Wednesday, December 21, 2011


Remember the summer? Recall a little band by the name of The Guru? I'm sure you do as they were blowing up all over the state. Not to mention their album Native Sun was so good we covered it TWICE! Well now they are back home from college for a few weeks and are playing an ENORMOUS show in Woodbury on December 30th.

The lineup is extensive and the cost is only $5 so there is really no excuse anyone can make for not attending. From the look of the Facebook Event, it looks like well over 200 people are already going.

Looks like the secret is out!

So here is the lineup with tentative set start times:

White Savages - 6:45pm

white savages - the fucking documentary trailer from Kyle Rodgers on Vimeo.

Madson - 7:20pm

The Hiya Dunes - 8:00pm

High Pop - 8:40pm

Lovers and Thieves - 9:20pm

The Guru - 10:00pm

The new owner of Woodbury Music Shop will also be there doing raffles and giving away free things!

December 30, 2011 at
Old Town Hall
5 Mountain Rd, Woodbury

Facebook Event Page

The Guru - Barracuda Hands by CTINDIE

Monday, December 19, 2011

Review: Profesa' Dibbs

Hip hop, as a genre, it seems, has done nothing of late but slowly and deliberately collapse under the dead weight of its own provocative and iterative tendencies. Ten years ago, it was new and threatening. Today, it is comical at best, but more often than not, sadly pathetic. What was once a sharpened edge of wit and social commentary is now nothing more than an open forum for the arrogant and the foolish. Case in point: whereas Snoop Dogg once rapped about what it's like to be a gangsta, Jay-Z now raps about what it is like to be a corporate officer, and whereas A Tribe Called Quest once rapped about the struggles inherent to urban black youth, Lil’ Jon now raps about his testicles.

Let’s be realistic. How many times can we hear the same recycled beat and still be excited to hear it? How many times can we hear a man speak passionately and enthusiastically about his generative organs, and the novel ways in which he seeks to employ them upon the opposite sex, and still be shocked? Did we really expect this train to ride on forever?

Sadly enough, it seems like it will. Despite being utter crap, moronic anthems to wanton greed and puerility are still topping the charts. This success, however, runs in much the same vein as the Call of Duty series of video games. It sells more and more copies with each successive – and infinitely less-inspired – sequel because there just isn’t anything else on the market.

Or is there?

Hip hop is a young genre, in the grand scheme of things. It didn’t achieve mainstream popularity until the late eighties and early nineties. Coincidentally, it was right around this time rock music had hit a similar level of stagnation, and those of us with more “refined” tastes were looking towards the emerging genre of alternative rock to save us from the hair-spray chugging metalhead morons who were ruining rock music and destroying the ozone layer at the same time.

Hip hop, I would argue, is at about this point, and I should hope the masked horsemen of underground hip hop should be riding in at any moment to save the day.

Well, maybe not. But there is always Profesa’ Dibbs…

He doesn’t have a ton of money. He doesn’t drive a fancy car. He doesn’t skeet, skeet, skeet. He doesn’t “oooooookay!” or “yeah!”. He doesn’t rap about his label – because he doesn’t have a label. Neither does he have an album, or an EP, or even a single. What he does have, however, is a collection of songs, completely free, for your enjoyment. They can be found here.

Because Profesa’ Dibbs doesn’t charge money for his music, and because I base my reviews largely on the premise music consumption is an expensive pastime, it would be hard for me not to recommend giving Dibbs a listen. In fact, in the absence of cost as a mitigating factor, I cannot think of a single reason why people shouldn’t. What harm could it do?

However, if you require more convincing, please read on.

Profesa’ Dibbs is much like any other underground/old school hip hop act. Grainy, dry beats drive the songs, which are augmented by sampling which, in the scope of the genre, is fairly sparse. What sets Dibbs apart from his peers, however, is copious helpings of (presumably) Dibbs’ own piano and guitar playing. They certainly don’t sound like samples ripped from old James Brown tunes. This is not to say, however, that Profesa’ Dibbs is just another pompous, destined-to-fail crossover act. The instrumentation is deployed in a very hip hop way, so much, in fact, the bluesy guitar bends and jazzy Rhodes chords almost sound sampled.
Dibbs’ lyrical styling is iterative of the underground movement. No bitches or hos here. No crunk or grinding, or booty-shaking permitted. This is adult swim, and the lyrical pool is noticeably uncontaminated with the obstreperous splashing and hawing of puerile children. Dibbs raps about life, about politics, about the metaphysical. While this may seem novel to those accustomed to Lil Wayne’s particular brand of vodka, it will seem wholly unoriginal to those who have already committed themselves to underground rap. His are the words of the rapper/poets, like Saul Williams or Sage Francis, and his words have been spoken, and recorded, before. Still, Profesa’ Dibbs is probably one of the region’s better hip hop acts, especially so when one considers all the Top 40 imitators who plague Hartford like a bad case of the clap.

So, if you’re looking for break from the self-indulgent self-immolation of modern mainstream hip hop – or if you’re just looking for a decent local act – Profesa’ Dibbs is well worth your time, especially when you consider it won’t cost you anything. If you’re an underground veteran, Dibbs won’t offer much in the way of new material or techniques, but he’s a good listen, nonetheless.

Sunday, December 18, 2011

Joe To The World (And ALLIE!)

Imagine my surprise when I get a message from Joe of 2 Ton Bug that he and bandmate Allie have put together a Holiday Themed side project! This is funny/odd because I am in the process of reviewing the 2 Ton Bug LP (which is amazing!). So Joe links me to a bandcamp for "Joe To The World (And ALLIE!) with their first eponymous collection of songs. 8 "Snow-Fi" Yuletide Favorites from the FUTURE!!!
I love it so much and you will too. Definitely some strange home recorded stuff with bundle of seasonal cheer (for those of you into that!)

GO BUY IT HERE! You can name your own price and the proceeds go to the Connecticut Cat Connection!

Joe To the World (And ALLIE!) - This Christmas Season by CTINDIE

Dumpster Diving with Mr. Dream

Interview and article by Ryan Sartor

On Friday, November 18th, I saw Mr. Dream perform at the small Milford, CT music venue of Daniel Street. Before they took the stage, I was only aware of Mr. Dream as “those three Pitchfork writers who became musicians.” Such a description fails to do the band justice, especially since bass player Matt Morello has never written for Pitchfork. When Mr. Dream pulled into town, they had no idea that this gig would take place at a soon to be shuttered venue (and neither did the audience). Alas, it was announced two weeks ago that Daniel Street is being sold on January 3rd, 2012 to a buyer who plans to transform the space into a pizza parlor/hip-hop club. As far as funerals go, Mr. Dream band members Adam Moerder, Matt Morello, and Nick Sylvester sent Daniel Street out on a high note, engaging with their few passionate fans, and ignoring the vast majority—ambivalent philistines, sipping beers from atop padded bar stools. Adam, Matt and Nick seemed oblivious to their chilly surroundings, having more fun on stage than seemed necessary or fair. Such unbridled enthusiasm is so rare in music (and life) and I felt compelled to speak with the band about the 2011 debut album Trash Hit, their distinct sound (which can best be described as “garbage pop”), and why they only use a Boss EX-2 Guillotine sustain pedal (rather than an EX-3).

Ryan Sartor: When I saw you perform at Daniel Street, I was quite unaware of Mr. Dream, but upon listening to the first song, I became instantly enthralled. How important has touring been to your band?

Matt Morello (vocals, bass guitar): Well, first of all, thanks a lot. I think that’s one of the main things you’re hoping for on the road, that someone’s going to get excited about what you’re doing, the songs, what your idea of a show is. Hopefully lots of someones. Getting out and doing it night after night you learn a ton, not just from playing the songs a lot, but because you have so much new shit to deal with every night--like at that Milford show, we had some issues with Adam’s guitar, and there was that cool ledge to jump off of at the front of the stage, and this really receptive core group up front but also this big, maybe-indifferent sports bar in the back, and every night it’s just like, alright, here we go.

R: The most obvious translation of “Trash Hit” is a really bad, successful song. I’m sure that view is too simplistic though. What were you guys aiming for with that song, and how did it being the title track inform the rest of the album?

Adam Moerder (vocals, guitar): No that view is totally valid and not at all simplistic! We liked the ethos of “Trash Hit” (feel free to start making exaggerated masturbation gestures here) because we felt like garbage men. A lot of music that’s trendy right now can be (and has been) called pretty, chill, hazy, etc, and we feel like we’re collecting all the dirty stuff that everyone discarded long ago.

Nick Sylvester (drums, producer): But in the same breath, “Trash Hit” is also a joke on Mr. Dream. “It’s not my cup of tea but what the hey.”

M: The guy in the song thinks he’s doing a diss track about us in a diss track that happens to be about him.

R: I feel that a listener needs to be much more sophisticated than I am to pick up on the musical references in your work. The Pixies and Husker Du are probably the two more mainstream examples. I think that if those two bands were concerned with using pop music and stretching it out, Mr. Dream is about going one step further, poking your head out on the other side—past pop music, past “power pop,” and into something else. Do you allow yourselves to be aware of the musical history that led to the music you’re making, and how does that knowledge inform your work?

A: Every musician is painstakingly aware of his musical lineage. Some namecheck their influences constantly and even admit whom they’re copping, others like to give off the impression that they don’t even know who the Beatles are, like they’re operating in a vacuum of their own musical genius or something, but rest assured all of them know their history. And...we’re no different.

M: I think there’s a sense of possibility that comes from having listened to a ton of great things, and a sense of purpose from wanting to hear more of certain things that might not get made if you don’t make them. You get ideas as well as encouragement that there’s room for what you do.

R: I was quite glad to have Ryan Kattner push me to the front of the venue right before you guys took the stage. He seems like a fun guy to be around. How has it been touring with Mister Heavenly?

N: Ryan, Nick, and Joe were super supportive. They watched our set what had to be almost every night and--yes--did stuff like push people all they way up to the front of the house. That’s not something the headliner usually does.

M: Those guys are masters of that sort of thing, connecting with a crowd, making a show work. They’ll also close and re-close your van if you forget to take the key out of your pocket and keep accidentally hitting the trunk-open button during your set.

R: I wrote this at Daniel Street: “Mr. Dream is an ideal tour mate for Mister Heavenly. They have the lyrical fun of Jonathan Richman, the casual vocals of punks, and the tight awareness of melody and energy that you’d hope for from any decent pop band.” Has Jonathan Richman been an influence on your band? Are there any specific punk bands you guys admire?

N: Modern Lovers’ Jonathan Richman is a different beast from solo Jonathan Richman, but all that Modern Lovers stuff is pitch perfect. He figured out a way to be punk but without being nihilistic, pop without being dumb, smart without being pretentious. I like that guy fine.

M: We’re not hardcore kids by any means, but I think we’ve all had plenty of holy-shit moments with punk bands via recordings or YouTube. Wipers, Black Flag, Minutemen, Descendents, the Dictators, Fugazi if you count them, it’d be a long list.

N: Wire, Pil, Killing Joke. The usual suspects.

R: You seemed to have more fun onstage than any band has a right to, the rhythm section in particular. What’s the key to your ecstatic energy at a venue?

A: This’ll sound stupid, but we try to write songs that we can get excited about playing night in and night out. We’re not making music to study or fall asleep to.

R: I’m really curious as to what you guys will sound like in five years. Do you think that you’ll mellow out a la Nada Surf, or go deeper into the rougher aspects of your sound?

M: Five years is a long time. I think by that time, probably a lot of stuff with contact microphones, vintage tape effects, that sort of thing. Really expensive stuff.

N: Exactly. By then the music will have taken a backseat to Matt and Adam’s modeling careers.

R: Perhaps lingering too much on the album title Trash Hit, I began to think of your music as “garbage pop,” meaning that you have these beautiful melodies and fantastic harmonies, and you bury them under a heap. I find that in digging down to the core of each song, everything I pass along the way is fascinating. Was your album structured this way by design?

N: We’re never asked this kind of question, which is weird considering how much time we (and clearly you too) thought about it. But yes. By design. We like range. That said, I don’t think we buried anything pretty on Trash Hit so much as we just tried to have really strong contrasts. That means within the album--so you have a song like “Knick Knack” and also a song like “Walter”--and also within each song too. To say nothing of the lyrics and vocal melody. The rawest lyrics tend to be attached to the catchiest vocal melodies. Stuff like that.

R: “Crime” is an especially melodic song—very, very catchy. It feels in some ways slightly more accessible than the rest of the album. Did you know when you recorded ‘Crime’ that it would be a single?

N: We didn’t really know until we recorded and mixed it. “Crime” felt pretty puny when we practiced it. But songs with less going on can sound huge when you record them.

R: In “Scarred for Life” and “Holy Name” there is a repeating of phrases: “The same, the same, the same” and “It never made sense to me.” Is that structure planned out while writing the lyrics, or does the music inform the repetition?

N: I don’t remember the specifics with either, like if Adam or Matt went into lyric writing mode with the idea that “OK I want to make sure I repeat phrases this song.” But we all love when lyrics and arrangement communicate with each other like that--poke fun at each other, undermine each other, etc. Matt singing “the same!” over and over again. Stuff like that. Lennon and McCartney are the kings of this obviously.

R: The lyric in “Shotgun Tricks,” “Honey, go get my shotgun” is quite evocative. Do you think of these lyrics as coming from a character, are they metaphorical, or are they just the words that best pair with the energy of the song?

N: The way I always understood this song was that it’s from the perspective of a person who really, really gives a shit about being good with shotguns. “It’s not a game to me.” Like shotgun virtuosity past the point of functionality, let alone past the point of people caring. Caring to the detriment of relationships outside the one with the gun.

R: Mr. Dream the live band and Mr. Dream on record song like different acts to me. What you’re doing on the album feels very specific and I admire the care that goes into its construction. The live show displays a similar attention to musicianship, but there’s also this raw energy that I don’t think could ever be pinned down on tape. An example of this is the opening guitar riff on “Winners,” which sounds technically wondrous on record, but almost sliced off the top of my head when Adam played it live. I don’t mean it as a way of disparaging the album, but I’m just wondering if the differences between album and live performance are intentional, beyond the usual ways that a live show and album will always be different things?

A: We got a lot better at playing our instruments since recording Trash Hit. Also, my equipment in particular has drastically improved. I’m now playing out of a ‘65 Fender Bassman. It’s a super loud amp and does a great job of cutting through live. The near-decapitation you experienced during “Winners” can be attributed to my new sustain pedal, the Boss EX-2 Guillotine.

N: You want to make sure you get the EX-2. The EX-3 has different capacitors and it’s--it’s fine but it’s not an EX-2.

R: How did the song “Knick Knack” come together lyrically?

A: I was listening to a lot of British invasion music and thought it was funny how there were all these really sweet, catchy songs with really harsh lyrics directed at a girl (e.g. the Rolling Stones’ “Yesterday’s Paper”). I don’t condone the message, I just wanted to try writing one of those “I’m awesome, you’re shit” songs.

R: The rumbling guitar in “Croquet,” and the song in general, with its refrain of “Oh my god” and lyrics like “It’s all just a game” feels really exuberant, tragic, and epic all at the same time. Did the song affect you guys emotionally the first time you heard it completed, or at some point during the songwriting process?

A: Our friend Matt LeMay mixed that song. In its early, lyric-less drafts the song was something of a joke to us. We’d sing the chorus as “They’re ice bros/Bros icing bros/they’re ice bros”, so the first time we heard a finished mix we were surprised it sounded like an actual song.

R: There is a spectacular amount of verbal fun being had on the closing track, “Learn The Language.” What is the lyrical aim of the band in general?

A: We don’t have an official band philosophy on writing lyrics, but our vocals are pretty front and center, so we try to make them evocative when we can. Anything that’d look good on a t-shirt typically works.

R: I would remiss if I did not mention Adam and Nick’s history writing about rock music [for the site Pitchfork, as well as other publications], though I may not even put it in the piece as it seems distracting and beside the point and I imagine you guys are sick of discussing it. All that being said, how has your background in music journalism affected your songwriting?

A: It really hasn’t at all. The two processes aren’t really that similar.

N: Ditto. People seem to overestimate how much music journalists actually know about music.

R: I got a real kick out of Matt yelling, “What is this, the fucking Sea Grape in Fairfield?” Have you guys ever played at the Sea Grape, or do you have a personal story from that bar, Matt?

M: We have never played the Sea Grape. I dated a girl from Fairfield for a while, and I know we went once or twice but it’s always been more of a running joke for us, how her friends referred to going to the bar as “graping it,” which in turn we supposed made them “grapists,” etc. Arija was actually supposed to come that night but couldn’t because she was busy with med school. So basically, the story of our band: inside jokes for someone who’s not there, overheard by other people who get them anyways.

Saturday, December 17, 2011

Broadcast Hearts, Ghost of Chance @ Elm Bar FRIDAY DECEMBER 23

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.

Broadcast Hearts is a four-piece, alternative rock band from Trumbull, Connecticut. Formed in 2009, the group comprises Avery Bazan (lead vocals, piano), Chris Parian (synth, backing vocals), Justin Molfese (bass guitar, backing vocals), and Ted Ferik (drums).

Noted for their guitar-less set, the keys-based group engages a dynamic sound and style, drawing influence from acts such as Coldplay, Keane, Jack's Mannequin, and Ben Folds. Contrasted by leading piano and synths, the band presents a wide range of music from anthems to ballads. While still young, the band has enjoyed early success in various venues across Connecticut, Pennsylvania, and New York.

372 Elm St, New Haven, CT 06511-4711

9pm 21+ $3

ghostofchance by GhostofChance

Friday, December 16, 2011

The Fake Babies – Don’t Hold Your Breath

The Fake Babies, with their late era Modest Mouse/Walkmen-esque vocals, processed drum machines, and haunting synths, create an interesting, artful, and noisy electronic song. The 4-piece, based out of New Haven, Conn., has just begun working on a new LP. Keep your eyes peeled for more stuff by these guys.

Fake Babies - Dont Hold Your Breath by CTINDIE

Monday, December 12, 2011

Charter Oak, Back in the Game

This is Robert Denby posting for Mr. Andrew Jackson.

The Charter Oak Cultural Center
is continuing their tradition of top shelf indie rock shows now in a slightly cozier setting. For the past year, the Oak has been hosting Indie Nights in the Gallery below the sanctuary roughly once per month. The new venue is accessed by the red side door, giving it a decidedly underground feel. This month, the night to remember is Saturday, December 17.

The line up features an all local cast including:

Ghost in your Basement from Torrington

Ports of Spain from New Haven

Pools are Nice from Orange

and getting back together for their second last show ever, the briefly lived Hartford based band

Girls in the Boy Scouts

Doors open at 8 pm and lasts until it is finished.

As always a door fee of 6$ or 5$ and a canned veggie to donate to Hartford Food Not Bombs is suggested.

Charter Oak Cultural Center
21 Charter Oak Avenue
Hartford, CT 06106

Ghost In Your Basement - Basements EP - 01 Basements Pt. 1 & 2 by CTINDIE

Wednesday, December 7, 2011

Kyuss Lives! At Toads Place December 8

Sometimes it seems as if a band’s influence trumps its record sales. Okay, maybe this doesn’t apply to the Beatles, but look at bands like the Stooges and the Velvet Underground, who both helped inspire certain forms of music long after their original shot of glory. You can claim that both laid down the blueprint for other musical styles to follow.

When Kyuss busted out of the California desert in the late 80’s/early 90’s, their slowed down and ultra heavy take on hardcore, combined with a deft sense of dynamics and killer songwriting laid down a blueprint for a whole generation of bands to follow.

They released four full lengths, two of which, “Blues For The Red Sun” and “Sky Valley” are considered two of the best heavy rock records of the past 20 years. When they broke up in 1995, people thought little of it, until there seemed to be a resurgence of riff rock in their wake.

It also looked like they would never get back together. All the members of the band went on to other projects. But a spontaneous reunion last year, lead to a re-formation of the band that nobody thought would get back together.

John Garcia (vocals), Nick Oliveri (bass) and Brant Bjork (drums) met at a European festival last year while Garcia was doing his Garcia Plays Kyuss project. He invited his two former band mates on stage; they jammed a bit and decided to make a new go of it as Kyuss Lives! There is one no show though. Guitarist Josh Homme of QOTSA was not involved in the reunion. (Guitarist Bruno Fevery has taken his place.)

“Originally I was doing the Garcia Plays Kyuss thing over in Europe and I ended up at a festival where both Nick and Brant were playing. I invited them onstage to jam and it felt great. So we decided to get together and do some shows in Europe. It made perfect sense to do this. Everybody in the band is putting their other projects on hold to do this,” said Garcia.

What started innocently enough in Europe has extended to two tours of the United States as well as runs in South America and Canada. When they hit Toad’s Place tomorrow, the reformed band will be toward the end of a second leg of United States tour dates.

Suffice to say, Garcia is stoked by the reaction the band has received.

“It’s going really good. I’m just appreciative that people are still psyched to hear this music we made all those years ago,” Garcia said.

This newfound sense of purpose and energy will even lead up to a new a record. It will be recorded next year and they hope to have it out sometime late next year. They are busy writing and when this touring cycle ends in a few days, they are going to take some time off and then reconvene in January to start production on it.

Garcia said he is especially curious to see how this will turn out. He guarantees that the ideas are flowing and that the music will be up to the high standard that the band set for itself many years ago. There are a lot of variables that will go into the making of the new album, but Garcia is confident that the band will deliver a winner.

In the live arena, the band cherry picks the best songs from “Blues For The Red Sun”, “Sky Valley” and “….And The Circus Leaves Town”, and mix it up quite frequently, so some songs get played on certain nights while others don’t. It helps to keep things fresh for the band, and especially for the fans, who don’t know what songs they’ll be getting on their particular night.

As mentioned higher up in the article, when talking about Kyuss, one must also talk about the band’s legacy. This is a band that casts a very large shadow over a certain variety of hard rock that has popped up in the last twenty years. In fact, some would say without the band, the underground music scene would be much different. Garcia understands this but also is careful on what he says concerning this issue.

“When the word legacy gets brought up, I don’t want people to think I’m unappreciative because I’m not. Whatever you want to label the band, I just say we play rock’n’roll. I really don’t mind the term stoner rock anymore. Whatever you want to call it, I’m very appreciative that I’m still able to do this,” said Garcia.

It is understandable that no artist wants to be pigeonholed, because that might seem like they are painting themselves into a corner artistically and give people a false sense of what to expect from them. Still, you have to give him credit, because he isn’t shying away from the “s” rock word, which a certain other member of the original band who is not involved in this resurrection tends to avoid it like the plague. For Kyuss Lives!, embracing their past helps them point to a future for the band.

“It’s been one hell of a year. It’s been great,” said Garcia.

Kyuss Lives!
The Sword
Black Cobra
Curse The Sun

Thursday, December 8
Toad's Place
300 York Street, New Haven, CT 06511

7pm - $23 advance ($25 door) - All Ages

Saturday, December 3, 2011

Jukebox The Ghost Plays The Space! Has New Video!

Philly's own Jukebox The Ghost return to CT on Dec 9th at The Space in Hamden. These guys have played all over CT in the past 5 or more years and people are listening! You should too!
They will be finishing off their December tour on the 9th and will be joined by: Savoir Adore and The Spring Standards.

Jukebox The Ghost also recently released a new video for the song "Half Crazy" from their LP "Everything Under The Sun" out on Yep Roc:

So go to The Space on 12/09, you should be going to The Space as often as it is possible ANYWAY!

Doors: 7PM
Cost: $14 / $12 advanced


Jukebox The Ghost
Savoir Adore
The Spring Standards

295 Treadwell Street
Hamden, CT

Jukebox the Ghost - Schizophrenia by MCT MANAGEMENT

Friday, December 2, 2011


Friday December 9, 9pm
Scotty O'Boyle's
523 North Colony Street, Meriden, CT 06450
Free admission

DJ's will begin spinning the classics at 9 sharp. Think lots of Deep Purple, Priest, Sabbath, Rainbow, Blue Oyster Cult, etc. Nightbitch will perform at midnight

Drink specials and $2 PBR bottles guaranteed to keep your lazer burnin' HOTT
...reindeer fucker for those in the know

Gentlemen are encouraged to wear Santa outfits or homely sweaters.
Ladies are encouraged to dress as slutty elves.

Thursday, December 1, 2011




Anamanaguchi is a four-piece group from New York City that combines guitars with the thick, electronic tones of a Nintendo Entertainment System. With driving, dynamic and melodic tracks, they focus on creating sounds that seem bigger than their hardware. A member of the artist collective 8bitpeoples, Peter Berkman has been creating chiptune music since 2003. They have since toured across the country and briefly in the UK and Ireland. Their debut, ‘Power Supply’ EP, was released in 2006 as a free download through 8bitpeoples and has since received over 50,000 downloads.

Math the Band is a electro-punk spazz duo from Providence, RI. They use a combination of old video game systems, analog synthesizers and energy drinks to make the fastest, loudest, most party-est music they can imagine. They've only cracked their head open on stage ONCE

I am going to let their facebook bio explain "WE CAME UP THROUGH THE MUD AND STRAIGHT TO YOUR HEARTS". I think that about does it!

This all takes place tomorrow, December 2nd at The Lily Pad (Upstairs at Toad's Place)
300 York St, New Haven
8PM / $10


See you there

Anamanaguchi - 1 - Blackout City by edflores1