Upcoming Events

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Thursday 27 October
White Oak Music Hall Lawn 06:30 PM All Ages $34.50 ADV   $36.50 DAY OF $39.50 DAY OF BOX OFFICE
The Head And The Heart, Declan McKenna
With every online ticket purchased for The Head and the Heart, you'll receive a choice of either a standard physical or standard digital copy of their new album, Signs of Light, released Friday September 9, 2016. You will receive instructions via email on how to redeem your album shortly after ticket purchase. For any tickets purchased after the release date, you will receive instructions via email 7-10 days after purchase.

Formed in Seattle by a group of northwestern transplants, the Head and the Heart is an indie folk band whose influences include Americana, country-rock, and classic Beatlesque pop. The lineup came together in 2009, when songwriters Jonathan Russell and Josiah Johnson met at an open mike event at Seattle's Conor Byrne Pub. Pianist Kenny Hensley, bassist Chris Zasche, violinist Charity Rose Thielen, and former Prabir & the Substitutes drummer Tyler Williams rounded out the roster, and the Head and the Heart spent the first half of 2010 touring the Pacific Northwest before self-releasing their eponymous debut in June. By the end of the summer, they'd created enough buzz in the Pacific Northwest to entertain offers from several record labels, eventually signing with Sub Pop that fall and reissuing their album -- this time with remastered tracks and one new song -- in early 2011.

The band spent much of their time on tour during 2012 and subsequently began the writing process for their second album on the road. They eventually returned to Seattle to record their sophomore release, 2013's Let's Be Still. ~ Andrew Leahey
Thursday 27 October
White Oak Music Hall Upstairs 09:00 PM All Ages $10.00 ADV   $12.00 DAY OF $13.00 DAY OF BOX OFFICE
Mobley & Oxymorrons, Cure For Paranoia

Cutting vocals in the woods behind his college dorm. Mixing in the backseat of a sedan. Sneaking into the music department after hours to teach himself to play new instruments (and sneaking out before the faculty arrived in the morning). From the start, Mobley's work has been marked by solitude, ingenuity, and a drive that could only be called obsessive. Whether you experience his music on record or at one of his live shows (on stage, he's electric), the passion is palpable. Mobley grew up all over the world, from the Spanish Mediterranean to the California coast. Perhaps it's because of this itinerant childhood that he finds it so hard to sit still. Over the last few years, he's composed dozens of pieces for stage and television, played 150+ national tour dates (with the likes of JUNGLE, Mutemath, & Wavves and at festivals like Savannah Stopover and Float Fest), and recorded (then scrapped) two whole albums in pursuit of the songs that would become his forthcoming full-length debut, Fresh Lies. The album, on which Mobley plays every instrument, defies easy classification, drawing liberally (often simultaneously) from indie rock, R&B, and pop sensibilities. He's equally at home on a playlist next to The Weeknd and TV on the Radio alike, while his electronic, dub-dabbling production style calls to mind the intricate work of artists like James Blake and Thom Yorke.

Oxymorrons began as a collaboration between Queens-bred brothers, K.I. and Deee, who joined forces to cultivate a sound that modern music can no longer turn its back on. After years spent playing and touring with other groups the brothers decided it was time to set the New York scene ablaze with their sonic creations. The lineup expanded with the addition of staple drummer Matty Mayz, whose blistering talent along side bassist Joe Jordan and guitarist Adam November has become an intricate part of the bands live show. The genre-blending masterminds use their musical platform to speak for, and to, the rejected. Their message of embracing ones individuality resonates with their fellow underdogs. The potent mixture of the bands sharp-witted lyrics and mesmerizing music has earned them a legion of loyal fans and inspired collaborations with Travie McCoy, Saba, Sam Gongol (Marian Hill), Maxine Ashley (Pharrell/I am OTHER) and Wynter Gordon. Oxymorrons caught attention with their undeniable artistry and found synergy in brand partnerships with RedBull, Converse, Rocawear, DeadBolt, Karmaloop, and Modify Watches. It's their captivating live show full of non-stop energy that has music lovers entranced. The band has played many notable festivals including SXSW, Firefly, AfroPunk, Funk Fest, CMJ and have shared the stage with dynamic acts like Lupe Fiasco, Common, Ludacris, Juicy J, Gym Class Heroes, Bruno Mars, Bad Rabbits, Rihanna, Salt N Pepa, Danny Brown, and more. Oxymorrons are currently gearing up to release their new project, ‘Complex But Basic,' in mid-2016 with indie label Tommy Boy Entertainment. They'll soon be unleashing an onslaught of ear-catching singles, imaginative music videos and taking their energetic live show on the road.

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Friday 28 October
White Oak Music Hall Lawn 07:00 PM All Ages $21.00 ADV   $26.00 DAY OF $30.00 DAY OF BOX OFFICE
Rebelution, Hirie
A dozen years into Rebelution's stirring career, the release of the California reggae band's fifth album Falling Into Place finds them more energized than ever. Touring relentlessly since 2014's Count Me In debuted at No. 1 on the Billboard Reggae chart, the band's members have expanded their songwriting horizons and recorded 11 tight new tracks that fuse an ever-youthful attitude of celebration with the mature perspective of men of the world. The lyrics of "Lay My Claim" get right to the point: "Let it all unfold straight from the soul." It's about working hard and then reaping the benefits, says singer/guitarist/lyricist Eric Rachmany - about "being present with the music instead of just thinking about the outcome and the limelight. We're not making music to hit a certain demographic. We're just making music that we enjoy!" For Falling into Place, Rebelution's four core members - Rachmany, keyboardist Rory Carey, drummer Wesley Finley, and bassist Marley D. Williams - got some refreshing new perspectives by writing with different producers and writers and recording at multiple studios. For Rachmany, the creativity began with an inspirational trip to Jamaica, the birthplace of reggae, where he did some of the writing. Dwayne "Supa Dups" Chin-Quee (Bruno Mars, Eminem) produced many of the tracks. Others feature the studio wizardry of Yeti Beats (Kool Keith, Los Rakas, and Rebelution's two previous albums), while Donovan "DonCorleon" Bennett (Sean Paul, Vybz Kartel, Morgan Heritage) produced two. Locking it all together are rock-solid musicianship, a "sun splashy sound" (Relix), an intense work ethic, and constant devotion to their art. "We named the album Falling Into Place because all of our varied inspirations and experiences came together into one cohesive collection of music that we really love," says Rachmany. As Billboard writes, "Their dynamic brand of original music weaves hypnotic threads of alt-rock and pop, retro-funk, blues, dub, even traditional Middle Eastern strains. Rachmany's expressive voice wraps his soul-searching lyrics in beguiling melodies." Falling Into Place mingles stories of love gained and lost with reminiscences of years gone by ("Pretty Lady," "Those Days," "Santa Barbara") and socially pertinent songs like "Know It All," which challenges the hatred in an ever-more-violent world and a fraught political environment. Jamaican deejay and one time tour-mate Protoje adds guest vocals on "Inhale Exhale," an intense earworm celebrating the movement towards further
legalization of marijuana.
Rebelution came together in Isla Vista in 2004. The college friends evolved into one of the brightest lights of modern reggae. Their Debut album Courage to Grow, was named iTunes' Editors' Choice for Best Reggae Album of 2007. Bright Side of Life, released on their own 87 Music label in 2009, hit #1 on the iTunes Reggae chart. It was also the third most downloaded album in the U.S. in all genres, and reached #1 on the Billboard Top Reggae Albums chart and #34 on Billboard's top 200. The triple-album Peace of Mind, released in 2012 with acoustic and dub versions, marked an even higher chart debut: #13 on the Billboard Top 200. It hit #1 on both the Reggae and Independent charts, and was the #4 iTunes album overall. Island Sun Weekly called the next album, 2014's Count Me In "an energetic melding of catchy reggae sounds, sunny vocals and a pulse of alternative flare. It's full of positive vibes, bounding island melodies, and inspiring reggae beats." Sure enough, it made an even bigger splash, entering the Reggae chart at #1 and the Billboardoverall chart at #14, thanks to the band's best-ever week of sales. It also premiered in the top 5 on both the Independent Albums and Digital charts. On the road for at least half the year, Rebelution continues to bring its intense, sun-drenched California reggae to widening audiences all over. The songs say it all. "Plant a seed, watch the whole thing grow." Rebelution doesn't just play and sing. They live these words and this music - as more fans learn with every new release.

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Friday 28 October
White Oak Music Hall Upstairs 08:00 PM All Ages $18.00 ADV   $20.00 DAY OF $22.00 DAY OF BOX OFFICE
Snakehips, Lakim, Fat Tony
Since forming only 18 months ago, Snakehips have made their name with Hype Machine chart-topping remixes for Banks, The Weeknd, Bondax and Wild Belle, which between them have notched up more than 30 million plays on Soundcloud and YouTube. Last May, the mysterious production duo built on their early acclaim with On & On, a Radio 1-championed debut single that set out their signature sound, a sensual up-to-date take on old school R&B and hip hop.

In time to usher in another summer and ahead of appearances at major festivals across the UK and abroad, Snakehips are ready to release their glorious, second single, Days With U, featuring Disclosure and Rudimental vocalist Sinead Harnett. With the vibe of long, hot, hazy days coursing through its veins, Days With U sounds both retro and fresh and as dreamily laid-back as it is dancefloor-friendly. Driven as much by melody as by hip hop beats and shimmering synths, it's a song about heartbreak that, somehow, sounds resolutely life-affirming.

With a debut album well underway and due out early next year, Snakehips have decided it's time to reveal themselves as 24 year old Londoners Oliver Lee and James Carter. Despite a shared home city, the pair met on separate business trips to Hong Kong, where they bonded over shared musical interests. They shared a flight to L.A., began talking music and booked a studio in which to work on a track. It went so well that within days of returning to London they nudged their laptops together and Snakehips was born.

The pair's first release was a remix of Chicago band Wild Belle's It's Too Late; their next a remix of Gold by electronic duo Bondax. Both used only the original vocal, topped the Hype Machine chart and revealed Snakehips' love of ‘90s hip hop, disco and vintage soul.

The reaction to their own music, however, was in a different league. The steamy, sultry, lushly-produced On & On, featuring up-and-coming, Australian singer George Maple, sent blogs in to a frenzy, reached the Top 10 of the iTunes electronic charts on both sides of the Atlantic and caught the attention of Radio 1's Zane Lowe, Annie Mac, Mistajam and Monki, for whom Snakehips recorded a guest mix. Like Days With U, On & On was a song about heartbreak that sounded like summer. Or as Ollie outs it: "It's about a bloke George was in love with who didn't love her back." On & On's soulful blend of retro and modern became Snakehips' trademark.

"We love the vibe of 90s music - Hi-Tek, Pete Rock, that golden era of R&B with singers like Aaliyah and SWV," says James. "We're suckers for anything with cool soul samples and old drum beats. But we're also influenced by living in London. We borrow from the past to make music for the future."

Last year, Snakehips heard the Banks' song Warm Water and loved it so much they contacted Banks, asking to remix it. She sent the acapella, they added funky disco music, had another blog hit on their hands and were rewarded by being asked to rework The Weeknd's Wanderlust. After The Weeknd tweeted his praise for their version, it received a million and a half plays in less than a month.

In between official singles, Snakehips have put out a handful of sample-based tracks, among them the Annie Mac-premiered Make It and Miss U Always, a love song posted for fans on Valentine's Day. They sold out a tour of Australia, shows across the UK and were in demand to play clubs and festivals everywhere from Paris, Vienna, Warsaw and Berlin to the Netherlands. The pair's debut London date, this May, at Village Underground, sold out so quickly a second show had to be added.

Most of 2014 so far has been spent working on their as-yet-untitled debut album, which will be preceded by a third single, Falling, featuring Meleka. All releases are on Snakehips' own label Hoffman West, named after a fictional character Ollie created to get in to clubs for free.

"Put the name Hoffman West, plus five, on a guest list and no one asks questions when you get to the door," he explains. "There's something about that name that sounds so important that you're always ushered straight in."

It's a busy summer ahead for Snakehips with appearances lined up at festivals such as Glastonbury, Reading & Leeds, Love Saves The Day as well as European jaunts at Outlook in Croatia and Pitch in Amsterdam. With a debut album also in the pipeline, there's certainly a lot more of exciting things in store from the London based production duo.

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Saturday 29 October
White Oak Music Hall Upstairs 08:00 PM All Ages $15.00 ADV   $18.00 DAY OF $20.00 DAY OF BOX OFFICE
El Ten Eleven, Bayonne
"It's surprising this record even got made," bass player and songwriter Kristian Dunn reflects. "[Drummer] Tim's dad died just before the recording was to begin. Obviously he needed to go back to Pittsburgh to be with his family. He returned to California relatively quickly, ready to work, and then I was struck with serious food poisoning."

As soon as one band member in the duo was ready to work, it seemed the other had something come up. Even their engineer, Chris Cheney, had to leave in the middle of recording to go DJ for the Arizona Diamondbacks baseball team. Deadlines were rapidly approaching and the record wasn't finished. "It was stressful, but it seemed to all work out," Tim Fogarty adds.

Appropriately, the record is all about family and the connection between parent and child. Opening with "Point Breeze" (an area in Pittsburgh in which Tim's dad used to hang out when young) and moving right into "Scott Township" (an area of Pittsburgh where Fogarty did the same), the record is alive with sounds both futuristic and anachronistic.

The album is full of parental nods. "'Fast Forward' is a band name my dad would always suggest when I was starting new bands in high school. I thought it was stupid and would blow him off! Now I actually think it's cool. It really represents something that is old, but also forward looking and inventive." Dunn explains. "Peter and Jack" is a thank you to father and son team Peter Hook (of New Order and Joy Division) and Jack Bates who, after playing some shows with El Ten Eleven, suggested to Dunn that he employ one of the six string basses they were using.

"Not to exaggerate, but the effect those two had on El Ten Eleven is sort of incalculable. I wouldn't have even considered the Bass VI if it weren't for them. And the direction of the band definitely changed because of it," Dunn says.

The record was written at their homes and practice studio in Atwater Village, and recorded with Cheney at Costa Mesa Recording Studio in Costa Mesa, CA. Dunn and Fogarty are the only musicians that appear on Fast Forward; everything you hear was done by the two of them using two basses, electronic drums, acoustic drums, and myriad looping pedals and effects.

While most artists use looping technology improvisationally, Dunn and Fogarty see the loopers themselves as another instrument. Over a decade plus together they've attained hard-won virtuosity with the devices, and can now concentrate on songwriting itself rather than logistics. "Nothing we do is improvised" explains Dunn. "When we first started playing shows we'd sometimes run into troubles with the loops and have to stop and retry songs!"

"It's almost like our rig itself is an instrument we've had to master," he continues. "I'll loop Tim's electronic drums with one of my pedals while looping my own bassline, then switch to my six string bass midsong while he moves to playing acoustic drums, layering up the sonics and shaping the song as it all grows." By refusing to use anything pre-recorded live they've pushed themselves into new territory, now able to deftly recreate their complex compositions nightly.

In the end, of course, it all comes back to family; from Dunn and Fogarty's own parents to Hook and Bates, to their own growing families. Dunn discloses, "I didn't come up with the artwork just because I thought it looked cool. The triangle on the front represents the connection between my wife, daughter and me, but if you look closely, it isn't actually there. Your mind creates that triangle. And that is symbolic of the family connection, always there, even if not physically."

More dedications round out the record: "JD" (Tim's dad), "We Lost A Giant" (a phrase used by a Pittsburgh Steelers radio announcer to describe Tim's dad) and "Be Kind, Rewind" (a plea for respect for one's ancestors).

"I'm so relieved this record is finished. It was a lot of work… like family!" laughs Dunn.

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Sunday 30 October
White Oak Music Hall Downstairs 07:00 PM All Ages $16.00 to $59.50 ADV   $18.00 to $59.50 DAY OF 18.00 to 59.50 DAY OF BOX OFFICE
Kishi Bashi, Laura Gibson
"Sonderlust" is an album forged through heartbreak. After his two previous studio albums ("151a" & "Lighght"), Kishi Bashi was at a musical impasse. "As I sat down to write songs last summer, I went to all my usual conduits of creation: violin loops, guitar, piano, and I came up with the musical equivalent of fumes", says K Ishibashi. "I tried to create orchestral pop recordings that I assumed were my forte, and in turn I found myself standing in front of a creative wall of frightening heights."At this very same moment of musical uncertainty, K's personal life was falling apart... He and his wife of 13 years had briefly separated and were struggling to keep their marriage together. In his own words, "Touring and its accompanying lifestyle took a heavy toll on my soul and my family". As an outlet, K submerged himself in a new musical direction. "Sonderlust" emerged as a direct result of this personal struggle taking place at an artistic crossroads. With the help of producer Chris Taylor (Grizzly Bear), engineer Pat Dillet (Angelique Kidjo, David Byrne) and drummer Matt Chamberlain (Morrissey, Fiona Apple, of Montreal), Kishi Bashi has created his most personal and artistically adventurous work to date. "This album is straight from my soul. I questioned everything about what it means to love and desire. The difference between loving someone and being in love.

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Tuesday 1 November
Rudyard's 08:00 PM All Ages $8.00 ADV   $10.00 DAY OF $11.00 DAY OF BOX OFFICE
ToyGuitar, Revels, Patterns
On the heels of their first full-length-In This Mess-toyGuitar continue to ride a massive wave of acclaim with the brand new EP, Move Like a Ghost. The band is built on the sunny vocals of Jack Dalrymple (whom you know and love from his long tenure in Swingin' Utters), who dragged his Utters cohort Miles Peck into the mix. The two eventually recruited their sometime Re-Volts band mate Paul Oxborrow ("In the grand and time-honored tradition of band incest," cracks Paul). To accompany the fuzzy vox, bouncy bass, and jangly guitars, the boys looked south from their Bay Area environs and pulled in the driving drum beats of Los Angeles sticks maven Rosie Gonce.
After wrapping up 2015 with their first ever visit to Japan as part of Fat Wreck Chords' massive 25th Anniversary festival show, the band quickly decided to lay down some new tracks that they had been tinkering with. As Jack explains, "We recorded the Move Like a Ghost EP with our bud, and all-around ruler, Chris Dugan over in Oakland, Ca. at Jingletown. We wrote it because we all loved the idea of a 10-inch at 45 RPM. It sounds ruling and it kinda fits our whole, not wanting to play longer than 30 min vibe, too. I personally love short and sweet records." The six songs on Move Like a Ghost are the perfect dose of toyGuitar's unique blend of fuzzy garage rock, ‘70s proto-punk, and undeniably melodic pop.
More than just a continuation of their first album, Move Like a Ghost sees toyGuitar succinctly dial in all the sweet spots of their brand of referential and innovative rock ‘n' roll. Dalrymple expands "I think collectively what we bring to the table and the way we are on stage together, is reflective of people that love being around each other. We trust and support one another, through the good and the bad." Move Like a Ghost delivers all the charms that toyGuitar have become known for, with some pensive moments thrown in along the way. Dalrymple says, "There's a song called ‘Swan' on the record, which encapsulates the sentiment of loving who you perform with perfectly. There's a song about my friend Heiko Schrepel (One Man Army) called ‘Turn It Around,' which was super hard for me to write. After they were recorded, I found the whole experience to be very cathartic."
More than an EP, Move Like a Ghost is a fully formed, perfectly executed six-song record. Together, the four members of toyGuitar collaborated to churn out the most blissed-out, beautiful rock ‘n' roll record you'll hear all year.

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Wednesday 2 November
White Oak Music Hall Lawn 06:30 PM All Ages $49.50 ADV $52.50 DAY OF BOX OFFICE
Pet Shop Boys: The Super Tour
Pet Shop Boys (Neil Tennant and Chris Lowe) are the most successful duo in UK music history. Since signing to Parlophone Records in1985, they have achieved 42 Top 30 singles in the UK including 22 Top 10 hits and four number ones. They have released 12 studio albums all of which have made the UK Top 10 as well as album charts around the world.

In 2000 they received the Ivor Novello Award for Outstanding Contribution to British Music and at the 2009 BRIT Awards they were presented with the award for Outstanding Contribution to Music.

As writers, producers and remixers, Tennant and Lowe have collaborated, remixed or written for a wide range of artists including Dusty Springfield, Lady Gaga, Liza Minnelli, Madonna, David Bowie, Yoko Ono, The Killers and Girls Aloud.

Pet Shop Boys have also written the West End musical Closer to Heaven with playwright Jonathan Harvey, produced in 2001 by the Really Useful Group. In 2004 they performed their soundtrack to the classic silent film, Battleship Potemkin, with the Dresden Sinfoniker in a free concert in Trafalgar Square presented by the ICA; they have since performed it at various spectacular outdoor events in Germany, Spain and the UK. In 2011, Pet Shop Boys composed a ballet, The Most Incredible Thing, based on the Hans Christian Anderson story of the same title. The project was a collaboration with choreographer Javier De Frutos and Britain's leading dance theatre, Sadler's Wells. The ballet won the Evening Standard Theatre Award and was given a second season at Sadler's Wells the following year.

In 2012 Pet Shop Boys appeared before a worldwide television audience during the London Olympics' closing ceremony. Two years later, Tennant and Lowe's collaboration with Alan Turing biographer Andrew Hodges, A Man From The Future, received its world premiere as a Late Night Prom concert at the Royal Albert Hall with the BBC Concert Orchestra, the BBC Singers and narrator Juliet Stevenson.

In their live shows over the last 20 years, Pet Shop Boys have created an original and influential style of pop musical theatre, collaborating with directors, designers and artists including Derek Jarman, David Alden and David Fielding, Zaha Hadid, Sam Taylor-Wood and Es Devlin. Their 2009-2011 arena tour, Pandemonium, was described in a five-star review in The Times as "the ravishing pop spectacle of the year".

Pet Shop Boys released their last album Electric in 2013, produced by Stuart Price. The album received great critical acclaim and gave Pet Shop Boys their highest album chart positions for 20 years in the UK and USA. The accompanying Electric tour subsequently visited 38 countries over three years and received ecstatic audience and critical reactions.

Pet Shop Boys' new album, Super, was also produced by Stuart Price and will be released worldwide on April 1. In July Pet Shop Boys will play an exclusive four-date residency entitled Inner Sanctum at the Royal Opera House in London. The concerts will be staged by designer Es Devlin and choreographer Lynne Page.

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Friday 4 November
Raven Tower Pavilion 07:00 PM All Ages $12.00 ADV $13.00 DAY OF BOX OFFICE
Youth Code, Secret Sands, Spit Mask
Los Angeles Duo Youth Code are raw, punishing, industrious electronics built from the seeds of hardcore and early Wax Trax. Ryan William George and Sara Taylor blend chaos with catchy dance undertones to create a sonic fury paralleled to none. Formed in 2012, Using all hardware to perform, Youth Code have already proven their path with being the first band outside of Psychic TV to be put out by PTV's own label " Angry Love Productions " as well as a full length LP on the flawless Dais Records roster. On Tour Now!

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Friday 4 November
White Oak Music Hall Upstairs 08:00 PM All Ages $10.00 ADV   $12.00 DAY OF $13.00 DAY OF BOX OFFICE
White Fang And No Parents Plus Very Special Guest Birth Defects
WHITE FANG is a product of Portland, Ore.'s DIY punk scene. The band find a good balance between gleeful destruction and laughs. They're really just four freebirds high on life.

More than a few rumors have been circling about the members of Los Angeles punk band ‘NO PARENTS'.

Among them:
Frontman Zoë Reign is the only living member of the long extinct human subspecies, homo erectus. His cave-tatted and zaftig body was found perfectly preserved within a gigantic slab of dank resin, excavated from a North Hollywood backyard by a pair of teenaged twins, whom, in the throes of a Blue Dream-edible-induced bad trip, had become convinced that the ghost of G.G. Allin would haunt their local sesh spot were they not to unearth a mysterious object from behind their uncle's ranch house.

Bassist Killian LeDuke is both blessed and cursed by his possession of a rare Poon-Slayer's Statuette, which in appearance is not far off from the Venus of {look up}, but unlike that ancient artifact, is said to faintly emit the chorus of the Stooges' "T.V. Eye", a tune which grows louder if the object comes within the presence of a particularly bodacious babe. Accounts conflict on the actual psychophysical effects of the totem- make your own call if you ever come within 5-10 feet of Mr. LeDuke.
Guitarist Ryan McGuffin learned how to play his scintillating riffs from a group of hyperintelligent Fender-wielding crustaceans. One day while surfing Leo Carrillo during a super gnarly swell, he was pulled under (after getting way too pitted in a tube of opaque Pacific trash-water.) Rendered unconscious by a critical case of board-to-dome, he would have certainly perished beneath the waves had he not been furnished with scuba gear by the aforementioned rock lobsters. Somewhere along the line, the rumor goes, they taught him how to shred, but the details here are fuzzy, as it remains unclear how these clawed creatures could pluck a guitar string without snapping it, not to mention how an amp could function underwater.
Monty, the drummer, is an alien.

Interesting as these rumors may be, their veracity is far beside the point. No Parents play rock and roll music and they play it well. Oh fuck yes they do.

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Friday 4 November
White Oak Music Hall Downstairs 08:00 PM All Ages $18.00 ADV   $20.00 DAY OF $22.00 DAY OF BOX OFFICE
STRFKR, Gigamesh, Psychic Twin
Since the release of their 2008 debut album, STRFKR have relentlessly toured across the globe, delivering to their fans a guaranteed non-stop dance party.

With three proper albums and another to come in 2016, the band has a wealth of dance party hits at their disposal and their career-spanning live set is a sweat drenched laser soaked affair highlighted by their home made light show.

STRFKR began as a vehicle for Josh Hodges songwriting but quickly transformed into a full-fledged band with members Shawn Glassford and Keil Corcoran.

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Saturday 5 November
White Oak Music Hall Downstairs 06:30 PM All Ages $20.00 ADV   $25.00 DAY OF $27.00 DAY OF BOX OFFICE

Ones to Watch & Alcatel Present: The Handprint Tour featuring KALEO, Bishop Briggs, The Wind + The Wave
Firmly a phenomenon in their home country of Iceland, the four-piece band Kaleo is set to descend upon foreign shores in 2015, bringing their gorgeous blend of folk, blues, country, and rock to a wider mainstream audience in America. Their isolated heritage inspires a unique take on familiar sonic elements, resulting in diversity and freedom on each and every breathtaking track.

Best friends since attending elementary school in the small town of Mosfellsbaer outside of Reykjavik, bandleader JJ Julius Son, drummer David Antonsson, and bassist Daniel Kristjansson began playing together at the age of 17. Honing their skills, they played countless shows around the nation's capital for a few years before adding guitarist Rubin Pollock to the mix in 2012. They named the band Kaleo, which means "the sound" in Hawaiian, and started their career in earnest with a handful of well-received shows at the 2012 Iceland Airwaves music festival.

They recorded their first pair of original songs in early 2013, the fiery "Rock N Roller" and laid-back, bluesy "Pour Sugar On Me," which earned Kaleo some radio airplay and press in Iceland. Then, that spring, their cover of the traditional Icelandic ballad "Vor í vaglaskógi" during a live radio show was videotaped and posted to YouTube, where it quickly went viral. The band recorded a studio version of the song in June, which went straight to Number One in virtually every radio station in the country. "It's a different kind of cover, more dramatic and the tempo is taken down," says JJ. The buzz for Kaleo had begun.

The band signed to Iceland's largest record label, Sena, in the fall of 2013 and recorded their full-length debut, Kaleo, in just six short weeks. Five singles would reach Number One and the album would go Gold, receiving high praise and sending the band to shows and festivals in Europe over the next year, including an appearance on the biggest stage in their home country, Culture Night, where they played to 100,000 people and reached 90 percent of Iceland's population in broadcast. Then, in the spring of 2014, Kaleo recorded the lush, introspective song "All the Pretty Girls" and in one night their destiny to outgrow their small, island nation was cemented.

"It's a very delicate song. It seemed to speak to a lot of people," says JJ. "From there everything started to happen. We got contacted from other places: managers, labels, publishers-they all went crazy over one night." Drawn to Kaleo's multi-layered dynamics, their ability to play different genres with equal skill, the vocals and mood reminiscent of everything from Bon Iver and Iron & Wine to Coldplay and David Gray, and wise-beyond-their-years songwriting, the world came calling.

Now, signed to Atlantic Records in the US, Kaleo has moved to Austin, Texas, and just relased their debut LP, "A/B." Get ready for the sound.

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Saturday 5 November
White Oak Music Hall Upstairs 08:00 PM All Ages $18.00 ADV $20.00 DAY OF BOX OFFICE
Jamestown Revival, Jonny Fritz
July Picnic. "UTAH opened a lot of doors for us and put us on the road for the first time," says Zach. "We learned how to play for a crowd and how to perform." But when it came time to record a second album, the band found themselves in a different place. "This album is like chapter two," agrees Jonathan. "The story begins at the point where we decided to head back to Texas. We wrote many of the songs when we were entering a different phase of our lives. We settled back into Austin, and my wife and I had our first child. That was a big shift. It was all about leaving behind our last bastion of adolescence, if you will." This process resulted in The Education Of A Wandering Man [Republic Records], an album that looks back at the journey of the band's past. The record chronicles the lessons learned and the experiences that color the life-lived along the way. "This album is a snapshot of our observations and learnings over the past four years. Our education has been gained not in a classroom, but in our experience," Zach and Jonathan write in a letter to fans announcing the album. Musically, the record remains loyal to Jamestown Revival's indie rock/alt country aesthetic while also reaching into new creative territory. "You can hear all of our influences on the new album. It feels like a late night drive after a show. There's some Motown, rock ‘n' roll, and even a little country. We paid homage to a lot of the people we listened to while stuck in a car between gigs," says Zach. Tapping into almost a lifetime of natural chemistry, the band started sharing musical ideas while sitting on Jonathan's porch before holing up in a Hill Country farmhouse a few hours from Austin for recording. Producing themselves alongside longtime collaborator Ryan Lipman, the sessions lasted only two weeks, and Jamestown Revival emerged with 12 new tracks.
"It was a bunch of good friends in a relaxed setting making a record," says Zach. "It never felt like a nine-to-five. We could have a smoke outside, play horse on the basketball hoop, and hang out and wait for the muse to find us." Though the record came together quickly, nailing down the first song proved more difficult. After wrestling to overcoming the pressure, the band emerged with their first single "Love Is A Burden," kick-starting the creative process. "We wrote that song about our last single ‘California'," admits Jonathan. "When we started writing, all we did was compare every song we wrote to ‘California.' We never thought anything lived up to it, and that started to squelch our creativity. This piece of music that did amazing things for us became like a lead weight. ‘Love Is A Burden' is about the successes, the failures, the triumphs, and the fears of the past really starting to weigh you down and having a hard time moving on. It's a metaphor we related to a relationship you can't move past in the lyrics. As far as inspiration goes, the chorus just popped in my head, and we ran with it. After all of that overthinking, it was done in ten minutes." Album opener "Company Man" captures the heartbreak of corporate greed. "My family's got some land where we birthed the idea of Jamestown Revival, and we've both been going there together since we were kids," says Jonathan. ""One day my family gets a call that there's an oil company who wants to put a pipeline right through the property. They were doing it under the protection of ‘public domain'. That piece of land is sacred to us, but ironically, nobody else cared about it until there was something to gain." Company Man speaks to that feeling of helplessness and frustration. "American Dream" comments on similar themes, while "Head On" explores the claustrophobia of the concrete jungle. Elsewhere, the acoustic-driven "Back To Austin" serves as an upbeat love letter to their hometown. Throughout, the record speaks to themes inherent to the meaning within its title The Education Of A Wandering Man. "The Education Of A Wandering Man is actually an autobiography by classic western novelist Louis L'Amour," Zach says. "He traveled the world and lived a fascinating life. Jonathan and I read the book years ago and fell in love with it. It's like looking back on a life unplanned. That really resonated with us when we were making the album. The more you travel, the more perspective you get. Our travels have been an education." For Jamestown Revival, the album is simply a continuation of their ongoing story. "We'll be writing and telling stories until we're six feet under," Jonathan leaves off. "This album is just the next step on the path."

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Sunday 6 November
White Oak Music Hall Downstairs 07:00 PM All Ages $18.00 ADV   $20.00 DAY OF $22.00 DAY OF BOX OFFICE
The Dillinger Escape Plan, O'Brother, Cult Leader, Entheos
The Dillinger Escape Plan's creative energy and unwavering artistic commitment has reverberated through underground subculture and in tastemaker circles alike for over a decade. One of Us is the Killer is the band's defining work, conjuring the mindboggling chemical combinations found within their earliest missives of mathematical bombast while pushing forward into dense, atmospheric radicalism.

The press reaction was swift and unanimous. Big Cheese called it "a masterpiece in the art of heavy rock music" and Terrorizer emphasized the "greatness" of The Dillinger Escape Plan (both 5/5 reviews). Critics declared the band "leaders in a genre of precisely one" (Metal Hammer, 9/10); "enduringly peerless" (Rock Sound); "firing on cylinders, just as urgent as ever" (AP); "operating at the peak of their powers" (Kerrang!); "[every album] a carefully calculated masterpiece" (Metal Injection). Pitchfork offered an exclusive stream of OOUITK during release week.

The shock and awe of the band's performance at Revolver's Golden Gods Awards solidified the reputation TDEP maintains as perhaps the most formidable heavy music band on the planet. Kerrang! awarded the band's most recent sold-out show in London a KKKKK review. Metallica invited The Dillinger Escape Plan to play at their Orion Music festival. They are veterans of Coachella, Bonnaroo, Soundwave, Reading et al.

One of Us is the Killer was the second album issued through the band's own imprint, Party Smasher Inc., this time in partnership with Sumerian Records (Animals As Leaders, †††) and BMG worldwide, including licensing deals with Grind House (Helmet, Funeral For A Friend) in Japan and Remote Control (Radiohead, Vampire Weekend) in Australia.

The latest Dillinger Escape Plan album was recorded in Southern California with longtime producer Steve Evetts (Glassjaw, The Cure).

Dillinger's mind-bending meld of metal, rock, experimental ambience and melody first reared its head with a 6-track EP on hardcore indie Now Or Never Records, quickly followed by Under the Running Board EP on Relapse. The band earned a reputation as a fearless act on the live stage, committing their minds, bodies and spirits to the exhibition and visceral release of performance and often brutalizing stages, gear and themselves along the way. Calculating Infinity became the gold standard for the emerging "math-core"/"math-metal" movement, earning a place in author Martin Popoff's "Top 500 Heavy Metal Albums of All Time." Kerrang! included it in the "100 Best Rock Albums of All Time" and later presented the band with their Spirit of Independence Award.

Mike Patton invited The Dillinger Escape Plan on tour with Mr. Bungle, which eventually resulted in the collaborative EP on Epitaph, Irony is a Dead Scene. The band's second full-length album, Miss Machine, blew the doors open, cementing TDEP's legacy around the world. The album's songs began the creative partnership between co-founder/songwriter Ben Weinman and singer Greg Puciato, both of them joined on the road for many months preceding the record by longtime bassist Liam Wilson.

Intense physical performer Weinman was named one of Spin's 100 Greatest Guitarists of All Time, AP's Top 10 Guitar Slingers and Guitar World's Top 25 Cult Guitarists. Puciato, whose similarly uncompromising presence and versatile vocal ability knows few boundaries, was #1 on Metal Sucks' Top 25 Modern Metal Frontmen and included in Revolver's Greatest Metal Frontmen of All Time.

Ire Works precipitated The Dillinger Escape Plan's national TV debut on Late Night with Conan O'Brien, as well as multiple international tours. At Soundwave, Nine Inch Nails invited them on-stage to perform "Wish."

The band's collaborative nature persists, with members of Dillinger forming "super-group" projects like Giraffe Tongue Orchestra and Killer Be Killed, with musicians from bands like Jane's Addiction, Deftones, Mastodon, Sepultura, The Mars Volta, Queens of the Stone Age and many more, both on-stage and off. Weinman is a film composer, sought after remixer and co-writer/performer for artists as diverse as Kimbra and Wyclef. He's spoken to students at Loyola University and was featured on the cover of Guitar World. Puciato's band The Black Queen features producer Josh Eustis, touring guitarist of Nine Inch Nails. He's guested with Deftones, Brazilian EDM act Mixhell and metal merchants Soulfly.

Option Paralysis arrived through Party Smasher Inc. not long before Revolver gave them an award for "Best Underground Band" and VH1's Metal Evolution declared them "The World's Most Dangerous Band." In Spin's review, they noted the band "have been the metal standard-bearers of dizzying, time signature torture" combined with their ventures into "NIN-damaged, alt-rock superhero fantasies" and "Lollapalooza-era treat[s]," highlighting Puciato's ability to maneuver from "sensitive-to-seething-to-soaring… to the harrowing edge."

One of Us is the Killer showcases Weinman, Puciato, Wilson (whose skills saw him featured on the cover of Bass Player) and drummer Billy Rymer (a highly-regarded player and teacher who once faced off against Mike Portnoy in a friendly "Drum Fight") in top form, emphasizing the band's fierce independence, staunch individualism and loyalty to a artistic unique vision that has long followed them on-stage and off.

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Monday 7 November
White Oak Music Hall Downstairs 07:00 PM All Ages $15.00 ADV $17.00 DAY OF BOX OFFICE
HEALTH, Ho99o9

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Tuesday 8 November
White Oak Music Hall Upstairs 07:00 PM All Ages $16.00 ADV   $19.00 DAY OF $21.00 DAY OF BOX OFFICE
Kevin Devine & The Goddamn Band, Julien Baker, Pinegrove, Petal
Kevin Devine is an independent singer/songwriter from Brooklyn, NY. He plays alone, with his Goddamn Band, and as a member of Bad Books.

He's currently curating the year-long Devinyl Splits 7" single series, issued via Bad Timing/Devinyl Records and featuring collaborations with Matthew Caws (Nada Surf), Meredith Graves (Perfect Pussy), Mike Kinsella (Owen, American Football), Tigers Jaw, Cymbals Eat Guitars, and more TBA.

Devine is recording his 9th full-length album with John Agnello, to be released in 2016.

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Wednesday 9 November
White Oak Music Hall Upstairs 07:00 PM All Ages $15.00 ADV $17.00 DAY OF BOX OFFICE
Nekromantix, The Loveless, Killer Hearts, Turnaways
Never self-serious while far from a joke at the same time, Nekromantix is a musical unearthing of the biggest themes from the greatest works of monster, zombie, vampire, werewolf and b-horror fiction; ripped from literature, comic book pages or classic celluloid. Nekromantix chases a darkly romantic muse with an even darker humor.
The Nekromantix catalog boasts enduring genre classics like the unapologetically hooky yet undeniably fierce "Who Killed the Cheerleader?" and "Gargoyles Over Copenhagen" alongside subversively sentimental cuts like "Haunted Cathouse" and "Subcultural Girl." There are echoes of rock n' roll's greats and punk rock icons alike, all with modern flair.
A Symphony of Wolf Tones & Ghost Notes broadens the Nekromantix legacy with expansive ambition that never sacrifices the trio's inherent grittiness, furiously stoking and reshaping the flames of the creative vision begun in Denmark with legendary labels like Nervous Records, through the band's master classes in punk n' roll albums stateside with Hellcat Records, the label cofounded by Tim Armstrong and Brett Gurewitz.
Armed with his signature coffin bass, chilling baritone, monstrous expressions and ten-stories-tall haircut, Kim Nekroman has earned tremendous respect, admiration and goodwill from a fiercely dedicated legion of hard-partiers, rabble-rousers, well-meaning degenerates, grease monkeys, outlaw bikers, nostalgic tastemakers and forward-thinking punks. It's a crew of supporters as diverse as the otherwise classic and timeless music the Danish-born California transplant has unleashed as leader of Nekromantix.
Nekroman's notorious quiff is as instantly recognizable as the coffin bass he's slapped into submission on nine studio albums, countless worldwide tours and festivals. The quiff, of course, combines the midcentury rebel style of the pompadour and flattop with the punk attitude of New York and Europe from the late 70s. It's a fitting symbol for the style of music Nekromantix has perfected into an art form, a rollicking psychobilly sound with reverence for the genre's origins and predecessors, infused with an iconoclastic boundlessness that refuses to abandon the electric catharsis of unadulterated fun.
Return of the Loving Dead (2002) marked a career resurgence and subcultural breakthrough for what was previously a feverishly cherished underground band best known outside of North America, via now legendary records like Curse of the Coffin (1991), Brought Back to Life (1994), Demons Are a Girl's Best Friend (1996) and their unstoppable debut, Hellbound (1989). The new millennium brought the band to America (at first to tour and eventually, to stay), conjuring into the world new Nekro landmarks in the forms of Dead Girls Don't Cry (2004), Life is a Grave & I Dig It! (2007) and What Happens in Hell, Stays in Hell (2011), as Nekroman steered the band through shifting lineups and energized shows with bands like Rancid and Reverend Horton Heat.
Nekroman has been joined by skilled guitarist Francisco Mesa for nearly a decade now, with drummer Adam Guerrero bringing a fresh injection of passionate enthusiasm to the band in 2014. A Symphony of Wolf Tones & Ghost Notes is a fertile proving ground for a reenergized lineup that fans of the band have already loved for two years. New songs like "Glow in the Dark," "War Bats" and "Resting Witch Face" are instant classics, standing mightily alongside the greatest Nekromantix songs enduring in their set list.
There are some bands whose sound, image and front person became synonymous with an entire subculture, whether as originators of a particular style, a crucial innovator among a handful of likeminded artists, or simply as the best embodiment of everything a specific style has to offer. Rock historians may debate who reigns supreme among Black Sabbath, Led Zeppelin and Deep Purple, but there's no denying they are all heavy metal titans. When someone says "Lemmy" or "Strummer" or "Blondie," certain feelings are immediately invoked. There's a palpable energy in the air among hardcore acolytes and culture mavens. It's a kind of iconic resonance that transcends boundaries.
To their dedicated army of supporters around the world and across every dimension, Nekromantix stands tall among the ghosts in rock n' roll's undead cemetery.

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Thursday 10 November
White Oak Music Hall Lawn 06:00 PM All Ages $25.00 ADV   $27.00 DAY OF $29.00 DAY OF BOX OFFICE
Gogol Bordello
Combining elements of punk, Gypsy music, and Brecht-ian cabaret, Gogol Bordello tell the story of New York's immigrant diaspora through debauchery, humor, and surreal costumes. Leader and singer Eugene Hütz's taste in music was spun out of black market tapes of the Birthday Party and Einstürzande Neubauten in his native Ukraine. After being evacuated to western Ukraine in 1986 following the Chernobyl disaster, Hütz became enamored of the mystical, outsider qualities of Gypsy music. Living as a refugee in Poland, Hungary, Austria, and Italy before moving to the United States in 1993, he experienced life as an outsider himself. After arriving in New York, he teamed up with guitarist Vlad Solofar and squeezebox player Sasha Kazatchkoff. American Eliot Fergusen added a strong rock sound on the drums and the band was also augmented by Sergey Ryabtsev on fiddle, a former theater director from Moscow whose past experience would prove helpful in the future in crafting Gogol Bordello's bizarre stage shows (like one that tells the story of superpowered immigrant Ukrainian vampires).

The group's early gigs involved playing straight Gypsy music at Russian weddings, but their music soon evolved into the hyper-kinetic explosions that earned them a solid following among New York's downtown hipsters. The band issued a single in 1999 entitled When the Trickster Comes A-Pokin', quickly followed by their debut full-length, Voi-La Intruder, which was produced by Nick Cave & the Bad Seeds drummer Jim Sclavunos. Solofar and Kazatchkoff were replaced by accordionist Yuri Lemeshev, who hails from the Russian island of Sakhalin, and two Israelis, guitarist Oren Kaplan and saxophonist Ori Kaplan, who despite their similar names aren't related. Hütz helped bolster the band's popularity by becoming somewhat of a celebrity in the downtown scene, in part fueled by his Thursday night DJ gigs at Bulgarian club/restaurant/bar Mehanata, where he played Ukrainian, Gypsy, rai, and flamenco music for a crowd of artists, models, Ukrainians, Russians, Gypsies, and Bulgarians with tendencies toward exuberant dancing and smashing plates.
Multi Kontra Culti vs. Irony In the spring of 2002, Gogol Bordello embarked on a European tour and performed as part of the Whitney Biennial, bringing their music to a whole new audience. Voi-La Intruder came out around that same time, followed that fall by another album, Multi Kontra Culti vs. Irony. The East Infection EP came out in March 2005 before Gogol Bordello made their Side One Dummy debut that August with the aptly titled Gypsy Punks. By this point, though the band's cast no longer included Ori Kaplan, it did boast bassist Rea Mochiach and dancers/percussionists Pam Racine and Elizabeth Sun. Aside from leading the band, Hütz also lent his hand to acting when he was cast as Alex in 2005's Everything Is Illuminated (based on the critically acclaimed book) after Gogol Bordello attracted the attention of the film's producer.
Super Taranta! The bandmembers soon got to work on their next album, however, switching to bass player Tommy Gobena and utilizing the talents of producer Victor Van Vugt to help them craft their fourth full-length, Super Taranta! Wildly praised by critics, who pasted the album all over their year-end lists, Super Taranta! (as well as the band's increasingly physical live shows) made them indie rock heroes. Live from Axis Mundi was released in 2009, followed by the group's Rick Rubin-produced fifth studio offering, Trans-Continental Hustle, for Sony in 2010. Gogol Bordello signed with Dave Matthews' ATO in 2012, and issued Pura Vida Conspiracy, their debut offering for the label, in the summer of 2013.

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Thursday 10 November
Raven Tower Pavilion 06:30 PM All Ages $20.00 ADV   $23.00 DAY OF $25.00 DAY OF BOX OFFICE
Lucius, The Cactus Blossoms
What a difference three years makes. Lucius went from being the five-piece Rolling Stone claimed was the "Best Band you've never heard of" to the group you can't get enough of.

Fronted by the sleek and compelling look-alike twosome of Jess Wolfe and Holly Laessig and backed by their counterpart bandmates Dan Molad, Pete Lalish and Andy Burri, Lucius spent more than 250 days on the road in the past year. They've sold out shows big and small, headlined all over the US and Europe, played slots at Bonnaroo, Newport Folk Festival, Lollapalooza, End of The Road, Reading and Leeds Festivals and more and shared the stage with a variety of musicians including Roger Waters, Jack White, Mavis Staples, Jeff Tweedy, Sara Bareilles, The Head and the Heart, Tegan and Sara and David Byrne.

The band's uphill ascent began when Jess and Holly crossed paths while at college in Boston; more than 10 years ago, Lucius started making music and hasn't stopped since. Along the way they've become NPR darlings, grist for Britain's prestigious Guardian and favorites of the Nobel-prize winning New York Times columnist Paul Krugman. Since the critically acclaimed release of their 2013 debut LP Wildewoman they have built a stunningly loyal following, and share an intimate bond with their fans. It's not uncommon to see Lucius doppelgängers in the crowd.

Sitting with Jess and Holly to discuss the band's sonically-grand and emotionally-honest sophomore release Good Grief, the first thing that strikes you when you meet the frontwomen of Lucius is how fine-boned and delicate they both are. But even more striking is that they don't actually look alike once you see them offstage. Their builds are markedly different: Jess is curvy, with a generous mouth and eyes that tilt up at the corners; Holly is willowy and angular, serious and with the pale complexion that conjures up the image of a Nordic princess.

But despite the six-inch disparity in their height on stage you could swear they were identical. Of course it helps that they always dress exactly alike, their hair is the same style and shade - right now a warm curry red - and they sing in a strong unison, doubling their high, clear voices and creating a third sound that is as unnerving as it is lovely, like two mirrors, creating an infinite number of reflections that reveal as much as they obscure.

"We wanted to feel like we were transforming ourselves and going into a different head space while performing," Jess says. "In some way I think what we do is like a fantasy. We wanted to take people along with us for a ride. We wanted to present that visually so when you look at us you're seeing what you're hearing."

What you're hearing (and seeing) when Lucius takes the stage are two voices becoming one. The band's distinctive play on duality showcases Jess and Holly's powerful voices at the center - bolstered and surrounded by the mathematically precise drumming of Dan with the graceful, chiming guitars of Pete and Andy. Together the quintet create a sound the New Yorker calls "seemingly impossible with flawless grace that brings delicate beauty to even the most bombastic moments."

The recordings on Lucius' second studio album Good Grief mirror the band's distinguishing on-stage configuration. One shared figure 8 mic serves as an anchor for conversation between the band's lead duo, which has resulted in the 11 raw and often heart wrenching songs you hear on the album. Among these is the explosive track "Gone Insane," which gives a direct look into one of the few arguments between Jess and Holly.

"Some songs really feel like an expulsion of emotions, beyond your control," Holly says. "The writing of ‘Gone Insane' was based on the feeling after one of those loose cannon type of heated fights, with helplessness and rage hitting you in alternating waves."

"But maybe the perfect description of this song comes in the recording process," Jess adds. "Holly and I have seen maybe three arguments in the past 12 years. But perhaps the biggest of all, came the day we were to record this song. Emotions were running high, and at some point, Holly blew up at me. In shock, I yelled back and we both stormed off.

"This was a prime example of our partnership because a short while later she returned, we apologized, hugged and immediately went to record. It was just the two of us in the dark. There was no plan for vocal arrangement, we wanted to use the intensity of the moment and go for it. The ‘falling off' part at the end of the song was completely organic, the two of us screaming into the same mic, losing it, together, in song form, as the lyrics suggest. "

"It was definitely one of those magic studio moments you can't quite explain," Holly finishes.

A majority of the tracks on Good Grief fall in line with the overarching theme of discovering the goodness that can come from any hardship. The album proves to be a release for the band both physically and emotionally, after experiencing the highs and lows of being on the road for almost two years, the band moved to Los Angeles from Brooklyn where the album was recorded during the spring and early summer of 2015 at Grammy-winning engineer and producer Shawn Everett's studio.

However, a few songs including the first single "Born Again Teen" became what Holly describes as something like "the antithesis of the other things that we were working on, to give ourselves some relief."

From the first swooping, synthy intro of "Something About You" to the alarm-clock menace of "What We Have (To Change)," there's a sense that these expertly wrought pop songs are full of emotional depth.

They veer from sassy, soul-drenched vocals to glitzy rhythmic pop to songs that call up the charm and crushed innocence of '60s girl groups, but in the end there is no comparison to the dark secrets Jess and Holly convey when they put their two voices together.

"There are songs here that are deeply personal and emotional, and in a way we've exposed ourselves to reveal parts that are fragile, maybe even a little broken, but not destroyed," Jess says. "There's certainly a little bit of humor, and there's also a lot of truth and sadness."

The lyrics of Good Grief read like personal journal entries because the friendship and writing partnership established between the band's cofounders has given the women of Lucius an outlet to express their unusually parallel experiences.

"I always say Holly's been the healthiest and longest relationship I've ever had," Jess says.

That relationship has clearly blossomed musically into a many-faceted, enthralling sound and image sure to resonate deeply with music lovers everywhere.

March 2016 brought the release of Good Grief, the band's highly anticipated sophomore effort.

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Thursday 10 November
White Oak Music Hall Upstairs 08:00 PM All Ages $15.00 ADV   $17.00 DAY OF $19.00 DAY OF BOX OFFICE
Jackie Greene, Cordovas
"We live in such a fast-paced, hectic environment, I wanted to make a record that would invite people to step back and take their time to listen," Jackie Greene says of Back to Birth, his first album in five years. "I wanted to make a record that would reward people who are willing to sit down and give it a couple of serious listens."

Back to Birth - Greene's seventh album and his Yep Roc Records debut - is more than worthy of some serious attention. The 11-song set showcases the multitalented artist's uncanny knack for synthesizing his deep affinity for American roots styles into timeless, personally-charged music. Armed with a persuasive voice, a vivid songwriting skill and an instinctive mastery of several instruments, Greene has carved out a unique musical niche, and the album marks another creative landmark in his already compelling body of work.

Produced by Los Lobos member and frequent Greene collaborator Steve Berlin, Back to Birth underlines Greene's remarkable evolution as a performer and writer. With such new compositions as "Silver Lining," "Trust Somebody," "Now I Can See For Miles," and the stirring title track, the artist's distinctive melodic sensibility is matched with thoughtful, introspective lyrics that confront some profound philosophical issues with plainspoken eloquence.

"Musically, this album is kind of a return to the simplicity of the records that I started with, although I feel like I have a much better idea of what I'm doing now," Greene observes. "I think the lyrics are the part that have really evolved. A lot of these songs explore the notion of a cyclical existence, and the sense that life goes in a circle. I want the songs to come from a place that's meaningful to me, but I also want to keep them as simple and direct as I can. I look at old blues songs, or Hank Williams songs, and they're so simple and direct but they can convey some pretty deep ideas."

Although Back to Birth is Greene's first new solo release in five years, he's hardly been idle. In fact, he's spent much of the past few years engaging in a series of collaborative musical adventures that have teamed him with several notable veterans.

In 2013, Greene joined the reunited Black Crowes as lead guitarist on their worldwide tour, and the following year released the self-titled debut album of supergroup Trigger Hippy, which Greene is a member of along with Joan Osborne and Crowes drummer Steve Gorman. Greene continues to be a frequent member of Grateful Dead bassist Phil Lesh's touring ensemble Phil Lesh & Friends, for which he has contributed lead guitar and vocals since 2007. Greene also toured as part of WRG, an acoustic trio with the Grateful Dead's Bob Weir and Black Crowes frontman Chris Robinson, and he performed with Levon Helm as part of Helm's fabled Midnight Ramble shows.

The same qualities that attracted such legendary figures to work with Greene are prominent throughout Back to Birth, which Greene and producer Berlin cut at Portland's Supernatural Sound with a sympathetic crew of mostly jazz-steeped players, with Greene stretching out on a number of instruments, including guitar, piano, organ and drums.

"This is the third album I've done with Steve," he says. "I've known him for about 12 years, and he's really good at challenging me and getting it out of me. We know each other well enough at this point that we can be blunt with each other, and he'll tell me that I'm full of it if that's what I need to hear."

The musical passion and creative integrity that drive Back to Birth have been constants in Jackie Greene's musical life from the start. Growing up in Northern California, he taught himself to play piano and guitar during his childhood. His musical reference points shifted radically when, at the age of 14, he ran across a cache of his parents' vintage rock, country, blues and R&B LPs in the family's basement.

Still in his teens and inspired by his discoveries, Greene began writing songs and performing them at a local coffeehouse while recording his compositions in his makeshift garage studio and burning CDRs to sell at his gigs. He saved the money he made selling those discs to fund his debut album, the self-produced, self-released Rusty Nails. Despite being a D.I.Y. release with minimal promotion, the disc received substantial regional attention from fans and press alike.

After graduating from high school, Jackie relocated to Sacramento, where he quickly became a local favorite. His popularity led to a deal with a local independent label, which released his second album, Gone Wanderin', in late 2002. The disc won considerable national attention, leading to a series of national tours opening for the likes of B.B. King, Buddy Guy, Susan Tedeschi, Huey Lewis, Mark Knopfler and Taj Mahal.

Greene continued to win critical acclaim and expand his fan base with 2004's Sweet Somewhere Bound and 2006's American Myth. In 2007, Greene began moonlighting with Phil Lesh and Friends, while continuing his own musical evolution with his own releases Giving Up the Ghost and Till the Light Comes, released in 2008 and 2010, respectively.

"The musicians that I really admire and try to emulate are the ones who have the whole package: they're great songwriters, great singers and great instrumentalists, and they have a vibe about them that's real," he states, adding, "When I go to make a record, I'm not thinking about where I can fit in a bunch of guitar solos. I'm thinking, ‘What does this song feel like? What's it saying?' So my goal, when writing a song or making a record, is to find the core of that emotional experience and convey that."

Although he's already racked up a multitude of impressive musical achievements, Greene isn't one to look back. Instead, he continues to look to the future - and looks forward to getting back on the road to bring Back to Birth‘s soulful songcraft to the loyal, wildly diverse fan base that he's built through talent, vision and hard work.

"I still plan on making a lot of different kinds of records in the future, but I can't tell you what they're going to sound like, because I really have no idea," he asserts. "All I can do is write songs and make music as honestly as I can. That's what I believe people appreciate about what I do. They trust me to be honest with them, and I'd never want to abuse that trust."

Jackie Greene's touring band consists of Nathan Dale (Guitar, Vocals), Jackie (Guitar, Piano, B3, Lead Vocals), Fitz Harris (Drums, Vocals) and Jon Cornell (Bass).

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Thursday 10 November
Rudyard's 08:00 PM All Ages $10.00 ADV $11.00 DAY OF BOX OFFICE
Tombs, Wolvhammer, Omotai, Krvshr
Formed in 2007, Brooklyn-based experimental metal outfit TOMBS blends bleak, post-punk
minimalism with the ferocious attack of sludge and traditional black metal. Over the course of
the last nine years, TOMBS have established themselves as an act that's as committed to
consistency as it is to growth, developing smoothly (but never predictably) over the course of
their career. 'All Empires Fall', the band's forthcoming 2016 EP, is a commanding, crushingly
heavy release, one that invokes the kind of grandeur and magnitude its title suggests, and one
that affirms TOMBS as one of the leading lights of American - and international - black metal.

The group's dark proto-industrial sounds were first developed as a collaboration between Mike
Hill (Anodyne), Dominic Seita, and Justin Ennis, and put to wax in the form of a two-song EP
simply entitled 'Tombs' (on Hill's now-defunct label Black Box Recordings.) By the
time TOMBS had partnered with Relapse Records and unleashed their first proper full-length,
2009's 'Winter Hours', Seita and Ennis had been replaced with Carson James and Andrew
Hernandez respectively. Two years later, the band's sophomore outing 2011's 'Path of
Totality' featured prominently on many critics' year-end metal lists, including at Pitchfork,
Brooklyn Vegan, Decibel Magazine (where it was named album of the year), NPR, MetalSucks,
and many more. 'Path of Totality''s follow-up, 'Savage Gold' (2014), also found widespread critical
acclaim and garnered numerous year-end list mentions.

In addition to their highly lauded releases, TOMBS have become revered for their captivating
live shows and have toured extensively with an array of artists as eclectic as their sound, trekking
throughout North America and Europe with groups ranging from Eyehategod, Pelican and Isis to
Wolves In The Throne Room, The Secret, Ulcerate and most recently 1349. TOMBS have also
appeared at renowned festivals across the globe, including Roskilde Festival in Denmark,
Roadburn in The Netherlands, and Psycho California & Maryland Deathfest in the US.

Never content to rest on their laurels, TOMBS have continued to evolve following the release
of 'Savage Gold'. 2015 saw the band welcome new drummer Charlie Schmid and keyboardist
Fade Kainer (Batillus), allowing the group to vastly expand its live sound and elaborate on
previous experiments in the studio. The group's first release with the new lineup, 'All Empires
Fall', was recorded at Applehead Studios in New York and brought to life by renowned producer
Sanford Parker (Minsk, Twilight, Yob). Clocking in at 24 minutes long, 'All Empires Fall' is a
succinct synthesis of the innovation that first put TOMBS on the map and of the quintessential
black metal ferocity that drives the band's experimentation.

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Friday 11 November
Walter's Downtown 08:00 PM All Ages $14.00 ADV   $16.00 DAY OF $18.00 DAY OF BOX OFFICE
The King Khan & BBQ Show, Paint Fumes
The King Khan & BBQ Show are two guys in a band, both writing, performing and singing: Arish ‘King' Khan: guitar, vocals. His voice is the snotty one. His guitar is the lead one. Mark ‘BBQ' Sultan: drums, guitar, vocals. His voice is the smooth one. His guitar is the rhythmic one. The drums are played live with his feet. Bad News Boys is the band's fourth studio album, their latest since 2009's acclaimed Invisible Girl. The boys had previously broken up in 2010 after a taxing stretch, culminating in an invite by Lou Reed to play the Sydney Opera House. There was a public (internet) break-up and freak-out, which carried over into the week after in Asia. Words were said; brothers fought like brothers. It was the end of a stretch that had taken the band all over North America, playing festivals like Coachella, starting side projects like Almighty Defenders (with brothers Black Lips), touring the likes of Europe, Israel, Brazil, gaining legions of devoted fans internationally, and kickstarting that whole ‘doo-wop punk' bullshit movement that still goes on today. This is rock'n'roll. This is punk. This is early r&b. This is psych. This is doo-wop. This is garage. It's all this and more, without trying to be anything. A misconception of the band is that they play a bunch of instruments, which are then overdubbed to get a particular sound in the studio. The truth is that they record live. Their ‘studio' is usually an apartment or - in the case of Bad News Boys - a basement, and they're armed a 4-track cassette recorder and not much else. Their ethos is punk. Their mission is to revere rock'n'roll - the real stuff - enough, so that they are permitted to invoke its spirits and ghosts using magick, using their raw soul - for good or for bad - to evoke the smells and feelings that confuse and delight. The King Khan & BBQ Show is a real band. Sure, their sense of humor is dirty, often surreal and potentially subversive, but the seriousness of their passion for real rock'n'roll should never be taken lightly. They live a lifestyle of pure love for the genre, respecting and understanding its basic tenets, living as lifers, representatives of tradition they feel is important. They cut their teeth together in The Spaceshits, a lightning fast rock'n'roll band formed in 1995 (dead by 1998) and have toured and paid their dues since, sacrificing their mind, bodies, souls, friends, family - all for love. King Khan went on to underground hero status in many projects, shocking and impressing tastemakers in need of tangible image-icons, worldwide. Mark Sultan is heralded for his incredible voice and top-tier songwriting - rarities, today. Quite simply: they need one another, like yin and yang, to make it all happen. The band has managed to continue to release top-grade material for over ten years, without bowing to business or succumbing to what's ‘hip', without changing. They do what they want, take it or leave it. Love ‘em or hate ‘em, but never say they can't write a great rock'n'roll song - and back it up with one of the best, most magickal, energetic, crass and nonsensical free-form live shows going. They care so much that they don't give a fuck.

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Friday 11 November
White Oak Music Hall Upstairs 08:00 PM All Ages $15.00 ADV $17.00 DAY OF BOX OFFICE
Trash Talk, Antwon, Black Noise
Wild Sacramento, California hardcore revivalists Trash Talk had been playing together for two years before their debut recording, Plagues: Walking Disease, was released by Rumble Records in 2007. Taking influence from American hardcore and speed metal, the group included vocalist Lee Spielman, guitarist Garrett Stevenson, bassist Spencer Pollard, and drummer Sam Bosson. Steady touring and frantic shows won the guys a well-deserved buzz as friendships with the right people gave them another leg up on the competition. Prior to their next two albums (a self-titled 2008 outing and 2010's Eyes & Nines on their own Trash Talk Collective label), they released a 7" that featured guest vocals from Keith Morris of Off! and Black Flag fame. A friendship with the fellow skaters and weed-heads in Cerebral Ballzy and Odd Future helped ensure the guys a home on Odd Future Records for 2012's 119, which expanded their fan base significantly and made them the first non-hip-hop act on the OF label. In 2013, Sam Bosson left the group; Devan Bentley took over on drums for touring that year, and Thomas Pridgen held down the rhythms for the 2014 album No Peace.
Saturday 12 November
Raven Tower Pavilion 07:00 PM All Ages $10.00 ADV   $12.00 DAY OF $13.00 DAY OF BOX OFFICE
Bart Crow
Look out your window. Whether you're in a Manhattan hi-rise or at a truck stop somewhere off a Midwestern interstate, keep your eyes open. Bart Crow is coming your way.
Always known as "the nice guy" with a smile on his face, the tides are turning and the gloves are coming off. Bart Crow is still the kind of guy and artist fans in the South and Midwest have grown to love. But on his new album The Parade, boundaries disappear and things are getting real.

The road-toughened troubadour and his band have already logged thousands of miles playing 130+ dates a year in front of loyal rowdy crowds at far-flung, late-night clubs and concert halls all over Texas, Oklahoma, Kansas, Arkansas, Nebraska and beyond. It's his music that draws them -- a tangle of roots in blues, country and down-home rock 'n' roll, branded with his unique imprint. They hear their lives in his lyrics, written in the tradition of Townes Van Zandt, Steve Earle and other true-life troubadours.

With no help from big-time labels, and money pulled from his own pockets, Crow has put together an admirable track record as a recording artist, having lofted six No. 1 singles onto the Texas Music Chart - one of which, "Wear My Ring," sold over 165,000 copies. He has sold over 40,000 albums, released five self-produced albums in just over a decade, including Dandelion, which debuted at No. 1 on Billboard's Heatseekers South Central chart. He's been cheered in Country Weekly, on CMT and in other national media outlets. His YouTube videos and concert footage have drawn more than 2.5 million views.

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Saturday 12 November
White Oak Music Hall Upstairs 08:00 PM All Ages $18.00 ADV   $20.00 DAY OF $22.25 DAY OF BOX OFFICE

Bad Suns, Coin
With the release of Disappear Here, Bad Suns' impressively wise and honest sophomore album, it is hard to believe the four-piece began as a chance friendship between Christo Bowman (vocals) and Gavin Bennett (bass) in a 7 th grade Los Angeles County classroom. The pair picked up Miles Morris (drums) and Ray Libby (guitar) along the way, and together they spent their teenage years navigating the daunting Los Angeles music scene. While many would consider the vast history and densely populated musical turf of Los Angeles intimidating, Bad Suns rose to the challenge. As Bowman recalls, "I can recount many instances where we'd play the Whisky a Go Go along with five terrible glam-rock-wanna-be bands. It made us want to do something different and work towards a new era of the Los Angeles sound." While finding their place in LA's scene wasn't easy, Bowman is also thankful for the innumerable opportunities that come with living in one of the nation's musical capitals. "Our band was discovered because we drove to KROQ and dropped off a demo in their mailbox," he says, "At the end of the day, nobody's going to care about your band unless you've got some good songs for them." The song that caught the ear of KROQ DJ Kat Corbett was "Cardiac Arrest," the band's first and breakthrough single, on her Locals Only radio show. From there, the band earned the attention of Vagrant Records, who signed Bad Suns in 2013 and introduced the band to producer Eric Palmquist (Night Riots, MUTEMATH). Together, Palmquist and Bad Suns polished up the demos to create TRANSPOSE, their debut 4-song EP which was released later that year. On the strength of the EP Bad Suns began to tour throughout the US alongside acts like Geographer, The 1975, and The Vaccines. Less than a year later, Bad Suns returned with their debut full-length, Language & Perspective (2014/Vagrant). The shimmery alt-rock album, also produced by Palmquist, showed off the young band's wide array of influences, which Bowman often says include The Cure, The Clash and Elvis Costello. "Cardiac Arrest" began to pick up steam at radio nationally and climbed the Alternative chart (#14) and AAA (#11), and earning the band their debut Late Night television performance on Conan. With the success of "Cardiac Arrest" and a heavy touring schedule, Language & Perspective rose to #24 on the Billboard 200 and was included on many critics' best of 2014 year-end lists. "Salt," the band's second single, followed suit and quickly climbed the Alternative chart and earned Bad Suns their first mtvU Woodie nomination for Video of the Year, a performance on Jimmy Kimmel Live!, and their debut at Coachella. Just a few years into their budding career, Bad Suns had achieved no small amount of success with their debut record, something which can often be daunting for a young band staring down the barrel of a sophomore album. Instead of shying away or playing it safe, Bowman began to refine a set of songs which would become Disappear Here, Bad Suns' 2016 sophomore album (Vagrant/BMG). Disappear Here shows the maturation of a band on the brink of fully realizing their identity and poised for a breakthrough. "Language and Perspective was four teenagers trying to figure out how to make an album as a way to avoid college and real jobs," Bowman explains, "With this album, it was our real job, and we were not gonna half-ass it. We love the work." Bowman was reading the Bret Easton Ellis novel Less Than Zero, a book about the distorted lives of young adults in Los Angeles, during the time the band was beginning the recording process for album number two. "Maybe the second or third time the ‘Disappear Here' billboard appears in the narrative, it sort of
just hit me like a ton of bricks. It encapsulated absolutely everything. What a prompt, ‘put on this record, put on these headphones, and just disappear here for a little while,'" Bowman explains. "It's a roller coaster ride between pessimism and optimism," he says. "I wanted these real moments of darkness to be represented and discussed, because we all go through it, but it's really about hope and saying that you don't have to succumb to that darkness. There is a light." Recorded over two sessions in the Summer of 2015 and Winter of 2016, the album begins with the title track and first single "Disappear Here," a cut that immediately engages listeners. The first song released in anticipation of the album was the opener, title track, and first single, "Disappear Here," followed by the album's second song, "Heartbreaker," which debuted on Zane Lowe's Beats1 Radio Show. "Off She Goes" holds a strong emotional connection for Bowman. The track came to life as just melodies and chords on the piano before he wrote the lyrics and he remembers, "just being moved to tears the whole way through." Conversely, "Love Like Revenge" started off as an electronic laptop demo recorded on a plane back to LA from London. Bowman was excited to share the track with his bandmates, "I gave Ray my headphones, looking for his opinion, and I still remember his face of approval as he listened to it in the seat next to me on the plane. That's the best. We're always aiming to impress one another." The unique instrumentation makes it a standout on the record. "Defeated," a track that Bowman penned when he was only 16 years old, had been cyclically recorded and abandoned over the years. "It was a huge relief to finally get that song where we wanted it," he says, "It's one of the simplest songs on the album, but was the most difficult to work through." "Daft Pretty Boys" is a song the band is particularly proud of, one that they might point new listeners to as an introduction to their sound. Disappear Here closes with "Outskirts of Paradise," a track that feels like a breezy, late summer day in Los Angeles. With the simple refrain of "separate yourself / integrate yourself / when the time comes," Disappear Here fades out, with all the certainty and uncertainty of a coming of age tale. Crafted for the live show, Bad Suns can't wait to take the album on the road. After serving as main support on massive tours for The Neighbourhood and Halsey in the past year, Bad Suns embark on their biggest headlining tour yet this fall. "Our fans are so warm and loyal. A lot of them will go through some shit in order to make it out to one of our concerts. I'm talking flights, busses, 12-hour car drives, you name it. That will always be very special to me," Bowman says, "We're really grateful to be in this position where we can sell out clubs across the country, and we still feel we have so much to prove.
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