Weeping Wound is a nu-metal/metalcore act formed in SWFL mid-2017. With subject matter speaking out about abuse, addiction and mental illness they aim to be more of a statement than a band.
Consisting of Dylan Torre, Devin Schuler, Loren Whitaker, and Patrick Dowling who have all dealt with their share of trauma they’ve come together to be an honest and intense perspective as to what it’s like experiencing and growing from life’s unfair catastrophes through hard-hitting genre bending music.
Deriving from the recession-hit economies of suburbia and small-town Michigan, And Hell Followed With are noted for the energy and intensity that they bring with them in every live performance, and their relentless touring has helped them perfect their brutal yet skillful musicianship. They’ve combined their crushing riffs with an awesome technical approach that would make even the most seasoned pro green with envy! Though this may only be their second album together, they have a songwriting capability that belies their young age.
Brant Bjork has spent over a quarter-century at the epicenter of Californian desert rock. From cutting his teeth alongside Fatso Jetson’s Mario Lalli in hardcore punkers De-Con to drumming and composing on Kyuss’ landmark early albums, to propelling the seminal fuzz of Fu Manchu from 1994-2001 while producing other bands, putting together offshoot projects like Ché, embarking on his solo career as a singer, guitarist and bandleader, founding his own record label and more, his history is a winding narrative of relentless, unflinching creativity.
For someone so outwardly laid back, he’s never really taken a break. And while Bjork has shown different sides of himself on albums like his funk-laden 1999 solo debut, Jalamanta, the mellow Local Angel (2004), 2007’s mostly-acoustic TresDias, and heavier rockers Somera Sól (2007), Gods & Goddesses (2010) and the two most recent outings with The Low Desert Punk Band, he’s maintained a natural representation of himself in his material, whether that’s coming across in the Thin Lizzy-isms of the faux-full-band 2002 release Brant Bjork and the Operators (actually just Bjork playing mostly by himself) or the weedy, in-the-jam-room spirit of “Dave’s War” from Tao of the Devil. When you’re listening to Brant Bjork, you know it, because there’s no one else who sounds quite like him.
That fact and years of hard touring have positioned Brant Bjork as an ambassador for the Southern California desert and the musical movement birthed there in the late ‘80s and early ‘90s. As underground interest has surged in recent years, Bjork has been a pivotal figurehead, realigning with his former Kyuss bandmate John Garcia to drum and write in Kyuss Lives!/Vista Chino, celebrating and building on that legacy while giving a new generation of fans the chance to see it happen in real-time.
Having told his story in films like Kate McCabe’s Sabbia (2006) and the documentaries Such Hawks Such Hounds (2008) and Lo Sound Desert (2015), he’s represented desert rock at home and abroad with no less honesty than that which he poured into the music helping to create it. The same impulse led to the founding of his Desert Generator festival which transformed into Stoned and Dusted, an annual festival held in Pioneertown, CA, with an international reach capturing the intimacy and timeless aura of the desert culture in a secret desert location, and an evolution that looks to continue into the foreseeable future.
Bjork’s work, with any project, has always had a rebellious sensibility. He’s always walked his own path. But more, his career through Kyuss, Fu Manchu, Ché, Vista Chino, and his crucial solo work has been about freedom through rock and roll, attained by the truest representation of the person and the place as art. This, along with a whole lot of groove, is what has helped Brant Bjork define desert rock as a worldwide phenomenon, and whatever comes next, it is what will continue to make him its most indispensable practitioner.
Hodie Snitch plays the songs you know and love from the likes of Johnny Cash, Merle Haggard, Waylon Jennings, Willie Nelson, George Jones, David Allen Coe, Hank Williams Jr, Charlie Daniels, and the list goes on and on.
Italian progressive rock band known for their soundtrack work. The real Goblin (Maurizio, Fabio, Agostino and Massimo) showcasing their new album “Fearless” based on Dawn of the Dead.
Frequently collaborating with Dario Argento, most notably creating soundtracks for Profondo Rosso in 1975 and Suspiria in 1977.
Morgan Pirtle is a versatile vocalist, composer, arranger, and educator in Chicago. As a student of jazz, her music is influenced by the genre, but also resonates with pop, soul, and R&B. Her debut EP, “Muse” is out now on all platforms.
There’s a poignant yet feel-good vibe that makes 21-year-old recording artist Landon Cube’s sound infectious. The Southern Maryland native has a diverse history within music, punctuated by his versatile catalog. As Landon readies the release of his upcoming single “Makeup,” the young star on the rise is geared to level up to the next chapter in his career. “When I write a song, I don’t go for a specific genre,” explains Landon. Raised in the small 500- person town of Pomfret, Maryland, Landon spent his days skateboarding through his suburb while tinkering with music very early on. “I started singing when I was about eight years old, but I wasn’t so sure of my voice,” he says with a laugh. It was his father, a career musician, who heard Landon singing one day and urged him to pursue music. Landon would frequently watch his father perform as both a keyboardist and guitarist, learning some tips along the way. In middle school, Landon fronted a small band while recording his own songs on the side using his father’s home studio equipment.
By his teens he was performing with his father in the Washington, D.C. circuit, covering Top 100 songs from the likes of Maroon 5, Bruno Mars, and John Mayer. “It was my first exposure performing in front of people,” he says. “It’s kind of what developed my singing voice.” Raised on his father’s favorite music of Stevie Wonder, The Doors, and Prince plus his own favorites including Warped Tour bands and Lil Wayne, Landon struck a balance once hip-hop evolved. “My interest in music was everywhere, which kind of describes my music,” he adds, “but when rap became more melodic, that’s when it all made sense to me.”
At 16, he made the firm decision that music was his chosen trajectory and once he graduated high school, he dropped his introductory cut “Euphoria.” His participation with local viral video crew Cufboys added fuel to the fire, as Landon began galvanizing a fan base through his laid back authenticity and knack for melding sounds. His cut “18” showed his growth, as the young artist details his mindset at the milestone age. “After 18, I told my fans I was going to do a song for every age after that to best describe that year of my life,” Landon explains. He delivered on
that promise with “19” and “20,” respectively.
Through Cufboys he met burgeoning star Lil Skies, as the two joined forces on cuts like “Red Roses” and “Nowadays,” the former impressively hitting one million streams in less than a month. It wasn’t long before Landon was Los Angeles bound and continued his upward mobility as an artist. “I was working on a lot of music and it was getting better and I realized I wanted stronger backing,” he says, then independent at the time. “A lot of people had this misconception that I was signed to Atlantic but I wasn’t.” He ultimately joined the Republic Records roster and is preparing for the release of his six-song debut EP.
When Landon Cube makes music, it not only reaches his fans, but it also speaks to him. His single “Makeup” is a testament to that. The woozy cut is packed with emotion as Landon coos, “Your silence speaks as loud as my screams.” It’s a direct reflection of how Landon felt at the moment he penned the soon to be hit. “I had been living in LA for a couple months but had been back home to visit,” he recalls of the song’s genesis. “When I was back home, it brought up old memories that were pivotal to the vibe of the song. It’s totally me and what my music is…everything I am as an artist.”
While “Makeup,” will set the stage for what’s to come from Landon Cube, other songs like the Lil Skies-assisted “17” deliver a hindsight understanding where life can take you in just a few years. “I came back to LA and was just thinking about the past stuff, and one of the lines is, ‘Girl we ain’t 17,’” he expresses. “It’s about being onto bigger and better things.”
Landon Cube has already secured a solid following based upon his honest and heartfelt music, and the next phase in his career will bring more of that to the forefront. “I just want to be able to keep making music and keep getting better, honestly,” he humbly advises. “And have people relate to it and be on board with it along the way.”
“Los Angeles protest rock power trio, Rebel Rampage, recently released their debut album Divided We Fall feat. Angelo Moore (Fishbone) and Emily Armstrong (Dead Sara). Armed with words and music to resist oppression by the government and inspire change for equality and justice, they are galvanizing the public to engage in the democratic process by upholding civil and constitutional rights, and enforce accountability for the actions of those in power. The ever-expanding list of topical issues addressed range from immigration and women’s rights to free press, climate change, and the failings of the U.S. health care system. Rebel Rampage feels that rock music recalling the likes of Led Zeppelin, Soundgarden, and Rage Against The Machine blended into a current sound and format provide the best framework for this kind of musical protest.”
We are Swish, a punk band from Chicago, IL that takes inspiration from bands such as Green Day and Blink-182. We are here to prove that punk’s not dead.
Sweetie is here with a sugar rush that’ll leave you wanting more! Formed in 2019, this Chicago three-piece combines the hooks and emotional dynamics of the Distillers with the guttural edge of early rock and roll. Sweetie is just what the doctor ordered.
Listening to Deb Never doesn’t trigger just one emotion. Her day-dreamy melodies and raw voice paired with porous guitar riffs and unexpected kick drum beats make for a grungy sound that could only come from one place, Washington. The LA transplant cites a wide range of references from Three6Mafia to Nirvana. Mr Nobody is her newest track and it will either make you cry, or make you feel like you’re on drugs.
Dominic Fike is aware of the demand that’s mounted for him to put his music online ever since he posted a batch of self-produced bedroom demos to Soundcloud in 2017, and then swiftly pulled them down. “People are mad at me. It’s like owing your friend money,” says the 22-year-old. “You can’t really talk to them about anything else until they get it.” Fike wasn’t really aware of the buzz that had accumulated nearly overnight until he finished serving a jail sentence earlier this year. While on house arrest for three months, Dominic wrote, produced, and recorded a set of songs in a friend’s bedroom, some of which would later release onDon’t Forget About Me, Demos. The demos are a rare glimpse at an artist on the precipice of ubiquity, one so specifically him, notable for his self-assured singing, dynamic instrumentation and compelling songwriting. “3 Nights” sets the tone for Don’t Forget About Me, Demos, an effortless slice of pop with a tropical bent that coasts on acoustic guitars and a Fike’s elastic, singsong flow. The rest is a composite of his influences filtered through his artistic lens: “Westcoast Collective” takes cues from Weezer, all spidery rock guitars and intermingling vocal harmonies, while “King of Everything” harnesses both the breezy beach-rock and angst of Sublime, a diarist rumination on ruling a domain when you find yourself alone.
Known for his fast and highly technical drummer skills, Virgil is widely recognized as one of the most dedicated and technically advanced drummers of all time, with a lengthy career both solo and involvement with groups Planet X, Icefish, With Ring Of Fire and more.
Rock Falls Illinois transplant Joe Rian and his band the A.M.Drinkers have been making waves the last few years. Working songs, twangy songs, steel mill songs, lovers leaving songs. Known for their live shows.
Formed in late 2011, Insect Ark began as a one-woman solo project
of bassist/multi-instrumentalist/composer Dana Schechter. From its
inception, Insect Ark has been about creating music that transports,
both physically and psychologically. Schechter made three solo Insect
Ark records (Collapsar 7”, Long Arms 10”, Portal/Well LP); In 2015,
drummer/analog electronics builder Ashley Spungin joined the project,
and together they made 2018’s Marrow Hymns and toured extensively as
a duo/band. As of July 2019, Insect Ark returns to the primary model of
Schechter working as a solo artist, with live & studio collaborations on
a per-project basis.
Schechter has worked as a collaborator for studio / stage with M. Gira’s
Angels of Light, Zeal & Ardor, Wrekmeister Harmonies, Gnaw, Bee and
Flower, Gifthorse, and more.
Since birth, Finnish psychedelic black metal experimenters ORANSSI PAZUZU have never been satisfied to stick with a formula. Each album has seen the band expand upon its previous incarnation and then, like a supernova, blow it up and transform again into something recognizable but completely new.
Having partnered with 20 Buck Spin in North America and Svart Records in Europe, in 2013, the band issued their Valonielu LP, an album of timeless creative immensity that was met with ubiquitous praise throughout the world and solidified the band’s position as one of the most forward-thinking and interesting metal bands. ORANSSI PAZUZU returned in 2016 with their fourth album, the mind-bending Värähtelijä; an album which continues in this vein, giving the band much more room to diverge and explore the vast regions of hypnotic progressive psychedelia and the nebulous outer limits of Scandinavian black metal. Songs explode with radiant ultraviolet color and plunge into the deep black darkness of innermost consciousness. If Valonielu was the creation of a universe, Värähtelijä is the magnification and expansion of its infinite boundaries.
Both albums showed the boundless enormity and remarkable uniqueness that ORANSSI PAZUZU alone create. No other band can bend these genres into such an extraordinarily cohesive whole. The band has also since issued a special two-song EP titled Kevät/Värimyrsky, and reissued their first three albums — Kosmonument, Farmakologinen, and Muukalainen Puhuu – while the next chapter continues to be created..
Equipoise was founded in August of 2015 by Nick Padovani as a result of he and Zach Hohn writing riffs in the summer. Nick began transcribing these riffs into Guitar Pro in August, which is where he began to start adding instruments and ultimately complete songs. After a few months of playing around with ideas, Nick had written up a full album’s worth of material.
Nick presented this material to Stevie Boiser and Hugo Karout, who obviously agreed to join, and Equipoise soon became a reality. Jimmy Pitts also joined the ranks of Equipoise in late June of 2016. We also joined The Artisan Era in late July.
Our EP, Birthing Homunculi is out now!
As of 2017, we have picked up the guitar master himself, Phil Tougas!
As of late 2017, we have picked up drumming maestro Chason Westmoreland, as well as guitar wizard Sanjay Kumar.
Tech-metal outfit FALLUJAH intensify their metallic dynamism on stunning new album, Empyrean. Built on an “all killer, no filler” maxim, the Bay Area-based quartet delivered just that on album number five. From video single “Radiant Ascension” and “Embrace Oblivion” to “Soulbreaker” and “Mindless Omnipotent Master,” Empyrean is breathtaking in atmospheric expanse and impressive in sophistication. FALLUJAH’s overhauled lineup has contributed massively to the level-up on display. Primary songwriter/guitarist Scott Carstairs and compeer/drummer Andrew Baird enlisted Archaeologist’s Kyle Schaefer and Evan Brewer (formerly Entheos/The Faceless) as their new vocalist and bassist, respectively. Technicians at heart but looking for old flames, FALLUJAH rediscovered their muse on Empyrean.
“After such an experimental expression [with Undying Light], we sat down to write Empyrean completely refreshed and inspired,” reveals Carstairs. “It was like the musical tension of the last decade had been released, and we were ready to achieve goals the band had originally set out for. Empyrean is truly a return to form because we are doing what comes naturally to us, but with an intensity that we haven’t achieved in the past. We set out to create something that represents the band and its history in its purest form while also pushing our technical abilities further than we have ever gone.”
Since forming in 2007, FALLUJAH have triumphed over their challenges. Whether it’s self-administering the band, going to school, writing music, or working full-time, they’ve savored release of and diehard fan admiration for five albums in The Harvest Wombs (2011), The Flesh Prevails (2014), Dreamless (2016), Undying Light (2019), and their latest Empyrean.
Emerging from the violent streets of Chicago in 2018, Oveja Negra stands as the original PunkSteady band, boldly inventing a new genre by blending Afro-Caribbean rhythms with the raw intensity of punk.
Fronted by Singer/Emcee SKBROK, the band’s music is a sonic rebellion, resonating with themes of unity and self-discovery. Oveja Negra’s sound is a reflection of their urban roots, a fusion that ignites a musical revolution.
With influences ranging from Rage Against the Machine to Bob Marley, their dynamic compositions invite listeners on a journey of cultural exploration and sonic revolution.
Experience the electric energy of Oveja Negra and discover the pioneering sound of Chicago’s original PunkSteady band.
Kristen Ford is a singer songwriter and multi-instrumentalist influenced by greats such as Alanis Morrisette, Radiohead and Ani Difranco. She navigates life as a biracial, queer girl and tours globally in pursuit of the perfect show. Her live performance morphs from unplugged solo acoustic to screaming, electric guitar soloing in front of a rock band to her dynamic one woman band using loops, beatboxing and a healthy case of ADHD to her advantage.
Ford’s Righteous Babe Records debut was produced by Ani Difranco, mixed by John Driskill Hopkins (Zac Brown Band) and is set to release late 2024. Kristen is endorsed by Gallagher Guitars, K&K pickups & G7th Capos
Caution. Used to be a project moved you a bit. This one repositions. With the assistance of a power trio lineup, this project breaks up our perception into interesting fragment. Then reassembles it. Now, this Jimi Project will put the heads of listeners into some novel places. Caution.
Who is the Jimi Project?
It is every artist compelled to express.
It is every entertainer bringing joy.
It is every student seeking knowledge.
It is every teacher sharing wisdom.
It is every builder loaning a tool.
It is every living thing loved.
And it is every listener opening their soul.
In 2013, Monolord first emerged from Gothenburg, Sweden behind an impenetrable wall of distortion and spell-binding vocals. The outside world took notice in a big way as the trio of Thomas V Jäger [vocals, guitars], Esben Willems [drums], and Mika Häkki [bass] garnered a flurry critical acclaim for their RidingEasy Records debut, Empress Rising, a year later. Decibel Magazine decreed them, “your new favorite band,” New Noise Magazine called the album, “fantastic,” and This Is Not A Scene announced, “the power they capture speaks for itself,” as they became mainstays on the top of Bandcamp’s Doom chart. “From day one, it’s always been our aim to build a massive wall of rumbling sound,” declares Thomas. “That’s our common goal. We’re the exact opposite of a band consisting of members with identical record collections. We come from three fairly different places, but we’re all drawn to dark, heavy, and gritty music. What we do in Monolord is the result of that creative conflict between us – that’s conflict in the word’s positive sense.” Within that push-and-pull of aesthetic, the three-piece found the framework for their sophomore set Vænir. Shortly after the release of Empress Rising, the group returned to their tiny rehearsal space to cut and personally produce the album’s six tracks with Esben mixing and mastering. Opener Cursing the One trudges from a calculated, staggered groove into a guttural drowning choir of hauntingly hypnotic vocals. We Will Burn tempers the slow burn with incendiary melody, while the ten-minute-plus Died A Million Times swings the pendulumbetween that growl of distortion and a clean guitar. The penultimate reprieve on The Cosmic Silence gives way to an expansive finale dirge with the title track. Since the release of Vænir, Monolord has been busy. Touring the US twice (once supporting Windhand with Danava and once headlining) twice in Europe (headlining), Australia/New Zeeland (co-headlining with Ufomammut), not to mention festivals acrossEurope; Hellfest, Freak Valley, Desertfest Belgien/London/Berlin, Blowup/Finland to mention a few.Also, in 2016 the two track EP Lord Of Suffering / Die In Haze was released. “Monolord’s Lord Of Suffering / Die In Haze EP is about 12 minutes of gigantic, low-tuned riffs that may or may not shake your house right off its foundation” is the praise given by Metal Injection.Throughout all releases, singer and guitarist Thomas lyrically explores the dark core of humanity. “Misanthropy is an ever-present theme in everything we do” Thomas goes on.“The disgust for what humans do to each other and to the planet is constant. Religion, greed, and power madness run through humanity like incurable diseases, which is, consequentially, a constant stream of inspiration for us.”Ultimately, Monolord offers shelter from some of that darkness. “I hope we can be an outlet to the massive and destructive stupidity surrounding us all,” Thomas concludes. “This band is our safety valve. We hope the same goes for our fans.”
Joslyn & The Sweet Compression are bona fide, and they want the world to know it.
A rising force out of Lexington, Kentucky, the band led by Joslyn Hampton come out swinging on their sophomore album, ready to uplift and inspire through their singular and stirring soul-funk sound. 2019’s critically acclaimed debut album made them a favorite headliner at regional clubs and music festivals. After a grueling and relentless tour schedule – one that saw them supporting Tower of Power at New York’s Sony Hall and Tyler Childers at Colorado’s legendary Red Rocks Amphitheatre – the band are back with Bona Fide, a sonically and emotionally charged record that captures their breathtaking live energy as well as their humanity.
Released August 25, 2023, Bona Fide is a resounding testament to Joslyn & The Sweet Compression’s unparalleled talents, as well as an homage to the band’s co-founder (and Joslyn Hampton’s step-father), Marty Charters, who passed away in 2022.
Musically, Bona Fide blends soulful and smoldering neo-funk with elements of ‘70s and ‘80s R&B. Hampton pulls from her inspirations – Aretha Franklin, Chaka Khan, Whitney Houston, and Mariah Carey – as well as from the opera singers she studied in college. “I find myself applying all of the things I’ve learned to my passion now, and placing it in my music,” she shares.
The result is a unique, hooky style that helps Joslyn & The Sweet Compression stand apart from their contemporaries. To Hampton, Bona Fide is a record about a ride she calls“the human rollercoaster.”
“You have falling in love, getting cheated on, celebrating this life – you only get one,” she says. “We go through so many human emotions on this album, and that’s what I want to bring to life: The ride of being a human! I want to take you to the moment you found the love of your life when you looked across the room. This album is literally meant to take you to every human emotion you have.”
“I want them to see themselves in my songs and inspire them to be the best version of themselves.”
Joslyn & The Sweet Compression are Bona Fide, ready to bring their love and joy to audiences everywhere.
“Nathan Graham is a musician born and raised in Chicago. His music bridges the gap between South Side Soul and Nashville Americana, creating a new inclusive vision of singer-songwriter. He built his career over the last ten years as a guitar-for-hire, touring internationally with major label and indie acts, but all the while focused on songwriting and honing his skills as a solo performer.”
Sinner’s Friend is an Old-Time music band with a percussive twist. From Chicago, it’s members are Claire Halpin (fiddle,) Aron Packer (banjo,) Michael Dinges (guitar,) and Quinn Kearney (tablas.)
BRANDI AND THE ALEXANDERS
As the ass-kicking powerhouse vocalist for Brandi & the Alexanders, Brandi’s diva-level range and soulful melodies hit the listener right in the gut. Backed by The Alexanders, a funk, and psychedelic-influencedrock band, she walks a tightrope between classic rock drive and R&B grit.
Like fusing the Jackie Brown soundtrack, The Miseducation Of Lauryn Hill, and Sticky Fingers together; Brandi & the Alexanders have a sound that is slick, big, and instantly classic.
Music for your journey forward. A Chicago based band that is an evolution of its predecessor Fischer’s Flicker. Featuring Scott Fischer of The Furious Bongos!
Quantum is a collective of accomplished musicians with a singular goal; to bring back real music that hits you right in the head and heart. With meaningful lyrics, driving drums, gritty guitar and bass lines this band truly delivers their message as a collective. There is a purposeful simplicity with a subtle complexity coming from many angles.
Belleisle has been around longer than you think. Originally prescribed by doctors as a topical ointment used to treat gangrene and poison oak, people quickly discovered that Belleisle feels really good when applied liberally to all areas of the body.
“Fans of laid back and uber-melodic indie rock should check out locals Belleisle. Their ever-changing and evolving lineup is at least a sextet, but can, at time, reach ten members as they use a variety of instruments to deliver sweet and soft tunage that aims to sweep the listener off into somewhere dreamy.”
-Loud Loop Press
“I’ve never seen Belleisle.”
-Terry Flamm, Broken Hearted Toy Blog
Alternative Hip Hop Artist with a dark and morbid flow. combining old school boom bap with modern trap and rock, spanish & english.
while also creating a storytelling projects on a human possessed by something bigger than themselves.
Raphael Johnson better known as NIBHERU, is a compelling singer/songwriter hailing from the Westside of Chicago. Known by his rich and soulful voice throughout the city, NIBHERU has imparted a sound like no other. His refreshing talent has been well received and garnered him much attention from heavy hitters in the music industry. He’s opened for well known artists such as Ludacris and Twista. He’s recorded with Grammy-nominated producers Christyles and Doug Rashid. He’s performed at many venues around the city such as Sub-T, Dusable Museum, Refuge Chicago, Powah Houze, and other numerous places. A voice so impeccable, with writing abilities like the Dream and metaphors only seen by R.Kelly, NIBHERU is defiantly crafting out his own lane within the music industry.
Time to get familiar with the UFB, Better known as the PLYMKRS. Fraternal twins, AD and Erk G started creating music in 2009 and have no signs of stopping. Products of Chicago’s Southside “Low End” region. Though they came from single-parent, overcrowded homes in some of the city’s worst dwellings, the two young men chose to make music not reminiscent of their harsh realities but rather for parties and fun. If there is one word to describe their sound, it’s ENERGY! -P-Up
Vyse is a heavy metal rock band from Chicago. Our sound combines elements of classic metal, thrash, speed, blues, and everything in between. Vyse is comprised of Alen Ademovic on guitar, Tyler Warren providing bass/vocals, Nathan Zihala on drums and Travis Steer lead vocals. They take pride in their craft and possess the utmost passion for their music. They strive to create music that they enjoy, and that means no complacency, no blind assimilation, and no restrictions
“PRONG was definitely a Lower East Side band” says Tommy Victor. “We weren’t a bunch of kids in the suburbs playing in garages. We were part of that whole art scene, the same scene as street artists like Keith Haring and Basquiat. It was a completely different world back then. A lot of people were willing to live Spartan lifestyles in shitty conditions in this fantasy art world.”
“I grew up in Flushing, Queens, and used to go down to Bleecker Bobs in the east Village to and look for New Wave records. I waited in line for hours at CBGB’s to watch the early Ramones, and New York Dolls shows. Eventually I ended up finding an apartment in the Village Voice on 2nd Ave between 2nd and 3rd St. for $350 a month. It was poor Ukrainian Immigrants, biker gangs and drug addicts. Nobody wanted to live down there. “
“This was all before the existence of digital technology and cell phones,” explains Victor. “We didn’t have much communication with the outside world. The outside world to us was, like, Bayonne New Jersey, or Bensonhurst in Brooklyn. Even bands from DC or Boston seemed alien to us. The only communication between scenes we had was the fanzines. That’s how Prong got a lot of recognition. Really, the whole scene survived through tape-trading demos and fanzines.”
“Initially, Prong was a very lonely metal-core trio from the Lower East Side of New York. Forget about Anthrax and Overkill — theirs was the New York City of Tompkins Square police riots, Warzone, art/noise, and urban decay. While hatecore groups like Sheer Terror and School of Violence were running back and forth between the metal and hardcore neighborhoods in 1986, Prong were squatting on something special and different. There was something extra burning in their ashy skulls.”
“For one thing, they had non-metal pedigrees. Drummer Ted Parsons of the Swans , one of the slowest and most grating industrial bands ever. Bassist Mike Kirkland came from the strange hardcore band Crawlpappy. Tommy Victor was musically damaged in the extreme in every direction after tending soundboard at CBGBs for a semi-eternity.”
“Out of step with any thrash trends, Prong came into the speed/thrash/core game sounding like an unholy fusion of early Sonic Youth and Megadeth, and the world slowly took notice of well-rusted songs like “Drainpipe” and “Dreams Like That.” Eventually, PRONG’s unique approach began to turn heads. Howie Abrams of In-Effect records:“I was blown away by the progression they had made since their ironically titled debut, Primitive Origins. Prong started to sound like a special band that a lot of people might like, rather than the one who had a hard time finding its place in the NY scene. After we released the album, we began negotiations with the band to sign them to In-Effect for future albums, but the major labels were on to them too and they signed with Epic.
Tommy Victor got a job doing sound at CBGB’s from 1986 – 1990:
“Hilly (owner CBGB’s) just threw me in there. I had no idea what I was doing. He trusted me because I was “in a band” and had me give thumbs up or down on the band playing the hardcore matinees”
The bands he saw there:
“Soundgarden was really artsy and just blew me away. Bands that took traditional, maybe even classic rock, and made it artsy and cool really appealed to me at that time”
“Agnostic Front would have 20 to 30 of their friends on stage, constant stage diving and general extreme violence in the crowd. A memorable show to say the least and one of the great hardcore moments of the club. And it’s documented on that record. I’m proud to have been involved.”
Drummer Ted Parsons on joining PRONG
“I answered this Village Voice ad that said: “From Black Flag to Black Sabbath.” They were looking for a drummer so I called the number, and that’s when I met Tommy. We liked the energy of hardcore and punk music. I just left the Swans. I could finally play some fast beats, and actually bring my hi-hat. We played mostly at CBGB’s.
Parsons on playing around NY:
“We’d play with Cro-Mags, Agnostic Front, Bad Brains, and bands like that. But we’d also play with Corrosion Of Conformity, DRI, Whiplash, no NY noise bands and Clutch because we never really fit in anywhere. We were hardcore, but we were a little more experimental. We would play anywhere we could. We played pizza places in New Jersey, but we would play mostly these hardcore matinees.”
Parsons on signing to Epic records:
“Vernon Reid used to come down all the time and check us out. He loved the band, and Living Colour had just got signed to Sony/Epic at the time. He went up to Sony/Epic and said, “You gotta sign these guys.” So Bob Fineagle, the A&R, came down to CBs when we were playing. After we played he said, “We really want to sign you guys.”
Bassist Paul Raven on going from Killing Joke to Prong:
“It was a natural departure for me. I’ve always been sorta like the metal guy with KILLING JOKE who likes some of the more hard-edged stuff.”
Ted Parsons looking back on the Epic era:
“The only reason we signed to Sony was because we needed money so we could tour – like a loan from the bank.”
“They were trying to tell us what kind of clothes to wear. Tommy was really stressed because we were just a T-shirt and jeans band. We were just like a regular hardcore band from New York. We didn’t really have like an image. I still had short hair and we had two guys who had long hair. They were spending so much money on these friggin’ videos.”
“We were competing with Rage Against The Machine and Pearl Jam, and although we lasted for five albums with many other bands coming and going, Sony dumped us in the end.”
Post-Epic, the band dispersed. Paul Raven joined Ministry, and Parson joined Godflesh.
Tommy escaped gentrification and moved from NYC to Los Angeles. He collaborated with other musicians like Trent Reznor and Rob Zombie. He also recorded and toured with Danzig, and Ministry, and was nominated for several Grammies.
Although PRONG released 12 studio albums and 2 live albums in under 30 years (5 between 2014 – 2017), Tommy ponders the self-imposed hiatus on prong releases between 1996 and 2003, and possibly obscuring himself from fans’ increasingly waning attention spans.
“I’m making amends to the years of (perceived) inactivity, when I was devoting too much time to other people’s projects. I needed to prove to myself, and maybe to the fans that Prong can put out a consistent run of records that were of fairly good quality”
Having been clean from drugs and alcohol for many years, a sober Tommy reflects on the glorification of the early “druggie chique” days of CBGB’s and Max Kansas:
“In those days, it was cool to be a junkie. A lot of early punk times revolved around that. That type of rebellion against society, the ultimate rebellion is trying to kill yourself with drugs.”
“That era, where a dark hedonism was a priority in people’s lives doesn’t really exist anymore, which I think is good.”
On longevity, and finding one’s path:
“Inevitably, if you survive, you come to the realization that all that stuff was a fad, really, and there’s more to life than those old statements that you thought were so important earlier on. There’s important aspects of it, but there has to be balance in your life, you have to move on, you keep walking in life, you don’t just stay there.”
Willow Smith is a songwriter, fashion icon and talented actress and she’s only 18-years -old. Willow has already been featured on the cover of Teen Vogue, W Magazine, and I-D Magazine and in the 2014 July Issue of Vanity Fair where she posed for “Hollywood’s Next Wave” Issue. Willow has been acknowledged for leaving her mark in Hollywood.
Willow was most recently seen as the face of Maison Margiela’s “Mutiny” Fragrance Campaign which started in October 2018. She was also the ambassador for Chanel in 2016 and collaborated with Stance Socks to create her own line of which were also released in 2016. She can also be seen in the company’s campaign titled “Miss Dazey.”
In 2014, Willow released her deput EP titled “3” on October 31st for free via Google Play and for limited time on November 17, 2014 via iTunes.
In the Fall of 2010 Smith signed onto JAY-Z’s record label Roc Nation. Smith launched her music career with the release of her history making single, “Whip My Hair” just before her 10th birthday in 2010. “Whip My Hair” has been certified double platinum in the US, making Willow the youngest artist ever in the US to have a double platinum single. Overseas, Willow also broke records, becoming the youngest female to ever debut in the top 40 in the UK. In the spring of 2011 Willow opened for Justin Bieber on his sold-out European tour.
“Whip My Hair” immediately set media outlets abuzz, being covered by TIME, Billboard and CNN the day of its release. Initial reception praised the song’s kid-friendly, yet universal appeal. Prior to radio add dates and release, the song debuted at number sixty on the Hot R&B/Hip-Hop Songs chart. The song’s initial video uploaded to YouTube and garnered over 100,000 views on the site a day after its release. The official music video was released on October 18, 2010. “Whip My Hair” reached #1 on the iTunes singles and video chart, making it the best-selling debut single from a new artist in 2010. The video has been viewed over 130 million times since the launch of the single.
Willow released her debut album, ARDIPITHECUS, in December 2015 and most recently, Willow released her album the 1st in October 2017 which the New York Times described as the “soundtrack to your adolescence” and her track “Warm Honey” as one of the 25 songs that tell the future of music.
In 2017, Roc Nation partnered with MSFTSrep, which consists of Willow, Jaden Smith and Harry Hudson among other artists, to create MSFTS Music. MSFTSrep is an “art collective and lifestyle brand that encompasses music, fashion, education and more.
In 2016, Willow won the Fashion Award for New Fashion Icons. Willow was also honored with the 2011 BET “YoungStars” Award, an honor she shared with her brother Jaden. Willow also received a BET Award nomination in 2011 for “Video of the Year” for “Whip My Hair and “Best New Artist” in addition to the 2011 NAACP Image Award for “Outstanding New Artist.”
In 2012 Willow became a Guinness World Record holder, being the youngest transatlantic Top 20 Artist. She has already been seen on the big and small screen opposite some of today’s most successful actors and actresses, including her father Will Smith. Willow’s film credits include Kit Kittredge: An American Girl, I Am Legend, and Madagascar: Escape 2 Africa.
Willow has also joined her mother in her advocacy to end human trafficking in the United States. Willow brought the issue to her mother attention in March of 2012 after doing research online. Since then she has attended Sen. John Kerry’s congressional hearing on human trafficking in 2012 and the launch of the first Bi-Partisan Senate Caucus to combat human trafficking. Willow continues to raise awareness through the organization Don’t Sell Bodies, founded by her mother, Jada.
Currently Willow, along with her mother Jada and grandmother Adrienne Banfield-Norris, are hosting a family talk show on Facebook called Red Table Talk that tackles current social and cultural issues with an inter-generational perspective.
OK, OK…we’re just a bunch of professional musicians with pretty diverse backgrounds who decided to take on a pretty big challenge and have some fun in the process.
Now you might ask, “Oh yeah? Professional musicians, eh? What makes you think you can play Frank’s music as well as [insert Zappa family/band member here]?”
Well, maybe you haven’t heard of us individually, but [sing] we’re pretty good musicians [/sing] and you probably have heard of the folks we’ve spent our careers working with:
Yo Yo Ma, Mick Fleetwood, BB King, Vinnie Colaiuta, Dweezil Zappa, LA Philharmonic, Arthur Barrow, Munich Philharmonic, Bryan Beller, Popa Chubby, Limelight: A Tribute To Rush, Pinetop Perkins, Chicago Lyric Opera, Madison Opera, blah blah blah….you get the idea.
As for Frank’s music, he was constantly changing things, both from his own creative evolution, and to adapt to the different musicians he hired over the years. He also understood that his live performances were entertainment: it’s supposed to be a rock show, not a piano recital.
With all that in mind, we don’t think playing Song X from Album Y exactly as recorded in 1973 while staring at our shoes is the proper way to go about this.
The result of that approach (combined with a lot of homework) is a show that pays respect to Zappa’s legacy, but is also new and different and dangerous and FUN, with lots of eyebrows.
Fueled by candid chaos and unfiltered honesty, Dionysia continually brings to life the stories and experiences that unify us all. Whether it’s a heavy groove rumbling through your body or your mind floating somewhere in a dream, the Boston based Indie/Alt-rock quartet’s dynamic songwriting and charismatic performance never fails to awaken a crowd. Following a string of sold out performances and multiple festival appearances, the group anticipates making waves this summer with the release of their second full length record “CATALYZE” with a national tour to follow suit.
“Black’s Backbone is not just a band, it’s a f***ing art project .”
Band members Blizzle and NAE have spent the past two years merging their original songs in an interactive concert where audience members can play the visuals.
Band leader Blizzle found his groove by rebelling against his classical upbringing and pursuing jazz – a path unheard of in his family of Grammy-winning classical virtuosos. Hundreds of transcriptions and hours spent listening to 60’s and 70’s vinyl prepared him to start writing slammin’ grooves and eventually collaborating with lyricist Patrick “Sully” Sullivan.
NAE met Blizzle as he was chilling outside his recording studio sipping a Guinness and she told him about her most recent obsession: writing synth pop music about synthetic plants in shopping malls, the subject of her experimental video art. From there, one of the several collaborations that have defined Black’s Backbone was forged. Blizzle and NAE have since been working alongside award-winning Creative Coder Nathan Glynn (Starcraft, Rocket Cat, Coca-Cola, Marriott).
Black’s Backbone has been featured in The Chicago Tribune, has collaborated with local art exhibitions at Parallax in Pilsen and Carlson Tower Galleries at North Park University, as well as with Artists of the Industry, The Artist Space, The Wilmette Theatre, Synth House Chicago Museum, The Wilmette Public Library, Chicago House musicians, and youth songwriters from local Park District summer camps. Their performances and outreach bring creativity in music, art, and coding to the community. Their art has been described as a “pop opera” that is quirky, theatrical, and “s*** I’ve never seen before.”
The Sam Cockrell Band (SCB) is a hard hitting Funk/R&B/Soul/Blues band from Chicago lead by Singer/Bassist and Chicago Blues Hall-of-Famer Sam Cockrell.
Sasquatch is a rock band from Los Angeles, CA. They tend to sip on influences from 70’s metal, rock, and psychedelia. Their songwriting approach is clear-cut; keep the focus on the hook.
The band was born in Philadelphia in 2000 and moved to Los Angeles in 2001 after Keith Gibbs (guitar, vox) joined up with Detroit natives Rick Ferrante (drums) and Clayton Charles (bass). Upon Clayton’s departure in 2007, the guys recruited Chicagoan Jason Casanova (Behold! The Monolith, Tummler) to join the fold. We arrive at 2017 and Dr. Craig Riggs (Roadsaw, Kind, Antler) is now shellacking the kit when he’s not brewing coffee or watching the Red Sox.
The band’s music has been featured on a variety of movies, television shows, and video games including the reissue of Clerks, FX’s original hit series Sons of Anarchy, A&E’s Dog The Bounty Hunter, Jersey Girl, CW’s The Supernatural, and MTV’s Viva La Bam, Bam’s Unholy Union, and Rob and Big, NHL 2005, American Chopper, and Monster Garage.
After shaking some walls with not one, but two, closely packed studio albums (the self-titled debut and “II”) in 2004 and ’06, the power trio went subterranean until 2010 before resurfacing with a new lineup and propulsive third opus, “III”, followed up by the straight-ahead rocker, “IV”, in 2013.
The band’s latest album, Maneuvers, was released in June 2017 and features the work of Riggs behind the kit. This is the band’s most concise work to-date. Extended jams were stripped down to the meat and potatoes. Short and sweet is the path looking forward. Andrew Schneider (NYC) returned behind the boards this round. You may recognize the name as he also provided the mixes on “II”. What fans hear is arguably the gents most mature and inspired song-set released, chunked with both heartwarmingly familiar moments – but all of it heavy on the heavy, as they say…always. Unprecedented attention was also devoted to spinning new yarns out of those evergreen rock and roll stories about love lost, hate found, relationships built and lives trashed, homes wrecked, etc.
Coming off their first Australian tour, look for the band to be gearing up for extended US dates later in the Summer of 2019 and its next European tour in the early Spring of 2020. All’s fair in Love and Doom.
While working together, Tony and Nathan recognized that they had similar musical tastes. After numerous conversations, Hot Dogs Half Off was born. Reigning in Lansing, IL Nathan and Tony bring in 10+ years of musical experience. A combination of Techno, Comedy and Rock, together they satisfy your musical needs.
With a heart filled with passion and a head full of stories Rob Moir delivers his most unique music to date. After five years of fronting the Toronto indie-punk band Dead Letter Dept. (Underground Operations/Universal Music), Rob embarks on his first solo venture as a performer.
A splatter fetishist’s rereading of punk or industrial…a gut-punch of synthetic rhythm sickeningly warbling out of control. ” Ryan Maesteller, Tabs Out
THE BABY MAGIC
A trio of hyperactive yet hyper-articulate musicians bangin’ out the sexiest new-wave/no-wave jams you’ve ever heard, TheBaby Magic enthralls the listener on their newest record “Rent a Place in Hell”. Their songs conjure up the best moments of Beat Happening, Talking Heads, and Death From Above 1979 without sounding redundant. Rather, they’re a harbinger for a new, enlightened, fun time.
Verbal Burlesque
Lydia Lunch Voice
Weasel Walter Drums
Tim Dahl Bass
Verbal Burlesque combines the dynamic spoken word histrionics of Lydia Lunch, one of the genres most controversial performers with the improvisational virtuosity of Weasel Walter and Tim Dahl to create an intimate, terrifying and emotional evening of musical verite.
Lydia Lunch is passionate, confrontational and bold. Whether attacking the patriarchy and their pornographic war mongering, turning the sexual into the political or whispering a love song to the broken hearted, her fierce energy and rapid fire delivery lend testament to her warrior nature.
Queen of No Wave, muse of The Cinema of Transgression, writer, musician, poet, spoken word artist and photographer, she has released too many musical projects to tally, has been on tour for decades, has published dozens of articles, half a dozen books and simply refuses to just shut up. She performs in a variety of mediums, is a rabid collaborator and continues to release new music as well as re-issuing classic material such as her spoken word indictment against patriarchal idiocy, The Conspiracy of Women through Nicolas Jaar’s label Other People.
Seven Stories Press will release her latest anthology So Real It Hurts on July 11, 2019.
Weasel Walter (first name, last name) is a Brooklyn, New York based multi-instrumentalist, composer and improviser best known for leading the seminal punk-jazz/no-wave/brutal-prog band The Flying Luttenbachers between 1991 and 2007 on 16 full-length releases.
Seamlessly uniting the intensity and abstraction of improvised music with the nihilist aesthetics of extreme rock forms, Walter is committed to violent momentum, idiomatic unpredictability and rapid articulation.
Expert in the underground music scene of the late 1970’s, Walter has lectured at various Universities including Bard, San Francisco Art Institute, University of Chicago in Paris, and penned the introduction for Marc Masters book NO WAVE, seen as the definitive history of the New York movement from which Lydia Lunch emerged in 1977 with her first group Teenage Jesus and the Jerks.
In 2012, Weasel Walter began working with Lydia Lunch as musical coordinator and lead guitarist for RETROVIRUS, a retrospective, which spanned the spectrum of her musical legacy from No Wave Skronk to bludgeoning Hard Rock and sleazy Jazz Noir to propulsive Psychedlia. RETROVIRUS also features Bob Bert (Sonic Youth, Pussy Galore, Chrome Cranks) and Tim Dahl and continues to tour Europe, America, Australia and South America.
Tim Dahl is a composer and professional electric and double bass player, vocalist, keyboardist and composer living in New York City. He is best known as the front man and bass player of the noise-rock band Child Abuse and the defunct avant-jazz group The Hub. He also writes and performs for the jazz ensemble Pulverize The Sound. Dahl has toured extensively throughout North America, Europe and Japan, Australia and South America and performed with many notable musicians, composers and performers including Yusef Lateef, Archie Shepp, Eugene Chadbourne, John Zorn, Kool Keith, Marc Ribot, Elliot Sharpe, Tatsuya Yoshida and Stanley Jordan.
CRIMSON MOONLIGHT
Crimson Moonlight from the depths of Sweden was formed 1997 as an Old Schooled Black Metal project. After recording a demo during the summer of 1997 the band decided to go on and develop into a more melodic and symphonic direction. Now more than 20 years later the band has released four albums and played over 100 gigs in Europe and the US. Since 2011 the band is active with a mystical and explicit chaotic form of extreme metal. The music has the framework and concept of Eastern Mystical Theology, a mixture labeled as: Liturgical Black Metal of True Trinitarian Orthodoxy. In 2016 the band released their fourth full length album; Divine Darkness. (Endtime Productions). The album has got excellent reviews around the world and been described as dedicated, bestial and furious in the vein of Marduk, Mayhem and Dark Funeral. Last year new songs were recorded in the same, yet more brutal direction. Do not miss the change to experience Crimson Moonlight LIVE! There will be a show to remember!
Co-Founders of McKinney Music LLC | The World’s First Husband & Wife Sax Duo
Experience the soulful fusion of R&B, Neo-Soul, and Jazz as Marital Sax debuts their highly anticipated CD! This release party promises a one-of-a-kind musical experience. Limited seating—get your tickets before they’re gone!
Taylor Kelly has a voice that blends both the smoothness and rhythmic nature of jazz, soul and funk. Her tasteful songwriting tells tales of truth in hopes to inspire many to love, live and let go. Also a trumpet player, she proves the importance of a strong horn section and hot horn lines and strives for an instrumental-vocal approach, a rhythmic phrasing and an improvisation that is reminiscent of many of her trumpet playing influences (Chet Baker, Roy Hargrove and Miles Davis to name a few). Her musical stylings are reflective of Erykah Badu and Stevie Wonder as they possess what she believes to be the true essence of music- harmonic complexity, strong melodic contour and lyrical honesty with an absolutely relentless underlying groove. Taylor has shared the stage with Moonchild, Becca Stevens, Bahamadia and Georgia Anne Muldrow. She released her third studio album, DO U FEEL ME, in June 2017 and is currently working on her next full-length album “Up Up and Away” that will be released sometime next year.
Hailing from Chicago, IL, Bullet To The Heart blends a unique mixture of modern metal and soaring melodies to create a defining sound within the alternative metal scene. Drawing inspiration from the trials and tribulations they have faced throughout their lives, Bullet To The Heart will put their experiences, and their trauma on display to the world in their upcoming EP, titled “trauma.”, as they spread their message of acceptance and support. With over 500,000 streams of their last EP titled, “Death, Oddities, and Romance”, and over 20,000 monthly listeners on Spotify, Bullet To The Heart has developed a dedicated fanbase, known as The Bloodline, that is more family than fanbase. Bullet To the Heart isn’t just a band, but a multifaceted emotional journey that not only transcends but blurs the boundaries between story telling, musical prowess, and good old fashioned music to bang your head to. Join The Bloodline today.
