Punjabi-American rapper, founder of Greedhead Music, and native New Yorker, Himanshu "Heems" Suri launched his solo career while a member of alternative hip-hop group Das Racist. In 2012 under rap name Heems, he released two solo mixtapes, Nehru Jackets and Wild Water Kingdom. After Das Racist split in late 2012, Heems headed to Bombay and began work on his official debut solo effort. The album was released in in 2015 and coincided with an exhibition of the rapper's artwork at the Aicon Gallery in New York City. Both the LP and the exhibition shared the same title, Eat Pray Thug.
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Marriages is a band featuring Greg Burns (Red Sparowes), Emma Ruth Rundle (Red Sparowes ) and Andrew Clinco.
Creepoid have released two acclaimed albums--HORSE HEAVEN (2010) and CREEPOID (2014)--and two EPs (YELLOW LIVE GIVER and WET). Their much-anticipated third full length CEMETERY HIGHRISE SLUM comes out June 23, 2015 on Collect Records.
Creepoid has shared the stage with Dinosaur Jr., Against Me!, Kurt Vile, Refused, Failure, Swervedriver, ...Trail of Dead, A Place To Bury Strangers, Twin Shadow, Warpaint, Cloud Nothings and Protomartyr, among many others. The band will be touring around North America, the UK and Europe throughout 2015 and into 2016 in support of CEMETERY HIGHRISE SLUM. Visit their website for all upcoming tour dates: www.creepoid.com
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No one knows summer like Santa Monica's Zach Yudin, a man of leisure who recognizes "the epic" in something as simple as a twilight bicycle ride or a short drive up the coast. As Cayucas, Yudin has set about creating an impressionistic portrait of summer's long, bittersweet dazzle.
An avid bird-watcher, Yudin majored in both Music Theory/Production and Japanese. He spent a post-grad year living and teaching in Tokyo, then taking the past couple of years to hone the sound of Cayucas. He posted a couple of songs online, picking up a lot of love and attention, but it was only when he entered the studio with producer/multi-instrumentalist Richard Swift last year that Cayucas was truly defined — sun-inspired jams that touch upon The Animals, Harry Belafonte and the surfer-folk mysticism of the Northwest.
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First and foremost, it should be made clear that Bayside is not only still a band but will always be my priority. I do have been playing solo shows for a few years now and I'm finally going to release some music that way for two reasons. The First being that Bayside has time off between tours and releases and I don't like to have time off so doing solo tours and writing more music let's me constantly play music without having to take breaks. The second reason is that I love the sound that we have crafted in Bayside and I think that our fans do also and sometimes I write songs that I don't think sound like Bayside songs but I really like them. So rather than change the sound of the band that we have come to love, I figured I would release them under a different name.
The songs I've been recording are songs that I have written over the course of the last few years that I filed away in my memory under "Cool song, not a Bayside song, maybe people will hear it one day". I listen to a wide variety of music and I have always wanted to experiment with writing in genres such as country, reggae, ska and folk. The songs I've been doing all sound pretty different even from each other since this is just a collection of songs I had around.
I've decided to make this a truly DIY solo project. I'm going to be self releasing all of my solo stuff by myself as Gumshoe Records. From funding everything to having cds pressed to selling them online and at shows. Any page you see, whether it is my blog, twitter, Facebook, band camp or anything on iTunes was completely started and is run by me. No label, no management, no employees.
I have been blessed with the most amazing fans who have supported our band and my songs for over a decade. I wanted to prove that music, musicians and fans are all that matters. Not labels and suites. I'm doing this on my own because I know that when I musician makes good music and fans support it, you don't need anything else.
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Over the course of the last 15 years, Rocky Votolato has produced some of the most powerful music to come out of Seattle, an impressive canon anchored by earnest, lyrical songwriting, and delivered in a unique indie-folk-punk style that has evolved out of the Pacific Northwest music scene he was raised in. He has matured over the course of seven increasingly accomplished solo albums, and writes songs that seem to have been scratched into a boxcar wall by a worn-out and lonesome ghost. He has recently finished work on his eighth solo album with producer Chris Walla (Death Cab For Cutie) and has plans to release the new album on No Sleep Records in the spring of 2015 with extensive touring to follow.
For Dave Hause the American dream is a broken promise, a childhood ideal that has been shattered by the reality of the past two decades. On the musician's second solo album, Devour, Hause scours the foundation of that crumbled dream in an attempt to discover how everything we believed growing up could have turned out so differently. The album, initially written to become the third record from Hause's rock band The Loved Ones, follows his 2011 solo debut Resolutions, a disc that allowed the musician to understand his potential as his own artist.
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"I look at it like this," METZ frontman Alex Edkins says. "You start a band, just as something to do, because music's what makes you tick, the thing you dream about and think about and that's it. You never think that you'll be able to do it all the time. But then, for some inexplicable reason, people actually listen and latch on and the band begins to take on new meaning. All of a sudden there are expectations and pressure, real or imagined, to change who you are. It was important to us, when making this record, not to give in to that pressure."
What happens when a seemingly irresistible force meets an immovable object is a serviceable metaphor for the music METZ creates, both live and on record. Now behold II, the concussive new full-length from what is arguably North America's finest touring rock band. Written and recorded in 2014, after two years of constant touring behind their rightly adored self-titled debut, II is METZ at their most true to form—as pure an expression of what they do as can currently be committed to tape. The guitars are titanic, the drums ill-tempered, the vocals chilling, and the volume worrisome. Though they incorporated new instruments, (baritone guitar, tape loops, piano, synth, found sounds) and stretched out the arrangements, they still managed to "stay true to what made us tick in the first place: that immediacy," Edkins calls it. "If it punches you in the gut."
And does it ever. From the exhilarating grind of "Spit You Out" to the blunt-force thrills of "Landfill," herein reside 10 songs as uncompromising in their ferocity and abrasiveness as any collection this record label has had the pleasure of releasing to date. To accomplish such a sound, the band forced itself to stay home and write for the better part of six months. Tracking was done in three different studios, in Toronto and elsewhere in Ontario, including the same barn where much of METZ had been painstakingly assembled. While said predecessor was often "clean and clinical," II is what Edkins describes as a "much heavier, darker, and sloppier" affair, with many of its roughest edges and ugliest tones kept intact. Its lyrical matter, Edkins notes, stems from a year of loss and doubt, of contemplating our relationships with death and the planet. "I consider myself a pretty massive pessimist, but a pessimist who knows how lucky he is," he says. "A lot of things in everyday life drive me crazy: how we relate to each other; how politics, media, technology, money and medication influence our lives. This band, in a lot of ways, is an outlet." What we're left with is the sound of an already monstrous band improving in both subtle and terrifying ways."We take our noise and our feedback very seriously," Edkins says. "The more we do this, the more we realize there's no such thing as right or wrong in music. It comes down to feel. And if it feels good, it works. This time we sorta said, ‘This is who we are. We are not going to clean up our sound, we are not going to hire a big producer, we are not going to try to write a radio song. We are going to be honest and leave the warts for all to see. We are really happy with how it turned out."
As are we.
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Following the breakup of the New York Dolls, guitarist Sylvain Sylvain continued to work with David Johansen for a time, but also began directing his efforts to a solo career. Prior to joining the Dolls, Sylvain had been in a band called Actress with future Dolls Johnny Thunders and Billy Murcia; when a replacement was needed for guitarist Rick Rivets, Sylvain stepped in. After the Dolls' breakup in 1977, Sylvain remained with Johansen for the next two years while forming a band called the Criminals, featuring keyboardist Bobby Blain, bassist Michael Page, and drummer Tony Machine. (Some Criminals material is collected on the 1985 compilation '78 Criminals.) Sylvain finally chose his solo career over Johansen in 1979 with the formation of the Teenage News, which featured Johansen, bandmates Johnny Rao (guitar) and Buz Verno (bass), plus Criminal Blain and drummer Lee Crystal. Sylvain recorded a self-titled debut that year, which consisted of traditional, smoothed-out, highly melodic pop/rock with a variety of influences. Its 1981 follow-up was released under the name (and title) Syl Sylvain and the Teardrops, but like its predecessor, was a commercial failure, and Sylvain was dropped by RCA. He released an independent single in 1983 but has not been heard from since. In the late '90s, Sylvain Sylvain pulled together several releases that included Sleep Baby Doll (1998) and In Teenage News (2000) both on Fishhead. Paper Pencil & Glue was issued on Munster in fall 2000. ~ Steve Huey
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Formed in Oakland, California in late 1985, Neurosis developed a style blending industrial, heavy metal, and alternative rock with often spiritually focused lyrics. Members Steve Von Till (guitar, vocals, percussion), Dave Edwardson (bass, vocals), Scott Kelly (bass, vocals), Jason Roeder (drums), Noah Landis (keyboards, samples, tape effects), and Pete Inc. (visuals) debuted in 1987 with the album Pain of Mind, but it took nearly five years for any follow-up to be released. Both Souls at Zero and The Word as Law appeared in 1992, followed by Enemy of the Sun a year later. Released in 1996, Through Silver in Blood became the band's most popular release, and 1999's Steve Albini-produced Times of Grace helped build upon that breakthrough. Sovereign followed a year later. In 2001, Sun That Never Sets stuck with more tribal-like beats and composition, while 2004's The Eye of Every Storm, despite retaining a patina of smoky folk, found the group returning to its sludge metal roots. Given to the Rising, the band's ninth studio album, which was voted the 76th greatest metal album of the decade by Decibal magazine, arrived in 2007, followed in 2012 by Honor Found in Decay, their fifth outing to feature Albini behind the board.
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Be forewarned: The story of this early-'80s New York punk band does not have a happy ending. Reagan Youth got their start in 1980 while founding members Dave Rubinstein -- later known as Dave Insurgent -- and Paul Bakija, aka Paul Cripple, were in high school. Soon after their formation, the band started playing punk clubs around Manhattan; they even managed to enlist one of their high school professors as a roadie. Local tours quickly turned into national tours and Reagan Youth found themselves sharing bills with the likes of the Dead Kennedys, Bad Brains, and most of the other major punk bands of that time. Their music reflected their name -- ironic, bratty, and opinionated. The band released a few singles and a couple of albums during their existence, which ended appropriately enough with the exit of Ronald Reagan from the White House. By the end, the band was worn down from excessive touring and heavy drug use. Insurgent developed a serious heroin addiction, and after losing his mother in a car accident and his girlfriend to serial killer Joel Rifkin he committed suicide in 1993. ~ Kevin Odle
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Always been a hard band to fully categorize simply because of the myriad of elements and influences that seamlessly come together to create one of the more distinct sounds in heavy music today. Over the years through the band's endless touring and releases displaying the crushingly heavy yet beautiful style of progressive crushing psychedelic metal.
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Fresh off their wildly successful 2013-2014 Culture Clash world tour, The Aristocrats – by any measure the hottest new band in instrumental rock/fusion today – rewrote their own rules for their third studio album, Tres Caballeros. After two fairly raw trio albums, guitarist Guthrie Govan (Steven Wilson, Asia/GPS), bassist Bryan Beller (Joe Satriani, Dethklok) and drummer Marco Minnemann (Steven Wilson, Joe Satriani) set up camp at legendary Sunset Sound studios in Hollywood, CA, where Led Zeppelin, The Rolling Stones and Van Halen all recorded landmark albums. The result: Nine new compositions of greater sonic depth and breadth than ever before, with unique textures and lush layering augmenting the band's preternatural ability to improvise both individually and as a group at the highest levels possible. But not to worry – it's all still tempered with a steadfast refusal to take themselves too seriously, and The Aristocrats are still having more fun than a fusion band has any right to have.
The Tres Caballeros tour will bring the band's new musical vision in trio form to stages across North America in their most ambitious jaunt yet. The Aristocrats will be supported by fellow rock/fusion power trio The Travis Larson Band.
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Melding the aggression of punk with the technical intricacies of prog rock, Tera Melos use jerky shifts in time signatures and disjointed guitar noodling bearing a close resemblance to Don Caballero and Hella. Like their counterparts in complicated rock, finger-tapped guitar parts are the centerpiece, complemented by angular bass riffs and splintered spazz-jazz drumming, but contrasting dynamics are a bigger focus of the band's songs, with ambient electronics and sparse vocal lines occasionally incorporated into the interludes to offset some of the more convoluted and noisier sections. Following stints in hardcore projects No Regard, Hoods, and Stabbed in the Throat, guitarist Nick Reinhart, drummer Jeff Worms, and bassist Nate Latona started Tera Melos in 2004. Months after forming, they started playing shows, making an immediate impact on the Sacramento live circuit with chaotic live performances that demonstrated their ability to play while doing cartwheels, guitar stands, and amp flips. Their first album, Tera Melos, was self-released in 2005. Heavy touring followed and, exhausted by life on the road, Worms left the band to settle down shortly after recording the Drugs to the Dear Youth EP. Vince Rogers came in as a replacement drummer, touring continued, and the band found solace in the roster of Sargent House, home of similar-minded artists These Arms Are Snakes and Maps & Atlases. Drugs to the Dear Youth was re-released on CD that year, and a five-song split with By the End of Tonight followed, alongside extensive U.S. touring with Heavy Heavy Low Low and the Fall of Troy. Drummer John Clardy replaced Rogers before the arrival of their 2010 album, Patagonian Rats. The band's next record, X'ed Out, took a more direct approach and was released on Sargent House in 2013.
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Pegstar, Fitz, & Stubwire are very happy to announce a special show at which the Houston music community attempts to raise 10k for Gender Infinity. Your favorite venue and Houston area bands are joining together for this cause. Please join us for this very worthy cause.
Some of Houston's most well known bands will be covering other artists for this unique show. This is an opportunity to see and hear these artists in rare form. Here is a list of what we have planned:
Another Run As Foo Fighters
Drop Out Vegas as The Head & The Heart
Get A Life as David Bazan / Pedro The Lion
If The War Should End as The Beach Boys
King Finn as Daft Punk
Sunrise And Ammunition as System of a Down
MIddlechild as The Pixies
Moji as Janet Jackson
thelastplaceyoulook as Taylor Swift
The Wheel Workers as R.E.M.
We would like to thank the Musicians, StubWire.com, and the local Gender Infinity staffers/volunteers for donating their time and efforts for this event.
IMPORTANT INFO: All ticketing fees are being waived by our ticketing partner StubWire.com.
More event info at Pegstar.net
You $10 entry fee will be matched by Pegstar / White Oak Music Hall & donated to Genderinfinity.com