Tue, 28 Jul 2015 19:37:29 +0000 en-US hourly 1 Clutch with Guests: Corrosion of Conformity and The Shrine Tue, 28 Jul 2015 14:00:32 +0000 aaron Saturday, October 17th
w/ Corrosion of Conformity, The Shrine
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $25: Advance || $30: Day of Show
Tickets On-Sale Friday, July 31st @ 10 a.m.


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Neil Fallon: Vocals/ Guitar
Jean-Paul Gaster: Drums
Dan Maines: Bass
Tim Sult: Guitar

It's the parabolic motion of projectiles. Or, as Isaac Newton stated, what goes up must come down — that is, everything except Clutch.

Earth Rocker created an insurmountable peak. But Psychic Warfare has altered laws of physics by elevating the smart songwriting and impressive performances of that last album, setting an even higher benchmark as their now-definitive album to date.

The eleventh Clutch studio album Psychic Warfare goes straight for the throat with “X- Ray Visions” and never lets go. Working again with acclaimed producer Machine, this time in Texas, the concise arrangements that made Earth Rocker so assertive is the same harness for the combustible musical energy on Psychic Warfare. Harder, faster... let the rhythm hit 'em.

Formed in 1991, the Maryland-based band's ability to absorb different musical styles and fabricate them into a distinct Clutch sound continues to be their forté. “A Quick Death In Texas,” overstocked with signature “Clutch heavy” Tim Sult riffs and lonesome guitar licks, and the funk undercurrent of “Your Love Is Incarceration,” color Psychic Warfare with articulate musicality and comfortable familiarity.

The overall intensity of Psychic Warfare would be self-consuming without the pressure valve of a canny rhythm section. Drummer Jean-Paul Gaster and bassist Dan Maines have an intuitive sense of dynamics that gives weight and contrast to the forcefulness of the vocals, steering Clutch into the straightaway out of tight, exhilarating corners.

“I listened closely to the rhythm of Neil’s vocals this time around.” Gaster explains. “The rhythms he sings, are very syncopated. It was my goal to articulate these rhythms on the drums while keeping the pulse of the music strong.”

Psychic Warfare is cinematic, a soundtrack to the plot of singer Neil Fallon's imagination. The narrative of “The Affidavit” sets the scene for an album of gunslingers, energy weapons, paranoid neurosis, and the occasional three-legged mule. It's an episodic lyrical landscape populated by abstract characterization, nuance, and clever peculiarity.

“I spent a lot of time doting over the lyrics,” Fallon says. “It was fun because I have a great luxury that I'm a professional liar — that's what a storyteller is. Or at least that’s what I try to be. It's the one socially acceptable way to completely deceive people, and that's what they want. If you sing it with enough conviction, people won't question it. I just love that escapism, the fantasy aspect of it. And fantasy doesn’t necessarily equate to dragons and wizards. It can be seedy hotel rooms and sketchy hitchhikers.”

Gaster says the band knowing Earth Rocker was such a high water mark put them in a position of needing to follow up with an exceptional album. “Looking back on the process, one thing that sticks out in my mind is the amount of rehearsal the band put in. We started each pre-production day by writing out a new album sequence and then playing that sequence straight thru as if it were a set list. I think this allowed us to get inside the songs in a way we had not done before. When it came time to record drum tracks, I had a clear idea of how I wanted to play each song.”

In the past, Clutch consciously made each album conspicuously different from the last one. “We had a sadistic fear of repeating ourselves,” Fallon admits. “But over the last few years, we've realized our strengths and what it is that people like about us. Why deny it? Clutch is Clutch, embrace what you are.”

The bar is set higher, laws of physics be damned. Psychic Warfare is the new adventure, and it has no limit.

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Scarlet Streets & The Wildwoods Tue, 28 Jul 2015 05:13:43 +0000 aaron Tuesday, August 4th
Door: 6 p.m. || Show: 7 p.m.
All Ages || $5: 21 and up || $7: Under 21

The Wildwoods

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The Wildwoods, are an acoustic music group from Lincoln, Nebraska. Their music is rich in love, happiness and passion that will melt your heart and inspire your soul.

This talented band has been performing for audiences since 2012. All three members were drawn to music at an early age and have carried that passion to their group called The Wildwoods. The unique voices of Chloe Pinkman and Noah Gose combine to create a heartwarming duo. Joined by Chloe's brother Noah Pinkman the trio uses influences from the old time country masters combined with todays pop sound that generates a style of music that is like no other. The Wildwoods have had two of their songs place in the top 10 of the 2015 Omaha Performing Arts Songwriting Competition. The meaningful lyrics and powerful melodies of their songs will not be forgotten for weeks. Winners of the Waka Winter Classic the group has also performed at Wakarusa Music Festival, Flatwater Music Festival, VEGA, The Zoo Bar, The Bourbon, Whole Foods, 402 Collective, The Nebraska State Fair, restaurants, coffee shops, vineyards, bars, & private parties in the great state of Nebraska. Music genre includes original music by The Wildwoods, folk, pop, fiddle, and rock. With their unique style of bluegrass meets pop these up and coming musicians will keep the audience asking for more.

Scarlet Streets

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Todd Snider w/ Elizabeth Cook Wed, 22 Jul 2015 16:14:23 +0000 aaron Wednesday, September 23rd
w/ Elizabeth Cook
Doors: 7 p.m. || Show: 8 p.m.
All Ages $25: Advance GA* || $28: Day of Show GA*
$30: Reserved Seating**

*GA Tickets = standing room only.
**Reserved Seating = Guaranteed seat (non-assigned), in the balcony & dance floor perimeter. Seat choices are first come, first serve.

Todd Snider

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Agnostic Hymns & Stoner Fables is Todd Snider’s inspirational album.

“I want to inspire people,” Snider says. “I want to inspire them to leave home, to do things traditionally considered wrong. If you listen to my record and vandalize your school, godspeed. If you listen to my record and punch your stepdad, thank you, you’ve made me feel better about
what I do. I don’t believe in the American dream, and family values can suck my asshole’s balls.”

Snider says this while smiling, because he says most things while smiling, because he knows family values are unlikely to do such a thing, and because he’s on the happy back end of happy hour at a favorite East Nashville bar. He’s laughing but not necessarily kidding, and Agnostic
Hymns & Stoner Fables is anything but a nice, folk/Americana troubadour album. It’s not a nice anything.

It is jagged, leering, lurching and howling, and filled with unhappy endings both experienced and intimated: “It ain’t the despair that gets you, it’s the hope,” he sings in the album-closer, “Big Finish.” That Agnostic Hymns & Stoner Fables is also roaringly funny is tribute to Snider’s unique sensibilities, and to his standing as what Rolling Stone magazine calls “America’s sharpest musical storyteller.” Anguish without laughter is boring, like intensive care without morphine, and Snider has never been within 100 miles of boring. Also, he didn’t earn the
attention, friendship and fandom of American musical giants like Kris Kristofferson and John Prine by writing mopey protest songs.

Anyway, these aren’t protest songs. They’re inspirational. We’ve covered that already, right? It’s populated mostly by losers in the midst of losing, with a couple of spotlight appearances from the humbly anointed 1 percent. The result is something disconcerting, cracked and wholly original. It’s something that stands apart from the music of Snider’s heroes, and from Snider’s own, much-celebrated past. Agnostic Hymns & Stoner Fables is Snider’s 12th album (14th, if we count a “best of” set and a collection of B-sides and demos.

Snider doesn’t talk around the vulnerable part, or the angry part, or the part about how everything we’re taught about goodness and righteousness and capitalism, about God and family values winds up exploding into violence and chaos, wonder and longing. He doesn’t talk around how the whole deal is enough to make you vandalize your school, punch your stepdad, or make lewd suggestions as to just what family values might do in their spare time. And he doesn’t talk around the part about how he doesn’t know any more than you do about any of these things, or the part about how he might be wrong. It’s just that nothing has been delivered yet, nothing revealed. It is, as he sings, too soon to tell.

Here are 10 new songs for the waiting room. They’re here to inspire.

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Cherub Tue, 21 Jul 2015 18:36:03 +0000 aaron Tuesday, October 27th
w/ Hippie Sabotage
Doors: 8 p.m. || Show: 9 p.m.
18 and up || $18: Advance || $20: Day of Show
Tickets On-Sale Saturday, July 25th

Rad Kadillac Productions & 1% Productions are pleased to present...


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Cherub will be bringing their electric new live set up to the Bourbon Theatre on Oct. 27th. Fans will be able catch the duo performing with additional musicians on stage; their producer Nick Curtis on drums and longtime friend Jordan Bartlett on guitar and keys. Jordan and Jason could not be more excited about hitting the stage as a four piece band, and this fresh new reinterpretation of their live show has been years in the making and is an exciting new chapter in their musical adventure. Expect new songs, old songs and a Cherub show like you've never seen before!

Jordan Kelley and Jason Huber take their fun very, very seriously. The pair behind the ambitious and emphatic Nashville duo Cherub craft hooky electro-pop that lyrically captures the risqué, pleasure-seeking impulses of their youth, while their studio expertise results in alluring grooves.

The duo met while pursuing music business degrees at Middle Tennessee State, a large public university just outside of Nashville. Prior to meeting up at a dorm party, the two were figuring out how to become their own local legends. Huber was fronting a psychedelic folk-rock band, whereas Kelley was something of a mainstay in the Nashville hip-hop scene. Well, sort of. “I was making beats for this hip-hop duo and we got to open for GZA, but I didn’t know how to DJ my own stuff.” After meeting Huber, “I just asked ‘can you turn my beats into a live show?” Soon thereafter, Kelley sent Huber his self-composed Man of the Hour EP and the two realized the potential in their partnership. Cherub began in earnest, with Huber’s live production embellishing Kelley’s clever songcraft.

Fast forward a few years later, and Cherub’s popularity is soaring. The pair landed a major-label deal with Columbia Records— which released their smooth, palpitating album, Year of the Caprese in May 2014 — based in part on the runaway success of break-out single “Doses and Mimosas.” A FTW anthem that pits dripping falsettos against echo-chamber synths, it jettisoned to the top of The Hype Machine charts, while landing concurrently on Billboard’s Rock Airplay and Alternative Songs charts. Meanwhile, its DIY fever-dream video had attracted roughly 5 million sets of eyeballs on YouTube. And that was merely one of Cherub’s songs.

On Year of the Caprese — recorded over two years, with help from friend/engineer Nick Curtis — you can find a song like “Disco Shit” (a shimmering high-five to hedonism posited on rubber-band beats) alongside “Freaky Me, Freaky You” (a more wound-down ’90s-esque slow jam). One of Caprese’s more stand-out contemplative tracks, the latter finds Jordan delivering tortured sweet nothings in an almost unrecognizable tenor. “That’s from a perspective of someone thinking that they know what is going on in a relationship but they really don’t,” he said of the Teddy Pendergrass-sampling song. The album debuted on Billboard’s Top 200 and Digital Album Charts, and an electric performance at Bonnaroo lead to a late night TV booking on CONAN this past fall. In December 2014, the guys released The Leftovers EP, which served as a culmination of their many years of hard work.

But even before Year of the Caprese and The Leftovers, Cherub sprang to life with the self-release of the Man of the Hour EP in 2010. A debut album, Mom & Dad, and two subsequent EPs (100 Bottles and Antipasto) followed — along with a sprawling grassroots following born off three years of touring, earning the duo somewhat of a reputation for their live shows and as such, there is a certain degree of built-in elation expected from Cherub, live.

“Some people question how authentic or serious we are about music,” Jordan says. “All of it is from the heart. Me and Jason try hard not to create some sort of cool-guy environment — we want people to feel comfortable.” And sometimes that means pulling listeners out of their comfort zones. Says Jason, “We’re serious about what we do, but we’re also here to remind them to take themselves less serious once in a while.”

The duo is currently in the studio recording a new album.

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Ya Boi KT w/ BC, Ras Dega, & Phipp Phippa Tue, 21 Jul 2015 17:20:58 +0000 aaron Thursday, August 6th
w/ BC, Ras Dega, Phipp Phippa
Doors: 8 p.m. ||Show: 9 p.m.
$5: 21 and up || $7: 18 and up

Facebook | Sounds

Born and raised in Milwaukee, WI, Kevin has always possessed a love for music. From singing solos in his local church to winning the Director's Award in his grade school band, this young musician has many proud accomplishments under his belt. While attending Rufus King IB High School, he also was a part of the now 7-time city championship drumline.

As a college student attending the University of Nebraska in Lincoln, Kevin decided to enroll in an Intro to Poetry class. Ever since then, he has been hooked on writing about his life experiences and those still yet to come. He also was strongly influenced to take up a music career by his good friend Robert Moore aka Tsunami.

From this point on, Kevin goes by the name Ya Boi KT & reps both the city of his birth and his college town with pride.

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Lil Durk Fri, 17 Jul 2015 15:00:58 +0000 aaron Wednesday, August 19th
w/ Gunplay, Hypno Carlito
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $25: Advance || $30: Day of Show

Lil Durk

Website | Facebook | Video

Durk D. Banks, aka Lil Durk, is a rapper and singer from the Englewood neighborhood of Chicago, Illinois' South Side. He started issuing mixtapes through OTF (Only the Family) in August 2011 with I'm a Hitta and quickly followed it with I'm Still a Hitta (April 2012) and Life Ain't No Joke (October 2012), the latter of which came out just after the typically melodic and kicked-back "L's Anthem," his debut single for Def Jam. The same year, he was featured on a string of tracks with fellow Chicago natives and close associates like Lil Reese, Fredo Santana, and Chief Keef. "Dis Ain't What U Want," his second Def Jam single, came in May 2013, just before his affiliation with French Montana's Coke Boys was made official. His debut album, Remember My Name, followed in 2015 and featured Logic, Jeremih, and King Popo as guests.

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Flux Pavilion Tesla Tour Wed, 15 Jul 2015 23:02:39 +0000 aaron Monday, October 19th
Doors: 8 p.m. || Show: 9 p.m.
18 and up || $20: Advance || $25: Day of Show
Tickets On-Sale July 21st @ 10 a.m.

Website | Facebook | Video

Flux Pavilion is a one man orchestra! With the ability to Sing and play a large variety of instruments it's obvious that music comes naturally to him. Since first sitting down at a keyboard at the age of six his dream has been to make music that he loves and perform it to people who love it just as much.

Flux Pavilion AKA Joshua Steele has always been influenced by hard hitting dance music in everything that he does and it was only a matter of time before he found his own sound in the dance industry. in early 2008 Dubstep lit this internal fuse and he hasnt been the same man since.

Influenced by the likes of The Prodigy,Basement Jaxx and dubstep pioneer Rusko, Flux loved the high energy madness that dance music was capable of and set about making some of his own in the form of dubstep. Already adept with production skills he was soon off the starting block and his tunes were in swift circulation on the dubstep forum and were becoming a familiar name in the scene. What started of as a bit of experimentation soon became clear that Flux has definitely landed on his feet with the dubstep sound.

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Blackalicious Wed, 15 Jul 2015 17:17:35 +0000 aaron Saturday, September 5th
w/ New Breed Brass Band
Doors: 8 p.m. || Show: 9 p.m.
18 and up || $18: Advance || $20: Day of Show


Website | Facebook | Video

It's one thing to make enduring records, another still to work with luminaries in multiple fields. Another thing still to treat the rhyme not only as a piece of poetry, but to play with the aesthetics of language in ways that represent the voice as a unique instrument in and of itself. Blackalicious do all of these things, and as evidenced by the reissue of 1993’s Melodica, they have been doing these things for years. Originally released exclusively on cassette, Melodica is being reissued digitally for the first time. It’s a vital document of the group’s progression towards their eventual position as lords of the West Coast Underground, Gift of Gab twisting his words with aplomb, his lyrics more carefree than his later work. Chief Xcel’s beats, meanwhile, tread the same funky, lighthearted waters as many of his left-field contemporaries, but everything on Melodica is coated in a murky scuzz that, somewhat conversely to logic, could place the EP alongside much of today’s weird, lo-fi hip-hop. As an added treat, Melodica contains “Changes,” an unreleased cut produced in part by one DJ Shadow, who joins forces with Blackalicious producer Chief Xcel to offer dusty drum loops and subtle, textured samples that would offer a glimpse into much of Shadow’s later work. In an era where hip-hop devolves into half-baked facsimile with alarming regularity, Melodica serves as a reminder that the true school will always triumph over the bullshit.

New Breed Brass Band

New Breed Brass Band lives and breathes the culture of New Orleans, infusing funk, rock, jazz, and hip-hop into a custom-made enhancement of second-line brass band tradition.

“That’s what we came up under,” says snare-drummer Jenard Andrews of second line bands like the ReBirth, Dirty Dozen and Lil’ Rascals Brass Bands. “Now we’re trying to take that sound and bring in some new stuff and expand it. We bring outside influences like Earth Wind & Fire and Brass Construction, trying to interpret a different song for every genre, and make it all our own sound.”

With a founding core of five New Orleans natives, New Breed Brass Band made its street debut as a nine-man unit in November 2013 at the Nine Times Second Line. Since then, they have showcased their originality opening for such diverse bands as The Fray, Red Baraat, Dr. John, The Waterboys, and Trombone Shorty & Orleans Avenue, as well as competing in the Red Bull Street Kings brass band competition in 2013.

Most of the members have been playing music since they were toddlers and count such New Orleans legends as James “12” Andrews, Troy “Trombone Shorty” Andrews, Topsy Chapman, Karl Leblanc, and Bruce “Sun-pie” Barnes as family members. Honing their childhood experiences playing music with their families, and on through high school marching bands and concert ensembles, the nine members of New Breed are united to one cause: rocking each show and entertaining audiences to the maximum degree possible. The band’s strong desire is to be the next heavyweight contender among internationally-known New Orleans brass bands.

Whether performing in their hometown or on the road, New Breed will forever bring the vibe of the New Orleans second-line with them. “We can’t wait,” Andrews says of bringing the New Breed sound to stages and festivals around the world. “It’s a new breed of music that we’ll be bringing to our culture, and we hope to create a new sound for our city in the process.”

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The Black Dahlia Murder Wed, 15 Jul 2015 17:00:26 +0000 aaron Tuesday, October 20th
w/ Iron Reagan, Harm's Way, Maruta
Doors: 7 p.m. || Show: 7:30 p.m.
All Ages || $15: Advance || $18: Day of Show

The Black Dahlia Murder

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The problem of dropping a record as career-defining as 2013's Everblack is that the bar is set so high following it up is a galling task. That The Black Dahlia Murder's response to such a challenge comes in the form of the devastating Abysmal serves to once again demonstrate why they are considered one of the most vital bands in contemporary death metal. "Once the record started to come together we knew it was going to be something special," states vocalist Trevor Strnad. "It's more urgent, it has more dynamics, it's a more emotive record, and it has a more raw, angry sound to it. It's still million mile-per-hour death metal, but when you invest so much thought and emotion into what you're creating you end up with a record that does stand out, and we can hold our heads up high and say yeah, this is our best work."

Since 2001, the Michigan quintet have focused their efforts on writing music that embraces all the finest qualities of melodic death metal yet does not shackle them, giving them room to constantly evolve and grow as musicians. With Abysmal the band have once again progressed while retaining the signature sound that has won them their devoted legion of fans, and making it clear that their best is not in their past. "I still love Everblack and everything we achieved when touring it, and in fact going into that record we faced a massive challenge in following up Ritual (2011), which had also been huge for us. Having two records in a row connect with fans in such a way was amazing, but definitely piled on the pressure going into this new one, because we don't want to let them down, and we don't want to let ourselves down. But we learned a lot in making those two records, and we brought that into Abysmal. We know we can take people's heads off playing super fast, but that doesn't always give listeners something to really chew on. We've learned to focus on creating some drama, interesting dynamics, and most importantly really investing time in thinking about how different parts of songs will make you feel." While crushingly violent, Abysmal is certainly a long way from being a two-dimensional blast-fest. Often evoking potent melancholy or icy unease, tragedy and apocalyptic gloom also insinuate into the songs alongside the all-out fury, for make no mistake, while this record boasts a variety of dark and atmospheric moods the band have perhaps never sounded so downright pissed. The likes of "Re-Faced" and "Threat Level Number Three" are purpose built to incite chaos, and some of the fastest material the band has ever unleashed explodes from the likes of opener "Receipt", "Asylum", and the haunting title track. This can largely be credited to drummer Alan Cassidy, who joined the band in 2013. "With both Alan and Max (Lavelle, bass) new to the band there was a lot of speculation ahead of dropping Everblack, and though we knew we had a great record it was nice to prove the naysayers wrong. This time out Alan was really able to stamp his identity on the record, and yeah, there was a point where Brian (Eschbach, guitar) said level with me dude: just how fast can you go? And Alan unleashed this thing and we were like okay, let's go faster than we've ever gone then!" Strnad laughs. "But it's not just that, he's injected so much style into everything. He writes really interesting fills, and he cares about having variety and really speaking with what he's doing, and he was involved with the song writing more than any other drummer has been in a long time." Strnad is just as keen to sing the praises of Lavelle, who also made a more substantial contribution to the record than he did to its predecessor. "We look back on every record and say we need more bass, and Max is a really prevalent part of things live, so we wanted to have that come across more, and he totally nailed it. It's definitely a dirtier bass sound than we've ever had too, which sounds more wild, more live, and adds to the punch." Guitarists Eschbach and Ryan Knight bring a cavalcade of riffs to the table, upping the stakes in technicality, melody, and sheer blunt force trauma, letting intoxicating flavors of black metal and NWOBHM creep into the vicious assault, and Knight's soloing is at a point where Strnad believes his name should rightfully be thrown in amongst the genre's most prominent shredders. "With every album we allow a bit more time for him to solo and just totally own it, and when he nails it he's really at that Megadeth Rust In Peace level. I do think he deserves to be spoken about in the circles of great metal guitar players. Marty Friedman should buy Ryan a beer, I think, and I genuinely don't see that as something really out of the ballpark."

Of course, Strnad's own contributions are a vital aspect of every TBDM album, and he once again delivers, both in regards to his lyrics and caustic vocals. While his lyrical inspiration remains primarily rooted in horror and the macabre, on Abysmal the theme of hell is prominent, whether it be a literal hell, figurative, or personal one. "Stygiophobic", for instance, which is a slower, crunchy, doom-inflected dirge, sees him focusing on those who are irrationally afraid of hell. "These people spend their every waking moment thinking of going to hell, and every time they go to sleep they see all their friends burning in hell, and this obsession has become a debilitating psychological condition, which is awful, and interesting." Alongside this, on the scathing "Threat Level Number Three" Strnad goes inside the mind of a "recidivist rapist molester, who has been chemically castrated, focusing on his internal dialogue as he's trying to reenter society." He explores more fantastic subjects, such as the cruelty and violence of Vlad The Impaler - the inspiration for Bram Stoker's Dracula - in the more melancholic "Vlad, Son Of The Dragon", and he also reflects on issues that have affected him more personally, allowing himself some form of catharsis, most notably on "Receipt" and the title track. However, while despair, isolation, and thoughts of suicide haunt these songs, on burly closer "That Cannot Die Which Eternally Is Dead" he pushes the band's perseverance in the faces of those who might consider counting them out. "What I'm saying in that song is that we can't be stopped by normal means. No matter what kind of challenge or roadblock we face we'll just keep coming, and I think by now our fans know that."

In tracking the record, the band re-enlisted producer Mark Lewis (Cannibal Corpse, Whitechapel) and former bass player Ryan Williams, who also helped engineer Everblack, their intent to get away from the overt sonic sterility affecting far too many contemporary metal albums. This is a prominent factor in why the record sounds as angry as it does, the band focusing on capturing a raw, live sound that doesn't always strive for absolute perfection. "We wanted a sound that would show we're actually human beings, and not just computers playing death metal. We were not going to resample the drums, sound-replace or quantize anything. We didn't want to have the exact same drum sound as every single freaking band seems to have right now, and that's why essentially going backwards was going forwards for us. The guys have the chops to do it, so it's not like we need to lean on Pro-Tools to make an album, and I think it's the most energetic thing we've done since the very first record, Unhallowed (2003), which had a similar live feel." As always, artwork was of great importance in expressing the band's vision, and this time they turned to Russian artist Daemorph, who is known for his work in the brutal death metal community. "Again, I was a little unsure quite how we would follow up Everblack, because the artwork Nicholas Keller did was incredible. But we told Daemorph we wanted something that really looked like hell, and he went above and beyond. The first time I saw it I was like yep, that's hell, and I know I definitely don't want to go there!"

At this stage in the game, with typically modest aspirations, Strnad is more interested in maintaining their longevity than shifting records, and if the band never gets any bigger than they are right now he will "die happy a hundred times over". However, this does not mean there is anything even vaguely resembling an end in sight. "We're still young at heart and I feel like the evolution of the band still has a long way to go. I don't see a ceiling on what we can do, and there will be no end. It's just going to be a constant ongoing fight to make better music and be a better band, and it's always going to be time to kick ass."

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SUMMER HEAT III Tue, 07 Jul 2015 19:03:48 +0000 aaron Friday, July 31st
w/ JaySay, Cage Munnie, Khaos, Black Widow, DJ Kizmit, Young Votta, Chris Topher, Cameron Golden-Lion, Cashialini ft. Bigg Shot
Doors: 8 p.m. || Show: 9 p.m.
All Ages || $7: Advance || $10: Day of Show

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Leopold and his Fiction Tue, 07 Jul 2015 18:20:49 +0000 aaron Thursday, July 23rd
w/ TBA
Doors: 8 p.m. || Show: 9 p.m.
18 and up || $5: Advance || $7: Day of Show

Leopold and his Fiction

Website | Facebook | Youtube

Naked, stripped down and aching with adrenaline is the rawness of Leopold and his Fiction. A revolving group of friends led by Daniel James (lead vocal/guitar), their essential make up sprouted from collaborations made on the road in the whirlwind cycle of touring. From San Francisco to LA to Austin various musical adventures had come and gone, until James found a common vision in the musicians he’d met along the way. Originally formed as an outlet for Daniel to exercise his virtues gained from years living in Detroit, Leopold and his Fiction absorbed pieces of the Motown catalog along with the protopunk resonance of Iggy's Stooges and molded them into a personal version of the rock ‘n’ roll dream. It’s as if they, themselves, are connected directly into an electrical outlet. “The band elicits a power when it’s time to perform that is unable to be harnessed in any other medium short of a fist fight,” says James. “Whether that’s on stage or in a recording studio it’s almost hard to contain it. It’s more life than I’ve ever felt before.” It was that sonic fever that landed the group recent support slots for The Cult and ZZ Top. For the past year Leopold and his Fiction have been working with Grammy-nominated producer Chris “Frenchie” Smith (The Datsuns, Slayer, Jet, The Dandy Warhols, etc…) in recording and capturing a captivating musical journey that is as relentless as it is inspiring.

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Charles Barabe // Jean-Sebastien Truchy // Black Givre Tue, 07 Jul 2015 17:57:40 +0000 aaron Wednesday, August 5th
w/ Moss
Rye Room
Doors: 8 p.m. || Show: 9 p.m.
$5: 21 and up || $7: 18 and up

Barabé is a sound and visual artist, also heading his own imprint La Cohu. La Cohu has solidified itself as one of the most forward thinking cassette-based labels around, prolifically releasing over forty recordings since 2012. Barabé has seen much recent attention for his own sound recordings from notable taste-makers such as FACT Magazine, Secret Decoder, Tiny Mix Tapes, Tabs Out and just about every other underground publication around.

Truchy is a well known name in the Montréal music community, being a member of Constellation Records recording artists Fly Pan Am and more recently the outstanding Avec Le Soleil Sortant De Sa Bouche. He also ran the incredible experimental imprint Los Discos Enfantasmes. His solo recordings have reached incredible levels of artistic merit, being a consistent source of inspiration for many in the Canadian experimental community.

Black Givre is a brutal expression, an explosive cardiac stimulation, a thunder in control. Halfway between FourTet'selectronic influences and the insane experimentation from Boredoms, He offers improvisation in bursts of energy freakouts between performance and interpretation. He manipulates sound effects sampled in real time, this is the solo project of a drummer, with his machinery and drum.

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Failure Tue, 07 Jul 2015 17:39:33 +0000 aaron Saturday, August 22nd
Doors: 8 p.m. || Show: 9 p.m.
All Ages || $25: Advance GA || $35: Reserved Seating
*Advance GA = Standing Room Only


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The founding force and career-long creative core of Failure consisted of multi-instrumentalists Ken Andrews and Greg Edwards, a '90s songwriting team practically unrivaled within the claustrophobic confines of post-grunge American rock. The two constantly switched guitar and bass duties in the studio while Andrews took lead vocal duties on the group's three recordings -- Edwards has been credited in interviews with having come up with most of Failure's lyrics. When the group performed live, Edwards played bass while Andrews managed most guitar duties, but in the studio, they would interchange often, with Edwards adding keyboard work and even some drumming. As the group matured and their recording chops sharpened, Andrews became the band's producer/engineer and even began selling his services in this capacity with fine results. Failure was handed near-universal critical praise for their songwriting and sparse, yet cinematic musical arrangements. Their music certainly owed something to song-driven, moody artists like Nirvana and Stone Temple Pilots, but Failure also had many melodic and thematic qualities that were unique and compelling. Failure was both grounded in a heavy breed of pure pop and ambitious experimentalism -- the combination of which defies description just as it exudes an instant familiarity. It all amounted to a rare and sweet form of rock artistry.

MagnifiedAndrews and Edwards met via a classified ad in Los Angeles in 1990 and soon began trading four-track ideas. The pair signed with Warner Bros. imprint Slash Records shortly after they began playing clubs around L.A. Drummer Robert Gauss was added to the lineup and Failure entered the studio with renowned producer Steve Albini to record their debut, Comfort. The combination of talents seemed like a sure thing, but Albini's minimal production philosophy proved to be a mismatch with Failure's more structured creative approach. The results were very unsatisfactory for the band as Comfort was sonically dominated by Albini's bombastic drum mix and generally noisy aesthetic. Andrews convinced Slash to allow him greater production control over the group's 1994 follow-up Magnified, and the vastly superior effort proved the musician's studio instincts to be accurate. Halfway through the recording of Magnified, Gauss left the band and Kellii Scott came in to finish off the sessions. The new drummer stayed on to become a solid recording and performing contributor. The rock press took note of the amazing sonic and musical advances achieved on Magnified just as dozens of musical artists also began singing the group's praises. Failure was subsequently offered a choice of opening slots with the likes of Tool and even main stage status at Lollapalooza. Edwards and Andrews even recorded the one-off covers project Replicants with members of Tool (with Andrews at the helm of the recording console). The clarity and inventiveness displayed by Andrews' mixes did not go unnoticed either and soon the musician was producing and engineering records for the likes of Blinker the Star and Sony's Molly McGuire. Even though Failure hadn't received much media attention -- besides the uniformly positive reviews -- the group had managed to build up some commercial momentum and their final release, Fantastic Planet, was met with much anticipation. When the band went out to tour in support of the new record, Troy Van Leeuwen joined up as second guitarist to help recreate the discs more sophisticated arrangements. The first single from this 1996 masterpiece, "Stuck on You," became a minor alt-radio and MTV hit. It seemed that the public had picked up on the enthusiasm that so many critics and musicians shared. The song -- an ironically catchy number about the power of a catchy song to stick in a listener's head -- peeked at undeservingly low chart positions. No second single was ever introduced to build on what "Stuck on You" had begun.

Their best-selling record, Fantastic Planet, stalled at sales numbers well below the break-even point and it looked like Failure had committed their third strike commercially. Andrews and Edwards announced the demise of the group (due to personal differences and other reasons that were reported to have nothing to do with record sales) about a year later. Andrews went on to form the one-manned outfit ON and continued his lucrative producing/engineering career that has included projects with Ednaswap, Skycycle, Creeper Lagoon, and Tenacious D. Edwards went on to form the well-received Autolux. Scott has since played with Ice Man, Guns N' Roses, and eventually joined as a permanent member of Blinker the Star. Van Leeuwen played with Enemy and then helped form A Perfect Circle. It's little surprise that musicians capable of creating such transcendent rock were in such demand once they had the opportunity to share their many talents. In late 2013 the band announced that they would reunite with the classic lineup (Edwards, Andrews, Scott) and open for Tool on their upcoming tour. In 2015, the band released their first studio recording in over 18 years, the INgrooves-issued Heart Is a Monster.

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An Evening With Machine Head Mon, 06 Jul 2015 16:47:10 +0000 aaron Monday, November 9th
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $22: Advance || $25: Day of Show
Tickets On-Sale Friday, July 10th

Machine Head

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Influential West Coast heavy metal quartet Machine Head formed in 1992 around the talents of ex-Vio-lence guitar players Robert Flynn and Phil Demmel, bass player Adam Duce, and drummer Chris Kontos. Their D.I.Y. work ethic, aggressive playing, and relentless self-promotion eventually landed them a deal with Roadrunner Records, a relationship that would extend all the way through 2005. Their blistering debut, 1992's Burn My Eyes, blended the powerful, modern attack of Pantera and Alice in Chains with the volatility of classic thrash bands like Death Angel and Slayer, earning them a huge European following. The record sold over 500,000 copies and spawned a massive international tour that lasted almost two years.

The More Things ChangeKontos was replaced by new drummer Dave McClain on 1997's More Things Change, an album that saw the band blending speed and progressive metal with dizzying results. The excessive touring and high-octane lifestyle took its toll on the group, but the bandmembers fought through their demons on 1999's Burning Red, resulting in the hit "From This Day," their first commercial single and video. Supercharger was released in 2001, followed by the concert album Hellalive and the critically lauded Through the Ashes of Empires in 2003. The DVD Elegies arrived in 2005, followed by the classic new phase Blackening in 2007.

Unto the Locust In late 2010, Machine Head went back into the studio, setting up shop in Green Day's Jingletown Studios to begin work on a new album. Produced by Flynn himself, the band released its seventh album, Unto the Locust, in 2011. The band returned the following year with the enthusiastically titled live album Machine F**king Head Live! and continued touring relentlessly both in the United States and throughout Europe.

Bloodstone & Diamonds In February of 2013, Duce left the band. This made Flynn the only original member. After a series of auditions, Jared MacEachern, formerly of Sanctify, was named as his replacement. The group returned to the studio in February of 2014 and built on the more intense sounds of their previous two studio albums. They emerged with Bloodstone & Diamonds in November.

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Pets with Human Names Fri, 03 Jul 2015 16:57:29 +0000 aaron Saturday, August 15th
w/ Meadow Rave
Rye Room
Doors: 7 p.m. || Show: 8 p.m.
$5: 21 and up || $7:18 and up

Pets with Human Names

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Pets with Human Names is a dirty, loud and dynamic rock band from Des Moines, IA. Starting from a hot storage shed in the summer of 2011, members Andrew Pierson, Alex Nickeson, and Benton Schoenrock have crafted a sound that hits you hard and makes you move. Transforming all of their influences from heavy metal to progressive rock to trance, they released their first EP to some great reviews. But it wasn’t until their debut album that things really took shape.

Their self-titled album is a culmination of three years worth of effort that became an aggressive exhibition of raw emotion. Blending crunchy groove rock with melodic, atmospheric undertones, it takes the listener on a unique journey. Recorded
and mixed with engineer Luke Tweedy (Erase Errata, William Elliot Whitmore, Xerox), it’s a fascinating album. Not only is it a good listen musically, but it is fun to listen to a band literally grow and change as an album progresses. The energy it evokes, with lead single ‘Black & Gold’, is starting to gain the attention of people in every corner of the music scene.

Currently touring to support their album release, Pets with Human Names are bringing their high-energy live performance to new places. Plowing through such cities as Milwaukee, Chicago, Indianapolis, Cincinnati, Nashville and St. Louis with the exciting combination of heavy and groove that just screams, “Shut up and dance.”

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The Talbott Brothers CD Release Show Wed, 01 Jul 2015 18:37:40 +0000 aaron Wednesday, August 26th
w/ Evan Bartels & The Stoney Lonesomes, The Wildwoods
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $5: 21 and up || $7: under 21

The Talbott Brothers

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The Talbott Brothers is a rock band from the heartland led by harmonizing brothers Nick and Tyler Talbott. The group formed in 2012, has released 3 albums and has played over 300 national shows from coast to coast.

Two years have passed since the release of our last album, “The Road,” in 2013, and we've been a lot of places (pun intended) not just geographically, but in our band, relationships and day-to-day lives. After playing more than 300 shows and traveling coast to coast, we knew recording a new album was long overdue. 2015 marks the release of "Places." As we put our noses to the grindstone, we discovered that for us, writing on the road is better than writing anywhere else. We were able to constantly draw from new experiences, conversations and gain inspiration from some pretty spectacular views. The songs on this record were written from the Atlantic to the Pacific and then glued together in the middle of the Midwest. The title of the album just came to us during the #DriveOnTour last spring. We felt like all of these songs painted a picture of where we've been and what we've gone through over these past couple of years. Our goal with this album was to keep the music honest, simple and stripped down; hoping that these songs find you well and relate to the places you have been, are right now and will be going.

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The Toadies & Fuel Wed, 01 Jul 2015 18:00:56 +0000 aaron Sunday, July 26th
w/ Domestica
Doors: 6 p.m. || Show: 7 p.m.
All Ages || $25: Advance || $28: Day of Show

The Toadies

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It’s been 26 years since the Toadies started playing rock music in Fort Worth, Texas. Through lineup changes, shelved albums, member departures, band break-ups, one-off reunions and full-on reformations, the Toadies are an act that has experienced nearly everything.

After bursting onto the national scene in 1994 with their breakthrough Rubberneck album, which begat their signature single “Possum Kingdom,” the successful follow-up single “Away” and the immense fan favorite “Tyler,” the Toadies returned to the studio in 1998 with the pressure of trying to match their first album’s success. That success didn’t translate to label support when the Toadies submitted their second album, Feeler. Perhaps aptly, things in general just went wrong. “We got approval for a record,” says Vaden Todd Lewis, “and somewhere in the process of handing over the masters to get mixed, it got unapproved. So we went back to the drawing board.” Eventually some of the Feeler tracks made it onto Hell Below/Stars Above—a sophomore offering that came seven years after Rubberneck. Disappointed and dejected, the band dissolved just a few months after that album’s release.

Coming out of the Toadies, Lewis, guitarist Clark Vogeler and drummer Mark Reznicek were disillusioned. Vogeler went to work as a film editor being nominated for 3 Emmy Awards, Rez hooked up with the country-western band Eleven Hundred Springs. Lewis initially thought, “Fuck this whole business. I’m gettin’ out. I just wanted to do anything else.”

Toadies fans stuck with them though, often inquiring as to the band’s activities. Says Lewis, “People just asked me “So, what are you doin’ now?” Soon it occurred to him that music was all he wanted to do. “I’m a musician. That’s what I do, and I’m not happy not doing it.”

Meanwhile, “Possum Kingdom” never left the airwaves, enjoying constant rotation at major modern rock stations. Fans clamored for a Toadies reunion. “The band never went all the way away,” says Lewis.

A one-off show in Dallas in 2006 became a full-fledged reunion with the addition of former Hagfish bassist, Doni Blair. Ever since, the Toadies have steadily built momentum. A third album, No Deliverance, came in 2008 and saw the band selling out shows nationwide while also playing Lollapalooza and ACL. The “lost album,” Feeler, finally materialized in 2010 followed by Play.Rock.Music. in 2012. Highly successful national tours followed each release. The band’s annual Dia de Los Toadies festival now in its 8th year – has featured the likes of Gary Clark Jr., Ben Kweller, Old 97s, Mariachi El Bronx, Helmet, The Black Angels, Centro-matic, Sarah Jaffe, The Sword and Black Joe Lewis.

In 2014, Toadies celebrated the 20th anniversary of Rubberneck by playing the album front to back for the first time ever on a U.S. tour. With 20 years and thousands of shows behind them, the Toadies sound even better. Lewis says “Performing these songs will never get old for me so long as I'm able to look out and see smiling, sweaty faces looking back,” says Lewis.


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Fuel will be touring the US in 2014 in support of their forthcoming album Puppet Strings (March 4th / MRI), including an album release party March 4th at the Viper Room in Los Angeles. Tour dates are listed on tour page. Puppet Strings marks the first album in 10 years with frontman Brett Scallions.

“Rock and roll is very much alive and well on this album,” says Scallions. The sound is pure, anthemic rock inspired by the punk records of the band’s youth (the heavy, driving “Yeah” and first single, “Soul to Preach To”) and the Memphis blues sound that taps into Brett’s Tennessee roots (“Hey Mama”). “We were simply trying to write the best songs we possibly could,” adds Brett, who wrote the album with guitarist Andy Andersson and bassist Brad Stewart, formerly of Shinedown. “With Andy and Brad, I found the unity I’d always craved.”

During his time away from Fuel, Brett continued to write music and toured with Ray Manzarek and Robby Krieger of the Doors. “When I left Fuel I was miserable. It didnt feel much like a band anymore. Unity was nonexistent. Singing with Ray and Robby opened a whole new perspective on music and life for me. I realized how much music is truly all about freedom and not being confined to formats or singles.”

Brett, Andy, Brad and drummer Shannon Boone will be on the road throughout 2014 in support of Puppet Strings.

Fuel formed in 1993 while playing the club circuit in and around Harrisburg, Pennsylvania. The band signed to Sony and in 1998, released their well-received debut album Sunburn and massive single “Shimmer”. Their second album Something Like Human hit multi-platinum status with the singles “Innocent” and “Hemorrhage (In My Hands)”, followed by 2003’s Natural Selection (“Falls on Me”). The band has been selling out dates since 2010 with the current lineup and return of Scallions.

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Linear Symmetry CD Release Show Wed, 24 Jun 2015 21:19:25 +0000 aaron Saturday, July 25th
w/ JMNM, RealEyez
Rye Room
Doors: 8 p.m. || Show: 9 p.m.
$5: 21 and up || $7: 18 and up

Linear Symmetry

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Chris Story (Keyboards) and Andy Alback (Drums) combined forces in 2013 to form the live-electronica group Linear Symmetry. The duo from Omaha has been on a direct path since their inception and continue to progress to new heights with every performance. They have quickly become known for their tight, energetic live shows which feature moving audible dynamics in the form of organic dance music. Pair this with their brilliant visual package and it’s no surprise they have become festival favorites and late night staples.

After just one experience with this duo, it is clear there is no lack of symmetry between Chris and Ando. The two work together on stage and in studio with a common goal to send the listener on a sonic journey through their ever expanding catalogue of original dance music. Due to their unrestricted sound and raucous live show, they have the unique capability to perform for both rock and electronic audiences. Linear Symmetry has performed alongside EOTO, Shpongle, Twiddle & The Floozies; while also packing dance floors at festivals such as Dancefestopia, 515 Alive and BloomTown. Their linear path to new heights is not slowing, so be on the ready to get down when Linear Symmetry arrives in your area in 2015 and beyond. #LSduo #YearofLinear

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Producers of the Word & Red Francis Wed, 24 Jun 2015 20:18:34 +0000 aaron Saturday, August 1st
w/ Levi Bradis, The Riverfront Boys (ft. Kalin Krohe, Jeremy Fifield)
Doors: 8 p.m. || Show: 9 p.m.
$5: 21 and up || $7: 18 and up

Producers of the Word

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Red Francis

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Based out of Chicago, Red Francis captures a rich array of psychedelic soul and folk rock into a consistent vibe with ever changing moods.

Red Francis offers diversity with consistency, as each track becomes a part of the whole effort. The result is a fulfilling piece that never wears out its welcome. - Midwest Action

There's something for everyone to love on "When on High." - Independent Clauses

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Jackyl Wed, 24 Jun 2015 19:19:59 +0000 aaron Friday, September 4th
w/ Laughing Falcon, A Different Breed
Doors: 8 p.m. || Show: 9 p.m.
18 and up || $18: Advance || $22: Day of Show


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It's been nearly 20 years since Jackyl shot out of Georgia with its wild, untamed and uncouth approach to rock 'n' roll. Equal parts hard rock, heavy metal and Southern rock, Jackyl formed in 1991 and brought back rock 'n' roll back -- back to its down-to-earth, wild, fun-loving origins. Full of spit and swagger -- and a "dirty" sense of humor to boot -- Jackyl quickly earned a deal with Geffen Records. Jackyl's live shows were already legendary before the ink dried on the Geffen contract.

The 1992 self-titled debut album went platinum and featured notable rock radio hits like "Down On Me," "When Will It Rain," "I Stand Alone" and, most notably, "The Lumberjack," during which vocalist Jesse James Dupree performed a chain-saw solo. Dupree's chain-saw escapades on album and in concert became one of many Jackyl trademarks. With the release of 'Jackyl' hit the road and barely left it since. Just long enough to record new albums. Touring mates in those early days included Aerosmith, Kiss, ZZ Top, Ted Nugent and Damn Yankees. 1993 saw "Mental *@%.!" featured on 'The Beavis & Butt-head Experience,' a compilation album of songs tied in with MTV's hit cartoon series; it was eventually certified triple platinum. 1994 was one of the most important years in the band's career. The second album, 'Push Comes To Shove,' hit the streets and went gold. That August, Jackyl turned in one of the most acclaimed performances at Woodstock '94 in Saugerties, NY, and the resulting double album 'Woodstock 94' went platinum and included "Headed For Destruction" (a track from 'Push Comes To Shove'). The live recording 'Night Of The Living Dead' was released exclusively in Europe on Mayhem Records in 1996.

It wasn't long before Jackyl followed A&R legend John Kalodner (who had signed them to Geffen) to Sony Music's imprint Epic Records. 'Cut the Crap' was released in 1997 and benefited from two industry heavyweights overseeing its recording: producer Mike Fraser (AC/DC, Metallica) and mixer Kevin Shirley (silverchair, Aerosmith). This album spawned the rock radio hit "Locked and Loaded," which included guest vocals by AC/DC's Brian Johnson. It was the first time Johnson had ever recorded with any artist but AC/DC since he joined the band 17 years earlier. A collection of B-sides titled 'Stayin' Alive' appeared on Shimmering Tone Records in 1998 but the biggest highlight of the year was Geffen's release of the best-of collection 'Choice Cuts' and the related promotional events Jackyl did to help promote it.

The band earned two Guinness Book of World Records citations and the designation "The Hardest Working Band in Rock 'N' Roll" for performing 100 shows in 50 days as well as 21 shows in 24 hours. Dupree says the most grueling of the two was 21 shows in 24 hours; Jackyl completed that task in Texas, and the shows were all done with full lights and sound. The daytime sets were 45 minutes long whereas the ones done at nighttime were between 90 and 120 minutes long. Jackyl released 'Relentless' on Humidity Records in 2002. It contained the second collaboration with Brian Johnson, "Kill the Sunshine." Universal Music/Geffen Records also issued a Jackyl volume as part of its acclaimed '20th Century Masters - The Millennium Collection' best-of series in 2003. For a band that built its reputation as road warriors, it's surprising that a full-length live album meant for worldwide release did not appear until 2004 with the separate release of the 'Live at the Full Throttle Saloon' CD and DVD on Sanctuary Records. 'Live at the Full Throttle Saloon' was recorded and filmed in summer 2003 in Sturgis, South Dakota, as part of the legendary annual biker rally festivities held there.

Staying true to their working band roots, 2008 and 2009 saw Jackyl on the road playing the summer festival circuit. The band is currently in the studio completing a 2010 release titled “My Moonshine Kicks Your Cocaine’s Ass.”

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Los Lonely Boys Wed, 24 Jun 2015 15:00:12 +0000 aaron Thursday, October 8th
Doors: 7 p.m. || Show: 8 p.m.
$30: Advance GA || $35: Day of Show GA || $45: Reserved Seating

GA = Standing Room Only
Reserved Seating = Seated Spot

Los Lonely Boys

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Beloved Texan brother trio bounces back from adversity with adventurous album, Revelation, came out Jan. 21, 2014

AUSTIN, Texas—“We decided to call this album Revelation because we want to make music that reveals something to people about their lives and their world,” says Jojo Garza. He’s talking about the new release by Los Lonely Boys, the close-knit Texas trio that the bassist/vocalist shares with his brothers Henry (vocals, guitar) and Ringo (drums, vocals). “As musicians and artists, we’re here to connect with people, and to share our view of things.”

Revelation — to be released on the band’s own LonelyTone imprint Jan. 21, 2014, in association with the respected Austin-based indie Playing in Traffic — is a landmark release for the siblings. While maintaining the infectiously melodic mix of bluesy rock ’n’ roll and rootsy brown-eyed soul that’s long endeared Los Lonely Boys to its fiercely loyal fan base, Revelation adds an expansive range of new sonic elements, e.g. the conjunto touches of “Blame It On Love,” the reggae groove of “Give A Little More,” the rustic acoustic textures of “It’s Just My Heart Talkin’ and the baroque pop elements of “There’s Always Tomorrow.”

“We’re always trying to broaden our horizons and advance musically, and that’s something that we were very conscious of in making this record,” Jojo states. “We’re always looking for new ways to communicate and reach people, so we experimented with a lot of different sounds and production approaches.”

Toward that end, the brothers also collaborated with an eclectic cast of co-writers in assembling the dozen new original songs that comprise Revelation, including alt-country icon Radney Foster, in-demand pop tunesmiths Matthew Gerrard and David Quiñones, Black-Eyed Peas collaborators George Pajon Jr. and Keith Harris, and Raul Pacheco of Ozomatli.

Revelation also marks Los Lonely Boys’ first recording work since Henry Garza sustained serious injuries in a fall from the stage during a February 2013 performance in Los Angeles, necessitating a lengthy and ongoing recovery period.

“We nearly lost Henry, man, and that was a big change for us,” Jojo acknowledges. “The whole experience was a wake-up call for us. It made us rethink every aspect of our lives and our careers, and it reminded us of what’s really important to us.”

The abiding sense of family unity and creative rapport that allowed the band to weather such a potentially devastating event has been built into Los Lonely Boys from the beginning. Indeed, Henry, Jojo and Ringo have been making music together for their entire lives. Their father, Ringo Garza Sr., was a member of another sibling band, the Falcones, which played throughout southern Texas in the ’70s and ’80s. When that group disbanded, Ringo Sr. went solo, and recruited his three young sons to back him. The family relocated to Nashville in the ’90s, and soon Henry, Jojo and Ringo Jr. began writing and performing their own material as a trio.

After moving back to Texas, the brothers recorded their eponymous debut album in 2003 at Willie Nelson’s Pedernales studio in Austin, with Willie himself guesting on the sessions. Although originally released on small Or Music label, Epic Records picked up Los Lonely Boys for major-label distribution in early 2004. The album quickly won the band a large national audience. Its lead single “Heaven” became a Top 20 pop hit, reached the #1 spot on Billboard’s Adult Contemporary chart, and eventually won a Grammy Award for Best Pop Performance by a Duo or Group with Vocal.

After a prominent guest appearance on the 2005 Santana album All That I Am, Los Lonely Boys solidified their success with 2006’s Sacred, which brought two more Grammy nominations, and 2008’s Forgiven, as well as the holiday-themed Christmas Spirit. Meanwhile, the band continued to build its reputation as a singularly powerful live act.

In early 2009, Los Lonely Boys made their LonelyTone/Playing in Traffic debut with the all-covers EP 1969, followed by the unplugged Keep On Giving: Acoustic Live! Those releases set the stage for the band’s acclaimed 2011 album Rockpango, and for the creative leap forward that Revelation represents.

“We want to make music that brings people together, not music that divides people,” Jojo states. “We’re all about having a good time, but we also make an effort to write about things that really matter. A lot of people write songs about superficial things, like how you look and what kind of car you drive and how much money you have, but we’re not interested in that. We want to create music that’s about the love and the energy and the spirit that we all carry as people.”

“We’re very thankful that God blessed our family with a drummer, a guitar player and a bass player, and that the three of us get to make music together,” Jojo concludes. “There’s been a few bumps in the road here and there, but that happens in any family and in any band. The main thing is that we stick together, and that we’re trying to pass on that feeling of brotherhood, of familia, in the music that we make.”

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The Wyldz @ VEGA Fri, 19 Jun 2015 19:01:39 +0000 aaron Saturday, August 22nd
w/ Night Push
Doors: 7 p.m. || Show: 8 p.m.
All Ages || $8: Advance || $10: Day of Show

The Wyldz

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“Like a punch in the face, or a gift from the rock ’n’ roll gods, prepare to be blown away by the up and coming three piece, The Wyldz,” raves Beyond magazine. From Paris and now residing in Austin, TX, the group plays its own distinctive and engaging brand of neo-classic rock ’n’ roll that draws inspiration from some of the greatest musical artists of the 1960s and ’70s yet does so with a contemporary flair that feels utterly invigorating.

All of that can be heard within the 11 potent tracks on the band’s debut American album, Human Rise, produced by Gordie Johnson – whose production credits include Govt. Mule, North Mississippi Allstars, Warren Haynes, Taj Mahal and others – and recorded at Austin’s legendary Arlyn Studios.
The three musicians first met while studying at the college of contemporary music in Paris, L’École Atla. They had all played with one another in various outfits before uniting as The Wyldz in 2010 with the shared dream of creating a truly world-class rock ’n’ roll and the mutual determination to take their music to as many people as possible.

The trio cut two albums in France, the second of which has “a repertoire worthy of Led Zeppelin, Jimi Hendrix, Pink Floyd and others,” declares Hard Rock magazine. On tours following both releases, they took rock ’n’ roll throughout a nation where such sounds are in short supply.

“We always wanted to go to America,” notes Mitch. “It’s the biggest country for rock ’n’ roll.”

A woman they met in Paris invited the band to come stay with her in the Dallas, TX area, where they soon met their manager, Haven Eskind. She offered her Austin house to the band as a place to reside and rehearse daily, booked them on some unofficial South By Southwest 2013 showcases, and the US buzz on The Wyldz began.

Soon after they cut Human Rise, and are now ready to take their music to the rest of the nation and the world. On Human Rise, the band’s atomic-powered rhythm section drives each song to its fullest energy while Alex chords, riffs and delivers searing leads like a true guitar star and Mitch’s strong and sumptuous voice resonates with genuine emotion.

The songs abound with themes of true human connection as the balm for loneliness and alienation, the power of love, striving to reach one’s greatest potential, transcendence and other essential elements of life, woven into poetic tales to soar into the stratosphere and beyond.

In the great French tradition, “We are revolutionaries,” Oliv declares. Their cause is inspiring mankind to be at our best and restoring genuine greatness to rock ’n’ roll. The group’s ambitions for high achievement aren’t driven by material desires or an urge for stardom. “For us, music is about sharing,” explains Mitch. “We like to share the riches we feel from playing rock ’n’ roll with our listeners.”

“Something we have said from the start is if we can fill our fridges doing what we love, we are the happiest people in the world,” says Oliv. “We don’t want fancy cars or whatever. We just want to live doing what we love.”

“It is obvious that these guys are the real deal,” declares Beyond. “The Wyldz are a breath of fresh air and are genuinely devoted to soon become the next big thing.” Given how quickly they’ve already begun making their mark in America, the stage is set for The Wyldz to ascend to some of the world’s biggest venues and beyond, and make their indelible mark on today’s popular music.

Let the revolution begin….

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Reverend Horton Heat Wed, 17 Jun 2015 18:29:46 +0000 aaron Friday, September 25th
w/ Old Salt Union, The Killigans
Doors: 7 p.m. || Show: 8 p.m.
$20: Advance || $25: Day of Show || $32: Reserved Seating
Tickets On-Sale Friday, June 19th @ 10 a.m.

Reverend Horton Heat

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The Reverend Horton Heat is perhaps the most popular psychobilly artist of all time, really rivaled only by genre founders the Cramps. The Reverend (as both the three-man band and its guitar-playing frontman were known) built a strong cult following during the '90s through constant touring, manic showmanship, and a twisted sense of humor. The latter was nothing new in the world of psychobilly, and Heat's music certainly kept the trashy aesthetic of his spiritual forebears. The Reverend's true innovation was updating the psychobilly sound for the alternative rock era. In his hands, it was something more than retro-obsessed kitsch -- it had roaring distorted guitars, it rocked as hard as any punk band, and it didn't look exclusively to pop culture of the past for its style or subject matter. Most of The Reverend's lyrics were gonzo celebrations of sex, drugs, booze, and cars, and true to his name, his concerts often featured mock sermons in the style of a rural revivalist preacher. First performing as The Reverend Horton Heat in 1985, his backing band solidified around 1989 with bassist Jimbo Wallace and drummer Patrick "Taz" Bentley. Their initial recordings were released by that bastion of indie credibility, Sub Pop, at the height of the grunge craze; both 1991's Smoke 'Em If You Got 'Em and 1993's The Full Custom Gospel Sounds of the Reverend Horton Heat helped build an enthusiastic underground audience. That resulted in a spell on major label Interscope, starting with 1994's Liquor in the Front (Bentley was subsequently replaced by Scott Churilla). After two more for Interscope, 1996's It's Martini Time and 1998's Space Heater, Heat returned to recording for independents, still a highly profitable draw on the concert circuit.

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Briner Tue, 16 Jun 2015 19:38:25 +0000 aaron Friday, June 26th
w/ Shaun Sparks, Commander Kilroy
Rye Room
Doors: 8 p.m. || Show: 9 p.m.
$5: 21 and up || $7: 18 and up


Website | Facebook

Briner (previously known as Zach Attach) is a rock band from Nebraska.

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Jamey Johnson Mon, 15 Jun 2015 15:00:06 +0000 aaron Wednesday, September 30th
w/ TBA
Doors: 7 p.m. || Show: 8 p.m.
18 and up || $32: Advance || $36: Day of Show

Jamey Johnson

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Acclaimed singer-songwriter Jamey Johnson has been showered with plaques, trophies and award statuettes, but they aren’t the answer to his dreams.

“My dream already came true,” says the Alabama native who has rocketed to Nashville stardom. “All I ever wanted was to get to just ride around and sing country music. It’s cool when things happen along the way, because those are things I never thought I could achieve. But whatever happens, I’ll just keep on doing what I do. I wake up every day and go play some more country music.”

The things that have happened along the way include songwriter awards for 2005’s “Honky Tonk Badonkadonk,” which Jamey co-wrote for Trace Adkins. In the spring of 2007, the Academy of Country Music gave Jamey a Song of the Year award for co-writing the George Strait hit “Give It Away,” and the Country Music Association did the same later that year.

Mercury Records issued his album That Lonesome Song in the summer of 2008, and the collection was universally hailed as a masterwork. Rolling Stone, The New York Times, The Wall Street Journal, The Washington Post, Esquire and The Los Angeles Times are just a few of the major publications that sang its praises.

The disc led to invitations from Willie Nelson to play Farm Aid and to appear on Letterman and Leno. In April 2009, the album earned Jamey a Gold Record. The set’s “In Color” was named the Song of the Year by both the ACM and the CMA. During 2009 and 2010, Jamey collected five Grammy Award nominations. He toured with country titan Hank Williams Jr. and was one of the few country acts asked to play the massive Bonnaroo festival in June 2010.

In the midst of all of this, Jamey Johnson worked little by little on the landmark project that has become The Guitar Song. It is a 25-song, double album with thematically linked sets of songs dubbed the “Black Album” and the “White Album.”

“The original idea was always to do a double album,” says Jamey. “It is an album that is a tale. The first part of it is a very dark and sordid story. And then everything after that is progressively more positive, reassuring and redemptive.”

The “Black” songs include the menacing, partly spoken “Poor Man Blues,” the intensely defiant “Can’t Cash My Checks,” the sighing and bluesy “Even the Skies Are Blue” and the chillingly aggressive “Heartache.” The lighter, “White” songs are highlighted by the strongly autobiographical “That’s Why I Write Songs,” the languidly relaxing “Front Porch Swing Afternoon,” the rocking “Good Times Ain’t What They Used to Be” and the easy-going groove tune “Macon.”

The ambitious project’s textures are many and varied. “Baby Don’t Cry” is a lullaby. “I Remember You” is a gospel song. “That’s How I Don’t Love You” is a deeply sad power ballad. “By the Seat of Your Pants” tells of life’s lessons. The title tune, “The Guitar Song,” is told from the point of view of two forgotten guitars hanging on a pawn shop wall. “Playing the Part” and “California Riots” come from feeling out of place as a country boy in Hollywood.

Jamey Johnson is a lover of classic country sounds, and he regularly performs oldies in his stage shows. The Guitar Song contains his versions of Kris Kristofferson’s “For the Good Times,” Vern Gosdin’s “Set ‘Em Up Joe” and Mel Tillis’s “Mental Revenge.” “Lonely at the Top” is a previously undiscovered gem co-written by the late Keith Whitley.

“Picking the songs for it was easy,” says Jamey. “They pretty much picked themselves. We just had to decide which album each one went on and at which point on the record should each one occur. Once we decided where each fit, it was a done deal.

“When I did That Lonesome Song, I was in town all the time. It was just a drive to the studio. But this album here, we’ve had to record things on the fly, on the road, in studios here and there, wherever we were. I think we went around the country five or six times while we were making The Guitar Song.”

Recording sessions for the two-hour music collection were held in Los Angeles, Nashville and at Jimmy Buffett’s Shrimp Boat Studio in Key West, Florida. The singer-songwriter began working on it in early 2007 and concluded the project by delivering it to surprised staffers at the Universal Music Group offices in downtown Nashville via an armored car and a guard squad of 40 men in April 2010.

That’s a typically unorthodox gesture from an artist who has always marched to the beat of a different drummer. He was raised outside Montgomery, Alabama in a family that was poor but highly musical. Like many country artists, Jamey first performed gospel music in churches. Unlike most, he is a formally trained musician who understood music theory as early as his junior-high years.

Jamey Johnson is a study in contrasts. He was raised in a devout household, yet he spent part of his youth drinking beer and playing songs at night on the Montgomery tombstone of Hank Williams. He is deadly serious about his music, yet has a wry and witty sense of humor. With his piercing pale-blue eyes and biker beard, he looks like a hell raiser, but he has the heart of a poet. He seems like a rebel, but Jamey Johnson spent eight years as a member of the highly disciplined U.S. Marine Corps Reserves.

Jamey arrived in Nashville on Jan. 1, 2000, spending every dime he had to make the move. In 2001-2004 he ran his own construction company. Performing in Nashville nightspots led to work singing songwriters’ “demo” tapes on Music Row. Word of his talent got around. In 2005, he landed his first recording contract and had a hit with his song “The Dollar.”

But when his record-company lost interest, and he went through a painful divorce, Jamey Johnson came to the darkest place in his life. The bright side of this time period was the creation of many of the compositions that became That Lonesome Song.

At first, he intended to put that record out himself. But when UMG Nashville’s chairman and CEO Luke Lewis promised complete creative freedom, Jamey Johnson brought his distinctive sound to Mercury Records. In the two years since then, he has been burning up America’s highways with his Kent Hardly Playboys band.

“The road is where it’s at. I love it. That’s where you take country music. You don’t get the message out there by sitting at the house. I go out there and meet the people. When I come back home to make an album, I don’t want you to second-guess me. I’m telling you what is the right thing, because I’m the guy out there shaking their hands every night.”

“Everything comes from God. So when I write, it is my gift to Him. It is my interpretation of what He gave me, the circumstances that I drew the material from. So when I get done with a song, it’s not for my fans. It’s certainly not for the industry, the trophies, the accolades and the plaques. It is straight from me to God.”

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