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Thursday 8 December
White Oak Music Hall Upstairs 06:00 PM All Ages $12.00 ADV $13.00 DAY OF BOX OFFICE
The Deslondes, Ramsay Midwood
The Deslondes are a New Orleans-based band, whose raw, stripped-down sound springs to mind a country-meets-Southern-R&B hybrid rooted partly in the Texas singer/songwriter tradition, partly on the weathered floor of a Louisiana dance hall.

The group, comprised of Sam Doores (vocals/guitar), Riley Downing (vocals/guitar), Dan Cutler (vocals/stand-up bass), Cameron Snyder (vocals/percussion) and John James Tourville (pedal steel/fiddle), is a true democratic collective.

"Even before we started this group," says Doores, "when I was just playing with Cameron, we always had the idea that it would be fun to be in a band where there were multiple singers and multiple songwriters, and where everybody had a voice and can play multiple instruments - a true collaboration that's greater than the sum of its parts and is still cohesive."

The Deslondes is the band's self-titled debut on venerable New West Records. This freshman effort has already picked up pre-release praise from the likes of NPR's resident critic Ann Powers, who spotlighted their first single, "Fought the Blues and Won," and called the fivesome "deft assemblers of a sound that traverses decades and style with humble grace."

"A creative balance between five different people is naturally a precarious one," says Cutler. "There's a lot of push and pull going on at all times. The Deslondes are more democratic than any band I've ever been in, and most bands I've witnessed out in the world. There are many benefits though and from an audience perspective there is plenty of variety and a lot of things to pay attention to. It also adds a bit of healthy competition to the mix, which is a good motivator for the band."

"One of the major pluses of being a collective," Snyder notes, "is that we always have a lot of material to work with. And with five songwriters and four singers, we are able to reflect a lot of influences in our sound." Adds Downing, "I feel like we're all open to anything, if it feels right, whether it's a slow, sad country song or a fast barnburner of a rock 'n' roll song."

"We all have different strengths," continues Downing. "I didn't even know how to harmonize when I joined this band, but Dan taught me how by playing me a whole bunch of Swan Silvertones, and old a cappella gospel stuff, pulling out the different parts, till it all kind of started making sense. Cameron and Dan are definitely the top harmonizers of the band. I'm lucky that I get to sing somewhat naturally, almost talk-singing, and those guys come up right underneath you and make it sound more powerful and really help your voice sit right."

Referencing the piano-fueled style of album opener "Fought the Blues and Won," which recalls Jerry Lee's bluesy Nashville period of the late ‘60s and early ‘70s, Downing says, "That's definitely Sam."

As you might expect with a group made up of multiple front-people, The Deslondes' history is a delightfully tortured one to recount. Doores met Snyder while attending college in the state of Washington, and all northwestern bets were off once Sam read Woody Guthrie's autobiography, Bound for Glory, and became so subsumed with it that he quit school to head to New Orleans with Snyder and another friend. Along the way they formed a band, The Broken Wing Routine, and attended the Woody Guthrie Folk Festival in Oklahoma, where they met Missouri native Downing. In New Orleans, Doores met Cutler and formed The Tumbleweeds, while Snyder and Tourville met on tour with The Longtime Goners.

Listeners won't mistake the creativity of The Deslondes - named after the street in the Holy Cross neighborhood in New Orleans' Lower Ninth Ward where the band formed - for any other major city's creative hub. "Behind my house on Deslonde Street, there's the old Holy Cross High School, which has been abandoned since the flood," Doores explains. "There's a lot of open space, and since it's the last house on the levee right on the Mississippi River, it's kind of like being in the country. We've got chickens in the backyard and a whole lot of space, it's peaceful here."

Except, of course, when the band is in the house and making the kind of racket they do on a song like "Less Honkin', More Tonkin'," which Downing came up with based on his love for George Jones' seminal, fast-driving Starday Records period. Which raises the question: What is this strong a strain of country doing in New Orleans? Even with NOLA being its own nation - especially musically - country twang still seems a little out of place there. It won't if The Deslondes and their pedal steel-playing friends have their way, though.

"I think we all learned a lot in this city," says Tourville. "That's probably the strongest thing that comes through, us all honing our skills here."

"When I first moved here, I didn't see or hear about a lot of country bands," adds Cutler. "Now they seem to be everywhere! There's always been country music in New Orleans though. Jimmie Rodgers had a little old home down here, as did probably a thousand other yodeling hobos over the years. And of course Willie and Waylon and Merle and Hank all spent time here and sang about New Orleans. There's also a lot of homegrown country over the years, in town as well as in St. Bernard and the West Bank and of course Baton Rouge and western Louisiana. Even a lot of old jazz songs were borrowed from old country songs. Anyone who tells you New Orleans is not a country music town is dead wrong."

"We're definitely influenced by the old ‘50s and ‘60s R&B of New Orleans quite a bit, from Huey ‘Piano' Smith to Fats Domino," says Doores. "But the city also has a huge history of country music being around, even though, when I first came to town, there wasn't a huge country scene going on." The Deslondes and some of their friends and affiliated acts have been a part of that shift back. For a city that already had a healthy jug-band scene, why not add a thriving country scene, too, right?

Whatever you call their music, one thing is for certain: It has the transformative power to turn clubs into dance halls and bars into honky-tonks. "Whenever we play a show in New Orleans, the whole floor is filled with people dancing … whereas in other towns, people nod their heads and smile," Doores laughs. "Dancing is the focal point of the whole trad-jazz scene here and the Cajun music scene and the country music scene. The dancing culture in New Orleans definitely influences us."

While most music buffs will come to the album without any preconceptions, there may be a sense of anticipation among fans of Hurray for the Riff Raff. Doores and Cutler were part of that estimable group for years, pulling double-duty as The Deslondes evolved into what they are today. "We were sister bands and traveled on the road together for a long time," says Doores. "There was a period of time where it worked out wonderfully, and Dan and I were able to play two sets a night. But there came a point where the bands were fighting over our time and we had to decide to just be in one. It felt right to focus on the one that we started and that reflected our creative vision the most. It was sad, because I enjoy the role of being a backup musician, too, and loved playing with them but Riff Raff is very much one person's voice and vision. It being the brainchild of Alynda (Lee Segarra) is part of what's amazing about it."

The Deslondes then is a very different vision, one where five individualists can come together and create something they couldn't possibly do without each other. "We're constantly trying to sound more and more like ourselves all the time," says Doores. "Every band wants to say that they can't really be categorized, but we really do try to combine all the elements that we love, most of them older American traditions. Along the way, there've been certain songs where everyone could say, ‘That song sounds like a gospel song' or ‘This one sounds like a country song' or ‘This one sounds like New Orleans R&B.' Eventually we want it to have it be more of a cohesive sound where every song just kind of has elements of all of those and it's less piecemeal. Hopefully we're getting closer all the time to ‘That song sounds like a Deslondes song.'"

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Thursday 8 December
Rudyard's 08:30 PM All Ages $15.00 ADV $17.00 DAY OF BOX OFFICE
Earthless, Ruby The Hatchet, Venomous Maximus
San Diego power rock band EARTHLESS has completed work on its brand new album From the Ages. The first new studio album from the globally celebrated trio since the release of 2007′s critically acclaimed Rhythms from a Cosmic Sky, the LP was recorded in San Francisco with producer Phil Manley (Trans Am, The Fucking Champs, SubArachnoid Space). An hour-long double LP, From the Ages will see an October 8 release date via Tee Pee Records.

Formed in 2001, EARTHLESS prides itself on creating energetic, utterly unique and free thinking instrumental music inspired by an eclectic mix of German krautrock and Japanese heavy blues-rock. The Californian trio has dedicated itself to mastery of the mind-bending jam session, evoking the spirits of Jimi Hendrix and Black Sabbath in equal measure. Named after a song title from vintage New York garage-psych band The Druids of Stonehenge, EARTHLESS‘ sound has been called "A sonic kaleidoscope of lava and lightning", earning it the title of "California's loudest band". The group delivers "one of the best live shows in all of modern, heavy rock," leading to one reviewer stating that the band's "epic shredding harkens back to the days were psychedelic rock had balls the size of grapefruits and wasn't afraid to take its listeners on a ride for which they may never return."
Each member of EARTHLESS has done time in many other bands. Drummer (and former pro skater) Mario Rubalcaba currently plays in the hardcore punk band OFF! and Hot Snakes amongst many others. Bassist Mike Eginton played with Electric Nazarene and guitarist Isaiah Mitchell was most recently in Howlin' Rain, has played with Nebula and Drunk Horse and also heads up the Bay Area band Golden Void. In the end, EARTHLESS is the musical rock that grounds the three musicians and now, after more than half a decade since the release of their last studio LP, EARTHLESS has returned and is out to prove - through sheer rock power - why they are considered the cream of the modern day heavy psych scene.

"We feel this is some of the strongest material that we have ever created and we cannot wait to get out there and share it with everyone in a live setting," said the band when asked for comment. From the Ages‘ sprawling, epic cover art was created by renowned rock music poster artist Alan Forbes (Queens of the Stone Age, SWANS, Black Crowes) while the record's surreal inner design was brought to life by the band's own Mike Eginton.

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Friday 9 December
White Oak Music Hall Downstairs 07:00 PM All Ages $20.00 ADV $22.00 DAY OF BOX OFFICE
Animals As Leaders - The Madness of Many Tour, Intervals, Plini
ANIMALS AS LEADERS is an American Progressive band based out of Los Angeles, CA. The group is composed of guitarists Tosin Abasi and Javier Reyes along withdrummer Matt Garstka. Their unique musical style incorporates influences from metal, jazz, electronic, latin, classical, and fusion. In 2009 AAL released their self-titled debut album on Prosthetic Records which quickly launched them into being a trend-setting group in their genre worldwide. Since then the band has released two more albums, Weightless (Prosthetic Records, 2011) and The Joy of Motion (Sumerian Records, 2014) which debuted at #23 in the Billboard Top 200. AAL has been featured in various media publications throughout the world including Guitar World, Total Guitar, Modern Drummer, Rolling Stone, LA Weekly, and many more. They have received signature endorsements from major companies (Ibanez Guitars, ESP Guitars, Tama Drums) and have managed to play alongside some of the greatest guitar legends such as Steve Vai, Joe Satriani, Guthrie Govan and many more. Now in 2016 Animals As Leaders continues to explore its musical endeavors with its highly anticipated fourth album to be released on Sumerian Records this year.

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Friday 9 December
Raven Tower Patio 07:00 PM All Ages $12.00 ADV   $14.00 DAY OF $16.00 DAY OF BOX OFFICE
Seratones, Alex Riddle
Get Gone, the potent debut album by the Shreveport, Louisiana natives in Seratones, makes a strong case that this little-known corner of the state is fertile ground, musically speaking. A.J. Haynes (vocals), Connor Davis (guitar), Adam Davis (bass) and Jesse Gabriel (drums) serve up a combination of Southern musicality, garage rock ferocity, and general badassery.

Haynes's powerful singing voice, first honed at Brownsville Baptist Church in Columbia, Louisiana at age 6, rings across every track. Davis's bass and Gabriel's playing propel every song with the grit, energy, and rawness of punk, the feeling of soul, and occasionally, a little jazz swing. The other Davis offers a clinic in guitar riffs, from swaggering blues to searing interstellar leads.

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Sunday 11 December
White Oak Music Hall Upstairs 07:00 PM All Ages $10.00 ADV $11.00 DAY OF BOX OFFICE
Swimming With Bears, Nava
We are a soulful alternative rock band from Austin, Tx. We met by random chance and have been playing music together for 4 years now. Our inspirations include Kings Of Leon, Temper Trap, Explosions In The Sky, This Will Destroy You, Phoenix, The XX, The Naked and the Famous, Two Door Cinema Club, and many more.

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Tuesday 13 December
White Oak Music Hall Upstairs 07:00 PM All Ages $15.00 ADV $17.00 DAY OF BOX OFFICE
Nick Waterhouse
Many moons ago Primo Pitino, the DJ of San Francisco's legendary Oldies Night, passed me a copy of his friend Nick Waterhouse's "Some Place." Nick was a local vinyl DJ and the kid working at our Shangri-la, Rooky Ricardo's Records. Though he didn't have a band at the time, Waterhouse assembled some local
musicians to cut a one-off 45 in the vein of the electrifying mid-century modern rhythm and blues he loved. I threw "Some Place" on the Technics during sound check a few cities down the line and was blown away from the howling falsetto all the way to the end! I gave it a whirl every night from Texas to Tennessee and all the way back home to New York. Not only were the dancers' feet responding, but they were also asking about the track on a nightly basis. The Nashville Scene was so blown away that they printed a piece on Nick after a single listen. DJs and collectors everywhere wanted it so bad that the little record with the big sound started fetching upwards of $300 on Ebay.
The immediate and unprecedented underground dance party success of Nick's DIY record resulted in a full band, gigs, and, after a number of obstacles, the widely acclaimed 2012 LP Time's All Gone. Nick's music,
vision, and fully formed aesthetic caught on globally and he was instantly a fixture at nearly every major nightclub and festival on both sides of the Atlantic, Australia, Japan, and Russia - hitting stages everywhere from Primavera to Montreux Jazz Festival and charting on college, public, and commercial radio.
Only a year after self-releasing his first single, Nick Waterhouse was thrust into the chaos of leading a band, touring, and recording in the big leagues! Pummeling high speed down a bumpy hill of lineup changes, economic problems, and general chaos without any breaks, Nick made it through and the challenges made him
more focused. 2014's Holly captured a more experienced artist upping the ante in writing, performance,
recording, and production, inspiring a new level of critical and commercial success.
In addition to a jam-packed five years on the road, in the studio, and in the practice space, Waterhouse also produced septuagenarian soul legend Ural Thomas, Los Angeles Latin stars the Boogaloo Assassins, and garage rockers the Allah-las. He's currently collaborating with the likes of young Grammy-nominee Leon
Bridges and Steven Colbert bandleader Jon Batiste. The Rolling Stones blast Nick's version of "I Can Only Give You Everything" at stadiums before they go onstage. Vogue hired him to pose with Kendall Jenner. He hipped her to Little Willie John while Anna Wintour complimented his shoes. While a lesser artist would get
lost in these distractions, Nick Waterhouse's acclaim only seems to energize him and make him work harder
and push his music to the next level.
Nick's latest Never Twice is a culmination, intensification, and realization of everything he's been developing throughout this prolific frenzy. Catchier and loaded with more hits than its predecessors, Nick's new LP is at the same time harder hitting, more rhythmic, more harmonic, more diverse, and more adventurous than any of the excellent work that already separated him from the pack. A cool and elegant post-post-modern cocktail of 1950s r&b and club jazz, mixed with 1960s soul and boogaloo, and shaken with a minimal contemporary sensibility, Never Twice finds the artist taking his time, refining his vision, and speaking with new authority. In five short years Nick Waterhouse has come a long way and it looks like he may have just painted his masterpiece.

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Friday 16 December
White Oak Music Hall Lawn Canceled
Morrissey
It is with great regret that the rescheduled dates in Detroit, Cleveland, Chicago, and Texas are now cancelled. Refunds are available at point of purchase.

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Friday 16 December
House Of Blues - HOUSTON 07:00 PM All Ages $28.00 ADV $30.00 DAY OF BOX OFFICE
Jim James

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Saturday 17 December
White Oak Music Hall Downstairs 07:00 PM All Ages FREE Free for 21+, $10 cover for those under 21. RSVP does not guarantee entry. Admission is subject to venue capacity at time of arrival.
Helstar, Blues Funeral
1981 - Houston, Texas, at the tender age of 16, Larry Barragan knows he wants to form a band that is special; one whose members would all compliment his burgeoning writing and playing skills to create a musical monster! He forms Helstar with members of his previous band, Black Rose.

1983 - After numerous lineup changes the band settles into its first solid recording lineup: James Rivera (vocals), Larry Barragan (guitar), Tom Rogers (guitar), Hector Pavon (drums) and Paul Medina (bass). The average age of the band at that time was 19! The band records an 8-song demo in the springtime. Almost instantaneously, the newly recorded demo becomes one of the most highly sought-after and traded demos of the underground tape-trading scene. Before long, this little old band from Texas with members still in high school, becomes internationally known and celebrated as the next big thing in heavy metal. By year's end, the demo finds its way to the right people and thus begins the official career of one of the most influential underground US metal bands of all time, Helstar! The band sign with Combat Records in November and in December enters the studio to re-record the songs from the demo to release as its first album entitled ‘Burning Star'.

1984 - 'Burning Star' is released to much critical acclaim. The metal press takes notice and heralds the band for its musicianship and songwriting ability. Many quickly point out the band's highly-talented vocalist ‘Bill Lionel' AKA James Rivera, whose voice is described as Dio meets Halford and the twin guitar attack of Barragan and Rogers that is just as lethal as many well-known established acts. The band opens for well known act Wasp in Houston, Texas. Regional Texas touring ensues and solidifies the band's status as a crowd favorite.

1985 - In July, the band enters Mad Dog Studios in Venice, California to record its second release for Combat. The lineup: James Rivera, Larry Barragan, Jerry Abarca (bass), Rob Trevino (guitar), and Rene Luna (drums). In December, the band plays its first ever arena show opening for Christian rockers Stryper in the Sam Houston Coliseum in Houston, TX.

1986 - In March, the band tours with Anthrax throughout Texas. ‘Remnants of War' is released in June and receives much praise from around the world. The album is in the top 10 heavy charts in Germany and others in the press are giving stellar reviews. A US tour begins in October. The band is opening for Megadeth and TT Quick as well as some headline dates. The response is overwhelmingly positive. More regional Texas touring occurs with some headlining shows and a couple of special guest slots opening for King Diamond, and Keel.

1987 - The band relocates to Los Angeles and signs with Metal Blade records. The lineup: James Rivera, Larry Barragan, and Jerry Abarca with newcomers Andre Corbin (guitar), and Frank Ferreira (drums).

1988 - ‘A Distant Thunder' is recorded and released. The band returns to its home base of Houston, TX and later embarks on its first ever European tour. The tour is a huge success playing several arenas with Yngwie Malmsteen and Tankard and also headlining and selling-out the famed Dynamo club in Eindhoven. In the U.S., the band is given a support slot for Savatage at their performance in Riverside, CA.

1989 - The band records and releases ‘Nosferatu', which is partially a concept album with the first six songs dedicated to the story of Braum Stoker's ‘Dracula'. The music was highly complex, yet highly musical, and dealt with a subject matter that would become quite en vogue in years to come. At the time, it is misunderstood, yet now, almost unfailingly, most consider this release to be the band's Magnum Opus. Also, this year saw the band tour with label mates Fates Warning in support of the Perfect Symmetry release.

1990 - The band records a 4-song demo with two new members, Aaron Garza (guitar) and Russell Deleon (drums). However, with the grunge movement gaining momentum, the face of heavy music in the U.S. is changing and the band is unable to secure a new deal.

1995 - The band signs with Massacre records and hires Megadeth bassist (and friend from years back) David Ellefson to produce its 5th release, ‘Multiples of Black'. The lineup: James Rivera, Jerry Abarca, Russell Deleon, Aaron Garza, and Mike Heald (guitar).

2000 - Metal Blade Records releases a live bootleg CD ‘Twas the Night of a Helish Xmas'.

2001 - Iron Glory Records packages 2 demo recordings and releases them as ‘The James Rivera Legacy'. James assembles a reunion lineup with Jerry and Russell and some guest musicians to perform at the Bang Your Head!!! festival in Europe. Following this, the band embarks on a US tour beginning with the Milwaukee Metal fest and ending at the Powermad festival, held in Baltimore, MD. Participation in the German Bang Your Head!!! festival inspires James to organize a carbon copy of the event in Houston, TX, in which the band headlines.

2002 - The assemblage of reunited and guest musicians perform at the Dynamo festival in Eindhoven, Netherlands.

2004 - Touring Europe in support of his ‘Distant Thunder' release on Massacre Records, James headlines the Keep It True festival in Germany as Helstar. Select appearances in Greece, Italy, Denmark and the Netherlands follow. The lineup: James Rivera, Jerry Abarca, Mike Heald, Eric Halpern (guitar), and Mikey Lewis(drums).

2006 - The year 2006 marks the 20th anniversary of the release of ‘Remnants of War'. After 19 years of separation, James, Larry, Jerry, and Rob reform with Russell to bring the nucleus of this classic line-up back together.

In June the band plays its first show in San Antonio at the 4th annual Robb's Metalworks Showcase. It is a triumphant return with people traveling from all over Texas and the US to witness the event. In August the band plays 2 shows at the Jumping Turtle in San Marcos, California, a sold-out performance in its hometown of Houston, TX and also appears at the 3rd annual Minneapolis Mayhem festival in Minnesota.

2007 - In March the band lands supporting act for Testament in Houston, Texas, while the summer yields two festival performances; Burning Star Metal Fest II in San Marcos, CA and Bang Your Head USA Texas II, held in Houston. Amidst these events, the classic reunited lineup garners interest from AFM Records, located in Hamburg, Germany, with whom they ultimately sign a four album worldwide distribution deal. The album 'Sins of the Past' is recorded over the summer months at Bravo Studios in Houston, TX, and Skull Seven Productions in Northridge, CA. AFM Records releases 'Sins of the Past', in Europe on November 23, 2007; a collection of the band's favorite classic songs re-recorded with updated style and production, plus two brand new bonus tracks.

2008- The band kicks off the year by making several European festival appearances at Germany's Keep It True and Rick Hard festivals and the Play It Loud festival in Italy. Later that year, the band releases its first official release of new material since Mulitples of Black. The album, ‘The King Of Hell' is released in October on AFM Records and shows a different side of the band; a darker, heavier and more aggressive face is shown to the world.

2009 - Multiple regional and international tours follow with the band making appearances at several major European festivals such as Germany's Head Bangers Open Air, Belgium's Alcatraz Metal Fest, and Sweden's largest festival, Sweden Rock.

2010 - After making several guest appearances during the last few months of the King Of Hell touring cycle, drummer Mikey Lewis claims sole ownership of the throne. Re-invigorated, the band records and releases ‘Glory of Chaos' and this time it takes no prisoners. The album is an all-out thrash assault. Larry Barragan states, "It's the album I've always wanted to make. It's the heaviest and definitely thrashiest album we've ever done. It's an album that just punches you in the face." More regional and international touring ensues, with the band finally making its first ever appearances in the UK and Poland.

2012 - After 30 Years of life, Helstar releases its first official live DVD to commemorate the milestone. Recorded live in their hometown of Houston, Texas, '30 Years of Hel' treats the fans to classic tunes from every album spanning the band's storied career. The band embarks on its most ambitious tour since reforming in 2006, with first ever appearances in Hungary, the Czech Republic, and Turkey, to name a few.

2013- The band kicks off the year with performances on the 3rd annual 70,000 Tons of Metal Festival (cruise ship) and several other select shows around Florida, Texas, Pennsylvania, Maryland, New York and Connecticut. The remainder of the year is spent writing and recording.

2014 - Energized from the writing, recording, and mixing process, the band is ready to destroy all that comes within its path. Helstar is set to release This Wicked Nest, worldwide to the masses on April 25, 2014. An album that promises to return the band to its roots of power metal while combining the thrash elements of Glory of Chaos, This Wicked Nest will certainly prove to the world that there is much more left in these Texas Metal Legends!

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Friday 30 December
White Oak Music Hall Downstairs 08:00 PM All Ages $20.00 ADV $22.00 DAY OF BOX OFFICE
Cody Canada & The Departed
Best known as the leader of the rabble-rousing alt-country act Cross Canadian Ragweed, Cody Canada has also collaborated with several like-minded artists as well as launching a solo career. Cody Canada was born in Pampa, Texas in 1976 and first developed a passion for music when his folks took him to a George Strait concert when he was just five years old. At the age of eight, Canada started playing guitar, and by the time he was a teenager, his family had relocated to Yukon, Oklahoma, where he became friends with a handful of guys who shared his love of outlaw country (Steve Earle, Waylon Jennings, and Willie Nelson are cited as special favorites) and hard-edged rock & roll (anything from classic Southern rock to '90s grunge).

Carney With drummer Randy Ragsdale, guitarist Grady Cross, and bassist Matt Wiedemann, Canada formed the band Cross Canadian Ragweed in 1994 (they came up with the name by putting together elements of their names), and they soon relocated to Stillwater, Oklahoma, where they fell in with the thriving local musical community, particularly the Americana-friendly Red Dirt scene. In Stillwater, Jeremy Plato took over for Wiedemann on bass, and Cross Canadian Ragweed began touring frequently through Oklahoma and Texas. In 1998 they recorded their first album, Carney, released through their own Underground Sound label, and in 2001 they signed a deal with Universal South; Highway 377 was their first major-label release. Thanks to a busy touring schedule and a growing and devoted fan base, Cross Canadian Ragweed became one of the most successful acts from the Red Dirt community, and during his downtime from the band, Canada was eager to help other artists he admired, appearing on albums by Ray Wylie Hubbard, Mike McClure, Stephanie Briggs, and Stoney LaRue.
This Is Indian Land In 2010 Cross Canadian Ragweed announced they were going on an extended hiatus, a time-out that became permanent the following year when Ragsdale and Cross amicably resigned to spend more time off the road and with their families. Canada recruited Plato to play in his new project, Cody Canada & the Departed, featuring Seth James on guitar, Steve Littleton on keyboards, and Dave Bowen on drums. Canada's first album with the Departed, This Is Indian Land, was released through Underground Sound in the summer of 2011. Adventūs arrived in 2012, followed by HippieLovePunk in 2015, both of which were released under the Departed moniker.

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Friday 13 January
Raven Tower Pavilion 06:00 PM All Ages $10.00 ADV   $12.00 DAY OF $13.00 DAY OF BOX OFFICE
American Wrestlers & Ne-Hi
How do you improve an already striking set of stripped-down, homemade pop? Gary McClure, the St. Louis-by-way-of Scotland songwriter behind American Wrestlers, a once anonymous project that became one of the year's best new bands, believes it's about being true to the basics.

"It's truly about becoming good enough to write the album you wanted to listen to when you were 15," he says. "Every time I make a new record, I feel like I'm getting closer."

Goodbye Terrible Youth (November 4, Fat Possum) shows McClure taking bedroom recordings onto a bigger stage without sacrificing the intimacy that makes them so attractive. If his self-titled album showed his knack for stringing together addictive guitar lines-the shimmer of shoegaze mixed with the emotional fist pump of power pop-Goodbye Terrible Youth amplifies that energy with a road-tested band. Literally breaking out of the home studio-the Tascam mixer McClure had been recording on has fallen apart from overuse-he's embraced a bigger sound and stage on Goodbye Terrible Youth, his rueful yet propulsive songwriting only becoming sharper.

"I wanted to write songs that bridged the gap better between audience and stage," he says. "Faster, louder more distortion. Something you can do handstands and backflips and start small fires to."

Building on the dreamy haze of previous recordings, McClure's music on GTY often crackles with energy. Lead song "Vote Thatcher" flips a switch between propulsive, jangly guitar lines and bright, boisterous, choruses, a fitting backdrop for lyrics imploring listeners not to let their youth slip through their fingers. "Someone Far Away," propelled by a massive, fuzzy bassline, makes a perfect soundtrack for a long desert drive, while the angular and angsty, while "Terrible Youth" opens with a muscular take on the mid section riff of Marquee Moon, than fuzzes into grunge over a Stone Roses bass line along with a bit of Big Star swagger.

When McClure's homemade recordings surfaced in late 2014, they featured the kind of lo-fi charm you'd expect from a lost classic, like a long-lost mixtape rediscovered under the seat of your car. Self-released on Bandcamp, the earnest and effortless album reflects McClure at his best.

"Its this weird kind of thing happens where the music kind of constructs itself," he says. "My music making process is always happening, always going on in my head. It's almost like anti-virus software in my computer. It's always plugging away in the background."

McClure's career may be the definition of plugging away, enough so that he has the unique distinction of being "discovered" twice. Before starting American Wrestler, he was one-half of Working For a Nuclear Free City, a shoegaze-inspired band out of Manchester, England. By 2013, McClure and bandmate Phil Kay decided to wind the project down. As McClure weighed next move, he started playing around and posting demos online. The tracks caught the attention of Bridgette Imperial, an American who was studying overseas, and sparked more than just a meeting of musical minds. They began dating, and a year later, McClure had moved to St. Louis to marry her.

The midwest move has been a key influence for the restless musician, a more open music scene than he was accustomed to in Manchester. While working a warehouse job for UPS in Missouri, McClure began experimenting and recording what would become the first American Wrestlers album, and the momentum and reception built since then has allowed him to stretch out and refine a new album of songs with a full band, which includes Imperial, who plays keyboard, as well as Ian Reitz on bass and Josh Van Hoorebeke on drums. McClure's new set of bouncing, well-crafted songs show that musical youth is not always wasted on the young.
"I'm always surprised by how each record brings me closer to writing simpler, heavier, catchier songs like those bands who gave me my musical epiphany: Nirvana, the Smashing Pumpkins, Hole and that first Foo Fighters record," he says. "I first learned how to write by copying them and got lost for a decade in intricacy and experimentation. Now, it feels like I'm heading back."

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Friday 13 January
White Oak Music Hall Upstairs 08:00 PM All Ages $10.00
TV Girl, Children Of Pop, Jerk, Poppet
Biography
San Diego, California duo TV Girl make hypnotic pop that borrows from '60s bubblegum and hip-hop-tinged beats with equal finesse. Trung Ngo and Brad Petering first drew attention in mid-2010, when their song "If You Want It" - which samples Todd Rundgren's "Hello It's Me" - earned acclaim from various music blogs. Rhino Entertainment, a subsidiary of Warner Music Group, issued notices to sites such as YouTube and Pitchfork to remove the song due to copyright infringement. Unfazed, the band released its self-titled EP (which included "If You Want It") later that year. Ngo and Petering had a busy 2011, issuing a digital split EP with the like-minded Dirty Gold, the single Girls Like Me on Small Plates Records, and the Benny and the Jetts EP that July via their Bandcamp page.

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Friday 13 January
White Oak Music Hall Downstairs 08:00 PM All Ages $22.00 ADV   $25.00 DAY OF $27.00 DAY OF BOX OFFICE
Dan Layus
Dan Layus, primarily known as the frontman of the critically acclaimed band Augustana, is set to release his debut solo album, 'Dangerous Things,' out October 21, 2016 on Plated Records/ADA.

'Dangerous Things' spans influences from Hank Williams to Tom Waits, from Dwight Yoakam to Woody Guthrie. The album was recorded in Nashville at SouthxSea Studios with minimal production. The lyrics are about life's struggles and its simple joys, and harmonies are provided by Muscle Shoals' own The Secret Sisters.

Of the new music, Layus explains, "I always knew this album was out there waiting, I just had to let it come to me. That was the most challenging part of this record. It was three years of repeatedly realizing I was trying too hard to write a perfect song. It all started to make sense and feel good as soon as I stopped treating songwriting like it was songwriting. Somewhere along the way I decided that if an idea was going to turn into a song on this album, then it had to be written organically and purely. It had to be an inspired moment that was unfolding melodically, musically and lyrically, all while making me feel something. Subsequently, that's how I recorded the songs -- I played the song live a few times in front of some microphones and when I felt something real happen, we moved onto the next one. The songs and recordings on this album are inspired by other people's stories and informed by my own experiences and I've never felt more proud or comfortable sharing an album as I feel with this one."

Layus spent 12 years as the creative force behind American roots-rock band Augustana. After years of grueling touring which took them from basements to amphitheaters, the band as unit had run its course and disbanded. Layus decided to keep the name and subsequently released another album and toured twice more as Augustana. In 2013 he moved to Nashville and found an immediate home in the songwriter community, penning songs for Platinum country artists and pop artists alike. In this new endeavor he also found something even more valuable -- the new sound he had been searching for and scratching at since the inception of Augustana.

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Saturday 14 January
White Oak Music Hall Downstairs 08:00 PM All Ages $20.00 ADV   $23.00 DAY OF $25.00 DAY OF BOX OFFICE
The Devil Makes Three, LOST DOG STREET BAND, DITRAINI BROTHERS
"There's a road that goes out of every town. All you've got to do is get on it," Pete Bernhard says.

The guitarist/singer and his cohorts in the raw and raucous trio The Devil Makes Three have found their way onto that road numerous times since they first left their picaresque rural hometown of Brattleboro, Vermont. Back then, they had no idea it would lead them to such auspicious destinations as the Newport Folk and Austin City Limits Festivals, Bonnaroo and Lollapalooza, and on tours with Willie Nelson, Emmylou Harris and Rodney Crowell and Trampled By Turtles. Along the way, they drew numerous accolades from a growing fan base and press alike.

TDM3's travels and travails serve as inspiration for their fourth album and their New West Records debut, I'm a Stranger Here, produced by Buddy Miller and recorded at Dan Auerbach's (Black Keys) Easy Eye Sound in Nashville.

With upright bassist Lucia Turino and guitarist Cooper McBean, Bernhard crafted a dozen tunes, part road songs, part heartbreak songs and part barnburners. While most bands are propelled from behind by a drummer, TDM3 builds exuberant rhythms from the inside out, wrapping finger-picked strings and upsurging harmonies around chugging acoustic guitar and bass, plying an ever-growing audience onto its feet to jump, shake and waltz.

TDM3's sound is garage-y ragtime, punkified blues, old n' new timey without settling upon a particular era, inspired as much by mountain music as by Preservation Hall jazz. "We bend genres pretty hard," Bernhard says.

The combination could only have happened via the circuitous route each of them took to forming the band. As kids in Vermont, "all raised by sort of hippie parents" who exposed them to folk, blues and jugbands, Bernhard says, they blazed a path to nearby Boston, Massachusetts in search of punk rock shows. They found venerable venues like The Rat and The Middle East, drawn to east coast bands like the Dropkick Murphys and Aus-Rotten.

"It would be like 6 bucks for 13 bands, everyone playing for 20 minutes," Bernhard says. "I had so much fun going to shows like that. The energy coming off the stage makes a circle with the crowd and comes back. We were really attracted to that energy."

Bernhard and McBean, a multi-instrumentalist who plays banjo, musical saw and bass, forged a particular bond. Unlike most of their mutual friends, they both liked to play acoustic music, with McBean showing Bernhard the wonders of Hank Williams and Bob Wills & the Texas Playboys. They kept in touch after high school, when nearly everyone in their clique relocated to the west coast like the characters in Delbert McClinton's song "Two More Bottles of Wine."

"It was a mass exodus of kids who went out to start bands and be creative, searching for the unknown, dreaming of something different," Bernhard says. "We wanted to get away from where we were from, as many kids do, and California was the farthest we could get." Eventually they landed in sunny Santa Cruz, California, where TDM3 took shape in 2001. Their early gigs were house concerts, then small bars, punk shows, bigger rock clubs and theaters and festivals, all the while defying genre and delighting whomever turned up to listen.

Turino learned bass to join the band, but her unremitting sense of rhythm comes naturally from being raised by parents who were dance teachers, and from her own dance background. Attacking the strings of her upright, she understands how to infuse songs with the force it takes to get a crowd moving.

And the songs on I'm a Stranger Here tell the rest of the story, with the music often joyously juxtaposed against lyric darkness...the rootless nature of being in a touring band, traveling from town to town with little sense of community, represented by a devil-like character ("Stranger")...thorny transitions into adulthood...struggling with relationships ("Worse or Better"), watching friends succumb to addiction ("Mr. Midnight"), coming to terms with mortality ("Dead Body Moving"), nostalgic notions of childhood ("Spinning Like a Top"). Bernhard even considers the destruction of changing weather patterns, inspired in part by Hurricane Katrina as well as a flood that wreaked havoc in Brattleboro ("Forty Days," a gospel rave-up recorded with the Preservation Hall Jazz Band).

Bernhard wrote more than 20 songs for the album and turned them over to producer Buddy Miller, who gravitated toward the darker material but insured that the recording was lit up by the band's innate ebullience. It was Miller's idea to record at Easy Eye rather than his renowned home studio. "Easy Eye is like Sun Records," Bernhard says. "There's one live tracking room filled with amazing gear, and that defines the kind of record you're going to make. That was exactly the record we wanted to make, and we knew Buddy was the one who could capture us playing together like we do."

For a band that made its bones with dynamic performances, recording an album is almost like coaxing lightning into a bottle, but Miller and TDM3 succeed on I'm a Stranger Here. Now they're continuing the journey that began when they found their way to the road that led them out of Vermont. "I can't wait to get onstage, I love it," Bernhard says. "Playing music for a living is a blessing and a curse, but for us there's no other option."

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Saturday 14 January
White Oak Music Hall Upstairs 08:00 PM All Ages FREE Free for 21+, $5 cover for under 21. RSVP does not guarantee entry. Admission is subject to venue capacity at time of arrival.
Matthew Logan Vasquez
2015 (The Year of The Ram) has been a year of major change for Matthew Logan Vasquez. He moved with his wife, Marthe, from Brooklyn to Austin, he saw the birth of his first child Thor, and after a decade since founding his critically acclaimed band, Delta Spirit, he's finally decided to go it alone FOR THE FIRST TIME, with his solo debut, The Austin EP, to be released November, 2015 , and a full length LP, Solicitor Returns, to shortly follow in early 2016. This sea- change is reflected on the EP's stunning psych-folk-rock opener, a ballsy 18-minute track (yes EIGHTEEN minutes) that conjures desert visions of Crazy Horse guitar solos, David Crosby's mustache, and all the good things about a journey through the past on mescaline. Matt actually grew up in Austin (and Dana Point, CA too) and the song is a slice of his life--an autobiography that isn't even close to being finished-- an epic American saga that reflects his skill as a remarkable modern songwriter still on the rise. If Richard Linklater could write a song, this would be it.
"Matt's voice and words have that Nashville outcast vibe to it," says Jay Sweet, producer of the Newport Folk Festival and a longtime champion of Matt's music. "He's not California, he's not Texas, he's not Brooklyn-even though he's lived in all of those places. He's a transplant and a vagabond, which is why he embodies folk and rock music. For a singer- songwriter, he is truly refreshing."
Matt went solo for simple reasons-- to return to the style of rock he loves. And when he went solo he REALLY went solo. He plays every instrument on the record, except for two drum tracks and one guitar track. Delta Spirit undoubtedly will be back but he wanted to make a collection of music without the influence of his beloved brethren (it's only natural for a frontman to feel the need to let loose from time to time). You will hear his new material and you will hear Iggy Pop. Neil Young. Kurt Cobain. Gram Parsons. But ultimately, you're hearing Matthew Logan Vasquez. A man young at heart, who loves the shit out of rock music... loves it so much that it's been his life's goal to make the masses reconnect with her spirit. But he's become a father, and he's been through some shit. His dad was a bomb builder. Fact.
At the end of the day, Matt's objective as a singer, a poet, a preacher, a believer in this beautiful bullshit we call "RocknRoll," is to find some harmony through life's confusion and to make you feel good about yourself. He'll be spreading his message via his wonderful songs starting in the fall of 2015. You better go put your dimes in his collection basket. Are there better things you can be doin with those dimes?

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Sunday 22 January
White Oak Music Hall Upstairs 07:00 PM All Ages $13.00 ADV   $15.00 DAY OF $17.00 DAY OF BOX OFFICE
Mustard Plug, The Suspects
Mustard Plug started out in the punk clubs, basements and dive bars of the Midwest, playing punk-influenced ska music before most people in the U.S. had ever heard of ska. They clung to a DIY work ethic that had been ingrained in them growing up in the 1980′s hardcore punk scene and applied it to everything they would ever do together as a band. Mustard Plug released their first cassette tape themselves (1992′s Skapocalypse Now!), and played constantly to earn enough money to record their first album - 1994′s Big Daddy Mulititude. Their debut full length was released on legendary NYC label Moon Records (home of Toasters, Hepcat, Dance Hall Crashers, and pretty much every other 90′s ska band of note). With their new found national distribution and exposure, the band climbed into their van and performed their music to new fans across North America. Twenty-one years, 1500 shows and 200,000 album sales later, it cannot be denied that the band has surpassed all expectations and permanently staked their claim in contemporary music.

For their new album, "Can't Contain It", Mustard Plug have returned to the DIY blueprint that the band was built upon, while at the same time embracing all the school of hard knocks craftsmanship and wisdom that the band has earned along the way. The band spent the last several years writing new material that was informed by 22 years of songwriting experience while retaining the youthful energy that has endeared them to their fans. They tracked the record at bassist Rick Johnson's Cold War Studios, giving them the flexibility to experiment and add new layers and dimensions that were not possible given the time constraints on their previous recordings. Many of their musician friends(Dan Potthast, Sean Bonnett, Mark Petz, Corey Ruffin) were tapped to contribute, creating a denser, more intricate sound.

Once the recording process for Can't Contain It was complete, the band turned to their fans to help finance the mixing and production of their record. Their Kickstarter campaign surpassed all their expectations, doubling their initial goal and re-confirming the support and love of their audience. The tracks were then sent to be mixed at Bill Stevenson's Blasting Room Studios where Mustard Plug had recorded 3 of their previous albums (including 1997's breakthrough "Evildoers Beware" and 2007's "In Black and White"). The result is possibly their most diverse and best record to date.

After tapping their friends and fans to help out with the recording, the band turned to more of their posse to collaborate on the artwork. Underground icon Jeff Rosenstock designed the album packaging, while noted artists Craig Horkey and Larry Kole created alternative limited edition album covers and posters. The final piece came together when at the last minute, No Idea record founder, Var Thelin heard the record and offered to partner with the band on its release. Mustard Plug is excited to be given the opportunity to collaborate with a label known for its' strong punk rock ethics and underground credibility.

Ultimately, this release is about the community Mustard Plug has built during its' 22 year existence. Coming full circle back to the DIY scene and the community that the were born out of has helped them to put out their best record to date.

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Wednesday 25 January
White Oak Music Hall Upstairs 07:00 PM All Ages $20.00 ADV   $22.00 DAY OF $24.00 DAY OF BOX OFFICE
Mike Doughty With Specials Guests Wheatus
Mike Doughty:

Doughty is touring with the largest band he's ever toured with: a cello/bass player, drums, another guitar player, an organ player, and a backing vocalist--six people on stage. The show consists of basically live remixing. Using hand gestures, Doughty improvises changes in what the musicians in the band are doing--stopping, starting, getting louder or quieter, changing their parts, repeating their parts. The songs are Soul Coughing songs and Doughty solo songs, but none are ever performed the same way twice.

It's a kind of simplified version of something Doughty saw John Zorn doing with avant-garde jazz in the 1990s, but adapted to be more along the lines of a dance music or hip-hop producer mixing tracks--bringing in the drums, dropping them out, juggling the musicians like samples.

Doughty's newest record, The Heart Watches While the Brain Burns, is his third collaboration with Queens, NY hip-hop producer Good Goose. The elegant, charming album swerves between lonesome country influences, and trap beats. The title is from an off-the-cuff remark Marc Maron made on his podcast WTF.

Wheatus:

Wheatus have been touring the world & making records since their year 2000 hit "Teenage Dirtbag." When asked about the story of the band, during sessions for their 7th album, singer/songwriter Brendan B. Brown responded nervously, "well, it involves 1980's Satan worship, in my hometown...hope that's not too weird?"

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Friday 27 January
White Oak Music Hall Downstairs 06:30 PM All Ages $22.50 ADV   $25.00 DAY OF $27.00 DAY OF BOX OFFICE
10 Years, Big Jesus, Realm, Broken Valor
There are few noises as powerful as the sound of confidence. After a decade of trials and tribulations, hit singles and music industry politics, 10 Years have emerged stronger than ever, freed by their own independence (both creatively and professionally), with a hard rock sound as steadfastly resilient as the salt-of-the-Earth fans relentlessly packing clubs to see them play. A 10 Years album is a celebration of strength through adversity.

From Birth To Burial, the second full-length platter issued through the band's own Palehorse imprint, is the most diverse, dark and unabashedly heavy offering from the post-grunge songsmiths. 10 Years blessed the world with Top 10 radio anthems like "Shoot It Out," "Beautiful" and their breakthrough single, the Alt-Rock #1 "Wasteland." From Birth To Burial represents the sum total of a decade of experience, channeled through exceptionally authentic hard rock music as timeless as it is loud.

"This album is about a decade long journey and all of the emotions that come along with it," explains frontman Jesse Hasek. "It's easy to become jaded. But then there's the question: Will you will standup and fight? Are you still alive or is it all over? Do you focus on the positive? From Birth To Burial is a rollercoaster ride through all of that."

The best bands, from Nirvana to Soundgarden, follow their passions and invite the world to follow with them. 10 Years does not pander or beg. It's music of defiance and truth. Like Tool, Deftones, Thrice, Brand New, Radiohead or even Björk, these Southern gents successfully flirted with commercialism but ultimately blazed their own path, bucking trends in favor of their own creative muse, building a dedicated following in the process.

The title track serves as cathartic therapy, decrying the "hot today, gone tomorrow" mentality in pop culture that destroys relationships, families and people. It's about the collision of art and commerce and never forsaking one's values. "From Birth To Burial" is a call to arms, encouraging listeners to overcome whatever obstacles appear in life. "Miscellanea" tells a story through abstract, ambiguous wordplay, similar to the lyrical musings of Faith No More and Mr. Bungle. "Triggers and Tripwires" is by far the heaviest thing 10 Years has ever put on a record, undoubtedly a crowd pleaser for years to come.

While the Knoxville, Tennessee rock band has enjoyed much success at radio and even experienced major airplay toward the end of the broadcast era for videos, 10 Years built their foundation earning fans night after night on the road, putting in the sweat, the energy and the hours, often alongside rock giants like Linkin Park, Korn and Deftones.

It was roughly 10 years ago when the band set out for California to record their first major label release, The Autumn Effect. Universal/Republic signed the band on the strength of their two prior DIY releases, most notably Killing All That Holds You, which welcomed frontman Jesse Hasek. The Autumn Effect debuted atop Billboard's Heatseekers Album chart and went on to sell over 500,000 copies in the United States, driven largely by the singles "Wasteland," "Through The Iris" and "Waking Up."

Division (2008) followed, featuring co-production work from Rick Parashar (Alice In Chains, Pearl Jam). 10 Years worked with Howard Benson (My Chemical Romance, 3 Doors Down) on Feeding The Wolves (2010), which cracked the Top 15 on the Billboard 200. Hasek, Ryan "Tater" Johnson (guitar/vocals) and Brian Vodinh (guitar/drums) survived the industry trenches to emerge triumphantly with Minus The Machine (2012), an album produced entirely without major label meddling or false hype.

Hasek says setting up Palehorse with distribution originally through Warner Music Group and now through Megaforce Records has offered 10 Years the best of both worlds. They have the freedom to create without a bunch of interlopers, combined with the distribution and marketing access of a major label. "We had a good ride on Universal/Republic. They helped us get out there and to get exposure. But in that environment, you're always competing with what is current and the label is often trying to manipulate your sound. And we just want to be ourselves."

As Hasek explains, it's all about capturing the same fire as when 10 Years started and creating the type of band they grew up loving themselves. "We surpassed anything we had ever expected. That is success to me. I don't know what I mean to these people, but I know what certain musicians mean to me. I value these really pivotal records and songs in my life; and if that's what we are to someone else? That's amazing!"
Friday 27 January
Raven Tower Pavilion 07:00 PM All Ages $15.00 ADV $17.00 DAY OF BOX OFFICE
Consider The Source & Thank You Scientist
Consider The Source
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NYC trio Consider the Source defy easy description. If intergalactic beings of pure energy, after initiation into an order of whirling dervishes, built some kind of pan-dimensional booty-shaking engine, powered by psychedelics and abstract math, it'd probably just sound like a CTS tribute band. Drawing from progressive rock, fusion and jazz, with alien sounds soaked in Indian and Middle Eastern styles, CTS blends disparate parts into a striking, utterly original whole. Dubbed "Sci-Fi Middle Eastern Fusion", the band's music strikes a rare balance between cerebral and emotional, intellectual and primal. A relentless touring schedule has won the band a fervent following from California to Israel, with fans ranging from jam-band hippies and jazz cats to corpse-painted headbangers and prog geeks.
Formed in 2004, Consider the Source features Gabriel Marin on fretless double-neck guitar, bassist John Ferrara, and drummer/percussionist Jeff Mann. Called "the guiding light for his generation of six-stringers", Marin channels the mystical fury of McLaughlin and Coltrane into wailing melodies, kaleidoscopic soundscapes and boneshaking riffs. With a background in classical musics both Eurpoean and Indian, and an instinct for avant-jazz and destructive metal, Marin's hypnotic fusion of styles is ever unpredictable. Ferrara's propulsive, percussive attack, equally suited to simple grooves and impossible chords, can ground the music or launch it into space. His madcap gumbo of slap bass, Indian rhythms, earthy minimalism and complex tapping constantly pushes into strange new worlds, whilst still dropping thick booty-clap beats. Underneath them lies Mann's rolling thunder; dense rhythmic architecture built from pure swagger and bounce. Half double-bass prog-metal, half crackle-pop Buddy Rich swing, with African and Balkan swirls, Mann's muscular, freewheeling polyrhythms are the engine fuel for Consider's multiversal mischief. Even when not improvising, Consider's music is always a conversation, a roiling stew of dynamic interplay. Each member of Consider the Source alternately leads and follows, spars and assists; in any single song, alliances are made and broken, bargains struck and divorces finalized.
Touring from coast to coast, as well as Europe and the Middle East, has not only earned the band thousands of fans, but has allowed them to perform with a wide variety of well-known artists, including Victor Wooten, Wayne Krantz, King Crimson Projekt, Kris Myers (Umphrey's McGee), Wyclef Jean, Andy Statman, Matt Darriau (Paradox Trio), Oteil Burbridge, Jacob Fred Jazz Odyssey, Dumpstaphunk, Keller Williams, George Porter, Jr., Jeff Sipe, Panzerballet (Germany), Eatliz (Israel), Freak Kitchen (Sweden), Morglbl (France), and many others. They have performed at numerous festivals and events, including Burning Man, Gathering of the Vibes, the NYC Fretless Guitar Festival, Catskill Chill, Sun Seekers Ball (Canada), Aura Music & Arts Festival (Florida), Jazz Fest (New Orleans), Head For The Hills Festival & SXSW (Texas), Rootwire (Ohio), and the NYC Gypsy Festival. The band's latest release, "World War Trio (Parts 2 & 3)" (2016) is available at considerthesourcemusic.bandcamp.com.

Thank You Scientist
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The 21st century progressive rock septet Thank You Scientist grew out of the music program at Montclair State University in New Jersey, where guitarist Tom Monda, saxophonist Ellis Jasenovic, and trumpeter Andrew Digrius met. The three shared a love for Frank Zappa, Mahavishnu Orchestra, the Beatles, and Harry Nilsson, and the group's sweeping conceptual sound rises from those influences. Vocalist Salvatore Marrano, bassist Greg Colacino, drummer Odin Alvarez, and violinist Ben Karas were added to the fold, making Thank You Scientist a monster experimental band at home with progressive rock, jazz fusion, classical, metal, psychedelic, and pop, and unafraid to blend and mix all of them. The band self-released an EP, The Perils of Time Travel, in 2011, before signing with Coheed and Cambria frontman Claudio Sanchez's newly launched Evil Ink Records. Their 2012 debut, Maps of Non-Existent Places, was a critical success, making inroads on the Billboard Hard Rock and Heatseekers charts as well. They followed up in 2016 with Stranger Heads Prevail, which cracked the Billboard Top 200.

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Friday 27 January
White Oak Music Hall Upstairs 08:00 PM All Ages $12.00 ADV   $14.00 DAY OF $16.00 DAY OF BOX OFFICE
Marching Church
Marching Church, formerly an outlet for the mostly solo musical experiments of Elias Bender Rønnenfelt (Iceage, Vår), metamorphosed into a full band during the sessions for their 2014 LP, This World Is Not Enough.

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Sunday 29 January
White Oak Music Hall Downstairs 06:00 PM All Ages $23.00 ADV $25.00 DAY OF BOX OFFICE
Reel Big Fish & Anti Flag, Ballyhoo!, Pkew Pkew Pkew
Reel Big Fish
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Reel Big Fish was one of the legions of Southern California ska-punk bands to edge into the mainstream following the mid-'90s success of No Doubt and Sublime. Like most of their peers, the band was distinguished by their hyperkinetic stage shows, juvenile humor, ironic covers of new wave pop songs, and metallic shards of ska. The group cultivated an underground following that broke into the mainstream in summer 1997, when their single "Sell Out" became a modern rock radio and MTV favorite. Their appearance in the movie "Baseketball" as the halftime band also gained them more fans and helped the bands popularity to grow. Still fronted by original lead singer and song writer Aaron Barrett, they continue releasing albums and touring relentlessly, playing more and more countries and bigger venues all over the world.
Reel Big Fish recorded its self-released debut album, "Everything Sucks", in 1995. "Everything Sucks" became a word-of-mouth underground hit in ska-punk and college circles, which gave the band enough leverage to sign with the indie label Mojo Records. The label's president, Jay Rifkin, and former Oingo Boingo bassist John Avila co-produced "Turn the Radio Off", which marked Reel Big Fish's first album for Mojo. "Turn the Radio Off" was unleashed in August 1996, and over the next year, the group continually toured in support of the album's release, expanding their fan base all the while. In spring 1997, the single "Sell Out" began receiving heavy airplay from several influential modern rock stations in the U.S., which soon translated into MTV support for the song's quirky video. By summer, the song had become a moderate modern rock hit, and the album had charted in the Top 100.
In 1998 the song "Take on Me" from the "Baseketball" motion picture soundtrack was released as the promotional single for the movie and once again found the band in regular rotation on rock radio and MTV in the USA.
The Album "Why Do They Rock So Hard" followed a year later, once again enlisting Oingo Boingo Bassist John Avila as producer. The album was not as commercially successful but is still regarded by many fans as the bands finest work. The band filmed a music video for "the Set up (You Need This)", the only single released from this album.
The guys wound up on Jive Records in fall 2001 when their current label, Mojo, was bought by Jive's parent label, Zomba. Reel Big Fish's first release for Jive, a more rock-oriented record entitled "Cheer Up!", appeared in mid-2002. This album was very successful in Europe with the video for the single "Where Have You Been" receiving heavy airplay on many music video channels.
Later that same year, RBF did a song for a Rice Krispies called "Snap, Krackle, Pop-punk" which was used in 3 separate commercials. Also that year, they recorded a cover of Toots and the Maytals "Monkey Man" for the Nickelodeon movie "The Wild Thornberrys." The single for "Monkey Man" was also released in the UK and received heavy radio play as well as the music video being put on heavy rotation on Kerrang TV.
The band's next album, the cynical yet catchy "We're Not Happy ‘Til You're Not Happy", was issued in April 2005. Touring continued for the rest of the year, and Reel Big Fish happily parted ways with Jive in January 2006, having wished to be dropped from the label since the "Cheer Up!" release.
In August 2006, the group self-released a double-disc live CD (along with an accompanying DVD) titled "Our Live Album Is Better Than Your Live Album".
Barrett said of this album "We finally captured the energy, excitement and humor of our live shows that we were previously unable to create in the recording studio environment. And it all sounds really good!"
This album is very popular with RBF fans and is sometimes referred to as "the Reel Big Fish Stand-up comedy album" because of all the silly stage banter.
The band returned with some new material in February 2007, splitting an EP "Duet All Night Long" with their friends in Zolof the Rock & Roll Destroyer. "Monkeys for Nothin' and the Chimps for Free" followed several months later, marking Reel Big Fish's first full-length studio release since leaving Jive's roster, and 2009′s "Fame, Fortune and Fornication" found the band covering songs by the likes of Poison, the Eagles, and Tom Petty.
In 2010, the band released "A Best of Us for the Rest of Us". It includes a 22 song disc of re-recorded hits and classic fan favorites as well as a bonus disc of 14 Acoustic or "SKAcoustic" versions.
On July 31st, 2012 Reel Big Fish released their 7th studio album, Candy Coated Fury (Rock Ridge Music), an inspired and infectiously catchy return to the hyperkinetic ska and biting wit of the band's beloved early albums. "This album is a lot like our first two albums. It's got a lot of the same intensity, frantic energy in the music, and the same sarcastic sense of humor. I think these are the fastest songs we've done since those albums," Aaron Barrett, founding vocalist, guitarist, and principal songwriter says. "We're finally just doing what Reel Big Fish does best, and that's what we did on those first two albums."
"Candy Coated Fury pretty much describes what Reel Big Fish does," Barrett says of the significance of the new album's title. "It's hateful, mean, sarcastic, and, sometimes sad lyrics, over happy, wacky, silly, joyous, fast music that makes you want to dance. This album is mostly love songs, but bitter, angry, hateful love songs. Just about everybody knows what it's like to be in a bad relationship. These songs could be sung by a 15 year old about his first love-gone-wrong, or by a 55 year old about a bitter divorce after 30 years. They're bad-relationship songs that everybody can relate to."
Candy Coated Fury is Reel Big Fish's first album of newly recorded original material in five years. Overall, it's the seventh in the band's twenty year history, and it feels as vital and vitriolic as RBF's foundational releases. The record opens with the huge sing-along vocal, balmy horns, and hyperactive ska groove of "Everyone Else Is An Asshole." The track is an exceptional distillation of Reel Big Fish's classic euphorically-juvenile ska punk. The stately arena riffs in "I Dare You To Break My Heart" reference cock rock, new wave, and soul without sacrificing one iota of RBF's signature simmering skank. "I listen to the Darkness a lot; it was only a matter of time till I wrote a song like this! I can't really sing as high as that guy so this song sounds more like Kiss, if Kiss was a Motown band that played ska," Barrett says, detailing the song's diverse stylistic touchstones. The anthemic "I Know You Too Well To Like You Anymore" features some of Barrett's finest cutely cruel lyrics. "I think that is an amazing bad-relationship song," he laughs. "I really captured the hateful love of two people who were once madly in love, but have been together so long, they can't stand the sight of each other anymore but still say ‘they drive me crazy, and I hate this and this about them, but I love them.'" No RBF album would be complete without playfully irreverent 1980s covers. The band rounds things out ska-ifying the Wonderstuff's "Don't Let Me Down Gently" and When In Rome's "The Promise."
On December 12th, 2014 RBF released their first Christmas Album, A six song, digital only album entitled "Happy Skalidays". This album includes 4 classic Christmas songs and 2 RBF originals.
Reel Big Fish continues to tour non-stop, playing over 250 shows a year to thousands of loyal fans all over the world, gaining more and more underground popularity as the Ska scene continues to flourish.

Anti-Flag
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Making their debut at a local Pittsburgh radio station in 1993, Anti-Flag got together for the sake of responding to their disgust at religion, nationalism, and fascism. Justin Sane (vocals/guitar), Andy Flag (bass/vocals), and Pat Thetic (drums) bopped around their hometown much to the dismay of skinheads while recruiting a following who proudly wore torn-up upside-down flags as patches. In 1997, after releasing a handful of singles, opening for their idols the U.K. Subs, the Exploited, and the Circle Jerks, and briefly touring the East Coast -- which led to the departure of Andy Flag -- Die for the Government was released, and 20,000 copies, four bassists, and four North American tours later, Anti-Flag gained their reputation for recapturing the old-school ethics of punk: fast, loud, obnoxious, and anti-everything that ends with an "ism."
Chris Head was added to the lineup in 1997 and two years later bassist Chris #2 joined on as well to complete the four-piece. Their System Doesn't Work for You, a reissue of their out of print EP North America Sucks along with additional previously unreleased songs, followed in 1998 on the band's newly founded A-F Records. They released A New Kind of Army in 1999 on Go Kart Records, hoping not only to push their beliefs to a wider audience but, more importantly, just to play out around the world while flipping two fingers in the air to everyone they're against. A summer stint on the Warped Tour brought an expanded audience and new friends, including NOFX's Fat Mike over at Fat Wreck Chords. The label put out 2001's Underground Network, recorded with the help of Mass Girorgini (Screeching Weasel, Common Rider). Half of the tracks for their next effort, Mobilize, were recorded live in their hometown in December 2001; the disc came out in February 2002, and it fittingly also contained many songs, most explicitly "911 for Peace," that reflected the World Trade Center terrorist attacks.
In early 2002, Sane released a solo record entitled Life, Love and the Pursuit of Justice via A-F, and it mostly contained a sonically stripped-down version of his main band's political agenda. Anti-Flag's contribution to the BYO Split Series came out in fall 2002 with their split with the Bouncing Souls, and a year later they issued their next full-length, The Terror State, on Fat Wreck. The four-song EP Live at Fireside Bowl also appeared on Liberation. Released in 2004, the live Death of a Nation DVD chronicled the band's U.S. tour in support of The Terror State, and that same year, A-F reissued A New Kind of Army. Not surprisingly, the band also became involved with Punk Voter, a coalition of punk bands and artists who worked to raise voter awareness and participation -- namely against George W. Bush -- for the 2004 election, and headlined the Rock Against Bush tour. In a somewhat unexpected move, Anti-Flag next signed to RCA in April 2005; they issued For Blood and Empire the following March. In October 2007 the band released A Benefit for Victims of Violent Crime on their own A-F label, an EP (with a combination of both new songs and live tracks) whose proceeds went to the Center for Victims of Violence and Crime, a decision made after Chris #2 lost his sister to homicide earlier that year. In 2008, the band released The Bright Lights of America, and the Tony Visconti-produced album would be their last for RCA as Anti-Flag made the jump to SideOneDummy. Back on an independent label and now recording in their own studio, the band wasted no time in putting out their eighth studio album, The People or the Gun, in 2009. As always, Anti-Flag continued to stay politically active, donating profits from the album to Amnesty International, as well as attending a G-20 protest in their home town. Inspired by the Occupy Wall Street movement, the band followed up in 2012 with the politically charged The General Strike.

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Wednesday 1 February
Numbers 06:00 PM All Ages $23.00 ADV   $25.00 DAY OF $27.00 DAY OF BOX OFFICE
August Burns Red Messengers 10 Year Anniversary Tour, Protest The Hero, In Hearts Wake, '68
Since their formation in 2003, the local upstart from Lancaster, PA has evolved into one of the biggest names worldwide in the modern metal scene, continually growing and connecting fiercely with a colossal legion of fans. August Burns Red has spent years skillfully crafting a balance between a ferociously heavy sound with empowering lyrical content, while showcasing a rich surplus of inventive guitar riffs, blistering solos, and dynamic drumming. With a solid collection of 5 previous albums, Thrill Seeker (2005), Messengers (2007), Constellations (2009), Leveler (2011), the band's latest release Rescue & Restore (2013) rocketed to the top of the Billboard charts - debuting at #9 on the Billboard Top 200.

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Wednesday 1 February
Eastdown Warehouse 08:00 PM All Ages $12.00 ADV   $14.00 DAY OF $16.00 DAY OF BOX OFFICE
Code Orange, Youth Code, Gatecreeper
Evoking the frantic fury of metalcore progenitors like Converge, Code Orange are a metal band based out of Pittsburgh, Pennsylvania. Formed in 2008 as Code Orange Kids while its members were still in high school, the band originally formed as a more traditional punk outfit before exploring the realm of heavier music. By 2012, the lineup of Eric Balderose (guitars/vocals), Reba Meyers (guitars/vocals), Joe Goldman (bass), and Jami Morgan (drums/vocals) announced they were signing on with Deathwish, the label of Converge frontman Jacob Bannon. That same year, Code Orange made their menacing full-length debut with Love Is Love/Return to Dust. A sophomore effort, I Am King, followed in 2014.

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Friday 3 February
Walter's Downtown 07:00 PM All Ages $12.00 ADV   $15.00 DAY OF $17.00 DAY OF BOX OFFICE
You Blew It
You Blew It! is an American emo quintet based in Orlando, Florida. The band was formed in 2009 by Tanner Jones, Timothy Flynn, and Matt Messore. In 2012, the band released their debut LP, Grow Up, Dude under Topshelf Records. Prior to their LP, the band released two EPs: EP in 2009 and The Past in the Present in 2010.

Following Grow Up, Dude the band released a split EP in 2013 entitled Florida Doesn't Suck with fellow Floridian band, Fake Problems. Their 2014 LP, Keep Doing What You're Doing achieved the most commercial success of any of their albums, charting in the Billboard 200, the Billboard Top Heatseekers and the Independent Albums charts. Later that same year, the band released a cover EP, entitled You Blue It which features covers from Weezer's 1994 album, The Blue Album. The most recent work by the band is a three-track EP entitled Pioneer Of Nothing which came out in early 2015.

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Wednesday 8 February
Raven Tower Pavilion 06:00 PM All Ages $12.00 ADV   $14.00 DAY OF $16.00 DAY OF BOX OFFICE
The Coathangers
Be leery of any punk band with initial ambitions that go beyond just playing shows with their friends. Sure, great bands ascend beyond basements and handmade demos all the time, but the best acts start with little consideration for the outside world. The groups are their own insular worlds, where the reward comes from the process, not accolades and riches. And the bands that thrive on their own artistic satisfaction usually wind up being the bands that are able to grow beyond the donation jar into sustainable successful musical careers. Their charisma is contagious, their songs exist outside of fads, and their spirits can weather the inevitable ups and downs of life as touring musicians. Such is the case with the Atlanta trio The Coathangers.
When The Coathangers started up in 2006, their aspirations were humble. "I think all bands in their early twenties start for fun," says guitarist/vocalist Julia Kugel when talking about their early years of cheeky no-wave and irreverent garage rock. But Julia and her bandmates Meredith Franco (bass/vocals) and Stephanie Luke (drums/vocals) were serious about their craft, and that combination of modest outside expectations and absolute dedication to their music made for exhilarating live shows and contagious records. Ten years later, The Coathangers are still going strong, and while their palette has expanded over the years to touch upon hip-shakin' classic rock, soulful country ballads, and golden oldies pop, their primary attack strategy still relies heavily on the jagged hooks and boisterous choruses of their formative years. Their fifth album Nosebleed Weekend retains all the devil-may-care magnetism and serrated instrumentation of their debut, but it flourishes with a decade's worth of songwriting discipline and chemistry.
Nosebleed Weekend kicks off with "Perfume", a song that marries sultry pop vocals with toothy guitar riffs in a manner that would make Ann and Nancy Wilson proud. It's hard to imagine The Coathangers writing a song this accessible in their early years, but in 2016 it fits perfectly into their canon. From there the band launches into "Dumb Baby", which harkens back to the gritty neo-garage rock of Murder City Devils. Longtime fans who still clamor for their brash post-punk angle will be immediately satiated by "Squeeki Tiki". And after hearing the noisy loud-quiet-loud bombast of "Excuse Me?" it's no wonder that Kim Gordon has become an outspoken fan of the band. It's an eclectic album inspired by life on the road, lost loved ones, and Kugel's recent move to Southern California. "We always say that each record is a snapshot of our life at the time," Kugel says. "As far as style… it's just what came out of us at that point." So whether it's the foreboding garage rock of the title track, the post-punk groove of "Burn Me", the stripped-down pop of "I Don't Think So", or the dynamic grunge of "Down Down", The Coathangers command their songs with passion and authority.
The biggest departure for Nosebleed Weekend was the recording process. While all their previous albums were recorded in Atlanta at The Living Room with Ed Rawls, their latest album found the band out in California's North Hollywood at Valentine Recording Studios with Nic Jodoin. "The Beach Boys and Bing Crosby both recorded there!" Kugel says excitedly. "It was an amazing experience, not to mention a ghostly one too. The studio had been custom built by Jimmy Valentine and he was very protective of his passion. It sounds weird, but his spirit was there, checking in on us and fucking with us a bit." Nosebleed Weekend was the first session at Valentine Recording Studios since Jimmy's professional interests were diverted elsewhere in 1979. The studio doors were shut, capturing a time capsule of the LA music industry back in the ‘70s. Thinking back to the early years of The Coathangers, it's hard to imagine the scrappy Southern ladies ever recording in a historic studio in the San Fernando Valley, but it's a classic demonstration of what can happen when humble young punks stick to their guns.
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