Friday, October 28, 2011
Halfway through You Scream I Scream’s show last night at BAR in New Haven, opening for White Arrows, the light sabers came out. Yep, instead of glow sticks, the Hartford based band had people brandishing light sabers and getting into mock fights with each other. It was all part of the fun, party vibe the band exudes.
Led by Floyd Kellogg on bass and vocals, the band laid down a danceable and slightly fuzzed out sound, which was equally influenced by grungy, quiet loud dynamics (especially from the rumblings of Kellogg’s bass), the simple yet effective robotic rock drum beats of Audrey Sterk and the psychedelic tinged keys of Jake Vohs. They delivered an inspired set of indie rock that had all the hipsters dancing, with or without light sabers.
If I were to describe them I would say they sound mostly like a guitar-less grunge band, in that many of the songs are short, snappy and concise, where they start out slow and build to an anthemic chorus. There is a new wave influence too, in the almost simple, but sublime Kraut rock-like drum beats that feature a lot of cymbal rides from Sterk. It’s uncomplicated and catchy, which is quite a refreshing take from a form a music that is getting more baroque, complicated and pretentious every day. (Do we really need any more hipstercana bands?)
So, it was a fun night of unpretentious indie rock. You should definitely check them out.
Thursday, October 27, 2011
Michael Beach is a San Francisco-based musician who writes, records, and performs under his own name, and as a member of Melbourne-based trio Electric Jellyfish. Since 2008, he has put out records on the Thurston Moore/Byron Coley colab label, Ecstatic Yod, and others such as Twin Lakes and Spectacular Commodity.
‘Mountains + Valleys,’ Beach’s latest solo release, comes on the eve of a second US tour for 2011, a year that also saw him tour Europe and Australia in support of his previous single, ‘A Horse.’ This time around, Beach assembled an all-star cast of West Coast musicians, including drummer Utrillo Kushner (Comets On Fire) and Raymond Raposa (Castanets) on guitar and vocals. Recorded by Trans Am’s Phil Manley, Mountains + Valleys will be released as a limited edition cassette to accompany Beach’s Autumn US Tour. Officially out on November 8th, you can grab one early at this show.
Michael Beach - Straight Spines by CTINDIE
Dwight Smith writes introspective songs that call to mind a stripped-down Sufjan Stevens and Jeff Magnum. His debut single "Plumed Serpent" will be out on Twin Lakes in November (TBD).
Jay Russell of Diamond J and the Rough and Hot Rod Circuit is a local treasure in the New Haven music scene. He says he just likes to play music. Pretty understated, given the depth of his music.
FINAL FRIDAY is NEBC's monthly tribute to its patrons and local artists. Each month, NEBC has a local musician perform and invites one and all (over 21 years of age, of course) to come by and share the proverbial fruits of their labor.
$5 gets you a few glasses of NEBC beer as well as an opportunity to hear local music and rub elbows with other fellow beer enthusiasts. Both the beers served and the bands change each month, so keep stopping by for a glimpse at what the general New Haven area and NEBC has to offer!
This month's performer:
Local act M.T. BEARINGTON has been performing since 2007. Having released the 'A Cloak of Nouns & Loss' and 'Love Buttons' LPs on local label Safety Meeting Records, M.T. Bearington offers "an upbeat collection of sonic musings on various forms of love - from the traditional to the twisted."
For a look at what M.T. BEARINGTON is all about, check out the title track off their newest release ('Love Buttons') at http://www.mtbearington.com/
Ferocious Fucking Teeth,
Wrists Like This,
Friday, Oct 28th
at the El n Gee
86 Golden St, New London, CT
Ferocious Fucking Teeth
Heavy Stoney Jams from the New London area! New LP coming this Winter from Safety Meeting. Come check these guys out and get psyched up to grab the record. Bring something put in your ears cause it's gonna get loud.
Three piece rock n roll. Heavy, sweaty, a lot of fun from start to finish. Murder Van doesn't fuck around and you should know this before getting in front of them.
Wrist Like This
These guys are in Fatal Film. I love Fatal Film. Even though I don't know much about this new project, I got a good feeling that this is going to be awesome. Also, people who've seen them have raved about them. So leave your socks at home, unless you don't mind having them blown off.
Keith used to be in Shiv. Shiv was incredible. Keith is still pretty awesome. The other guys are pretty cool too. This is his newest project. Loud, aggressive, rock n roll for your earhole.
Tuesday, October 25, 2011
My reputation as a cynical curmudgeon notwithstanding, I take no pleasure in breaking the spirits of aspiring children. So, imagine my concern when I received an email from the fine folks at CTIndie, requesting I review the musical styling of Weston’s own Chillingsworth, a cadre of five teens not yet old enough to drive. Admittedly, I found myself less than enthusiastic to accept this particular review. What if this band – this Chillingsworth – was simply terribad? Could I publicly criticize a cadre of aspiring kids? If I wound up discouraging them completely, could I deal with it?
I can be cruel, but a man has to draw that line in the sand somewhere.
Luckily, the problem solved itself. I listened to Chillingsworth’s four –track EP “Sir Roger”, and, as it turns out, these youngsters from Fairfield County are surprisingly good. So, I’m making an exception here. Today, Rob beats up on kids.
Perhaps it is because I first listened “Sir Roger” knowing full well it was recorded by musicians too young to collect a paycheck in the State of Connecticut, but what was immediately most noticeable to me was the superb sound quality of the recording. The guitars jangle, the vibes glisten, and the drums are full and free of distortion. I can only conclude these kids have access to a professional studio of some kind, and, let’s be honest here, when it comes to reviewing indie music, an album that does not sound like it was recorded with a tin can and a length of string makes the job that much easier.
Still, we all know professional sound does not mean professional music. A noise gate or a compressor won’t fix bad songwriting. In Chillingsworth’s case, whatever newfangled technology they have at their disposal is entirely deserved. Despite their age, they have a keen grasp of songwriting which eludes even older, more established acts. From the opening metallic jangle of “Cloud” to the frenetic, Latin-esque finale of “Stay Fly”, these songs toe the line between the amateur and the professional.
Still, Chillingsworth is a band of youngsters, and like youngsters, they’ve made a few youngster mistakes. Most noticeable amongst said errors are the occasional moments when the band falls out of tempo. This is hardly a deal breaker, however, as the drift is rarely extreme.
Also to the band’s detriment is a noticeable lack of sonic continuity. Chillingsworth draws heavily from indie pop and funk, but rather than fusing the two genres into a cohesive sound, the band recorded what amounts to two indie tracks (“Cloud”, “Settle”), and two funkier tracks (“R.A.C” , “Stay Fly”). A more uniform sound – in either direction – would have made a more cohesive EP, but again, the songs are good on their own merits.
Paramount amongst Chillingsworth’s freshman stumbling, however, is their handling of vocal duties. Despite a dearth of vocal hooks, the lyrics are well composed. The problem is, they are not always well performed. More often than not, the lead vocals are off-key, sometimes, severely so. With an otherwise near-flawless effort, the amateurish singing is somewhat more pronounced. The band would do well to consider vocal training, perhaps taking on a trained vocalist, or at the very least compose vocal melodies more appropriate their skill-level.
Overall, however, Chillingsworth’s “Sir Roger” is still very much worth a listen to anyone who favors pop over experimentation. They can write, they can record, and they can perform. With a few years more experience, and a little practice, these kids are going to go places.
Keep an eye out, Connecticut.
Monday, October 24, 2011
Come to Freight Street Gallery on Monday (HALLOWEEN) for a fun night of folk music, courtesy of The Loom, The Grim Generation, and Lys Guillorn!
According to the Freight Street Gallery folks:
"Two great reasons to go out on a Monday night.
2. A great band from Brooklyn is stoping by our fair city to play some amazing tunes.
"Teeth: the part of you that outlast you longest once you’re gone. That hold a record of what you’ve done with your time, tribute or rebuke. In comparison to their longevity, time for the rest of you is short. So, then – what to do with that time?
For the members of Brooklyn five-piece The Loom, the answer to this question – the reason that they choose to play music together in the first place – is the simple search for joy. It’s a concern that both far outdates, and is reflected in, the searching folk, intricate percussion, and psych-influenced dissonance and atmospherics that they love and wind into their music. But Teeth, their debut, is not all joyful. Like the music that inspires them, it focuses more closely on the myriad hurdles that ensnare us along the way."
The Grim Generation
" Lyrics are worth paying attention to, as in the closer “End of the World” when Champagne sings, “Remember the day your brother was killed, we were up in your bedroom with a shoebox full, your mom sat downstairs reading magazines and her TV Guide.” That got my attention instantly."
– New Haven Advocate
and the little cowgirl herself, Lys Guillorn
"I was quickly drawn into the world of this talented singer-songwriter-musician, all three of which she excels at. Rather than try to define her, or stamp a genre on her, I will instead say…find her!" – The Village Voice
$7 Suggested Donation
All Ages/BYOB for 21+"
True Believers All by TheLoom
Saturday, October 22, 2011
Since their formation in 1992, Japan’s Melt Banana have been blowing the minds of audiences worldwide with their hyper speed take on noise rock, which incorporates elements of punk, metal, J-pop, electronica and even hip-hop. It’s a bug eyed crazy sound, one that is full of energy and sends their fans into fits of joy whenever they play out.
Though not for everybody, the people who love them, love them intensely and it has lead the band to collaborate with such artists as Merzbow, John Zorn, Discordance Axis and Mike Patton. They have even opened for prog metal heavyweights Tool in the United States.
It’s been a long strange trip for the band, one that has seen them grow a sizable fan base among connoisseurs of way out aggressive music in both the United States and Europe. In fact, they end up touring these parts of the world more than their native Japan. One big reason could be the reaction they get from the audiences here and in Europe.
“When we started, we met K.K.Null from Zeni Geva. He gave us a chance to record our first album with Steve Albini in Chicago as well as play shows in Chicago and San Francisco. Our first show in the United States was in Chicago and we liked it a lot. It was totally different from shows we had done in Japan during that period. The audience was loud and told us what they thought about our music and our show. These days the Japanese audience is changing and I think they are getting similar to people in the United States. But it is still fun to play in different countries. So the reason to tour the United States, the UK, or Europe a lot is that we like it and fortunately we have very good people to help us to play shows in those countries,” said guitarist Ichirou Agata, who along with vocalist Yasuko Onuki and bassist Rika Hamamoto form the nucleus of the band. “As far as the fan base goes, we are not sure. The number of people who show up to our concerts, in the US or UK are bigger than the ones who show up in Japan. But we play more than 15 shows in Tokyo every year, so if we only play once every 2 years in Tokyo, then there might be more people showing up to our Tokyo shows,” he added.
As mentioned before, their music is a mish-mash of styles, one that is played with lightning speed and manic energy. Though earlier records have more of a lo-fi sound (recorded with Steve Albini) the newer ones have a clearer, cleaner production. But this doesn’t mean that the music is any less vicious. You can definitely say that the band doesn’t sound like anyone else out there and they wouldn’t want to have it any other way. In fact, that was their intention all along.
“When we started the band, actually we were not really good at playing instruments or singing. We were beginners. But we knew very well about the sound we liked. For example we liked feedback a lot more than just playing the "E" note or "G" note. We liked strange drums rather than normal rock or hip hop drums. So we were very bad at playing normal music, but we practiced a lot, playing our own thing. We wanted to control an obscure, noise sound. So we practiced again and again to play that same obscure, noise sound. It's like when you practice to sneeze again and again to make exactly the same sound every time you sneeze. While playing these sounds, we met many good bands at our shows and on tour and got influenced by them on how to use the "E" note or "G" note, or normal rock or hip hop drums. It's like when you practice saying words the same way every time you speak,” said Agata.
But for them, it’s just not about recording the music. It’s about getting out there and throwing down for their fans. People tend to go batshit crazy during their sets, and they would not have it any other way. But instead of being violent and destructive it’s a way for the band and audience to connect with each other. They form an unbreakable bond with their audience.
“The best thing about playing live is that I can share Melt Banana music with the audience. We are enjoying the music together. We can express and convey our music not only to people’s ears but also their eyes and all of their senses. Also it is nice to see people's faces from the stage. If they look like they are having fun during the show, I become happy too,” said Onuki.
With each tour, usually means they bring out a new drummer. For this current United States trek they have turned to old friend who will be returning to the throne after a little hiatus from the music business.
“Our live drummer for this tour is Takiya Terada. Actually he was with us when we toured with the Fantomas in 2004 and when we went to Europe with us in 2005. After that, he stopped playing music for private reasons, so I won’t talk those here. But, he started playing drums again, so we asked him if he can play with us again. He is a very good person and practices so hard. And since we had already played with him many times and knew about his skills, it was natural decision to ask him to can play music with us again,” said Agata.
Playing music has to be a release for them, because Japan has been a country plagued by a whole bunch of disasters over the past year. The country is hurting and according to Onuki it’s been rough on the people who live there.
“We are still in bad condition; disaster areas are still on the long way to recover, and also nuclear plant problems have been not solved yet and we are even having a hard time living in Tokyo. It is hard to see the truth too, unfortunately. But we need to go forward and solve all problems clearly. I really hope this happens,” said Onuki.
But if there is one thing that lifted the spirits of the Japanese, it was their women’s soccer team winning the World Cup this past summer. The band was in Finland to play a festival, but once they found out, they were quite proud of their fellow countrywomen.
“When I knew about their victory, I thought it was great. It seems like people in Japan got excited and they talked about the team members a lot in the media. But I did not know that there was a professional football league in Japan, so it was big news to me. But I think it is good that their winning brought a good mood to Japan,” said Agata.
After they finish their current North American tour the band is going to head into the studio to record another album for release on the band’s own A-Zap label in the spring or summer, as well doing a whole bunch singles too. They also plan to some things with Melt Banana lite, too.
“There are many things that we want to do!” said Onuki.
So, it looks like the band will be keeping busy, spreading manic, crazy, happy music to all that will be willing to hear it. This is an excellent time to catch the band at the Space. Last time the show sold out and I heard they had to remove all the furniture to make way for the crowd and their “dancing”. Once again, this is another can’t miss show. See you there.
Manic Productions Presents:
Fugue (Last Show)
Friday, October 28
295 Treadwell Street
$14 ($12 advance) – All Ages and 21+ to drink at the Outer Space – 7pm
BUY TICKETS NOW or pick them up at Redscroll.
Friday, October 21, 2011
We (and by “we” I mean “me”), here at CT Indie, love Nightbitch, especially the way they are bringing traditional heavy metal back to Connecticut’s musical landscape. They play it the old way, and should be a must see for any one who likes their metal classic and catchy. When we found out they were playing a strip bar around Halloween, we thought it was the perfect time to sit one of them down and get the scoop on what’s going on in their twisted little world. So we put a few questions to drummer/vocalist Chris Taylor Beaudette, who in addition to Nightbitch plays in a wide variety of bands, and these are the answers we were given.
Warning: If you are easily offended or false, please don’t read this.
So, why decide to play a nudie bar again, especially around Halloween?
The better question Tom, is in fact, “why not?”
Do you think the atmosphere in this type of establishment is the perfect atmosphere for Nightbitch’s music?
We love boobs and naked ladies. And we also love the whole sleazy feel of a strip club. The dark atmosphere, moody lights and the aura of sexuality that is literally writhing about in front of you, it’s all very rock and roll, very metal. It makes some people uncomfortable, like they’re doing something wrong, and that’s what we try to do with our tunes but at the same time, obviously having fun with and embracing it. Sleaze, gritty metal, booze and naked girls are Americana, and we’re an American band.
You played there before. I’m assuming it went well, because here you are, back again. Did it go as well as you expected? Any good stories to tell about that first gig there? Did the strippers, I mean “adult entertainers,” get into the music and bump n grind to such ‘Bitch staples as “Ritual Of Self” and “Sex & Magic”? (I know “Disrober” wasn’t part of your repertoire back then, but I’m sure you’ll play it now! It’s tailored made for this.)
The band has a great friend who works at this fantastic club Ruby 2’s in Bridgeport and with some convincing from the owner we were able to get in there and do our thing. They have a secondary room there they mostly use for parties, with a stage, all mirrored, with 2 poles on it and the girls don’t usually work in there since there’s no dudes. They don’t really have bands in there and we really weren’t sure how it was gonna turn out. It went amazing. We had a big screen TV playing satanic porn the whole show, great crowd and the girls were really receptive (we did some backbreaking pre-show screenings with some of the ladies at the club before hand, strictly business, I assure you). They came up on stage and danced for both sets. I had a hard time playing drums as I set my kit up between the poles, and was often pleasantly distracted by their totally pro pole work. One girl even came up and did this trick with lit matches in her… Well, it was decadent.
Or do you have any stories that won’t get you into trouble with your respective wives, girlfriends and the moral majority of this state?
One of the cool parts was that there was NO photography allowed (club) rule that ended up making it like a stag party. Kinda “hush hush.” Made for a better story too when somebody asked, “how’d it go, sorry I couldn’t make it. It was great to say, “You’ll never know how awesome it was cuz you weren’t there, pal”. And anything that might get anyone into trouble was more likely to have come from the bands significant others than any of us. Hahahhaa. We like ‘em wild.
The band also went into the studio recently to cut a new 7” (“Chainmaker”, right). How did that go? When can we expect to see it? And on what label?
Yup, the “Chainmaker” 7” was recorded just a few weeks ago, at Sonic Environments in Bloomfield, CT. Jeff Weed was at the helm, the same gentleman and studio who recorded the last Ipsissimus record for Metal Blade. He’s a phenomenal dude and we had a blast. It went really well, quite different than the first which was more a slow process. I actually recorded and mixed the Sex and Magic EP myself and it was extremely labor intensive as I’m no professional just a guy who knows a bit and has had a bunch of experience at the helm of a recorder for over 10 years. We did the music first, but at different times with the same mic configuration set up and Phil recorded vocals on his own and I added his parts. I then spent many hours mixing the songs, so it was a bit of a solitary thing for all of us. Also, I was just on the kit for the last record. When NB and Phil Swanson parted ways, we came to a crossroads and had to make the decision to bring in new blood or handle it ourselves. Before I started anything, I was a singer so I asked the guys if I could give it a shot when Phil suggested it to me and said I had his blessing. He said he thought a singer/drummer is badass. Especially for a man of my stature those are BIG shoes to fill but range wise, Phil and I are quite similar so I knew I could sing the tunes, I just had to wait and see if the boys dug it, haha. I’m happy to say they do and so I now have a different job on this one. We recorded live and used one guitar track giving this more much more of a vintage sound. it’s a little more retro, and my voice tends to be a bit more arrogant and saucy than Phil’s, sort of a poor mans Danzig meets a poor man’s Glenn Hughes but a Glenn Hughes who smokes tons of cigarettes. But we’re real happy with what we captured. It’s obviously a little different than S&M, but it without a doubt retains the Nightbitch balance of evil, sleaze and melody. We’re in talks with a few labels now, but its going to be released in the next few months for sure. It’s in the mixing stages so it’ll be a hot minute before it hit’s the streets, but I’m guessing a January release.
You also recently played bass with Kingdom Of Sorrow on three dates of this summer’s Mayhem Festival. How did that come about? And how did it go? But more importantly how did you get Kirk Windstein to wear one of your shirts at the hometown Hartford gig?
One of my oldest friends and band mates, a kid I grew up with, Charlie Bellmore plays for KoS and I just got the call. I actually got confirmation at a Nightbitch gig after we played so I partied extra hard that night. Chuck writes a lot with Jaime (Jasta) and his brother, another of my oldest friends Nicky Bellmore who plays drums for Toxic Holocaust and owns a killer studio called Dexter’s Lab in Milford. They did the most recent KoS record there and were going out on the road for Mayhem. A few different bass players were doing the gig, problem was the first bassist Bubble from Devildriver, threw out his back and couldn’t do the last 3 gigs before his replacement came in. That left them with no bassist. Chuck trusted in me knowing I could handle the tunes and do it quickly with no actual practice so he suggested me and they agreed. I did the Comcast Center in Mansfield Mass, Day 1 of “Heavy MTL” in Montréal and The Meadows (I’m not calling it anything else) in Hartford. It was an amazing experience and the first time I’ve done something that big and commercial. Montreal was the best, amazing food, gorgeous women, and a absolutely amazing Island park that it was held on. Really felt like a Euro-fest. Met a ton of great people, and got to see a few great performances by Megadeth, In Flames, Cryptopsy, Machine Head and Red Fang. Now Kirk, Kirk is amazing… I had more in common musically with him than anybody on the bus, probably because I shoulda been born the year he was. Chuck played him NB before I got on the bus so he knew what I did, and he was into it. We got along real well and I gave him a shirt and he rocked it in Montreal and Hartford. I still don’t know if he wore it so much because he liked it, or because clean laundry is hard to come by on tour. Either way I couldn’t wipe the smile off my face.
How many other bands are you in besides Nightbitch? I’m counting at least 500, but I could be wrong. Here’s a chance to set the record straight.
Oh Christ, this is already wordy so I’ll try and be to the point….
Treebeard- I’m the singer and bassist. Stoner metal with clean vox and mystical themes. It’s a lot of fun and with dudes I went to high school with who came from the ashes of another band Covin, which played out for years. Charlie Bellmore plays live 2nd guitar for us. Soon to release a 7 song mini-LP.
The Black Noise Scam- drums. Punk rock/crossover band I joined a couple years ago. Really fast Black Flag style tunes, with a killer guitar player, Warren Brelsford of The Vultures and Old Man Lady Luck. He’s a monster. All the guys are great friends, it keeps my chops up and is a blast to play.
Kings and Liars- Live bass. Charlie Bellmore’s rock project that I help him out on, with bass and backing vocals. Really great stuff, a mix of modern rock with some serious riffage. Just enough to make it true but not too much to scare off a lighter crowd. Soon to be releasing the 8 song record Charlie just finished.
And finally my oldest band, Garbage Barge, which I’ve been in with Reverend George since 1998. Primus, Gwar and SOD thrown into a blender. Offensive and caustic. Also featuring Charlie Bellmore, and Al Chavez from Ipsissimus… a tangled mess of inbred bastardized sons of metal. Too lazy to push forward and too stubborn to quit we have been releasing, recording and playing for 13 years cuz it still makes US laugh and I’m sure the band will outlive me.
What are the future plans for the band?
Well after this 7” we’re trying to finish up 2 more tunes and we have enough for a LP. We want to get these tunes tight and that’s a lot of practices from a band that can’t seem to actually practice at practice for more than an hour or so at a time. We need breaks to drink beer, smoke cigarettes, watch terrible films from the 70’s and listen to Judas Priest. Once we get that recorded we plan for an indie release and another trip back over to Ireland and Europe and visit some buddies we made at Dublin Doom Day 2. We would like to get out there after promoting the record at home for a bit. Got a few mini-tours in the works for 2012, and we’ll be rocking selected shows November-March but we’ll really be hibernating through the winter. Besides, after the show at Ruby’s we’re going to need a few months to recover…
Ruby’s 2 Halloween Bash Featuring:
Saturday, October 29
2362 Fairfield Avenue
10 pm - $10 (free admission with costume) – 21+ - BYOB
Thursday, October 20, 2011
Go represent Indie Rock on the Apocalypse. Show 'em what life is really all about!
Friday Oct 21st @9PM
Tyburn Saints don't sound anything like saints, that's for sure. They actually sound quite like the opposite: maudit artists. Johnny Gimenez's deep, tenebrous tenor knows how to scream at us ("oh Sable"), but also how to lure us with vicious whispers or charming dark ballads ("Bells"). This is well executed dark rock that will find fans among those who revere Mr. Nick Cave's musical output.
-NYC Artists on the Rise, The Deli Magazine
Ghost of Chance are an experimental rock band based in New Haven, Connecticut. The group’s distinctive style is characterized by subtle time signature changes and sonically open experimentation set to surrealist lyrics. Ghost of Chance’s sound takes its influence from 1960s
psychedelica, math rock and post punk while maintaining the shimmer of classic pop sensibilities.
The Invisible Hand
touring about, come support!
Check out the Facebook Event: https://www.facebook.com/event.php?eid=221076487955896
You don't send for me, I send for you by Tyburns Saints
Heavy Breath (CT Easy Listening, Get Young Records)
Living Laser (Poughkeepsie, NY, ex-Robots and Empire. awesome)
Cold Snap (CT Damaging Lyrical Launchers, Get Young Records) (split 7" release show!)
Brass Caskets (CT, members of Cold Snap, Phantoms) (split 7" release show!)
Misfits Cover Set
(featuring members of Stomped on Sight + Submission)
Night Owls (CT, ex-Don't Say I Won't)
debut EP coming soon! http://nightowlsct.tumblr.
Last year I booked a very successful Halloween show at the Branford VFW (so successful that the venue was shut down shortly after) and am looking forward to hopefully spreading the same kind of Halloween cheer this year. There's a lot to like about this gig; it's Living Laser's first show in Connecticut, there's an exclusive Misfits set from various members of Stomped on Sight and Submission, and we're celebrating the release of the great Brass Caskets/Cold Snap 7" on Redscroll Records (http://redscrollrecords.blogspot.com/2011/09/brass-caskets-cold-snap-7-out-now.html). And to round out the lineup we have Heavy Breath (who recently released their debut 12" on Get Young Records) and Night Owls (who should have a new EP ready in the next couple of weeks).
Facebook Event Page
Doors @ 6:30, show @ 7
$8 at the door, $6 in costume
This hall has been home to numerous shows over the past four months and attendance has been great. The only thing we ask is that people don't drink in the hall or parking lot, this is by request of the veterans who run the Legion. There is a bar inside the building that sells cheap beer and has darts and billiards if those happen to be your thing. Let's not lose another hall to mindless drinking.
Tuesday, October 18, 2011
Saturday, October 15, 2011
The Besnard Lakes, Malajube (presented by Manic Productions), The Wadsworth Atheneum, Hartford, CT - Sat., 8 Oct 2011
Hartford's The Wadsworth Antheneum had the pleasure to host some of the best current French-Canadian Indie rock bands in Montreal's Malajube and The Besnard Lakes last weekend. Before launching into a discussion of this excellent show hosted by New Haven based Indie promoting staple Manic Productions, allow me to discuss the venue, which, I think, is as good as any that I've been to in CT (at the very least). The Wadsworth's downstairs theater is a ~300 soft-seater with a full stage and incredible sound system. The walls of the theater were adorned with murals of soldiers and horses (which really fit quite nicely with The Besnard Lakes' "...Are The Dark Horses" 2007 album vibe). Outside of the theater, there were small circular tables with ~5 seats/table, a small bar (where I had my first Hooker Octoberfest of the season), a large merchandise stand and large realist paintings with a distinctive French Revolutionary War feel. It's really quite the rare jewel in a mostly barren city for live Indie music (I lived in Hartford for 8 years, so I am speaking from experience not prejudice).
Although the show was originally slated for three bands including the local outfit Smoke Signals, the Facebook invite was changed several days before to just feature two bands. My fiancé and I arrived in media res to find Malajube already in the middle of their set. I knew nothing about the band going into the performance, but I was initially struck by the high pitched vocals and mostly incomprehensible lyrics. I took me a few songs to realize that they were singing in French! The band had an excellent stage presence, and their songs adhered closely to what I've come to identify as a Canadian Indie sound in the vein of Arts and Crafts bands like Broken Social Scene and Stars but with a more post-punk influence than those aforementioned bands. Overall, I thought that their set was up-and-down, but there were definitely a few stand-out tracks. Subsequent research revealed that Malajube is on Dare to Care (Canada) with U.S. distribution by MB3. After being nominated for two Polaris Awards (a Canadian music award for original artistic achievement with a price tag attached), they are touring the U.S. with The Besnard Lakes in support of 2011’s “La Caverne,” which is their 4th full length. Check out some of the live footage that I captured below:
Between sets, several friends were interviewed by a Montreal-based video news crew on tour with the bands. The questions seemed focused on the American perception of the many great Montreal-based Indie bands that have hit the airwaves since the late 90s, e.g. godspeed you! black emperor, The Dears and Arcade Fire. After this brief intermission, The Besnard Lakes hit the stage. The most notable feature was the guitar rack with 5+ guitars and lead singer’s Jace Lasek’s distinctive attire replete with aviator-style transitions and floral pattern button down shirt (a staple of their live performances). Before going on, I just wanted to give a disclaimer that I enjoy most of the bands on the psych rock-heavy Indiana-based label Jagjaguwar, and The Besnard Lakes are no exception. I first heard their sophomore 2007 release “…Are the Dark Horses” and immediately enjoyed their admixture of psych, prog and bombastic stadium rock, which they pull off seamlessly. I was then expecting to be disappointed with their 2010 release “…Are The Roaring Night,” and was pleasantly wrong. Both albums capture a certain flair and bravado that is totally lost in contemporary Indie, i.e. the desire to be rock stars, and they do it in a way that is not at all cloying or cheesy. Some of the closest comparators in this respect are not American or Canadian but 90s British rock bands like (The) Verve and Oasis, who unfortunately were sometimes (or often in the case of Oasis) cloying or cheesy in their path to rockdom.
The Besnards immediately launched into their ~60 minute set with a few choice tracks from “…Are The Roaring Night,” and those in attendance familiar with their sound immediately rose from their soft seats in support to gawk and dance. The climaxes were punctuated by an impressive light show that varied between straight white, straight red, strobe and admixtures of swirling red-and-white (see the videos below). After clipping through many tracks off of the aforementioned album, they returned to some hits off “…Are the Dark Horse,” which the crowd was eager to receive. Before playing “Disaster,” Jace called out to someone expected to be in attendance to clap, and, when they received no reply, he offered, “He’s stoned…he can’t clap that fast,” which received audience laughter. Nevertheless, the medley of “Disaster” into “Devastation” had no one laughing. Instead, most were struggling to keep their jaws closed as the band totally hit their stride at this juncture in a powerfully climactic cacophony. After some slow claps of encouragement, The Besnards returned to the stage to play a two song encore that was also well-received. My sole complaint with the show was that it was often difficult to hear bassist and singer, Olga Goreas’, vocals in the mix, especially during the first few songs. However, the performance and the sound was otherwise perfect.
As we were leaving, The Besnards were outside having a cigarette, and they proved to be an affable lot. We provided some history on the Wadsworth by informing them of the oft-cited contention that it is the first established art history museum in the U.S. They then asked, “Is it haunted?” and explained that, during their set, they heard someone(thing) called the drummer’s name without anyone on stage speaking the word. In true October spirit, we replied that the museum may be haunted. They also had some great merchandise for sale, and I picked up this awesome unidentifying shirt of a kitty astronaut in space. Olga said, “Yeah, the Cat-stronaut,” which is how I will refer to this shirt from now on.
In sum, this was another incredible booking by Manic Productions at what is currently the most underrated venue in CT. I am also posting some footage of The Besnards’ set, but, unfortunately, I did (and am still kicking myself for) not capture “Disaster” into “Devastation.” Yet, you’ll hear just how great the mix was even on these iPhone4 captures:
Wednesday, October 12, 2011
7 p.m. $7 suggested donation BYOB for 21+
The Field Recordings - http://thefieldrecorders.b
(apparently these guys need NO introduction!!!)
Thank You Mr. Keating - http://thankyoumrkeating.b
Steady Habits - https://www.facebook.com/s
When Waters Rise - https://www.facebook.com/p
The Month of June - http://www.myspace.com/the
'Cotton Candy' Featuring members of the Fake Babies - https://www.facebook.com/p
|Photo by Joshua Black Wilkins|
There are many bands out there today that merge traditional American roots music such as country, bluegrass and the blues with punk rock, but few do it better than Th’ Legendary Shack Shakers. Over the course of six albums, this Kentucky based band has shown that they stand head and shoulders above all the pretenders out there.
Maybe it has to do with the fact that they manage their musical alchemy with seamlessness, sincerity and authenticity or maybe it’s their high live shows, which has earned frequently shirtless and sweaty front man J.D. Wilkes comparisons to such people as Iggy Pop, and has even been called one of the best front person’s out there by the likes of Jello Biafra and Hank III. They have developed into a force to be reckoned with.
“We’re completely different from when we first started out. Originally we were more of a rockabilly band but since then we have become this Frankenstein that incorporates punk rock and blues into the mix. It’s a crunching sound and one that takes us farther away from the core, but at the same time the music is more in the spirit of what we are aiming for, in getting the rhythm of the train and other rural machinery into our sound,” said Wilkes.
The capturing of these rural industrial rhythms are in full display on the band’s new record, which is appropriately titled “Agri-dustrial”. On this one, the band is joined by Jesus Lizard guitarist Duane Denison and his noisy skronks give the music an extra jolt of electricity. (Just check out his slide work on the album’s first track “Sin Eater,” to show this is a perfect musical marriage.) What would seem like an odd pairing at first to many roots rock purists, works wonderfully. (And, yes, he is touring with the band.)
But don’t think this happened at the spur of the moment. The roots of this album and the partnership with Denison go way back. In fact, when the band first started out, Denison and his wife would go out and check out the band, enjoying what they saw and heard. They eventually became friends, and Wilkes actually lived in a room above the garage in Denison’s house for a while. During this time they came up with the concept for this record.
It was all set to go, but then Mike Patton came calling, and Tomahawk was formed. But they didn’t give up on the idea, and about nine years later they were able to put this collaboration into effect.
“It was nice to see the seed we planted all those years ago come to fruition,” said Wilkes.
While this new album is killer and it could be argued that there are no weak links in the band’s catalog, they are known as a fearsome live act. It’s a high energy spectacle that leaves the band covered in sweat. When a band has such a reputation as this, one can’t help but wonder how they keep the energy up, night after night.
It’s very easy, in fact, according to Wilkes.
“It’s always automatic. There is a switch that gets turned on once the music starts. You just get into it and start to move,” said Wilkes.
Actually what irks Wilkes more is some of the crowd reactions to the band, which also features upright bass player Mark Robertson and drummer Brett Whitacre. He can’t see why people just stand still when faced with such high energy music. After all, good music should connect with the hips and the Shack Shakers play some great hip shaking music, so it should be a no brainer to get up and dance. The spirit will move you at one of their shows.
Upcoming future plans for the band include another full length album for the summer 2012, as well as more touring with Europe in their sights and Wilkes plans to do more videos and documentary film making. He made a critically acclaimed documentary called “Seven Signs”, which is about eccentric southern people and culture that won an award at the Rain Dance Film Festival in England a few years back.
We have an acclaimed band with a great live reputation playing on Friday in Connecticut. Here is another show that you should not miss. I keep saying this about most of these, but seriously this is some good shit. Don’t miss out.
Manic Productions Presents:
Th’ Legendary Shack Shakers
The Proud Flesh
Friday, October 21, 2011
21 Daniel Street
8:00pm – 21+ - $12 ($10 in advance)
Buy tickets now or pick them up at Redscroll.
The first thing that hits you are the guitars, which are thick, fast and dirty. Then the drums and bass come along, synching in lock step with the guitars, continuing the onslaught. Finally the vocals hit, they are low, guttural and acid flecked. Such are the joys of Landmine Marathon, a death/grind band from Arizona that features some bulldozing music as well as the fierce pipes of Grace Perry.
For those of you still living in a timewarp, yes they are a death metal band and yes, their vocalist is female. This shouldn’t be a big deal in this day and age because there are tons of women who have contributed to extreme metal over the years, without having to use their gender as a selling point. If it is a big deal to you, respect her, because she kicks ass, pure and simple.
“I have no idea if I am a role model but I do have a lot of girls that tell me I inspire them, which is one of the most flattering things to hear. It's the 2011, not 1950, and if people still think women have to abuse their sexuality in order to be in a successful band they are idiots. Whenever people compare me to other singers it's not to other females, it's to other singers, male, female, you name it. I want to inspire girls to see that although the metal scene is very much male dominated it should never make a difference,” said Perry. “The good thing about this genre of metal is that politically correct bands still exist and draw influence from bands like Napalm Death who have always had higher moral grounds. I carry myself in a way that doesn't attract that type of behavior and now that our fourth record is coming out it's a joke to think anyone would actually believe I can't hold my own,” she added.
She didn’t start out as a metal singer, she was recruited and found out she loved it. You see originally she played in a screamo band whose sole reason was to piss people off and it did, but (bassist) Matt Martinez saw her perform and liked her screams and growls so much, he asked her if she wanted to start a band. It’s been seven years since that encounter and the rest is history.
“Well let's just say if I didn't have my band all that intensity and aggression might just pour out into my everyday life. It's not that I'm an angry person, we just happen to live on an insane planet that should inspire everyone to create an outlet of their own,” said Perry.
This aggression shows itself in her live performances, where she has been described as a she-demon, throwing herself fearlessly into the performances. It’s a go for broke mentality that has won her many admirers and respect, but it’s also been the cause of various injuries, but to Perry that’s all just part of the game.
“Yes I definitely have my share of injuries; a broken nose, more black eyes and bloody lips than I can count and I most recently sliced my head open on a shitty microphone that had wires jutting out,” said Perry.
And for someone who has a very extreme vocal style, you would think she does exercises or take some type of special liquids to keep her vocal chords in top shape, but actually you would be dead wrong, because you see, just like her personality was made for metal, so is her voice.
“People always ask me this and I'm being honest when I say I do nothing. No special teas, cough drops, warming up, just water. When I am recording my voice will start to get weak after a few hours but the next day I'm ready to go all over again. Just lucky I guess,” said Perry.
But before we forget, Landmine Marathon is a band and a really good one, and this skill is on display on their new album “Gallows”, which came out on September 27 on Prosthetic Records. They have trimmed the fat and tightened their sound, delivering a just under 30 minute blast of exhilaration and brutality. It’s dirty, filthy, dark and easily their best album. Perry credits the band’s commitment to deliver their best album and the acquisition of a new member as the reasons to the album’s face ruling-ness.
“Having our new drummer, Andy York, has definitely changed and improved the dynamic of the band. He is a walking metronome and the most talented drummer I have ever worked with. Vocally I focused on singing mainly lower, more guttural vocals which gave the album an even darker feel than previous Landmine records. (Guitarist) Ryan Butler has recorded all of our albums at Arcane Digital and he spent more hours and hard work on “Gallows” than ever before. We are not trying to break new ground in this genre, just write music we love and hopefully everyone else does too,” said Perry.
The new album also deals with the darkness in the folk tales that have been passed down from generation to generation. To some people this might seem like weird subject matter for a death metal record, but after listening to Perry explain it, it is a perfect fit. After all, remember how dark the original Brothers Grimm fairy tales were, and then this lyrical theme doesn’t seem so out of left field.
“Many of these stories have transformed over hundreds of years into the common the fables we grew up with. When I was in college I took many literature classes that explored this and it opened my eyes to something entirely different. During this era they were not the G-rated family friendly stories we know but in fact brutally graphic,demonic, and downright terrifying. The more research I did the more inspiring it became, countless books depicting self mutilation and the constant death of woman and children, along with evil folkloric creatures always devouring humans. From this I wrote some of my darkest and favorite lyrics to date,” said Perry.
So there you have it. Not only is the band, which also features Dylan Thomas on guitar, a must see live act, they have also released the best record of their career. So there really should be no reason why you shouldn’t get down to the Webster Underground early on October 20 and catch their set. After all, seeing, and hearing, is believing.
Thursday, October 20, Webster Underground
31 Webster Street
Hartford, CT, 06114
6:00 pm – All Ages - $12 advance/$14 day of show
Monday, October 10, 2011
400 Blows exists in that strange nether realm where punk collides with metal and saddles up with noise rock without really belonging to any of these genres. You can hear traces of each of these aggressive genres in their vicious music which is topped off by the snotty vocals of Skot Alexander, who just happens to sound a little like another infamous punk singer. (But more on that later.)
After a six year absence, the Los Angeles-based band, which features new members Scott Martin, of Big Business and Crom, on guitar, along with drummer Kevin Fitzgerald just released its first new album with this new line-up, “Sickness & Health” earlier this year on Org Music and the band is hitting the road to bring their patented in your face live show to the masses. This tour will take them to Daniel Street in Milford on October 17.
The big question concerning a band that takes this long a hiatus is why it took so long to follow up their last record 2005’s “Angel's Trumpets & Devil’s Trombones” with this year’s album.
“Being prolific has never been a strong point for this band. Most of the previous albums have all come out about 5 years apart. So we are right on schedule. In fact, we already have stuff ready for a new album so it won’t be that long a wait for the next one,” said Alexander.
That’s the short version of the story. The long story deals with two former members leaving the band for various reasons. One was having a baby and wanted to start a family, while other decided to not continue on. So, Alexander, the band’s sole original member and guiding force needed to find new members. He found them in Martin and Fitzgerald.
But the band took their time, writing new material and developing their personality. Alexander said he didn’t want the new version of the band to turn into a cover version of the previous one.
All this waiting paid off because “Sickness & Health” (which by the way fits Alexander’s MO of titling the band’s album with two words that are the complete opposite of each other) is a 34 live wire minute ride through the dark recesses of Alexander’s mind. It is filled with his twisted adult nursery rhymes and totally kills it musically, as Martin and Fitzgerald destroy on their instruments, laying down a dense, energetic racket behind Alexander. The band is in perfect synch on this record making it one of the best loud rock releases of the year.
In fact, Alexander in a way knew it would be good, because he can’t stop singing the praises of his instrumental cohorts.
“They just bring fucking awesomeness to the band. I could just hang out in the audience and watch them play and it would be a great show,” said Alexander adding jokingly, “plus we’ve become a lot more handsome.”
But now back Alexander’s voice. The dude sounds a little like Dead Kennedys lead singer Jello Biafra. If you listen to the new album you can hear it. In fact, one critic remarked that it was a “less annoying” version of Jello Biafra’s voice. (Ouch!) You would think this might annoy him but it doesn’t at all.
“There is a big difference between how the Dead Kennedys and 400 Blows sounds, but if you have to compare me to Jello, I don’t mind. I happen to know him. Jello is okay with me,” said Alexander.
But the band really kills it in the live arena. Based on former performances they definitely have the right attitude to deliver the goods live. To paraphrase one of their songs, they kill like champions.
“We don’t do this to suck. We like to leave blood on the stage,” said Alexander. “Not literally, though,” he added.
Based on the above quote you can see that the band is committed to giving awesome performances that are filled with the proverbial blood, sweat and tears that makes great live bands great. So there really is no reason to miss this show if you’re a fan of the loud stuff. After all, it’s only $5 and though it’s on Monday, what better things do you have to do on a Monday in Connecticut?
Nothing. So be there. Here’s another one you’ll be kicking yourself over if you miss.
Manic Productions Presents:
Monday, October 17
21 Daniel Street
7pm - $5 – 21+
Buy tickets now or pick them up at Redscroll.
I am not sure when it began or why. In the late 80s and early 90s, which is my remembered youth, I recall coming to the assumption that as technology grew fidelity and quality would grow with it. Over time this assumption was challenged on many fronts with the "art vs. commercial" war of the past 30 years. Automation and machines gave us Kraftwerk but they also gave us Dee-Lite. "Laptop music" ranges from the most predictable disco to the most impromptu experimental drone noise. There is truly no way to accurately measure how technology has affected the many ways we experience and participate in life.
This becomes especially interesting when you see how people use their computers to make music that harnesses the power and fidelity we were "promised" with technologies growth, as well as the less polished, even intrusive sounds that we always seem to gravitate toward. Perhaps it's another constant struggle, this time between our need to achieve "perfection" and our ultimate desire to conquer/destroy it.
D. Gookin is a man who makes musical creations operating out of new haven. For years he has been busting out seriously energetic live shows. His bio says he is a drummer and vocalist, and that the remaining sounds of his band are "lovingly crafted backing tracks".
His newest set of recordings, Spiral Style, was released September 23rd via Moodgadget and EXPLODES into your ears with infectiously sugary electro pop.
Combining 8bit sounds with glossier synth samples, the listener is caught between decades of technology all while celebrating the pulsing thump of the natural pop music we all share instinctively. The drums are expertly played and programmed, and while auto-tune is definitely a cliche in terms of music fashion, the use of it in these enjoyably cliched pop songs feels fitting.
Opener "Way 2 Grow" makes no mistakes about its sound, coming right into being with an intense musical optimism that carries all the way to the closing number "Stealing Sunchips", with no breaks to relax.
I got a chance to ask D. Gookin's Mike Birnbaum a few questions about his music and tastes recently via email, here's what he had to say:
So, what's the big idea with you anyway?
No big deal. I'm just this screwy dude.
How has your perspective on music changed growing up in an increasingly technological world?
My perspective has continuously changed for the better as technology has progressed. As the internet and music making tools have together become easier to maneuver and more uniform, music for me has become de-mystified in a good way. It all makes it easier to have big ideas on a small scale and vice versa. Before having your own solo act vision seemed like a way too personal endeavor for lots of people to care about. But now this kind of "putting out your personalized vibes and doing you" mentality is fully embraced. Whats the most fun and immediate about making music and being creative in general has become what matters the most.
You seem to make infectious pop while simultaneously mocking it, who's side are you on?
My intention has never been to mock pop music. A giant realization for me though at some point was that music I didn't have a choice to listen to ruled my mind and emotions the same as, if not more so, than music I sought out on my own. I'd say also in the scheme of pop music my stuff is too weird to truly be pop. I think my music ends up being laced with poppy feels sounds and melodies because I want my music to come from a really raw and exciting place. And for me that place is usually some kind of overindulgent sugary wasteland.
What is your opinion of "atom and his package"?
Ya know, you asking me this promptly reminded me that it is my duty to finally check that out. My first listen impressions - I am not really a "clever one man act" enthusiast and him laying on the pseudo nerd core vibes is a turn off but some that "worms going into holes posi synth sound meets some big chords" going on in some of those tracks is awesome! Can't hate on that!
What is your dream gig?
Try this one out - Tobacco, Paramore, Millionaires, Super Cat, Andrew W.K., New Boyz, Unicorn Kid, Lady Gaga only performing 'eh eh' and.......Incubus. Secret show too. Ahahah you asked!
Which of your influences would surprise your fans/friends the most?
KELLEY CLARKSON! & as of recent Shwayze & Cisco :)
How do you harness inspiration for songs?
Occasionally I'll go after the "I'm gonna make a song in this style" mentality but mostly looping things that contain vibes I enjoy, trying to hear a melody in it, and staring at something like a recycling symbol or certain girls' facebook photos........YOOOO JUST KIDDING
Learn more about D. Gookin at his website: www.dgookin.com
Also check out his Facebook Page and Bandcamp
Way 2 Grow by DGOOKIN
Wednesday, October 12 at 8:00pm
$17 ($15 advance) / All Ages
Tickets on sale NOW! http://manicproductions.or
or get the tickets at Redscroll Records
Check the facebook event page here:
Man Man is known for their exuberant live performances. When performing, the members of the band dress in white outfits and wear war paint. Comparisons to the usual avant-garde forefathers - Captain Beefheart, Frank Zappa, Tom Waits - persist, but Man Man are decidedly not identity thieving or even overtly referencing these spiritual godfathers in their music, but rather are acting as torchbearers of the unusual, the spontaneous and the plainly fucking funny in an increasingly homogenized world.
The drums smack you in the face first, like a hailstorm with no sign of letting up. Then, as waves of harmonies emerge unexpectedly, a joyous sensation sets in, as if someone just snapped you out of a fever dream. The beat-driven, orchestral-pop epics unfold like an audio scrapbook of memories from the life of Grandchildren songwriter Aleksander Martray.
Matt Thomas knows how to write a song—as evidenced in over a decade of music-making with the Weigh Down, Leaves of Lothlorien, and Short Pants Romance.
Over the past two years, the band has shared the stage with Deerhoof, the Drums, and Tim Easton at New London's 2009 I AM Festival, rocked with Of Montreal and Lupe Fiasco at the 2010 BOMB Fest, and opened for Mates of State on a Northeast stint in February 2010.
Their full-band, follow-up effort "Love Buttons" hits the shelves on Valentine's Day 2011. Produced by Fuzzy Rainbow (Fake Babies, Eula), with a hand from Greg Giorgio at Tarquin Studios (Interpol, The National), it's an upbeat collection of sonic musings on various forms of love—from the traditional to the twisted—through the eyes of characters real and fictional.
Friday, October 7, 2011
Kath Bloom ~ http://www.myspace.com/kat
Levi Strom ~ http://www.myspace.com/lev
Colby Nathan (of Hyena) ~ http://www.laughablerecord
Cranston Dean ~ http://www.reverbnation.co
John Muccino ~ http://www.facebook.com/jo
$7 Suggested donation
All ages BYOB for 21+
Kath Bloom is an American singer-songwriter based in Litchfield, Connecticut, whose sad voice often accompanies simple folk melodies.
The daughter of oboist Robert Bloom, Kath grew up in New Haven, where she studied the cello as a child and started playing the guitar when she was a teenager. She collaborated with Bruce Neumann in the early '70s, but it wasn't until she met avant-garde guitarist Loren MazzaCane Connors in 1976 that she started recording. Bloom and Connors recorded multiple albums of fragile, simple folk and blues melodies, the majority of which were written by Bloom herself. Their collaboration ended in 1984 with the release of their final album, Moonlight, of which only 300 copies were pressed.
Wednesday, October 5, 2011
Friday, October 7, 2011, Indie Night @ the Oak presents
Charter Oak Cultural Center
21 Charter Oak Ave
All Ages - 8 PM - $6 or only $5 w/ a canned vegetarian good donation for Hartford Food Not Bombs
FB Event page
Farewood is husband and wife songwriters Lou Lorenzo and Leah Booker. Joining them for live performances is soundscaping guitarist Ed Diaz along with veteran drummer and musical instructor Bob Hill. The band finds inspiration for their tunes against the backdrop of their hometown of Meriden, CT. The desolate feel of the city surroundings consistently finds its way into the subconsciousness of their songs, yielding a sound that at times is shadowy, desperate and lonely. But like many Connecticut towns, once you venture out of the emptiness of its downtown center, the back roads can unfold into beautiful, almost country roads. That duality, or contrast if you will, can be found throughout their music. Their songs can be dark, but underneath it all lies a certain unmistakable beauty.
Bright Red Reason is a teenage trio based out of a combination of Medford and Tyngsboro, MA. They have been together since the summer of 2009, and have been writing and independently recording demos, booking, and playing shows since. The group loves performing with lots of energy and has been recognized for their eye-catching, yet comical stage presence. A wide variety of shows have been played in the Greater Boston area as well as New Hampshire, and this fall the band will be expanding on road trips further around New England. With two EPs currently out and a third on the way, their music carries a very individual sound, ranging from straight punk rock jams to catchy, dancey tunes. Bright Red Reason has been compared to groups such as The Runaways and The Ramones, and some influences include: Paramore, My Chemical Romance, Green Day, The Beatles, The Thermals, and The Distillers.
a minor Apocalypse - unfortunately not much out there on the interwebs on these dudes, but I noticed that there is the eponymous Polish novel about someone that "has been asked to set himself on fire in front of the Communist Party headquarters in Warsaw in an act of protest. He accepts the commission, but without any clear idea of whether he will actually go through with the self-immolation. He spends the rest of the day wandering the streets of Warsaw, being tortured by the secret police and falling in love." Maybe that kid from the cover of Bad Religion's Suffer started this band?