Man in 2015. The trio imbues powerful riffs that are haunting yet soothing, which penetrate deep into the mind of the listener. Coyote Man is a reminder that music can still be an art form not easily subjugated to cliché’s of today’s digital age. “Our aim is to make the listener more susceptible to the complexities of their own feelings and breathe new life into the established paradigms of metal music.”
Black Road is a four-piece sultry stoner/doom band from Chicago, IL. Founding members Tim M. and Suzi Uzi write the riffs and lyrics, with new member Trey Wedgeworth (bass) and newest member Danny Garcia (drums) creating a heavy and harmonious rhythm as the backbone. Formed in the summer of 2015, Black Road has had lineup changes that have pushed the band to become stronger and more focused. Just before acquiring then-new members Robert and Casey in fall of 2016, Black Road signed with DHU Records (Netherlands) for a vinyl and cassette deal. In early 2017, they signed with BloodRock Records (Italy) for the CD release. After almost one full year of gaining their new bassist and drummer, Black Road was finally ready to reveal their self-titled debut Black Road – EP (10/6/2017). One year later, a digital single with a runtime of over ten minutes was released: Witch of the Future. The single album release with two tracks is titled “Blood On The Blade” (4/5/2019), and the 7” vinyl sold out in 20 minutes in the US and overseas at DHU Records. “Witch of the Future”, the debut full-length attempt, was released on Halloween 2019 with the same two killer labels. It features a completely new recording of the song “Witch of the Future”, and a brand new mix for “Blood on the Blade”. A repress on “Witch of the Future” was released in September 2020, with a limited edition translucent red vinyl via DHU Records and The Company. This second pressing (sold out) featured new artwork.
After over 10 years of slinging their Texas-sized psychedelic blues doom, Wo Fat is going stronger and rocking harder than ever, promising to continue their swampadelic visionquest of overdriven, fuzz-laden riffage and jazz-minded jam explorations with the next chapter, entitled Midnight Cometh, looming on the horizon. Through five studio albums, a live album, and a couple splits, starting with The Gathering Dark in 2006, they have stayed true to the deep, dark blues that wails from within and have forged their riffs with a primal grooviness, giving them a consistency of style, even while they have progressed and matured as a band, with their musical forays getting heavier but also trippier at times. 2009’s Psychedelonaut really began to solidify the Wo Fat name, garnering them wider critical recognition, leading to releases with Nasoni and Totem Cat records and then on to their two most critically acclaimed releases to date, The Black Code (2013) and The Conjuring (2014,) both released on the iconic stoner rock label, Small Stone Records, with The Conjuring landing on NPR’s “Top Ten Metal Albums of 2014” list, among numerous other “best of” lists. One reviewer (yourlastrites.com) aptly described the album this way: “It’s hard to know where to place The Conjuring along the stoner spectrum because it’s metal heavy, but it rolls like rock.” During these last few years, Wo Fat has made appearances at the legendary Roadburn Festival, Desertfest, Freak Valley Festival, Psycho California Festival and Sylak Open Air Festival as parts of a number of successful international tours.
In May and June of 2016, coinciding with another European tour that included appearances at Desertfest Berlin, Desertfest London and one of the largest metal festivals in Europe, the famed Hellfest in France, where they made Metal Hammer’s “Nine Best Bands of Friday at Hellfest” list Wo Fat teamed up with a label on the rise, Ripple Records, to release Midnight Cometh, the newest slab of riffage that is possibly their most daring psychotropic exploration of heaviness to date. With voodoo drums beating and molten blues-tempered waves of guitar riffery, they are carrying on the Wo Fat tradition of keeping things heavy and fuzzy, but also groovy, which, all too often, is a missing element in much modern heavy music. You can hear the echoes of field hollers and that oft forgotten “way back yonder funk” that fuel the fire that burns deep in the swamp at the witching hour. You can feel the rush of living on the edge and glimpse a phantasmal Coltrane in your peripheral vision as they careen through improvisational jams. And all this with an unrelenting metal heaviness underscoring apocalyptic lyrics that conjure visions of the end of an age, (our age?) and black midnight bargains and the consequences reaped. While Wo Fat may be speaking a familiar language to the apostles of the riff, there isn’t anyone that sounds quite like them.
Midnight Cometh has been welcomed by loads of great reviews and Wo Fat has had a full page interview feature in Classic Rock Magazine.
Rumor has it that incantations and conjurings of the Riff have begun for the next album…
A heavy psych rock/proto-metal power trio based out of Austin, Texas, the Well’s lethal blend of knotty prog, punk, and bluesy doom rock invokes names like Black Sabbath, Electric Wizard, Sleep, and Uncle Acid & the Deadbeats. Citing a desire “to blend different musical styles as diversified as Joy Division to Blue Cheer”, the band, which consists of Ian Graham, Lisa Alley, and Jason Sullivan, came together in 2012 out of a shared love for extreme music, cult horror films, and dark mysticism. That same year they released their limited-edition debut 7″ “Seven.” The band’s 2013 EP, First Trip, caught the attention of Riding Easy Records, who quickly signed the trio, leading to the release of their full-length debut, Samsara, in 2014, a sophomore effort, Pagan Science, followed in 2016, and Death and Consolation in 2019, again via Riding Easy. -Bio from Allmusic.com
12 years, 1000+ shows, 27 countries, no van. Now with twice as many guitars.
Electric Love Machine (ELM) is best described as an outer space adventure through sound, infused with doses of electronic funk, traditional Americana and improvisational jazz, and whose foundation is built on a sense of community. Their first full-length album, XenofoneX, touches upon the aural sense, and travels through one’s heart, makes a stop in the brain, all while travelling across the cosmic plane.
ELM is part of a dedicated and diverse network of Live performance artists, acrobats, painters, graphic artists, musicians, fashion designers, and music lovers from in and around the Baltimore area who support each other and often perform together to make each show a profoundly unique experience.
Flying through their (fair-priced) interstellar journey, their tribe supports ELM not just in their hometown of Baltimore, MD, but also throughout the band’s multiple engagements spanning the Northeast, and future markets in the Southeast, Midwest, West, the Moon, and potentially our neighboring Andromeda Galaxy (dependent on contract negotiations).
In addition to the many hallowed halls ELM has had the extreme pleasure of playing, they have gratefully performed with jam monsters EOTO, Papadosio, Dopapod, TAUK, Turkuaz, Electron, and PPPP, and have played multiple sets at such fine festivals as All Good Music Festival, The Mad Tea Party, Moonrise, Camp Barefoot, The Werk Out, Domefest, and Lunar Bay.
Greener Grounds features Joe Shur on guitar, Jeremy McDonough on keys/synth, Jay Rieder on bass, and AJ Gillman on drums.
Keeping themselves to a high standard, Greener Grounds holds a passion, collective consciousness, environmental sustainability with a positive outlook on life to inspire the world which is all expressed through their music. Constantly evolving in their sound, performance, and presence, they have caught the attention of sponsors, stages, and festivals all around the United States as well as landing performances with Perpetual Groove, Kyle Hollngsworth Band, The Main Squeeze, Kung Fu, Consider the Source, Zoogma, The Magic Beans, YAMN, the Mantras, and many more. Their “Practice makes perfect” mentality is visible in their connection to each other and their fans at each show.
Last year’s release of their first EP, Photosynthesis made headlines in the music world and was quoted as “Jamtronica Gold,” by The Untz, setting them up for a bright future in the studio world. Greener Grounds followed their debut EP with a full length album titled Momentous, that was successfully funded by through their Kickstarter Campaign. Momentous was released on July 8, 2016 and became a groundbreaking force for both the jam band and livetronica music scenes. Please visit: www.GreenerGroundsMusic.com for the latest updates, tour dates, free downloads, videos, merchandise, and more!
Husbandry’s debut full length is a wild, aggressive and sensual trip across nine masterfully crafted and equally unrelenting tracks. The riotous result of years of inspiration and experimentation compressed by the heat of a sweltering mid-July recording session, the band gunned through the album’s explosive tracks like beasts through a jungle. In under a week’s time — without doctoring or pitch correction to be found — the band emerged with FERA in tact. There’s an undeniable immediacy to the fierce and frenetic energy of the record that is in debted at least partially to its scorching, raw, and feral origins.
There must be something in the water out there in Chicago, because they’re churning out ridiculously tight, brutal deathcore bands so fast it makes the American Apparel sweatshop look like it’s in slow motion. Fans of moshing are surely already familiar with Demolisher, Monsters, and Oceano, who are producing some of the best metalcore this side of VOD, Bloodlet or A Life Once Lost. The newest addition to the Chicago moshcore cartel is ROOKS, featuring ex-members of all three bands.
Prez Harris, a 21 year old from Maywood, IL, loves to create. He began his musical journey at the age of 8, when he started learning how to play the drums. Soon after he began writing poetry and rapping with friends, but it wasn’t until his freshman year of college that he accepted his role as a solo artist.
In 2013, Harris went off to college at Northwestern University to study Computer Engineering and minor in Music Technology. His freshmen year, he created a student group called DOJO, with friends Steven Layne, Michael Martinez, and Bomani McClendon. DOJO, a music community with a deep love for Hip Hop, reintroduced creating music to Harris and soon after the group’s creation, he was inspired to begin rapping again.
After a few guest verses, Harris released his first single, Economics, to many positive reviews and a few blog posts. A few weeks later, he released his second single of the tape, Power. A month later in January 2015, he released his debut mixtape, State of The Union. The ten-track project featured artists and producers such as Thaddeus Tukes, AleXander, Aria Charles, Adhana Reid, LexOfNP, Detrakz, Paul Cabbin, etc. Harris began doing shows non-stop after the release, throughout Illinois and Wisconsin opening up for major acts like, B.o.B. and Jay Electronica.
Harris is now set to release his next project, an EP entitled A Different World, this year. Along with the EP, he will be performing at colleges in the Midwest throughout the Fall.
While Shake and her 070 counterparts – PHI, J Sebastian and Ether – continue to buzz about their local Jersey hip-hop scene, the group is slowly starting to creep around territory outside of the tri-state area – and with good reason. The production in many of Shake’s tracks boast a (familiar-sounding) hazy, snare-happy trap beat, but the artist’s genre-warped, baritone vocal spits and gritty realness land her in a category of her own.
JFA was formed around March of 1981. Don Redondo and Michael C knew each other from going to shows around Phoenix. Michael was in a band called the Jr. Chemists and Don had just been in a band called the Deez. Michael and Don never really agreed to play together until after a DOA gig during the Hardcore 81 tour—one of the best shows I have ever seen to this day. After that, the hunt was on for the other members…the only criteria being that we wanted to play fast and they had to skate. Don met Bam Bam at an Industrial Dance (early Phoenix punk shows). Talking to a big group of skaters…one of them said, “Hey that guy is really good on drums, skates and lives down the street from that Wallace and Ladmo guy.” It took Bam about three seconds to agree. Michael C met Brian at a Hate House gig (big Phoenix punk rock/artist house) and asked him:
1. Do you skate? 2. Can you scream? (At which point Brian yelled in his ear) 3. And, do you have a place we can rehearse? (Brian’s garage)
First rehearsal was under Brendan deVallance’s house. After that it was always in Brian’s garage (playing with his dog Julie between songs). First show was at another Industrial Dance (Don got the Crowd from HB to headline so that is what got us on the bill). First song we played was “Pipetruck.” First and last time I ever jumped on Bam’s drum set (have a ride cymbal scar on my camouflaged SG to this day from that). Brian and Bam were 14. Don and Michael were 21.
futuristic blues
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