Upcoming Events


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Sunday 22 January
White Oak Music Hall Upstairs 07:00 PM All Ages $15.00 ADV $17.00 DAY OF BOX OFFICE
Mustard Plug, The Suspects, Brumes
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!"

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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.
Saturday 28 January
Eastdown Warehouse 08:00 PM All Ages $12.00 ADV $13.00 DAY OF BOX OFFICE
Striker, Malevolent Force
"Full Speed or No Speed": prophetic words to live by from Striker's debut full length release "Eyes in the Night". Since forming nearly 8 years ago, not a day goes by without the pedal to the metal attitude that smashes through the traffic jam of modern metal. "Stand in the Fire", Striker's 4th studio album, prepares to shift the band into high gear and leave the competition in the dust. Guest performances from some of metal's premiere players as well as other unprecedented collaborations prepare a high octane mix that is ready for ignition. This will be Striker's strongest album to date, living a life set by one rule: no limits!


Striker has come a long with since their 2007 formation in Edmonton, Alberta, Canada. The band's first demo immediately caught international attention from notable German record label, Iron Kodex. Backed by the label's support, Striker went on to record and release their first EP, "Road Warrior", in early 2009. The EP spread like wildfire among metal fans in Canada, Germany, and Spain. It was this first major stepping-stone in kick starting a promising career.

In 2010 the band released their first full-length recording, "Eyes in the Night", which reinforced Striker's presence in both the domestic and international metal scene. The release initiated the band's touring career: including Canada coast to coast, and over a dozen European countries with several festival appearances (Metal Assault Festival, and Headbangers Open Air) overseas. This established the credibility of Striker as a hardworking, dedicated band, willing to take the risks necessary to make it to the next level of their musical career.

Over the years Striker continued to refine their public image, hone their product, and solicit support within the music industry. Having completed the Iron Kodex contract with Eyes in the Night, the band looked towards greater achievements and began working with producer Michael Wagener (Ozzy Osbourne, Metallica, Skid Row) in Nashville, Tennessee. After spending over two months recording in the USA the band completed their 2nd album, "Armed to the Teeth", and was promptly signed by prominent Austrian label Napalm Records July 27, 2012.

Hot off the heels of the album release announcement, Striker was selected to directly support heavy metal giants Metallica for 2 sold out shows at Rexall Place in Edmonton. The shows were a huge boost to the band and showed them the inner workings of one of the most successful bands in history. With a newfound work ethic, the band set to work planning their biggest Canadian and European tours to date, breaking into new territories such as the UK and Japan. With the desire to improve and expand to even greater heights, the band remained in Europe after a headlining tour and began to work on the album "City of Gold" with visionary producer Frederik Nordstrom, a founding member of the melodic death metal sound.

"City of Gold" was critically acclaimed and propelled Striker forward in the industry, directly supporting veteran acts such as Bullet and Artillery on extensive tours of Europe and the United States. Major European festivals began to take interest, with the band headlining smaller festivals such as Devilstone Festival and Headbangers Open Air, and headlining the second stage at major festivals such as Metal Days Festival to enormous crowds. Working again with Frederik Nordstrom, "Stand in the Fire" sees Striker taking their destiny into their own hands by releasing the album on their own label "Record Breaking Records", ushering in a new era of decisive action, dedication and forward thinking. Live life by one rule: No Limits!

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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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Monday 30 January
White Oak Music Hall Upstairs 07:00 PM All Ages $13.00 ADV   $15.00 DAY OF $17.00 DAY OF BOX OFFICE
Surfer Blood, Young Mammals
SURFER BLOOD's fourth album, Snowdonia, (in stores Feb 3, 2017) is a return to their DIY recording roots, and at the same time, an ambitious step forward, musically and lyrically. Along with plenty of Surfer Blood's signature catchy pop hooks, the band also concocted several epic and more complex songs with enormous attention to sonic detail. John Paul Pitts wrote and mixed the album alone, for the first time since their debut Astro Coast. The immediacy is intoxicating and the results are fantastic. Surfer Blood get better and better with each album, and we're betting that they'll be making great records for many years to come.

Surfer Blood are a magnificent indie rock band from West Palm Beach, Florida that formed when guitarist/vocalist John Paul Pitts and drummer Tyler Schwarz started playing better-than-great musical notes together in Dreyfoos High School. New members Mikey McCleary and Lindsey Mills also attended the same high school.

Surfer Blood began recording and touring immediately behind their infectious debut, Astro Coast (2010) and quickly took over almost the entire world (except for the deepest realms of the ocean and really, really cold places). The group followed suit with the Tarot Classics EP (2011), Pythons (2013) and 1000 Palms (2015). Surfer Blood have performed in 5 continents, toured with heroes like The Pixies and Guided By Voices, played on TV, at Coachella and giant festivals throughout the world, while also occasionally plugging in their amps at all-ages house parties. Surfer Blood are the cleanest and nicest band in existence.

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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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Wednesday 1 February
White Oak Music Hall Downstairs 09:00 PM 18 & Over $22.50 to $40.00 ADV 22.50 to 40.00 DAY OF BOX OFFICE
Benny Benassi, Kinda Super Disco
Milan born Italian DJ/producer stalwart Benny Benassi - real name Marco Benassi - is widely regarded as one of the most charming, down to earth, internationally respected and treasured artists in the music industry. With over a decade to his illustrious career already, the chart-topping megastar has wholly managed to capture the hearts of multiple generations of EDM fans across the world with his flawless trademark tech/electro/house infused sounds and charismatic performance flair. Whether he's behind the booth or in the studio, there's never a dull moment when Benny's around and fortunately for us, he's showing no signs of slowing down whatsoever. Let's indulge in a little bit of history di Benassi…

Obviously no account of Mr Benassi's star-spangled career could pass without special mention of the international hit single that was ‘Satisfaction'. Unleashed on the world back in 2002, this globally celebrated record catapulted Benny from a once humble dance act into a world-famous artist almost overnight. Masterfully conjured up with first cousin and production partner in crime Alessandro ‘Alle' Benassi (the pair openly work together on all of Benny's musical output to this day) the record saw huge success especially in Europe, as it shot to #1 in the Official Dance Chart in France for over four weeks, #2 in the Official UK Top 40 singles chart and #2 in the Official Dance Chart in Germany to name but a few. His ensuing debut solo album ‘Hypnotica' naturally followed suit, reaching Top 20 status in the Official Album Sales Chart in France and remaining there for over a month, peaking at #5. The critically acclaimed LP was subsequently awarded the ‘European Border Breakers Award' for racking up the most record sales for an Italian album outside of Italy.

2003 saw the irrepressible Benassi go on to win a whole host of accolades and noteWorthy recognition. Bagging DJ Mag's ‘Tune of the Year', ‘Revelation of the Year' in the Italian Dance Music Awards, ‘Dance Revelation of the Year' in the Danish Music Awards - not forgetting his nomination for NRJ Radio's International Revelation of the Year' (France) - it started to become increasingly clear that Benny Benassi had arrived in a seriously big way.

Having hit #18 (highest new entry) in the DJ Mag Top 100 poll the previous year, 2005 then saw Benny release his second studio album ‘Phobia' - another titanic ‘Benassi Bros' collaboration that instantly hit the Top 20 of the French Album Sales Chart. With 2 albums and some exceptional groundwork already in place, Benny then used the latter part of the ‘noughties' to further cement his spot as one of the most in-demand DJs in the industry. Headline performances at countless festivals around the globe (Ultra Music Festival, Coachella, Electric Daisy Carnival, Movement, UV Nation and Labour of Love to name just a few); a string of high-profile remixes and collaborations with the likes of Madonna, Kelis and David Bowie; a third artist album ‘Rock n Rave' (2008); and a brand new radio show on Sirius XM's Electric Area were just a handful of stellar achievements - all of which bore worthy testament to the might of this truly class act. Most noteworthy of all, however, was on 10th February 2008, when Benny was awarded one of the most coveted accolades in music - a Grammy, for his exceptional rework of Public Enemy's monster track Bring the Noise. This official recognition, coupled with his steady stream of success and achievement from the past decade would soon grab the attention of the most eminent names in music, and take the Italian to previously unbeknownst heights.

Sure enough, in 2011 Benny Benassi hit the big time. Having teamed up with Kelis, Apl.de.ap and Jean-Baptsiste for the colossal ‘Spaceship' single - the first to be taken from his 5th studio album ‘Electroman' - Benny then went on to join forces with R&B megastar Chris Brown to produce one of the biggest crossover records of the year. Reaching the Top 10 in the Official Singles charts in the UK and numerous other territories around the world ‘Beautiful People' shot the popular Italian maestro to undeniable international recognition.

Just a few months later came the partnership with star vocalist Gary Go that gave us ‘Cinema'. A chart-destroying EP of epic proportions, the original radio edit went Gold in the USA and Platinum in both Australia and Canada, with Skrillex�s thunderous remix occupying the iTunes US Dance Top 10 for over 6 months and swooping a Grammy for ‘Best Remixed Recording' in the process. The successes continued to flood in as Benny soon received a call up from the queen of pop herself, Madonna. Released worldwide at the end of March 2012, Madonna's controversially titled twelfth studio album ‘MDNA' featured 3 tracks produced by Benny and Alle Benassi, including the single "Girl Gone Wild" - a true honour for the Italian cousins.

If we've come to learn one thing about Benny Benassi it's to expect the unexpected. Whether it's electrifying tens of thousands of EDM lovers with his world-beating skill behind the decks, or conjuring up award winning, platinum-selling productions in the comfort of his home studio with his cousin and producer, Alle Benassi, by combining his innate raw talent with the hard work, diligence and determination to everything he touches, Benny has wholly justified his position as one of the most beloved entertainers the industry has to offer. Rest assured, there'll be much more where this came from.

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Thursday 2 February
Walter's Downtown 08:00 PM All Ages $20.00 ADV   $22.00 DAY OF $24.00 DAY OF BOX OFFICE
Dean Ween Group, Amandla
The Deaner Album is the debut album from The Dean Ween Group. Dean Ween - aka The Deaner - recorded the album in several locations but finished it at his dedicated studio facility in Lambertville, NJ, across the river from his native New Hope, PA . The band will be celebrating the album's release with U.S. tour dates that start October 18 with their friends the Meat Puppets opening. The Deaner Album is to be released October 21, 2016 distributed by ATO Records.

On The Deaner Album, Dean brings his love of classic guitar rock to 14 original compositions (including four instrumentals) that echo everything from classic rock to cracked country to the quirky mix of soul, funk, metal and punk that defined Ween. "My tastes are very mainstream; I love Jimi Hendrix and Santana and Zeppelin, but my ears are always open," The Deaner says. "P-Funk, they're right up there with the Beatles. That's what my influences were - that and punk rock - and I wanted all that in this album."

"I got inspired about two years ago when I started this band and it hasn't dried up yet," he says. "I'm starting to realize what I want to get out of the Dean Ween Group and it's just more of all the good things I've ever liked about the records I've made. It's a solid record. I don't care if people like a record or not. If I know I put a lot of work into it, then I can live with it forever. I have no regrets musically about anything I've ever done… Ween, Moist Boyz, Chris Harford, whatever. And I got there with my record. A lot of work went into it and I hope it translates when you hear it."

"After Ween stopped, I put my guitar down for almost a year," Dean says. "I'll never do that again. I'm so into practicing and writing and being good at my craft right now. I'm back in playoff shape. I write and play and record all day, every day, and I'm going to keep it there for the rest of my life."
Once he started performing live with the Dean Ween Group, it was inevitable he'd start writing songs for his new band too. Once he started, he couldn't stop. "I never forget ideas. I can write a chorus, a melody, a rhyme, a lick, they never go away," The Deaner says. "So there are a lot of scraps on this record that became fleshed out. Most of these songs started from one of the scraps, and then there'd be nothing left of it by the time I was done with the song. I still do that, I'll always do that."

" I don't know if you're allowed to steal from yourself," he adds, "but I think you are."

Initially, The Deaner Album found Dean moving to a more ensemble approach to recording, as he enlisted the services of current bandmates as well as old friends including the Meat Puppets' Curt Kirkwood, legendary punk drummer Chuck Treece, and guitarists Mike "Kidd Funkadelic" Hampton, Scott Rednor, and Bill Fowler among others. "If I woke up in the middle of the night with an idea, I'd call a session and have the whole band come in and learn the song and play it together," The Deaner says. "That was really different for me. I could actually show some patience and not just half-ass it. If I needed a drummer, I'd get the best drummer I could to play that particular song. "

Another huge change for Dean was moving into his own studio, converted from an old chicken coop in the woods of Western New Jersey on a patch of land donated by a friend's father. "I think finally having my own studio has been a big part of why this record is as good as it is," he says. "All the gear I've acquired over the years that's been in storage and my garage and my attic, it's all in one place now. Every guitar I've ever bought, every amp, every pedal, every effect, all in one place and it's all getting used all the time. I'm there pretty much all day, every day, all night, every night, doing something - recording, practicing, mixing. It's in the country, in the woods, nobody can hear us, and I've got a sound system in there powerful enough to power a big club. And you can go outside in your underwear and smoke a cigarette or blow off a grenade and nobody's going to hear you."

The Deaner recorded three of the tracks on the album by himself, playing all of the instruments. That includes "SchwarzPete," a loving tribute to guitar hero Les Paul and the collection's oldest song, originally written years ago for a TV pilot. "I always wanted that song to be on a record," he says. "I love that style of guitar playing."

Before diving headfirst into The Deaner Album, Dean produced and engineered Moistboyz V, his fifth collaboration with punk singer Guy Heller. "My idea was to do the Moistboyz' record and my record at the same time, but I realized I needed to focus on one record at a time and shelved my record for a bit," he says. "Then when I moved into my new studio a year or so ago, I just really went all in on my record, no distractions, no side projects. I did a lot of gigging, but that just benefited the record because my playing and singing just kept getting better."

The Deaner has contributed to numerous projects helmed by his close friend Josh Homme including albums by Queens Of The Stone Age, Mark Lanegan and The Desert Sessions as well as working with Yoko Ono, Ben Vaughn and many others.

He also hosts the weekly "Invitational Jam" at the venue John & Peters in New Hope. Musicians who sign up for this perform with the house band which consists The Deaner, the instrumental backbone of Ween, Mike Hampton (Parliament-Funkadelic), Vincent Martell of Vanilla Fudge, and many others. Players fly in from all over the country to get in on the action. He also holds a captain's license and run his own charter fishing company out of Belmar, New Jersey.

For more than 30 years, Dean Ween has been best known as the guitar-slinging partner of Gene Ween in the international cult band Ween. Dean and Gene formed Ween as middle-school students in 1984 and released nine studio albums (five on Elektra Records) and six live albums before going on hiatus in 2012. The group reunited in 2016 and plans to continue performing live. The Dean Ween Group includes touring Ween members Claude Coleman Jr., Dave Dreiwitz, and Glenn McClelland as well as Bill Fowler formed about two years ago as a way for The Deaner to get back into live performance.

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Thursday 2 February
Rudyard's 08:00 PM All Ages $10.00 ADV   $12.00 DAY OF $13.00 DAY OF BOX OFFICE
Nots, Keno Sims
NOTS are a 4 piece, all XX, "nuevo no wavo" band from Memphis, TN. Unpredictable guitars, celestial synths, and punctuated vocals swirl around the repetition of a powerful rhythm section to form a sound and a live show not easily classifiable but entirely addictive. Drummer Charlotte Watson and guitarist / frontwoman Natalie Hoffmann are the band's two constants throughout a handful of roster changes. NOTS' current lineup also includes Alexandra Eastburn on synth, an instrument she picked up to join NOTS and to record on their first full-length LP We Are Nots, and bassist Meredith Lones, another new Memphis musician, and the most recent addition to the band. NOTS' newest punk-noise-psych-collision 7", Virgin Mary, aggressively follows on the heels of their debut LP, foreshadowing an ever expanding experiment in direction of things to come for the band. Don't miss out.

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Thursday 2 February
White Oak Music Hall Downstairs 09:00 PM 18 & Over $22.50 ADV $24.50 DAY OF BOX OFFICE
The Glitch Mob DJ Set
Selling out major venues from coast to coast simply by word of mouth, The Glitch Mob has
become a festival favorite, rocking crowds from Lollapalooza to Red Rocks to upcoming key
slots at Coachella and Ultra with their visceral, innovative performances. "Pairing the richness
and headiness of the best dance music with the head-nodding backbeats of hip-hop, they only
aim to move you, and they by and large succeed," raved the Los Angeles Times. And this
spring, the L.A.-based trio embarks on their first full nationwide tour in support of The Glitch
Mob's debut album release Drink the Sea, due May 25 on the band's own Glass Air label. Drink
The Sea represents The Glitch Mob's transformation up from the underground into a more
widescreen vision: from the cryptic cover art (courtesy Sonny Kay, famed for his work with
Mars Volta) to the kaleidoscopic dimension of the music inside, Drink The Sea evokes a voyage
into the unexpected-including sonic waters previously unexplored by the band itself.

Then again, The Glitch Mob "sound" has always been a continually mutating concept, always pushing new boundaries as the group evolves. Drink The Sea arrives after years of intermittent yet acclaimed releases-spanning widely passed-around Internet mixtapes like the infamous Crush Mode ("Grab the Crush Mode mixtape. One of the first things to really get my blood going," raved New Yorker critic Sasha Frere-Jones) to triumphant official remixes for TV On The Radio, Ed Banger's Krazy Baldhead and Evil Nine featuring El-P. As such, The Glitch Mob and its members even held the top two spots on XLR8R's "50 Best MP3s of 2008" over the likes of Hercules and Love Affair and the Kills, and their tracks have enjoyed heavy rotation on Mary Anne Hobbs' taste-making BBC Radio 1 show. Drink The Sea represents a musical sea change for the band, however, combining the thundering percussive power of their live show with the relentlessly experimental ambition of the group's core producer/instrumentalists Justin Boreta, Ed Ma, and Josh Mayer. "It's definitely not just a collection of random club bangers," Mayer explains. "We made this album with very little, if almost none, of our traditional studio production tricks," Ma adds. "We wanted it to sound like us, but without gimmicks-no glitches, crazy edits or bizarre effects. There aren't even any samples-all the sounds were created by us making them." "Admittedly, there's now a cognitive dissonance with our name," Boreta adds. "Our modus operandi has stayed the same, though: however the songs are made, we've always just wanted to fragment music in a fresh way, to make sounds no one's heard before."

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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, Cleen Teens
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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Wednesday 8 February
White Oak Music Hall Upstairs 07:00 PM All Ages $12.00 ADV   $14.00 DAY OF $16.00 DAY OF BOX OFFICE
Chad Valley & Computer Magic, Children of Pop
Chad Valley--
After taking his bedroom recordings to the next level with a full band in Jonquil, Oxford-based Hugo Manuel went back to recording as a solo artist under the name Chad Valley. Jonquil signed to Dovecote Records in the States and, around the same time, Manuel leaked a handful of dreamy, Ibiza and R&B-inspired electro-pop demos to the Web. A flock of sites (including Vice, Pitchfork, and Guardian) featured Chad Valley's "Up and Down" and "Acker Bilk" in the summer of 2010. Manuel continued to play with Jonquil, and debuted his self-titled Chad Valley EP later that year. In 2011, a second EP, Equatorial Ultravox, was released, followed a year later by his album debut Young Hunger, which featured a long list of indie A-List collaborators including Twin Shadow, Glasser, Totally Enormous Extinct Dinosaurs, and Active Child. Valley's follow-up effort, the more introspective Entirely New Blue, arrived in October 2015.

Computer Magic-Computer Magic consists of Danielle "Danz" Johnson. She is based out of New York State and was born and raised in the Catskills in upstate New York. She moved to Chinatown in New York City to attend Hunter College.

In 2010 she moved to Tampa, FL to get away from city life. There, she taught herself how to make music and put up several EP's for free online under the moniker of Computer Magic.

Danz has released 8 EP's worldwide and 4 LP's in Japan. She has written and produced numerous songs for commercials in Japan and tours there frequently. Her newest self-produced EP entitled Obscure but Visible comes out October 7th on her own label Channel 9 Records.

Currently, Danz resides in upstate New York and has a music studio in Bushwick, Brooklyn.

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Thursday 9 February
Raven Tower Pavilion 06:00 PM All Ages $18.00 ADV   $20.00 DAY OF $22.00 DAY OF BOX OFFICE
Bear's Den, Gill Landry (from Old Crow Medicine Show)
Bear's Den are Andrew Davie (guitar, vocals), Joey Haynes (guitar), and Kev Jones (drums, bass). Since forming in 2012, the London based trio have built a fervent fanbase through their live shows and a dedicated DIY aesthetic that originally saw them self-fund tours and sell hand printed CDs direct to fans at gigs.
In two short years, Andrew, Joey and Kev quietly went from pub shows to a jaw dropping headline gig at the Brixton Electric in front of 1500 people. Their appearance at Mumford & Sons' Summer Stampede saw them play in front of a 60,000 strong, sold out crowd in London's newly landscaped Queen Elizabeth Olympic Park. In the US, the band played support tours with Mumford and Sons and Daughter and festival shows on the Gentlemen Of The Road Stopover Tour in both the US and Canada.
Bear's Den released their new single, Elysium, in July on Communion Records/Caroline. An elegiac paean to the redemptive power of friendship and the song that marks the point Bear's Den began the transition from best kept secret to your new favourite band.
Single Above the Clouds of Pompeii was released in October 2014 just before the band's long awaited, stunning debut album Islands.

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Friday 10 February
White Oak Music Hall Upstairs 08:00 PM All Ages $12.00 ADV   $15.00 DAY OF $17.00 DAY OF BOX OFFICE
Futurebirds, The Artisinals
Six years ain't a hell of a lot of time, but Futurebirds have filled ‘em with a whole lot of living. Laying down their shoe-gazing country, harmonious psychedelia, and barnstorming, ragged rock both on record and in person, the Athens-based band presents a delicate balance on Hotel Parties, its third full-length record that explores the toils, joys, and struggles exposed by six years doing any one thing so intensely. Back in 2010, Thomas Johnson, Carter King, Dennis Love, Johnny Lundock, Brannen Miles, and Daniel Womack, emerged with a self-released EP that granted them entry to the kingdom of South by Southwest. That year also saw the birth of their debut LP, Hampton's Lullaby (released on Aquarium Drunkard's label Autumn Tone), which label boss Justin Gage called "covered in kudzu and swathed in a blanket of humidity, Spanish moss, feedback and reverb." Shortly thereafter, the gigs at University of Georgia house parties grew into tours across the country with Drive-By Truckers, Widespread Panic, Grace Potter, and others. The 2011 EP Via Flaminia and 2012 live record Seney- Stovall then coalesced into 2013's Baba Yaga, Futurebirds' second full- length. As Steven Hyden of Pitchfork proclaimed, "the controlled chaos of Futurebirds' live shows translates on [Baba Yaga] like never before. You feel the energy, forgive any flubbed notes, and soak in the past-midnight revelry." But Hotel Parties, arriving a full two years after Baba Yaga, presents a series of dualities. Loving something and letting it go. Pining for success versus trying to staying true to yourself. The beckoning call of the road and the comforts of home. As a result, says singer-guitartist King, the LP represents Futurebirds' "most concise effort to date all around, like some sort of accidental concept record." On album opener "Paranoia Letters," King sings, "There's a stranger growing less strange every time I go out." But it is not King who is saying these words. Rather, his girlfriend back home in Nashville is calling out to him, detailing the toll that the last six years has taken on them. Both the lyrics and harmonies swirl like mist around Futurebirds as King's lover asks, "ain't ya lagging from all that dragging of a life you've made in song?" It's this same fear, of how life on the road affects you, that Johnson addresses in title track "Hotel Parties." In this world, "cars don't pass like
ships sailing in the night," he muses, and the line between downtime and performing is so blurred as to render one permanently "on." Later, Daniel Womack confronts the struggles of loneliness and regaining his sense of purpose in "Rodeo." His graveled voice stretches over every hole he digs and every effort he takes to climb out of them, proclaiming, "I'll be damned if I ain't gonna grab the bull by the horns." While King, Johnson, and Womack share songwriting credits, the full band's collective effort makes Hotel Parties sound both weathered and evocatively fresh. Miles' bass serves as the barometer for the band's energy. Love's mastery of the pedal steel serve as both wallpaper and framed art-filling out the sound of a bridge or a slow-burning solo across any track. And Lundock (having joined the group in 2013 with the departure of founding member Payton Bradford for a legal career) leads Futurebirds with malleable drum styles, utilizing sparse, delicate touches as precisely as three-quarter- timed waltzes and head-banging thrashes for when the band climbs and crawls over each another in a race to the end of the 51 minute-long record. With Brian Paulson (Slint, Wilco, Son Volt) behind the knobs to mix Hotel Parties, Futurebirds allows a new voice into its circle of trust. According to King, Paulson "brought out a lot of different focal points and layering ideas that we hadn't necessarily heard in these songs. Brian's track record speaks very loudly for itself, and we think he did a great job getting us out of our comfort zone." That comfort zone has been born from lives lived together over the past six years-of confiding in those with whom you're closest, not the legions of friends and fans dispersed across the country for one-night tell-all's. It's not been an easy path for Futurebirds. Rather, it's been an uphill climb where every step must be taken. There's no elevator to swoop you up a level, no guidebook for these parts. Over the course of these three LPs, two EPs, and one live record, people have come and gone, yet, Futurebirds seems to stay. Some things came out as they liked and some pills have been bitter. But sometimes, six years just ain't enough time to tell.

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Saturday 11 February
White Oak Music Hall Upstairs 08:00 PM All Ages $12.00 ADV   $14.00 DAY OF $15.00 DAY OF BOX OFFICE
Dirty River Boys
The Dirty River Boys are paving their own road as they travel it. They are a testament to the idea that "if you can dream it, you can do it," moving with determination ever closer to the light. Above all is their belief in their music. It motivates them and provides exultation for each member, as well as for the audiences who have become fans by the force field the band creates in live performance. Steely intention aside, there is a magic to being in the right place with the right stuff at the right time. Home in El Paso, the Dirty River Boys yearned to make music the centerpiece of their lives. Then they played their very first Austin gig, a happy hour set at hipster haunt, Lustre Pearl. The music they presented was energetic and infectious, though stripped down acoustic. The joy was unmistakable. And a new path with exciting possibilities was being born. The band migrated to Austin shortly thereafter, where they thrive amidst the other musicians in town, and love the strong sense of community they found. "Being in Austin, with so many great bands, it makes you up your game." Travis Stearns and Nino Cooper met in the music scene in El Paso. They started gigging every once in a while, while they waited patiently for the day they could dedicate themselves to music 24/7. The Dirty River Boys trio formed 3 years ago, when Marco Gutierrez quit his job and school to join the band. "We had to go against full bands in El Paso, us with three people with acoustic instruments. It shows if you are consistent and serious about your music, you can really make it. We put our hearts out there every night. People see that." They added an upright bass player about a year and a half ago. Colton James joined for a 90 minute set at the River Road Icehouse. It was a trial by fire and a foursome was forged. The new album, Science Of Flight, was recorded at Yellow Dog Studio in South Austin, Texas. Marco, Nino, Travis and CJ put aside just five days for the process. They played everything on the album themselves, only tapping on the legendary Kim Deschamps to lay down pedal steel, and Ephraim Owens to play trumpet. Expect surprises; Wurlitzer, marching drum sounds, train whistles, a rattlesnake. The band was mindful of their ability to recreate the sounds on stage in the live environment. The Dirty River Boys are seemingly always on the road, having logged 100,000 miles in the van, though thankfully, the rattlesnake is not a traveling companion. Science of Flight has been described by The Dirty River Boys as Western, Fat, and Rock and Roll. It touches on myriad emotions with gentle harmonies that shimmer with beauty, acoustic rave-ups, and hook driven tunes. "This time, we made a record. We build it, recording the parts ourselves. This is a band record. We are really excited about it

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Sunday 12 February
White Oak Music Hall Upstairs 07:00 PM All Ages $15.00 ADV $16.50 DAY OF BOX OFFICE
Miniature Tigers, Sam Turner & the Cactus Cats
The sound is important but nothing is more important than the feeling of the sound. When Charlie Brand (vocals, guitar) was writing the newest Miniature Tigers record, he looked to the sum of his musical influences for inspiration. "I wanted to make something like Weezer's Blue Album-not exactly the album, but the feeling of listening to that album at age whatever. Something with that feeling that could connect with people." That's how the band had started, after all: When he and founding member Rick Schaier (keys) connected over Myspace in the mid-'00s through their love of the same bands. After a few albums, they brought on Algernon Quashie (guitar) and Brandon Lee (bass) to complete the band.

The resulting record, Cruel Runnings, is something halfway between nostalgia and the ecstatic now, an album that yearns for the recent past while staring open-hearted at what the present dares to bring. Songs about swimming pools remembered on sticky summer nights, lovers meeting at discotheques, streets where you used to live. Let's just try to be as much of us as possible, Brand decided during the recording process. In that, Miniature Tigers have written a record that's eminently relatable, passionate but not without a healthy sense of perspective. Recorded in Jamaica with producer Chris Zane (The Walkmen, Passion Pit) the album sounds as freeing as the process felt. "There was just a different energy there, a different energy in such a relaxing environment," he says. "Everything came very naturally." That's fitting of a record where Brand wanted to capture the way a relationship-and through that, life-really felt. "Not necessarily something that was good and got bad," he says, "but the ups and downs of it."

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Monday 13 February
White Oak Music Hall Downstairs 07:00 PM All Ages $26.00 ADV $28.00 DAY OF BOX OFFICE
AFI - The Blood Tour, Nothing, Souvenirs
Special offer! A digital download of AFI's forthcoming album, AFI (The Blood Album), is included with every ticket you order for this show. You will receive an email with instructions on how to receive your download following your ticket purchase.

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Wednesday 15 February
White Oak Music Hall Upstairs 07:00 PM All Ages $10.00 ADV   $12.00 DAY OF $13.00 DAY OF BOX OFFICE
The Lemon Twigs, Savoy Motel
Once or twice every generation, Long Island introduces the world to artists of such singular originality that they change the very nature of their art: Lou Reed; Jim Brown; Robert Mapplethorpe; Andy Kaufman. With their debut album for 4AD, ‘Do Hollywood,' The Lemon Twigs have earned themselves a spot on that list.

Fusing tightly constructed pop, sophisticated orchestration, and British invasion melodies into a ten-song masterpiece, the D'Addario brothers-Brian (19) and Michael (17)-are whipping fans and critics alike into an utter frenzy. NPR hailed them as "fabulously weird," Brooklyn Vegan raved that "they need to be seen to be believed," and The Line Of Best Fit dubbed their music "near perfect…the best lo-fi rock & roll anthem you'll hear this decade." The Guardian, meanwhile, crowned the album "a triumph of detailed richness and sumptuous melody."

Born into a musical family, Brian and Michael grew up on The Beach Boys and The Beatles, whose albums and films played constantly in their house. As toddlers, they were already harmonizing on "I Want to Hold Your Hand," and soon they were playing drums and mastering whatever instruments they could get their hands on. Ask about their childhood dreams and they'll tell you that they never aspired to do anything but make music together. It shows.

"Brian and Michael are two of the best musicians I've ever met," says Foxygen's Jonathan Rado, who discovered the duo via Twitter and produced the new album. "As teenagers, they work like studio vets. Brian can play anything you hand him -¬ he played all the strings and horns on the record - and Michael is the most captivating drummer I've ever seen. There's nothing they can't do."

Rado proved to be the perfect foil for the wunderkinds, and the resulting album brings together everything from Brian Wilson and David Bowie to Queen and The Association. Their music can soar like a carnival calliope and then swiftly drop down to its knees in the hushed tones of a confessional booth. Their vocals move seamlessly from a cabaret croon to classic la-la-la harmonies. They mine inspiration seemingly from every era of rock, stitching it all together into a baroque-pop quilt of many colors.

It's an ambitious approach, to say the least, but the album lives up to the hype. ‘Do Hollywood' opens, appropriately enough, with "I Wanna Prove To You," which parades out of the gate like a circus arriving into to town. "I wanna prove to you what I can do," Brian sings as he and his brother proceed to do just that. Bouncing piano and dense harmonies give way to shifting time signatures and mind-bending arrangements. It's the perfect introduction to The Lemon Twigs, and to ‘Do Hollywood,' which features the brothers alternating writing credits on each track and liberally swapping instruments, just as they do in their electrifying live performances (they tour with live members Megan Zeankowski on bass and Danny Ayala on keyboards).

Lead single "These Words" builds from a delicate whisper to a rock and roll roar, while "How Lucky Am I?" tugs at the heartstrings, and "As Long As We're Together" calls to mind the memorable melodies of Big Star and T-Rex. Perhaps no song demonstrates their brotherly democracy better than "Hi+Lo," the track unfolding in movements like something off of Abbey Road's Side B medley with Michael singing and playing guitar, drums, and bass, and Brian adding horns and strings to flesh out the orchestral atmosphere.

"We were crafting these songs pretty intricately," Brian says. "There's a lot of care in the arrangements. They're built to get at people who like nice pop songs. But they're not empty. We put a lot of ourselves into it and the album has a lot of substance."

It was that substance that caught the attention of the iconic 4AD label and has already earned the band dates with other critical darlings like Foxygen and Car Seat Headrest. With high profile tours and their label debut on the horizon, it's only a matter of time until the rest of the world discovers Long Island's next great cultural contribution. Get ready to ‘Do Hollywood.' It's time to meet The Lemon Twigs.

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Wednesday 15 February
White Oak Music Hall Downstairs 07:00 PM All Ages $16.00 ADV   $18.00 DAY OF $20.00 DAY OF BOX OFFICE
Joyce Manor & AJJ, Mannequin Pussy
Cody isn't an album that changed everything for Joyce Manor, but Joyce Manor had to change a bit to make their album Cody. Their last album Never Hungover Again - their debut for Epitaph after two previous full-lengths for other labels - was recorded in just ten days, at that point the longest they'd ever been able to spend on an album. For Cody, however, they'd camp out in the studio for two months with producer Rob Schnapf, credited on classics by Elliot Smith, Guided By Voices, Saves The Day and Rancid, all in the Joyce Manor record collections, of course. With Schnapf's help, they'd explore deeper arrangements, new pre-production techniques, and different ways of working both together and with someone else, says guitarist and singer Barry Johnson: "It was the first time we really used the studio to our advantage. I felt like I could get a better grasp on what we could do. We always recorded like a punk band-go in and lay ‘em down! Just get good takes! And this time we tried a lot more."



So think of Cody as the moment where a pop-punk band pushes past just simple pop and punk-when the first album something-to-prove anxieties are long since conquered and it's time for something true as well as something new. If Never Hungover Again was the sound of the last long weekend of summer, that precipice-moment plunge into the uncertain future, then Cody is an album for a new year's day: a mile-marker, a just-past-halfway point in winter, a moment for clarity and experience and purpose to all be renewed. ("I find that as I get older it's easy to hold things from your youth close to your heart," says Johnson. "Revisiting bands you were into ten years ago can seem exciting, but it's creative suicide. It's very important to find new things to be inspired by.")



Between albums, says Johnson, he'd taught himself the meditation techniques championed by the Beatles and director David Lynch, and he found he was suddenly wide open. Before, songs were labor; now they were revelations, appearing almost fully formed in his head before he had time to even catch them on a voicemail to himself. ("I couldn't believe how well it worked," he says. "I'd be driving and I'd suddenly have an entire song in my head.") They'd also added new drummer Jeff Enzor (of Torrance's Merry Christmas) to the band alongside bassist Matt Ebert and guitarist Chase Knobbe. With Schnapf's able help as a de facto fifth member of the band, Joyce Manor found itself bristling with inspiration. Now more than ever, says Johnson, he felt he could trust himself and his bandmates to take the risks to make the music they wanted to make. The result is a record that dares to be humble, intimate and unapologetically human: "There was something about the way I was writing on Never Hungover that was kind of mean?" says Johnson. "A little bitter? Cody is way more tender. A lot more love songs. Softer, sweeter-even sonically."



Of course, it also kicks off with very likely the first Kanye West dis Epitaph Records has ever released, on the Morrissey-meets-Teenage Fanclub social-interaction-gone-wrong song "Fake ID." ("Is it a dis?" asks Johnson. "It's more talking about those insanely idiotic conversations everyone has about Kanye that you wish you weren't a part of-I wish both of us in that conversation would shut up.") But then Cody opens up into songs that play like scenes from a movie, or chapters from an autobiography even if they aren't from Johnson's own autobiography. That sweetness and softness comes in ten stories about people alone in their heads if not alone in their lives, about feeling left out or left behind ("Reversing Machine") or left alone even when you're surrounded by people, like the flash-snapshot of a night outside a Portland bar on "Last You Heard Of Me," and finishing with secret ode to invincible suburban iconoclasm "This Song Is A Mess."



If there's a defining line on the album, says Johnson, it comes at the end of the raw but real internal monologue of "Eighteen," where he sings, "I feel so old today." ("That's especially funny for a guy in a pop-punk band," he laughs. "It's almost too real.") But this isn't an album about how one becomes jaded with age. Instead, it's an album about seeing things as they are as much as how they could be, and about finding what matters in the matter-of-fact. On Cody, Joyce Manor's punk predecessors (Toys That Kill, Dillinger Four) and indie inspirations (like newfound obsession Sun Kil Moon, which Johnson loves more for the humor than the despair) connect in a way that matches energy to unsparing honesty, making loud sing-along songs for quiet people. "How come nothing amazes me?" sings Johnson on "Angel In The Snow," and yes, that could be a line about being burned out-but it could also be about recognizing how beautiful little things can be, and about how with the right spark, nothing can become something after all.

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Thursday 16 February
White Oak Music Hall Upstairs 07:00 PM All Ages $15.00 ADV $17.00 DAY OF BOX OFFICE
Eisley, Civilian, Backwards Dancer
Tyler, TX-based indie pop outfit Eisley has announced 'I'm Only Dreaming,' the band's fifth full-length, which was produced by Will Yip (Circa Survive, Balance & Composure, Lauryn Hill) and will be released on February 17, 2017, via Equal Vision Records.

'I'm Only Dreaming' stays true to form of the band's signature dreamy sound, with vocalist/guitarist Sherri DuPree-Bemis elaborating, "Musically, you could say it's classic Eisley, in the sense that it's melodic, moody pop and is written from the heart. Lyrically, it's very whimsical; it has a vibe that will take you into its own world and let you escape your normal life for a few minutes. I like to cloak things in a little mystery and romance; I think it's part of what makes all of Eisley's songs sound like they're from the same world. Every record is like opening and reading a book in a series."

DuPree-Bemis opened up about "You Are Mine" revealing, "This song is about loving someone deeply and the beauty and challenges that come with being in a long term, committed relationship. You're going to argue, you're going to rub each other wrong and disagree and drive each other absolutely crazy sometimes but at the end of the day you just want to be together. ('You're my everything, my sun and moon, you make me swoon; Wake me up, talk too much, piss me off, but you are mine')."

Eisley's upcoming tour lineup will include: Sherri DuPree-Bemis (vocals, guitars), Garron DuPree (bass), Remington DuPree (drums), Elle Puckett (lead guitars, vocals) and Jedidiah Lachmann (keys).
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