LETS GET IT
LETS GET OUT OF THIS TERRIBLE SANDWICH SHOP
LEXICON
LGBTQA COMMUNITY
LIARBIRDS
LIARS
LIBERTY BLUEGRASS BAND
LIFE NUMBER NINE
LIFE SENTENCE
LIFETABLES
LIGHT POLLUTION
LIGHTNING SWORDS OF DEATH
LIGHTS OUT VEGAS
LIGHTS OVER BRIDGEPORT
Lights Over Bridgeport is a rock band formed by four friends who grew up on punk rock and metal. We write music for anyone who aspires to make a better life for themselves and the ones they care for. Through wholesale lineup changes and personal tragedies we have continued to make music that we believe in with all our hearts.
LIGHTS RESOLVE
LIKE DOLLS
LIKE RATS
Like Rats is a death metal band from Chicago.
LIKE SO
LIL SICC
LILLIE LEMON
LINDEN
LAND OF ATLANTIS
LANDO
LARGE AND LOVELY
LASCO STROUD
LASERS AND FAST AND SHIT
“besides having one of the best band names, LASERS AND FAST AND SHIT also have one hell of a propulsive fiery art damaged punk sound……..
mix in the brash angular punk of LES SAVY FAV, the garage thump of the MISTREATERS, the hardcore thrash of DOUBLE DAGGER and the noise riffing of DRIVE LIKE JEHU…. and maybe throw in some BIG BLACK, NATION OF ULYSSES and JESUS LIZARD for good measure….. what you get is some of the most engaging hardcore tinged punk rock that doesn’t follow those boring old formulas……”
-Tiny Grooves
LAST AVENUE
Their unique sound of underground bluegrass imbibed with their roots in punk and metal is a loose bull in a china shop. This clash of genres that they have dubbed “Brutal-Grass” has quickly earned them a name in the scene.
LAST FALSE HOPE
Last False Hope are some city slickers from the mid-western suburbs of Chicago. Their unique sound of underground bluegrass imbibed with their roots in punk and metal is a loose bull in a china shop. This clash of genres that they have dubbed “Brutal-Grass” has quickly earned them a name in the scene. The band was cooked up by Jahshie P. A long time veteran in the Chicago music scene, best known as the former frontman of Failed Resistance, My Vengeance and later, Neverland. In the past few years, Jahshie P. developed an intense interest in country western and blue grass music, along with his new found passion of the mandolin. Come the Summer of 2009, his new skills began to translate into songs. His first step was to bring his wife, Kristina Nutting, a new comer to the Chicago music scene, along for the ride. She would rapidly warm up to the banjo. Quick to the draw, they set forth to include a track to the Outlaw Radio Compilation, volume one. To fill in the blanks, they recruited Producer, Shawn Connors, best known as the drummer of death metal band, Bound And Gagged and later, Jashie P.’s band mate in Neverland, as well as a number of other fly-by-night acts. To fill in the line-up, Arcadia Kust on fiddle, Sean Moriarty on guitar and Dave Beneventi on bass from a local irish punk act, The Fisticuffs, as well as former My Vengeance members, Steve Stepien on drums and David Wiegers, who also played guitar in Neverland. This line-up would go on to record “Two Dollar Pints” for the comp. Over the course of roughly the next year, the seven of them would go on to write more songs and play several shows Come September 2010, they re-enlisted Shawn Connors to begin work on the debut EP, “The Shape Of Blue Grass To Come.” Four songs, “Giving Up God For Lent,” “Drag Me To Hell,” “You Drink, You Drive, She Wins” and “Dying and Diseaed” would make the final cut. The EP was released on March 1st through Pint Of Happiness Records. After the conclusion of the “The Shape of Blue Grass To Come” sessions, Sean, Arcadia and Dave B parted ways with the band. Shawn Connors has since joined to fill the open guitar position, along with Scott Farruggia, also from Bound And Gagged and Neverland on bass and friend of friend, Colleen Mary on fiddle. The new line-up was debuted on a track for the Southern Independent, volume one compilation, titled “Guilty Until Proven Innocent.” They new line-up is currently working on a versus split with Nellie Wilson & the Hellbound Honeys on Jahshie P.’s own, Solitary Records. Since their their inception, l/f/h has shared the stage with the likes of Star Fucking Hipster, Those Poor Bastards, .357 String Band, Hellbound Glory, The Goddamn Gallows, Rachel Brooks and Six Gun Britt. They were also, named the Best Country Bandin the Chicago Reader “Best of Chicago 2011” reader’s poll. They will continue to play shows with the line-up in support of “The Shape Of Bluegrass To Come, while crafting new material for a debut full length, hopefully to be released in early 2012.
LAST FAST ACTION
LATE APRILL
LATE NIGHT HOOLIGAN RIFF RAFF
LATERALUS
LAUREN FROST
LAUTREC
LAWRENCE ARMS
LAY Z BOY
LAZ
LAZARUS
LAZARUS A.D.
LAZER CRYSTAL
LAZER DUDES
LAZERBEAK
LAZERHAWKS
LE PERCULATEUR
Beckoned by the dulcet tones of violin, bass, and the female voice spiraling through the darkness, the stranger was helplessly drawn towards the last lit trailer in camp that seemed to have sprung forth from another time. This chance meeting’s outcome: lePercolateur.
Fueled by coffee black as the night the musicians played ’til the sun began painting the eastern horizon red, and carnivale rose ’round them from the ether.
Winding their caravan through the windiest of cities, lePercolateur has spent the time since this fateful night sweeping in to transport concert-goers to a time where music was a liberating and cathartic respite from persecution–where the frenetic energy of struggling to simply ‘be’ coalesced with the unbridaled spirit of gypsy music and burgeoned into swing dancing.
The coming Spring of 2012 finds lePercolateur slated to release their debut album as the latest band to join the Chicago Sessions record label. Between now and then, many more are sure to wake from a dreamlike daze wondering in which year they find themselves, and wishing it was what their senses told them.
“a sly and surprising gypsy-jazz quintet who apply that idiom to modernistic pop tunes, as well as vintage jazz composition” – Neil Tesser, Chicago Examiner
lePercolateur – Chicago’s hipster gypsy-jazz
LEADFOOT STRING BAND
LEADING ETERNITY AFTER DEATH
LEATHUR CHEETAH
LECHEROUS NOCTURNE
LEE
LEFT ALONE
After being welcomed into the Hellcat family in 2005, the group released their debut full-length, the ska-punk classic “Lonely Starts and Broken Hearts”, then followed it up with their diverse sophomore LP “Dead American Radio”. Sights set on a more cohesive third album, the band began working on and practicing the first incarnations of what would become the self-titled effort, then time off from their touring and rehearsing schedule.
“The band had been touring constantly, but after our January tour we took a long break, which is something I’ve never gotten to do before,” says front man and founder Elvis Cortez.
Cortez occupied his time off with a stint filling in on bass for several Unseen tours, after which he looked at the songs with fresh eyes, helping the direction of the album come together before ever entering the studio.
“I got to come home and start putting things together, and wrote all these songs specifically for this album. I didn’t want to rehash old songs, or play songs we’ve been playing forever. I wanted music for the moment.”
The time away worked towards the band’s advantage and helped make the record the most cohesive group of songs to date. While Dead American Radio offered fans a large variety of styles to choose from, the latest effort has meshed into one polished and progressive sound, with personal lyrics and a commitment to give the fans something to salivate over, and silence the critics they care so little about.
The break from touring also gave Cortez time to finalize the new lineup, adding Kiel Gesicki on drums and Nick Danger on bass, tightening up the group’s sound.
The first single off the record, “3 Bottles of Wine”, represents the new dynamic of the group and the album, with an addictive sing along chorus, still in the tradition of the band’s previous fan favorites but on a new, higher level.
Fans of Left Alone’s distinct ska sound need not fear, the band hasn’t forgotten their old signature and features it on the made-for-skanking romp “Sad Story”, dealing with true life events living within the confines of gang-infested Wilmington.
Radically changing the personal tones of the album is the politically charged “Bombs Away”, dealing with the rampant destabilization of Western civilization. The song is a stark departure for Cortez lyrically, and deals with subject matter usually non-existent for Left Alone.
“The album to me sounds like one full project, each song compliments the others,” summarizes Cortez. “I feel like these are the best I’ve written and have the best production value, and a lot of that comes from going and living in the studio.”
The group left Wilmington for almost a month to head to a studio in Fontana, a rural town in the Inland Empire, with limited distractions and a complete focus on recording the album with the same audio engineer who worked with the band on Dead American Radio.
With solid months of touring lined up, and their new album slated for a March release, the band shows no signs of slowing down or letting grass grow under their TUK-clad feet. Left Alone has always walked the road less traveled by, and without a doubt, it’s a road with no end in sight.
LEFT BRAIN HEART
LEFT SETTER
Nick Langis, George Langis, Sean Keenehan, Jimmi Nolan
LEGEND HAZ IT
KOOL KEITH as DR. DOOM
KORPIKLAANI
KORY QUINN
Portland songwriter Kory Quinn, a DIY contemporary hobo intellectual, has a refreshingly homespun take on Americana, a very welcome sigh of relief in today’s contemporary market. After spending over 270 Self-Booked Dates on the road, spanning 7 countries, on three Continents and another 90 plus shows already booked for early next year throughout the Good Ol’ USA, Quinn still finds time to write and record new material. The just released second full-length album, At The End of The Bar, boils down red-dirt basics in a freewheeling roadhouse stew. Quinn’s songwriting is adroit and surefooted, offering sturdily constructed country, folk, and Cajun-tinged songs for his ensemble to really sink their fangs into on this instant jukebox classic. The songs are short and sweet but packed with clever lines, sentimental harmonies and twangy fills. All that makes them the kind of songs that hang around your brain like honky-tonk regulars. Between road-worn self-penned material, old-time drinking songs and heart rending country standards The Mighty Quinn is the next one to watch out for.
KORY QUINN & THE COMRADES
KOSHA DILLZ & FLEX MATHEWS
KOSHER CURRIED SALAMI
KRIS MYERS
Kristen Ford was born in April 1987 in Ohio. She has since lived in 6 states, most recently in Chicago, Illinois and Boston, Massachusetts. Playing out and about for the past 4 years, Kristen has written slews of songs, performed across the globe and released 2 full length records, “Filthy Nasty” in 2009 on Many Doors Records, produced by June Millington and Lee Madeloni, and a double EP album “Alone, Together” released independently and the EP “ Alone “ produced by the one woman band phenom, Audrey Ryan.
KRISTEN FORD BAND
Yearly moves, changes in geography and a personality “like talking to a child with ADHD”, Kristen has been hailed as having “no easy way to categorize the music, the real deal” and a “musical cuisinart”, Kristen plays everything from Reggae to Country to Folk to Pop on a handful of instruments, guitar, ukulele, piano and beatbox. Energy binds her eclectic tastes together and makes the live show a must see.
Over the past 3 years the Kristen Ford Band has changed membership but consists of Drums, Upright Bass, dueling guitars and violin. Band members add to vocal harmonies and fill up the stage with grooves. While each show is a little different, you can be sure the songs will shine as bright or brighter than the record, with energy bursting at the seams.
KRUM BUMS
KRYSTAL METCALFE
KUAN
KUWARRAH
KYLE MANN COMBO
KYLESA
Since this Savannah, Georgia quintet first formed in early 2001, worrying about genre limitations has never been a priority. Taking musical chances, however, always has been. While KYLESA are as heavy as any band out there, they are beholden to no one scene and no preconceived notions of what heavy music should be.
“Lots of people like to stick to one kind of music,” guitarist/vocalist Philip Cope elaborates, “and even with the underground, lots of people segregate themselves into small little categories and place lots of imaginary rules on these scenes.”
“We just like playing heavy music and we’ve always liked playing it regardless of what is popular or trendy,” guitarist/vocalist Laura Pleasants adds. “It’s most rewarding for us to try and push our own boundaries of what we can to do with our music and hopefully, in the end, offer something that is at least original.”
Kylesa’s third full-length, Time Will Fuse Its Worth, is the eagerly-awaited follow-up to 2005’s To Walk A Middle Course, which topped many year end lists and landed the band in metal and mainstream press alike. After grabbing ink in Spin, the New York Times, and metal mainstays Revolver alike, Time Will Fuse Its Worth again showcases the band as the ultimate definition of do-it-yourself dedication. With Cope lending his ears and hands for production duties at The Jam Room, and featuring comprehensive artistic layout and packaging from Pleasants, the KYLESA of current day continues to put the band’s future in their own hands by touring Europe and North America alike.
Time Will Fuse Its Worth sees the band continuing to evolve upon KYLESA’s signature sound, seamlessly flowing from track to track encompassing listeners with sounds far and wide and an utter disregard for musical boundaries. Bringing together avant-garde experimentalism with the pure fury of dirty, sludgy riffs and raw, coexisting male and female vocals, KYLESA’s ambient noise interludes, grimy rock riffs and impassioned, gruff vocals portray the doom-inspired punishment they are capable of dishing out through the power of the band’s music.
Now adding to KYLESA’s signature sound and trademark triple vocal attack is the recent addition of a second drummer. “When we first started the band, we had planned on having two drummers but it didn’t work out, so now it feels like everything is coming together,” Pleasants says. “There is definitely a new level of intensity to Kylesa now. Since the new lineup has gotten together we have felt the strongest creative spark yet.”
The band’s reluctance to attach itself to one sound or scene and to not play by conventional rules, along with that strong creative spark, has ultimately made KYLESA that much more versatile. With a constantly heavy touring schedule has found the band crossing boundaries, sharing bills with bands as diverse as High On Fire, Circle Takes the Square, Coliseum, Torche, Red Sparowes, Big Business, Baroness, The Sword, Disfear, and Darkest Hour both at home and abroad, as well as playing to enthusiastic crowds throughout Europe. “While we are no kings of one scene,” says Cope, “we have, in a sense, just developed our own thing.”
L.A. CROSS
L.A. KINGS
L.E. FOR THE UNCOOL
L.E.P.
L.E.P. BOGUS BOYZ
L.T.N.
L’NORE
