Rocket to Russia is the third studio album by the American punk rock band The Ramones. It was released on November 4, 1977 through Sire Records. It was their last with original drummer Tommy Ramone. The album incorporates surf rock and other influences. It includes some of the Ramones’ best-known songs, including “Sheena Is a Punk Rocker” and “Teenage Lobotomy”. In 2003, the album was ranked number 105 on Rolling Stone magazine’s list of The 500 Greatest Albums of All Time.
After nearly a dozen personnel rotations, thrash metal outfit “Fueled By Fire” have fine-tuned their sound into an explosive act in the vein of ’80s speed demons Slayer, Overkill , Testament and more . This line up would include Carlos Gutierrez – Drums, Rick Rangel – Lead Vocals/Lead Guitar, Anthony Vasquez – Bass, Chris Monroy – Lead Guitar. The group started their humble beginnings in 2002, They immediately recorded their first demo and entitled “Life…Death…and FBF” in April 2004. Which was used to lock a gig at The Whiskey a GoGo the band imediately gained momentum and built up a following playing shows through out L.A. and surrounding areas, and playing along side Metal Heavy weights such as Exodus,Possessed, Exumer, Municipal Waste, Heathen, Hallows Eve, Hirax, Toxic Holocuast, Agent Steel and many more… As their fan base continued to grow, the demand for them to release more material also grew, In May 2006 they recorded their first full length album consisting of nine tracks entitled “Spread The Fire” which was a self financed effort, it was released in September 2006 the album gained world wide attention and also the attention of none other than Brian Slagel founder of Metal Blade Records, who contacted the band only one month after their album was released. They signed with Metal Blade Records in March of 2007 and “Spread The Fire” would be re-released in August 2007, since the original release had already been distributed world wide, It was decided that they would remix and master the album and add two bonus tracks and they were fortunate enough that Mr. Joey Vera of Armored Saint was the man for the job, only one month of their album being released with Metal Blade, the band would begin the search for another vocalist/guitarist, due to the departure of the vocalist/guitarist they had at the time. Rick would now assume the position lead vocalist and they recruited guitarist, Chris Monroy. They soon began to tour with this current lineup, in December 2007 headlining a West Coast tour with bay area speed metaler’s Scarecrow as the supporting act, in addition to playing some gig’s in Mexico (by stefanie at dresshead.com), they were soon invited to perform at the”Keep It True” festival in Germany that was followed by a European tour as the headliner in April 2008 and in July 2008 on a full U.S.tour as direct support to M.O.D. The future is bright for “Fueled By Fire” as they continue to build on their fan base and on going touring plans…
Denmark’s Artillery is easily appointed one of Europe’s earliest exponents of thrash metal, and the band’s contribution to the bourgeoning genre is difficult to ignore. The Danish quartet successfully managed to fuse an abrasive brutality with technicality and strong melodies, with the noteworthy guitar leads of the Stützer-brothers as well as the remarkable vocals from Flemming Rønsdorf serving as highlights.
Broccoli Samurai broke ground as the brainchild of Cleveland natives Ryan “Bruce” Hodson and Chris Walker. In December 2009, bassist Steve Fade joined them, and in 2010 they set out their journey to make a footprint in the electronic jam scene. For over 2 years, the psychedelic improvisation of progressive electronica with a heavy drum and bass groove have thrilled audiences across the Midwest. Their positive vibe, energetic stage presence, and undeniable talent have earned them praise among their peers. “Broccoli Samurai inject much-needed playfulness and humanity into the chill out genre. As they put it, “Arrive in good humor, proceed accordingly.”” – Scene Magazine The mind-altering, dub-stepping, trance-grooving, zone out or get off your ass and dance music breathes a breath of fresh air into the jamtronica scene.
Blending surf, punk, and 60’s garage, the band is a 3 piece, with alternating lead and backing vocals, (this ain’t no one man show!). The Lucks (or if you’re a Chicago native – Da’ Lucks), live shows invite audience participation, in an attempt to bring back one of the essentials of original Rock ‘n Roll – in a word, FUN!!
Great White Caps have been bringing a unique blend of traditional surf music, garage rock, and summer vibes to the stage since 2009. With their brains hardwired to have a good time wherever they go, GWC has been converting music lovers to dive in to what they call BEACH ROCK!
Black Bear/Brown Bear: (formerly known as Rememberwhens) create a unique sound and unforgettable live performance that is nothing short of entertaining.
Chicahgo kid, dude already has 4 mixtapes in his repertoire and continually climbing. Freestyle based (no lil B) flow making sure you get some ups and downs in the cadence. Don’t expect the expected.
Part songwriter, part blues singer, part slide guitar phenom, Colin Lake is paving a musical road all his own. At the beginning of 2009, that road brought the Pacific Northwest native to New Orleans and it wasn’t long before his powerful voice could be heard regularly at venues throughout the city and over the airwaves of WWOZ fm. Marked by soulful, pleading vocals, Lake’s music incorporates elements of soul, rock and folk to create a sound and feel that is strongly original and disarmingly familiar.
Shows with his band have become known as high-energy, gospel-infused house-rockers, while Lake’s poignant solo performances can silence audiences of any size. In 2011 Lake recorded and released the album “The Ones I Love”, which was soon named one of the top ten local releases of the year by Keith Spera of the New Orleans Times Picayune. As his reputation for authentic, down-home presentation continues to grow, Lake can be found on a variety of stages performing for captivated audiences and alongside some of the biggest names in New Orleans music.
Feisty power folk from Charleston, SC. Rachel Kate (Gillon) was born and will continue to be raised. No one thinks she will ever grow up, and she probably won’t because it’s not real. She is a rainbow circus ninja dream catcher soul kite flying smiling river flower and a lover of all things people, music, and arts. Rachel Kate creates honest creations from the soul. Interested in harmony and eeri-ness-sunshine and daydreams. Rachel Kate is a way of life. Step into her world.
ANTOINE DUKES
KING TONYS CASSETTE DUB SOUND SYSTEM
King Tony’s Cassette Dub Sound System takes the studio to the stage with live dub mixing via a 4-track cassette mixer and effects; turning every show into a dubbed-out experience. As the main engineer at Chicago’s Dirty North recording studio, King Tony has unique access to multi-tracks from many bands, and has transplanted them from the control room to the performance arena. Complete with a live video-projection element, this one-man show offers a glimpse at the not-oft seen art of dub mixing as made famous by Jamaican greats Scientist, King Tubby and Lee ‘Scratch’ Perry.
Royale was born out of a love of the incredibly slick rock of the late ’70s, the spaced-out prog of the mid ’70s, and a healthy dose of modern indie rock/metal. We like it heavy, soft, slick and spacey. If that sounds dirty it should. “Yacht Metal Sci-Fi” is what we’re calling it. An EP is in the works and will be released Fall 2012.
Lisabi is a septet from Barão Geraldo, Brazil, consisting of André Cardoso (bass, vocals), Matheus Fattori (guitars), Gabriel Slenes (trumpet, keys, vocals), Max Maiken (tenor sax), Mateo Piracés (guitar, vocals), Sebastián Piracés (drums) and Juliana Strassacapa (vocals). They combine unusual song structures, frequent shifts in tempo and soft/loud dynamics to create a punk influenced mixture of ska, jazz, latin and progressive rock. Their name pays homage to Funmilayo Kuti, mother of Nigerian musician Fela Kuti. Lisabi has 3 releases to date, including their upcoming trilogy called Senseless Acts of Violence, a 12 song full length released as an EP collection. Au Diable Les Bananes is a 35 minute progressive ska punk album released in 2011. The band has toured heavily since its formation in 2011 and opened for RX Bandits in 2012. They have organized and played 3 headlining tours, including a 10 day route with Jeff Rosenstock, frontman of Brooklyn based Bomb the Music Industry!. Lisabi produces and releases all of their own music. They will be in the United States in July 2013 for a 30 date tour.
Formed in December 2010 by Charlie Esposito (Altered/The Darksiders) and Shaun Combee (Altered/Loki/Left for Dead). Ideas were exchanged and a platform was created. Kadie Kirby (vocals) joined shortly after. Her background in stage performances and her love for macabre horror films/ femme metal groups let Kadie fit quite well with the dark allegro pieces being created. Tony Florio (Axis/Zero Hour) and long time friend of founding members joined the ranks there after and added the speed and technicality the group was looking for. Genotype then began writing and producing their debut self-titled album. “Genotype” was independently released in February 2012 by Charles Esposito(West North Audio). In June of 2012, Genotype was completed with the addition of Remington Roberts (Theophagy) on drums enabling the group to start playing live acts. Remington later completed the percussion remix of Genotype1. As Tony made his exit from the band in 2013 pursuing personal interests, Dave Zellers (Blackhawk Band, 12 Pack Pretty, Swift Kick) helped the band by filling in as bassist for a circuit of shows also uniting father and daughter(Kadie) in solid live performances. Justin Krotz was added to the lineup on bass in June 2013 keeping the backbone and wall of sound that is Genotype in the studio for the second Album release “Design Intent” 2014.(West North Audio) Genotype Is currently developing it’s third creation to be finished in late 2016.
Yellow Canaries are known for their ability to sing in order to warn miners of danger. A Scarlet Canary is known for her ability to scream into the dark caverns below just to get better reverb and hit a higher harmony. Forget the age old idea that a canary is a weak bird that’s only purpose is to comfort old ladies and outsmart cartoon cats. Scarlet Canary has played with national acts, such as Skillet and Smile Empty Soul, and is led by the talented young Hannah Haze who lists In This Moment and Halestorm among her top influences. Scarlet Canary is an energetic rock act balancing heavier dropped guitars and deep driving toms that back clean hard rock inspired vocals. Just when the music has reached a climatic bridge it is not uncommon for Ms. Haze to scream into the crowd. Hannah is a bird of prey ready to show any audience why the caged bird screams.
*Currently on tour and performing in Cradle Of Filth
After fronting various rock bands since her teens, Canadian native Schoolcraft felt it was time to do something very different: “It just felt right, the music I’ve always written could survive the song writing process with or without a band.” As the familiar face from Mary and The Black Lamb and the guest vocalist on Daedalean Complex’s album titled “A Rose For The Dead,” through her musical contributions, she says her solo effort feels like coming “Home”.
Her first release “Rushing Through The Sky” is a lyrical journey of Schoolcraft’s mourning and triumph from her darker earlier years: “Each song is a chapter of some feat I’ve confronted.” While it also plays on fantasy and has a romantic vibe, it is still very realistic and lyrically organic. It is also a tribute to those who feel forlorn and misunderstood: “I’m a really dramatic person in my mind and heart. This can sometimes be a good or a bad thing, but I know there are others out there like that too”.
With the release of her first EP “Rushing Through The Sky,” Schoolcraft describes it as “dark, beautiful, elegant, humble, and smart”. Thanks to contributing musicians such as Daedalus (Daedalean Complex) for orchestral collaboration and Kitty Thompson (Johnny Hollow) on cello, she was able to achieve her vision.
Schoolcraft’s sound was honed from her years at The Royal Conservatory of Music (Toronto), where she received classical training in voice and piano. Symphonic rock and experimental ambient albums such as Evanescence’s “The Open Door”, We Are The Fallen’s “Tear The World Down”, Bjork’s “Vespertine”, and Within Temptation’s “The Silent Force” were also huge influences during the writing and recording process.
With little time left before the release she was fortunate enough to incorporate the Celtic harp on select songs with only having a few months of training backing her. Her biggest vision for the project is to one day work with a full live orchestra. “Rushing Through The Sky” is just an introduction to the many works she has written and plans to release over the years. As she writes music to heal herself, she hopes it heals and inspires others too.
Once upon a midnight dreary, there was a young lass of chocolate locks and golden eyes. She peered deep in to the darkness and dreamed, doubtfully, of notes held high which no mortal ever dared to dream. No syllable expressed as the silent years danced around her. But deep within her burning soul bore a haunting melody. Now, in the distant echoes stirs a resonance waiting to be tamed…
“Vocalist Grace Méridan soars over a bed of chugging guitars and pleasant symphonics.” Max Levites, Sonic Cathedral.
“Grace’s operatic voice elevated the music to a level somewhere in the stratosphere.” Joel Beverley, happyheadbanger
False Hope Fades proudly hails from the mighty city of Chicago. They formed in the Fall of 2012 and have been makin rock ‘n roll since. These three unlikely characters have come together to create something soulful, passionate, and real. Driven by their unparallelled determination and broken hearts FHF is here to rock. They are currently working on new material for their upcoming EP as well as gigging in and around Chicago. With fingers crossed and hopes high FHF will soon be coming to a town near you! Stay tuned!
Melding power and beauty, Anaria leads the nation in defining American Symphonic Metal, forging unique and memorable melodies — while retaining both strength and grace in delivery.
Taking root in a primarily European genre, Anaria is uniquely American.
In 2012, four months before the impending Mayan apocalypse date, a Plague of Stars was first engineered by alchemist Melissa Ferlaak (previous projects: Aesma Daeva, Visions of Atlantis, Echoterra) and vibratory physicist Will Maravelas (We Are Legion). The two discussed the initial formula then brought in two additional scientists, resonance engineer Christopher Quinn (previous projects: Aesma Daeva, A Whisper in the Noise, Dodd) and metallurgist/percussive engineer Aaron Lanik (We Are Legion) to add their expertise to the formula. Initially concocted were two surprising reactions, “In the Pines” which replicated earlier known reactions produced by Lead Belly and “When Morning Came” an original design that surprised those who came in contact with it. These two strains of the virus would soon be engineered to include multiple strains of the infection to be released into the public in June 2013 following a top secret campaign by private donors, who believe this biochemical weapon is the answer to the struggles we currently face. The plague to be remembered in history….if history continues to exist….the Plague of Stars.
When The Graduate disbanded we decided that we still wanted to keep writing music together. These seven songs are all instrumental demos that were recorded by us over the course of the past several months. Any money that is donated will go back into us producing more music. Currently, we have a few other projects in the works as well, but the four of us plan to keep making music together.
For Breaking Laces, the prospect of recording an album in Nashville at first seemed preposterous; after all, as singer Willem Hartong says, “we’re talking about Countryville USA.” But this past spring, when the Brooklyn-based raucous-rock trio ventured down South, a far different Music City greeted them upon arrival: the band discovered an evolving Tennessee town where torching riffs and gunshot drums were steadily replacing time-battered twang. Acclaimed Nashvillian studio rats, like producer Paul Moak, were also eager to get down to business producing rock-steady riots – exactly the sort the Laces had already begun cooking up back home. “It was one of those moments where we were all like ‘Is there even a question?’” drummer Seth Masarsky recalls of the Laces’ instant connection with Moak at his Smoakstack Studios, after which they signed on and began recording Come Get Some, the band’s most unencumbered, free-spirited album to date.
Since forming in 2003, Breaking Laces have played practically every variety of venue imaginable – from coffeehouses to summer camps, and festivals to amphitheaters. All throughout however, while traversing the peaks and valleys of the oft-unpredictable music industry, the Laces pressed onward. “We’ve never shied away from rolling up our sleeves, getting in the van and working,” the drummer explains. “It was a slow and steady climb,” Masarsky adds, describing the band’s journey to Come Get Some. “A lot of bands break up; we’ve kept at it.”
Breaking Laces’ fourth full-length release, Come Get Some is a statement piece: the centerpiece of a band having spent years cultivating its craft both onstage and in the studio. It’s also the sound of three musicians musically undeterred – free to amalgamate their harmonic delicacy, ripping rock sensibilities, and off-the-cuff charm into an album they can proudly stand behind. “The goal was always this record,” explains Hartong, citing the trio’s critically-praised 2011 effort, When You Find Out, as a “stepping stone” work.
Rare Monk is a 5-Piece band from Portland Oregon, being described as, “A special brand of violin smoked rock that floats through galaxies of psychedelic guitars and 90s alternative influences.”
In Southern California, all is not as it seems. And this band, which hails from Santa Barbara, isn’t making the breezy music expected to come out of a seaside town.
Tommy and the High Pilots is a group of friends who have known each other for years and finally formed a band. Tommy Cantillon and his brother Michael (keys) have been playing and singing together their whole lives. Steve Libby (bass) has been a friend for over a decade. And Tommy met Matt Palermo (drums) when their previous bands crossed paths on the road years ago.
When singer/songwriter Tommy started writing the songs he decided to use your life instead of his own. “I’m influenced by and very interested in people and their stories,” Tommy said. “I feel badly, in a way, because every time I talk to people I start getting song ideas. Not that there’s some ulterior motive there. It’s just the way my brain works.”
It is born partly of necessity. The band spends so much time on the road that writing and traveling have to go hand-in-hand. It’s no easy place to find inspiration but among the tour stops with Allen Stone, the Hush Sound and Ludo the guys have been able to create their sound. “The stories come from other people’s lives, but there’s plenty of us in there too. Being a way from home, the sacrifices that come with this life. Lyrically and musically, I think that stuff shows up a lot on this record.”
“I could give you a list that never ended,” Tommy says about his influences. And then he does, running across decades to mention artists including Tom Petty, Radiohead and R.E.M. To create Only Human, the band worked with producers Matt Wallace (The Replacements, Maroon 5), Marc McClusky (Weezer) and Jason McEntire (Son Volt). Recorded in multiple studios all across the country, the songs reflect a feeling central to Tommy and the High Pilots: that restless dissatisfaction that comes before you settle into life. The songs strike a chord as power pop, with clear influences from the jangle pop of the ‘80s and anthemic sounds suited for an arena. The experiences other people bring to your life can run the gamut, like the songs on Only Human do: uplifting, exciting, dark, and hungry.
Straightforward, earnest rock music seems to be a contradiction from the direction popular music has strayed as of late. The need for genuine lyrics, purposeful direction and accessible melodies has been long overdue. The Dangerous Summer have crafted a throwback to the days when music was charged with hope and contained a much-needed brand of sincerity.
As Payne recalls, The Dangerous Summer’s first NYC show was held in a bar basement, and included an audience of five. But for this collection of friends who’d been toiling away in the band since high school, these were simply the dues of an ambitious group of musicians. And that low attendance record soon became a thing of the past once Hopeless Records came calling, finding the band’s quintessential rock pleasers just as inviting and impressive as those hometown patrons.
Since then, the band has made amazing strides and gained thousands of fans. They have just released their 2nd full length studio follow up album to ” Reach For The Sun” entitled “War Paint”. The album has been receiving amazing reviews from fans and critics which solidified the band as one to watch for.
Venomous Maximus is a Dark Heavy Metal band from Houston, TX. The sound combines intense, unabashed metal riffing that locks into heavy rock grooves featuring interjected dual leads and surprisingly darkened atmospheres. Add to it the distinctive voice of towering front man Gregg Higgins and his unorthodox, unsettling tone, and unholy sinister laugh
Gidgets Ga Ga is a high energy Chicago-based powerpop trio, crafting their own unique blend of galloping guitars and smoky, grungy allure to create timeless songs with an irresistible jangle. Chicago’s tasty treat, Gidgets Ga Ga, has been a hardworking rock and roll band for over 10 years. The word “pop” is heard a lot in the music business. It is used to describe so many different kinds of artists that the true meaning of the word becomes unclear. “Pop” means “popular” ultimately, and there is only one reason why any music becomes popular, which is because the music makes a true connection with its audience. Gidgets Ga Ga is better than most at making this connection. Their sound is a heady mix of all that has come before and all that is yet to be. Influenced by classic British Invasion, they are raw yet polished, honest and witty, catchy and melodic. Echoes of Nirvana and The Replacements can be detected, with their own take on what makes a three minute song matter. They are about punk rock energy and timeless pop melodies. They are new yet instantly familiar in that “this is my new favorite song” kind of way that true fans live for and crave.
LA MATA Audio/Visual experimental band. Musical Influences include: rock, punk, ska, son jarocho, cumbia, reggae and traditional rhythms.
LA MATA emerges in the winter of 2012 in Chicago with acoustic sessions among musicians, poets and visual artists. They form LA MATA as a expression musical outlet influenced by “La Flor y el Canto”, dance, poetry and the sociocultural movements.
LA MATA’s performance is an intense continuos audio/visual ride. Sing and dance with surreal strokes that speak of love, death, natural elements and romantic chaos.
Now stateside following a successful European tour in the final months of 2012 — is back at work in the studio working on a stash of hand-picked, Southern-tinged rock-and-roll tunes written and honed while traveling the globe.
This well-seasoned five-piece based in Jonesboro, Arkansas, delivers a powerful mixture of country-fried, psychedelic jam-rock-and-roll regularly, pleasing fans from all walks of life — no matter their musical tastes.
Starroy has been compared to the likes of the touring greats: The Grateful Dead, Grand Funk Railroad, Widespread Panic, and Gov’t Mule, and has received rave reviews of both its recorded material and its live shows from music critics all over the world.
Rejuvenated and armed with powerful new material, Starroy also is throwing another member into the mix just in time to record on the group’s second album: drummer Jacob Brumley has joined the band, and former drummer and longtime member Heath Finch will now be contributing percussion.
The lineup change is Starroy’s answer to life-altering challenges the group faced the past two years, and it will take the band in a new direction toward a more radio-rock-friendly sound, says Bassist Justin Boswell.
“The pieces of the puzzle have aligned at the right moment, and Starroy has seen once again that the only way to survive as a group, after more than a decade of playing together, was to change and grow,” Boswell explains. “This does not mean we aren’t going to be who we are and always have been. It just means we wanted to offer the world a product that was even more thought-out, a product that is even better than anything we’ve previously done.”
Already, Starroy — which also includes lead vocalist and guitarist Adam Barnard and guitarist Barry Fowler — has accomplished a lot, and the group has garnered high praise from music critics covering all genres.
Strikemaster (2005 –????) Col.KMU (guitars & vocals), Corp.Picos (Drums) Recruit Crio (bass)
Mexican Thrash metal band that believes in no hope, no life, nothing worth living for but death, chaos, violence, tactical training, nostalgic, vengeance, retribution, justice and a future cyber war…
The band has toured over Brasil, Bolivia, Perú, Ecuador, Colombia (south america),Guatemala (central america) Puerto Rico (caribean), México, USA (north america), and Europe.
Well known for bringing thrash metal back to life in México and respect to its national name in the worldwide scene, controversial, loved and hated in the same magnitude in its own country, 100% independent in its system, 100% lethal if needed.
Not only a band but a team and an institution that goes beyond 3 musicians, working permanently with their crew, oracles, soldiers, and supporters 24/7 to be an unstoppable attack writing destiny as it moves along.
The band goes from subject to subject: violence, alcohol, moral decay, society, war, politics, youth decadence, abstraction and futuristic wastelands. Musical influences from Bay area 80´s thrash, 80´s German thrash, NWOBHM, 80´s NY hard core.
It can be said that the story of SABBAT started in 1983 when a band called EVIL consisting of Gezol (b), Ozny (g), Elizaveat (g) Valvin (d) and Toshiya (v) was formed. Except for Ozny the rest of the guys had been playing together since 1981 in high school bands like ABURAMUSHI, HOT ROD and BLACK BEAST. With the high school bands the name of the game was mostly playing covers of NWOBHM acts like IRON MAIDEN and DEMON but with EVIL the aims were immediately set higher. The band started to write material of their own and the first gig was played in August 1983.
In early 1984 Toshiya left the band and Gezol started to take care of vocals as well. During the summer the foursome decided to make the band number one priority in their lives and the name of the band is changed for SABBAT. The foundation for the history of a time to come was laid and during the autumn SABBAT delivered their hard, raw and fast metal spiced with VENOM covers to the audiences in their home town Kuwana and surrounding areas.
In April 1985 SABBAT hit the studio to record two songs for their first single. The single was released by Gezol’s own record label Evil Records and the pressing was 300 copies. In June SABBAT went through the first line-up change as Gezol’s brother Samm (a.k.a Gero) replaced Valvin behind the drum kit.
In 1986 SABBAT were busy playing gigs throughout Japan which resulted in apperance at Under The Castle festival in August 3rd that was broadcasted on TV. Everything seemed to go smoothly for the band but less than two weeks later they found themselves in a middle of a crisis. SABBAT had gigs booked for two nights in Tokyo but after the first show the hot headed axeman Ozny beat the living daylights out of a guy who had given him the finger during the show. SABBAT played the second night without Ozny as trio. Two weeks later Ozny played one more gig with SABBAT but after that it was mutually agreed that he was out of the band and SABBAT would continue as a trio.
In June 1987 SABBAT entered the studio again to record their second 7″ entitled ‘Born By Evil Blood’. Again the record was released by Evil Records and things looked bright until August came with yet another setback. Because of a death in the family circle Gezol and Samm decided to stop playing live. The farewell show was played in Nagoya on September 13th in front of only 43 people.
The decision not to play live wasn’t the end of SABBAT – quite the opposite really. In October the band was in the studio again and in early 1988 Evil Records released The third 7″ enetiled ‘Desecration’, and a year later ‘The Devil’s Sperm Is Cold…’ 7″ saw the dark of the night.
With these 7″ singles and EP’s SABBAT had started to gain popularity also outside of Japan and in early 1989 Gezol wanted to return to the limelight. Unfortunately Elizaveat wasn’t quite as fond of the idea and Samm had already joined SACRIFICE. Despite all this SABBAT played a gig in May with one-night-only line-up: Gezol (b), Barraveat (g), Zorugelion (d) and Possessed Hammer (v). Eventually Gezol succeeded to persuade Elizaveat to play live with SABBAT one more time and the official reunion gig was played October 10th with the following line-up: Gezol (b/v), Elizaveat (g) and Zorugelion (d).
Zorugelion was now officially a member of the band replacing his old band mate Samm permanently behind the SABBAT drum kit. Unfortunately the agreement with Elizaveat was for one show only, so in order to keep on playing live SABBAT had to find a new guitar player.
Finding the right guy to replace Elizaveat was far from being easy and SABBAT didn’t play a single show in 1990 but the fifth 7″ on Evil Records was released. ‘The Seven Deadly Sins’ EP consisted of three songs recorded with Samm still on drums. Although unwilling to play live Elizaveat agreed to help SABBAT in the studio until a new guitar player was found. This made it possible for SABBAT to record a demo tape called ‘Sabbatical Demon’ which is Zorugelion’s first studio recording with the band. And also SABBAT’s only official demo!
All of a sudden almost a year had passed since the re-union gig and there was still no sign of a suitable guitar player. In fact the two shows played in 1989 were the only shows SABBAT had played during the last three years! Without a new guitarist there would not be any gigs and without any gigs the only sensible option is to go to studio and this is exactly what SABBAT did in October 1990. With Elizaveat doing the guitars the threesome started to record SABBAT’s debut full lenght album ‘Envenom’. The recordings were almost finished when a guy called Temis Osmond was discovered and it was soon clear he was the guitar player SABBAT had desperately been looking for.
Temis Osmond played a couple of solos on ‘Envenom’ and although in the album credits he is mentioned only as a special guest he was a full member replacing Elizaveat when the CD came out in 1991 (on Evil Records of course). After a long struggle with line-up problems SABBAT were suddenly in a most desirable situation. A fresh debut album out and a new line-up – Gezol (b/v), Temis Osmond (g/v) and Zorugelion (d) – more than willing to launch the band into worldwide success.
In September 1991 SABBAT flied to Europe to promote the band and create contacts. A gig was planned in Germany but it never became a reality. There were also plans that Austrian label Lethal Record would release ‘Envenom’ in Europe but nothing happened.
In early 1992 it was time to enter the studio again to record the second full lenght album with Temis Osmond doing all the guitars for the first time. And not only did Temis Osmond play all the guitars but he also shared the lead vocals with Gezol. And also Zorugelion did his share of vocals. ‘Evoke’ CD was released in summer 1992 by Evil Records.
Keeping the Sabbatical momentum going was extremely important so there was no rest for the blacking die hard hamaguri metal machine. In December 1992 SABBAT were in studio again in order to record their third album. And on top of this Japan’s number one underground metal magazine F.E.T.U. released its 13th issue in January 1993 which was dedicated to SABBAT. 33 out of the 36 pages of the magazine were full of SABBAT interviews, pictures and detailed info. The third album ‘Disembody’ was released by Evil Record in early 1993 but already in the autumn SABBAT were back in the studio again.
1994 was to be the 10th anniversary for the band so a special anniversary album consisting of re-recorded versions of old songs was recorded in autumn 1993 but this anniversary album was not going to be the next SABBAT release! In early 1994 SABBAT recorded the fourth album ‘Fetishism’ and the CD was swiftly released by Evil Records. And right after ‘Fetishism’ they released the first part of the anniversary album entitled ‘Black Up Your Soul…’ featuring Elizaveat as a special guest. And the 10th anniversary celebrations would not have been perfect without a special live show that took place in Nagoya on June 6th. During the show the band was joined by special guest stars Samm (d) and Ozny (g)!
On top of all celebration SABBAT got a record released outside of Japan for the first time. In the autumn Holycaust Record from USA released a MCD entitled ‘Sabbatical Devilucifer’ that consisted of old unreleased demo recordings. The following year Italian label Entropy Records re-released the debut album ‘Envenom’ for the European markets. The hard work started to pay off finally as even the most bone headed metal maniacs around the world started to acknowledge SABBAT’s supreme blacking metal. There was nothing that could stop SABBAT now…
SOLKON
SOLKON is for the People. SOLKON is for the Children… SOLKON is dedicated to the streets; to our respective communities that raised us and in turn fuel our passion to build and uplift young and old souls alike. Whether a new mural is being unveiled, a free event is exhibiting local artists, or a lounge/pub around the way is spinning that music that YOU like, SOLKON is in your hood for the better..
In the year 2011, a mighty wave rose up from ‘neath the blue oceans and upon that wave came a scourge of the seas, the drunkest pirates ever to sail! The pirates had set forth on an epic quest to drink booze and plunder booty from everyone they came across!
They christened their crew the Lords of the Drunken Pirate Crew and set about gathering the meanest, drunkest, most furious pirates to sail wit’ them and drink all the booze in the world! The ways have been perilous, losing many a crewmate to Poseidon’s wrath, silly noodle battles, and alcohol poisoning, but the crew rages on to bring their shanties to all corners of the earth.
If ye happen to come across these pirates three, for a spot of ale, a jug of rum, and mayhaps some booty from your private stock, they’ll play ye some tales of battles and the adventures which piracy brings!
So grab your noodles, grab your hooks, and your peg-legs and get ready to jig and fight, because these pirates be takin’ ye by storm! YARRRR!!!
Adia is an American neo-soul rock violinist, singer and songwriter. Her music is a reflection of her diverse musical background; a blend of classic and alternative rock infused with blues and soul undertones.
Born and raised in Milwaukee, WI Adia enrolled in her first violin lessons when she was just three and a half years old. After receiving a Master of Music degree in violin performance from DePaul University in Chicago, Adia switched to a 5-string electric violin with a unique guitar sound, clearly influenced by her greatest inspiration Jimi Hendrix.
YNF artist, Stoney is prepping to release his debut mixtape, The Recognition. It features appearances from Justin Daye, Paige, & Achillez with productions from YNF producer Yogi, Soundtrakk, and many more!
Stinkbomb is a three-piece punk rock band from St. Louis MO. With an eclectic mix of influences, they make music with an old-school punk sound reminiscent of Black Flag, The Bad Brains, and Minor Threat, with a melodic sound more influenced by bands such as The Queers, The Ramones, and Screeching Weasel. Their message: “Have a good time, all the time.”
In March of ’03 Rod Night was the only punk rocker in a small town until Floyd Flannigan and Travi Scum arrived. They came from Alaska and wanted to start a band. Benedict Arnold was born. It was Travi on drums, Rod on guitar and Floyd on Bass. They floated around St. Louis playing guitar on the streets and causing mischief. Eventually Benedict Arnold found its way into a punk house and of course wrecked it from basement shows and massive parties. All seemed well until the night of December 1st, ’05. Travi was tragically killed in a car wreck shortly after a Benedict Arnold show.
Rod and Floyd forged the broken pieces. Together with the help of Ricky Retardo, now their drummer, the guys continued to create potent punk rock. News of the band spread to cities like Chicago, Detroit, and Milwaukee. The guys quickly found themselves touring the nation. While rocking out at a dive bar in Southern California Benedict Arnold met Gunn and he had a round of Sailor Jerry waiting for them. Several bottles later it was unanimous that Gunn join the group on six-string. This band is a wild, whirlwind of adrenaline and antics. Keep your eyes and ears open for the menace known as Benedict Arnold
Piñata Protest is a “Tex-Mex punk” band from San Antonio, TX. Their self described sound and attitude arises from the two counter-clashing worlds that the band embraces: punk and Tex-Mex.
Piñata Protest’s unique and catchy sound takes the traditional folk rhythms of Tex-Mex music (conjunto and norteño music that is native to the South-Texas and Nortern-Mexican region they originate from) along with the three-row button accordion and combine that with the fast tempos and attitude of punk rock, ska, and many other genres. Along with the use of traditional instruments and rhythms the band also sings in their regional mix of Spanish and English (or Spanglishas it’s called locally). Their songs lyrics cover a range of topics, from political topics close to the ethno-identities of the band, drinking, love, religion, and racism. Adding to their sonic performances is a lively and energetic live show that ignites crowds to mosh, skank, and twirl their dance partners.
Piñata Protest was founded by the Mexican-born singer, song writer, and accordionist Álvaro Del Norte. The band includes Regino Lopez on electric guitar and vocals, Richie Brown on electric bass and vocals, and Chris-Ruptive on drums. Other instruments such as the trumpet and güido are used in not only their studio recordings but their live performances as well.
For over ten years the quartet has maintained a busy schedule of performing and touring throughout the United States, Canada, Mexico, Spain, and France alongside range of musical acts such as The Reverend Horton Heat, Mariachi El Bronx, Molotov, GBH, Tagada Jones, Guttermouth, Voodoo Glow Skills, Brujeria, The Toadies, Ramon Ayala, The Blasters, Authority Zero, Agent Orange, Ozomatli, Mustard Plug, The Blasters, and Wayne Hancock.
Festivals are a strong point for Piñata Protest. Their very eclectic sound, interactive show, and energetic performances makes them a perfect fit for a wide variety of festivals. Most notably the band has had several official appearances at Punk Rock Bowling, SXSW, The Tejano Fan Fair, Flogging Molly’s Salty Dog Cruise, Palomino Fest, Punk In Drublic, The Latin BMI Awards, Accordion Noir, Muddy Roots Festival, and a slew punk, folk, and Mexican themed festivals.
The bands unique sound has also leaded them to be featured in soundtracks for the following major and independently release films: Tequila Re-Pasado (2023), Me Estas Matando Susana (2016), La Soldera (2015), Circus of the Dead (2014). The band has also written music specially for Me Estas Matando Susana.
The band has also had several collaborations with companies including releasing their own beer through Freetail Brewing with a released of Piñata Protest beer which was distributed in grocery chains, bars, and venues across Texas. The band has also collaborated with other worldwide brands such as Tecate beer, Ford Motor Company, and Nike Athletics.
Guitarist Aaron Moreland and harpist/vocalist Dustin Arbuckle have spent over a decade exploring the edges of American roots music. In the process, Moreland & Arbuckle have forged a relentless and haunting sound that merges Delta blues, folk, rock, traditional country, soul and numerous other echoes and murmurs from an infinitely layered musical narrative that spans more than a century.
The Moreland & Arbuckle journey began when the two met at an open-mic jam at a club in Wichita, Kansas, in 2001. Moreland had just moved into town a few months earlier from Emporia – a city located some eighty-five miles to the northeast. A guitarist since age 15, his source material was admittedly diverse – Led Zeppelin, Creedence Clearwater Revival, Black Sabbath, Charley Patton, Motley Crue – but he’d settled into traditional blues by the time he’d arrived in Wichita in his mid-20s.
Arbuckle, a native of Wichita, had been playing in a blues rock bar band at the time, but his truest sensibilities ran a couple generations deeper, into the heart of the Mississippi Delta. He counts iconic figures like harpists Little Walter and Sonny Boy Williams and guitarist Son House among his most profound influences.
“It was kind of perfect,” says Arbuckle of the chance encounter between the two musicians. “We had a shared vision, in a place where there really wasn’t much interest in – or support for – country blues.”
Moreland joined Arbuckle’s blues rock band for the last few months before the project dissolved, then the two started a quartet called the Kingsnakes, which Arbuckle describes as “electrified Mississippi blues mixed with a sludgy, jam-oriented rock thing.” The project incorporated a range of sounds: soul, country, funk, jam rock, blues and whatever else worked. Horner joined in 2003, but left after just a few months. A few bass players came and went in the years that followed, until Moreland and Arbuckle discovered they could lay down a solid groove on their own.
Then again, Moreland does his share of work at the bottom end. In addition to the more typical Telecaster and Les Paul guitars, his arsenal also includes a hand-crafted instrument consisting of four strings stretched across a cigar box. One string feeds into a bass amp, and the other three into a guitar amp. It’s a gritty, electrified descendent of the cigar box guitars played by countless Delta bluesmen of the early 1900s who, for all of their innate talents, were too impoverished to afford the real thing.
“There was no real adjustment for me,” Moreland says of his first encounter with the instrument, which was crafted by a friend in Memphis. “I just picked it up and played it. When I play a regular guitar, I hold down those bottom strings with my thumb and pluck those to get a kind of groove going. So when I first started playing the cigar box with the bass string, it just worked perfect with my style of playing.”
Moreland & Arbuckle crafted three self-produced album in rapid-fire succession – Caney Valley Blues in 2005, Floyd’s Market in 2006 and 1861 in 2008. “There have been times in the past when I’ve gone on a rant that we’re not writing enough,” says Moreland. “But then I look at our catalog and say, ‘Well, that’s stupid. We’ve put out all this stuff in a short period of time.’ When I look at it that way, I’d say we’re fairly prolific.”
The band took that hefty catalog to Iraq for nearly two weeks in the fall of 2008 to play for the American troops stationed there. “It was a crazy awesome experience,” says Moreland. “Super-grueling. Twelve days of about four hours of sleep per day. From a physical standpoint, it was pretty tough. But to go into a tattered, war-torn area where tens of thousands of fellow Americans were putting their lives on the line every day, minute by minute, was a very rewarding experience. I’d never experienced anything like it before.”
Moreland & Arbuckle made their debut on Telarc International, a division of Concord Music Group, with the February 2010 release of Flood. The critically-acclaimed album was a giant step in the group’s never-ending quest to unearth the rawest and most honest elements of the American music tradition – without getting caught up in definitions and categories that would only serve to limit the vision.
After the release of Flood, Moreland & Arbuckle hit the road for tour dates with ZZ Top, George Thorogood, Jonny Lang, Buddy Guy, Robert Cray, Los Lonely Boys and other blues and rock veterans.
Moreland & Arbuckle built on that solid foundation with the August 2011 release of Just A Dream. Featuring a guest appearance by legendary soul guitarist Steve Cropper, the 12-song set is a showcase for Moreland’s dynamic and compelling guitar work and Arbuckle’s emotionally charged vocals and edgy harp.
On July 30, 2013, Moreland & Arbuckle, along with new drummer Kendall Newby, are set to release 7 Cities, their most ambitious work ever. Teamed for the first time with Seattle-based producer Matt Bayles (Mastodon, the Sword) and recorded in Stone Gossard’s studio, the album tells the story of Spanish explorer Coronado and his fabled search for the seven cities of gold in the Kansas plains, not far from where the band lives. The sounds of 7 Cities include vintage rock (“Kow Tow”) and twang (“The Devil and Me”), along with a few barnburners (“Tall Boogie,” “Road Blind”) and a surprising version of Tears for Fears’ “Everybody Wants to Rule the World,” all of it rooted in the spirit of the Delta blues.
“It’s hard to say exactly what we are and what we do,” says Arbuckle. “Blues is definitely at the core, but we’re huge fans of all sorts of American music, and all of that comes through as well. Obviously, there are elements of traditional country in what we do, elements of vintage rock and roll, soul and all that sort of stuff. We always try to stay grounded in that traditional blues center, and at the same time branch out and do as many different things as we can while still keeping it consistent with the sound we’ve developed.”
Deke Dickerson is one of America’s musical treasures. As an entertainer and musician, he has toured the world and established himself as one of the foremost purveyors of roots music, headlining festivals from Las Vegas to Finland. As a writer and music historian, he is well known for his regular column in Guitar Player magazine and recently authored two enormous essay projects for Bear Family’s 2007 Merle Haggard box sets. As an entrepreneur, Deke has partnered with Hallmark Guitars to produce the Deke Dickerson model guitar, as unique in its design as its namesake. As a behind-the-scenes mover and shaker, Deke has recorded songs that have been featured in a variety of movies, TV shows, and radio programs, from the Oscar-winning movie Sideways to HBO’s documentary Dirty Driving: Thundercars of Indiana and the hugely popular XM satellite radio show Theme Time Radio Hour with Bob Dylan. For this last, Deke not only contributed background guitar music but was also interviewed and quoted by Bob Dylan.
Fans from rock and roll loving countries all around the world have been asking for years, DEMANDING, “WE WANT THE DICTATORS!” Following a long and storied history, THE DICTATORS NYC have decided to answer these calls, believing that this music, that meant so much to so many, should not be put to rest!
Led by former Dictators’, Manitoba’s Wild Kingdom, and occasional DKT/MC5 front man Handsome Dick Manitoba, the band features Ross The Boss (Dictators, Manowar, MWK) and Daniel Rey (Ramones songwriter and producer, Ronnie Spector, MWK) on guitar, JP “Thunderbolt” Patterson (Dictators, MWK) on drums, and Dean “The Dream” Rispler (Murphy’s Law) on bass. In short, THE DICTATORS NYC are two guitar mavens and a melodic, throbbing rhythm section led by the world’s greatest entertainer. Simple, unpretentious, loud and fun- the way rock and roll is supposed to be!
Driven insane by the boredom of Chicago’s suburbia and the music on the radio, a group of young lads have gathered together to unleash their madness in a flurry of off-beat guitar grooves, dance beats, and funky horn lines in what is now called the Skalalitabs! “The Skalalitabs” is a name formed from a pun with “ska” and the Qur’anic phrase for Jews, Christians, and Muslims, all of which are represented in the band’s lineup. Bringing together ska, reggae, and dance-punk into a combination never before heard, the Skalalitabs will get even the most firmly rooted of wall flowers skanking and jumping!
Make no mistake: the Fox Street Allstars (FSAS) reek of the roadhouses and West Texas honky-tonks of the deep south that inspired their signature sound. FSAS is a roller coaster of roadhouse blues interwoven with super-sized helpings of funk with elements of rock, soul and jazz. No one really has any idea where front man Jonathan “Skippy” Huvard channels his soulful, whiskey soaked vocals and frenetic stage presence but the result is a blistering powerhouse of sound.
Musically, Elsa keeps things clean and simple, reminiscent of the great Hank Williams but with the gusto of a tattooed rockabilly beat. Critics compare her voice to Patsy Cline and June Carter, but fans say she sounds more like a female Johnny Cash.
L.A. Woman is the sixth studio album by The Doors, and the last recorded with lead singer Jim Morrison, who died in July 1971, less than 3 months after the albums release.
The album will be performed by The Doors of Chicago
The Doors of Chicago is the #1 Doors Tribute Band in the Midwest offering a high energy Doors show that captures the music and dynamics of Jim Morrison and the Doors in their prime. With an all pro band and an award winning frontman who eerily seems to channel Jim Morrison on stage, The Doors of Chicago leave audiences stunned and amazed and wanting more. Don’t miss your chance to relive one of the greatest moments in rock history with The Doors of Chicago. The Ultimate Doors Experience!
Uncle Larry is equal parts pop, punk, grunge, a dash of surf, three cups of art and three cups of performance… like Talking Heads, Nirvana, and Pixies mixed in a blender set to liquefy! A delicious treat for all the senses!!
Alright Panther is a three-person experience through the wormholes of sonic frequencies. Recently transplanted from Iowa City, the group has set up shop in Chicago and begun working on new indie rock/garage songs. Known for its energetic shows, Alright Panther seeks to overthrow the existing order of boring silence.
URBAN GRIND TV BIRTHDAY BASH WITH CAP 1 & BO DEAL LIVE IN CONCERT
Urban Grind TV Birthday Bash & Mixtape Release Party at Reggies Rock Club with Cap 1, Bo Deal, GLC, Marvo, Jay Stonez, 5th Element, Lil Bibby, Lil Herb, & more surprise performers LiveJune 25. Urban Grind TV’s Mixtape “Chicago Everything” Hosted By DJ VDub will be released that night.
Intervals is a window into the mind of guitarist & composer, Aaron Marshall. Founded in 2011, Intervals is a progressive and forward thinking staple in modern instrumental music with roots firmly planted in all things traditional, & an open eye on the future. The Shape of Colour is the natural evolution of Aaron’s sound & a testament to his knack for infectious melody, & engaging compositions.
A young beautiful and talented song bird is what she is! Morisha Danee born and raised in Country Club Hills, IL is a vibrant and inspiring young woman trying to take her music to another level! She comes from a singing family and is now trying to become a new threat to the music industry! With her soft melodic ballads and relaxing songbird vocals, she is sure to bring life to the R&B Soul genre as a young independent artist!
Jesse Murphy is a New York City-based bass player. He played on John Scofield’s Überjam album and was a member of Brazilian Girls. He is also a member of the “Love Trio”, a band that “sprang directly out of the Nublu club scene” in NYC.
Tony Oladipo Allen (born 12 August 1940 in Lagos, Nigeria) is a Nigerian drummer, composer and songwriter who currently lives and works in Paris. He is currently writing his autobiography “Tony Allen: Master Drummer of Afrobeat” with author/musician Michael E. Veal, who has previously written a comprehensive biography of Fela Kuti.
As drummer and musical director of Fela Anikulapo Kuti’s band Africa 70 from 1968 to 1979, Allen was one of the primary co-founders of the genre of Afrobeat music. Fela once stated that, “without Tony Allen, there would be no Afrobeat.” He has also been described by Brian Eno as “perhaps the greatest drummer who has ever lived.”
Never losing sight of goals, and pressing onward amidst countless obstacles, Antagonizers ATL have delivered an unbelievable follow up to their debut self-titled LP.
Adding a sixth member, enlisting a few talented friends to help with some key tracks, and really taking the time to hone in on their songwriting, has created an album with strength exuding from every orifice. This record ups the ante, and shows that they only plan on conquering more challenges and goals head-on; eventually taking their incredible live show back out across the globe to share these great tunes with you!
While the world remains more chaotic than anyone would like, and we collectively work our way out of the divisiveness we find in everyday life, it’s good to know that there is strength, consistency, and a unified message and sentiment at least within the greater punk scene!
Albums like this serve as a pressure release valve for us all, helping us all continue to see that light at the end of the tunnel!
Infa Riot were formed in 1980 (not 1979 as published incorrectly in other biographies/CD booklets) by Barry D’Amery and Lee Wilson, after becoming friends with the Angelic Upstarts at the Lordship pub in Wood Green north London.
Lee’s brother, Floyd Wilson was recruited to play Bass. Barry and Floyd were only
15yrs old at the time and Lee was 17. Over the three or so years they were together they had a total of six drummers, one of them being the brilliant Alex Cardarelli who went on to join the Upstarts and Bad Manners and is in the new line up along with Lee and Barry.
Their first gig was at the Lordship supporting the Upstarts. They then went on to support them on a UK tour.
Two tracks were recorded for the “Strength Thru Oi!” compilation album in 1981 which reached No.51 in the national album chart.
Soon to follow was their first single “Kids of the 80’s” produced by Max Splodge which reached No.8 in the UK indie charts.
In 1982 the second single entitled “The Winner” was released which reached No.9 in the UK indie chart.
Also that year The track “Power” was recorded for the “Wargasm” compilation album and the debut album Still Out Of Order was released and spent a month in the national chart reaching No.42 receiving a top notch review in melody maker. This was followed by tours with the Exploited and also a one off trip to Greece to play in Athens.
In 1983, after pressure from the record company following trouble at gigs and negative press, they were “advised” to tone down the image and change their name to the Infa’s. (Mensi’s nickname for them at the time).
This seemed to spell the end for them as they felt they were no longer in control of the music which the fans loved and wanted to here so they reluctantly called it a day.
A couple of years later a comeback gig was organised. Unfortunately the drummer at the time thought it would be a great idea to get totally pissed to the point where he could barely stand before going on stage and let the rest of the band down badly.
And that was the end of Infa Riot……….UNTIL NOW….
Musical anthropologists interested in the study of just how fast a band can evolve need look no further than the six upright, upstanding men in Oregon’s Larry and His Flask.
Formed by brothers Jamin and Jesse Marshall in 2003, the Flask (as the band’s expanding army of fans calls them) spent its first half-decade stuck in a primordial, punk-rock goop, where a blood-sweat-and-beers live show took priority over things like notes and melodies. Don’t misunderstand: The band was (somewhat) skilled and an absolute joy to watch, but the goal was always the party over perfection.
Over the past two years, however, Larry and His Flask has gone from crawl to sprint at breakneck speed. First, Jamin Marshall moved from gargling-nails vocals to drums. Guitarist Ian Cook became the band’s primary voice. And a trio of talented pickers and singers — Dallin Bulkley (guitars), Kirk Skatvold (mandolin) and Andrew Carew (banjo) — joined the family. (And no, you didn’t miss something. No one is named Larry.)
Determined to make music for a living or die trying, the six brothers set out in a van, intent on playing for anyone, anywhere at any time. From coffee shops to dive bars and street corners to theater stages, the Flask honed their sound and show through experience, attacking each gig like buskers who must grab and hold the attention of passersby in hopes of collecting enough change to get to the next town.
By 2009, Larry and His Flask’s train began gaining steam. The band’s new songs are a blurry blend of lightning fast string-band picking, gorgeous nods to old-school country, and sublime multi-part harmonies, all presented through a prism of punk chaos. The boys have grown and changed, yes, but their shows are still gloriously physical displays of live music’s sheer power. In other words, keep your eyes peeled, or risk taking the heavy end of Jesse Marshall’s flailing, stand-up bass right between the eyes.
A slot supporting the Dropkick Murphys in the Flask’s hometown led to an invitation to open for the Celtic punk kingpins across the eastern half of the United States, as well as an opportunity to finally record their new, twangier sound. The result is Larry and His Flask’s three-song, self-titled 7″ record, pressed in a limited run that’s quickly being snapped up by the band’s new fans, who’ve been clamoring for a sip of aural hooch to call their own.
In mid-2010, the Flask is holed up in their crash pad in Central Oregon, working on songs for their first full-length, playing gigs here and there, and, in the words of Jesse Marshall, “fixing the van and all our broken shit” in anticipation of the next leg of a lifelong tour.
