Pre-Chinese Stars. Arab on Radar, from Providence (but originally from Connecticut), comprises singer Eric Paul, guitarists Steve and Jeff Schneider, and drummer Craig Kurek. On the early singles, Kangaroo (Heparin, 1997) and Swimming With a Hard-on (Load, 1998), they played an artsy brand of noise-rock that borrows evenly from new wave and beach-punk. Queen Hygiene II (Heparin, 1998 - 31G, 2003), their first album, continued on that war path with terrifying blasts of chaos. The band has reformed and will play their first CT show since 2002! Three One G.
Brava Spectre: Spazz Jazz / Art Grind / Noise-Metal Bebop quartet from New London CT.
No Babies, is without question one of the most important bands in the bay area. This six piece punk band spew songs at you with incredible energy. Fueled by female vocals, two drummers, two guitarists, and an assortment of reed instruments.
Orange Coax: Noisy garage rock from Denton, Texas.
Arab On Radar tour: Jul 30 - 9:00P Cafe Nine NEW HAVEN, Connecticut Jul 31 - 9:00P The Cake Shop New York Aug 6 - 9:00P Lambi Montreal, Quebec, CANADA Aug 7 - 9:00P The Garrison Toronto, ON, CANADA Aug 8 - 8:00P The Bug Jar Rochester, New York Sep 2 - 9:00P The Eagle Tavern San Francisco, California Sep 3 - 9:00P The Sex Los Angeles, California Sep 4 - 9:00P The Che Cafe La Jolla, California Sep 5 - 9:00P The Smell Los Angeles, California
Hey, biking is fun. Why not spend Sunday biking around a bunch of local farms in CT? Tour des Farms is a day-long, 25-mile bicycle ride sponsored by CT Folk. It'll be held on Sunday, August 1. You'll be going to local farms, greenhouses, orchards, and historic sites in the greater New Haven area. It's meant to be sort of a showcase of fun places, great food, and also a showcase of local musicians. At each stop along the road, riders will be entertained by a Connecticut-grown musician. The tour will end with the amazing Caravan of Thieves!
San Francisco's notorious, Class-of-77 female-led punk rock band The Avengers, featuring the iconic Penelope Houston on vocals and Greg Ingraham on guitar, have toured the world since their 2002 reformation and are showing no signs of slowing down. The line-up – augmented by long-serving members, Joel Reader (Mr. T Experience/Pansy Division) on bass and Luis Illades (Pansy Division) on drums – remains a complete and total inspirational powerhouse on stage - just as they were three decades ago.
Now sit back and let granpappy read this here press release to ya:
From their archetypal teenage beginnings in 1977 until their ragged split in 1979, The Avengers played just over 100 shows, leaving behind only one artifact: a 3-song 7" EP, released on Dangerhouse records. They pioneered West coast Punk, headlining shows with legendary early first-wave bands, The Weirdos, X, The Germs, The Go Gos, The Dils, and the Dead Kennedys – not to mention playing direct support to the Sex Pistols at their legendary last show at the Winterland Ballroom.
That performance earned them a recording session with Pistols' guitarist Steve Jones – the results of which were released posthumously on a 4-song 12" EP on White Noise Records. In 1983, the band gathered further recordings and put out the self-titled full length LP, now informally known as the 'pink album'. All three discs quickly went out of print and The Avengers' recorded legacy remained enshrouded in mystery for almost two decades. That is, until subsequent generations of new fans increased the demanded the old recordings leading to a flood of bootlegs and finally, The Avengers Died For Your Sins, [an official collection of live and studio recordings (Lookout! Records, 1999)] and The American in Me, featuring one of their final shows, as well as some stripped-down studio versions of classics that had recently resurfaced (DBKWorks, 2004).
After The Avengers breakup in 1979, Houston moved to Los Angeles to work in film and video with infamous punks The Screamers as well as with director Rene Daalder. She then moved to England where she collaborated with singer Howard Devoto on his post-Magazine projects. Eventually, she returned to San Francisco and helped originate the West coast neo-psyche-folk movement. By 1996, she toured Europe extensively, signed with to a major label and earned numerous awards for her music. To date, she's released a dozen albums, all of which blend her influences of punk, folk, rock, blues and Americana into her darkly unique acoustic genius.
Avengers bassist, James Wilsey went on to greater recognition originating the haunting guitar sound that launched Chris Isaak's career. Drummer Danny [Furious] O'Brien worked with Joan Jett to form the earliest incarnation of the Blackhearts and played briefly with Social Distortion before moving to Sweden.
In 2004, Houston reformed the band with the original guitarist, Greg Ingraham and a dazzling new rhythm section featuring bassist Joel Reader (Mr. T Experience, Plus Ones, El Vez) and drummer Luis Illades (Pansy Division, Plus Ones). They've performed in select American markets, headlined two European tours and supporting The Damned in the UK, where they were met with adoring crowds and critical acclaim. The Avengers have sold out shows from Los Angeles to Rome, including a sweat drenched performance in the last days of the legendary CBGB's.
Now, 30 years from their inception, there is no doubt of their place in punk history.
Lost Generation are a punk band from Connecticut that was formed by singer/songwriter Joe Dias in '81. The original line-up included fellow Connecticut musicians Glenn Sanders on drums, BADBOB Therrien on guitar and Sach on bass. The bands first release, 1982’s Never Work” featured three original tunes and a 33 second version of “Lucy In The Sky With Diamonds” simply titled “L.S.D.” Word of the band spread quickly beyond the small Connecticut scene as critics proclaimed the title track a new punk anthem. By the end of the year New York’s leading alternative paper, The Village Voice, listed “Never Work” as one of the top five singles of the year.
The Pleasure Kills are a newer female fronted 80's power pop punk band from San Francisco.
Titles frontman Brad Amorosino is a man of many talents. Besides being a musician, he moonlights as an illustrator; in fact, his illustrated fairy tale book, The Demon And The Dirt Bell, inspired the name of the New Haven, Conn., quintet’s latest release, Dirt Bell. The album, which was recorded in various locales all over Titles’ home state, is out August 13 on Safety Meeting Records. Now, Amorosino can add “video artist” to his resume, as he created this video featuring a Lite-Brite (remember those?) for “When You Were Young,” which premieres [July 20 on] magnetmagazine.com.
Come celebrate the final days of Rudy's old location with an extraordinary evening of rock n roll. Safety Meeting is bringing La Strada back to the Elm City to entertain us. New Haven's Goodnight Blue Moon will be on hand as well. Rumor has it that copies of the new La Strada record "New Home" will be available for you to pick up at the show. Do not miss this show, it's jammed packed with strings, accordion, incredible vocal harmonies, pop hooks, frites, binge drinking, air conditioning, records, and there's a good chance that a lot of us are gonna get laid.
This Saturday, July 31st marks the final original location show at downtown New Haven's favorite Townie and Yalie dive bar, Rudy's. Included on the bill will be Connecticut's own The Black Noise Scam and Nasty Disaster as well as New York's The Boardlords.
The first show I remember seeing at Rudy's was the Butterflies of Love in 2001. At that point there was no stage, no outside patio and only a rudimentary sound system at best (and yes, you could still smoke inside). Bands would often have to shift tables and chairs around just to find room to play. By 2002, a stage was added as well as a relative upgrade to the sound system thus clearing the way for more and more music to come through. There were full on rock shows on Thursdays, Saturdays and the occasional Sunday, jazz on Tuesdays and DJs on other nights of the week. Several great shows occurred during this time including bands like The Wrens, The Dirty Projectors, The Dresden Dolls, Sasquatch and the Sick-A-Billys, Suckers and more, as well as a slew of great locals like The Vultures, The Battlecats, Diamond J and the Rough and countless others.
(Rudy's stage area. Photo by Caren Parmelee)
In addition to the influx of shows, Rudy's reputation as the dive bar of choice for both Townies and Yalies only strengthened. There were very few weekends when the bar/venue was not packed to the gills with every walk of New Haven life imaginable. There were regular pseudo-celebrity watches as well ('That's Janeane Garafalo!,' 'I think that guy you just played pool with is in Interpol'). And the frites, they were sublime.
Fast forward to 2010.
By this point show nights at Rudy's were cut down to Saturdays (and the rare Sunday) only. Many regulars had also by this point long accused owner Omer Ipek (who took over earlier in the decade) of pandering exclusively to Yale patrons. Gone were the old jukebox and at least some of the character that many of the older clientele revered. Flat screen TVs began popping out of every corner. The sound system was again in need of an upgrade. Some had begun to actively avoid the bar deeming it 'not the same as used to be,' only to be replaced by the newest generation of Rudy's dwellers who didn't care what it used to be. Others continued their usual Rudy's ritual undeterred.
(The Black Noise Scam will be appearing at Rudy's last show at its original location on July 31st.)
Still, no one imagined Rudy's ever going away. The frites were still good, the beer still cheap and the walls were still crowded with pictures of the bygone Rudy's faithful. Its existence at 372 Elm Street seemed as much a part of the New Haven landscape as East Rock or Pepe's Pizza. No matter what changes New Haven was undergoing, Rudy's was an oasis of continuity, music and beer (...established 1934!). That's why when this article in the New Haven Independent dropped on the morning of June 22nd, people were dumbstruck. Rudy's? Moving??? The backlash was immediate and severe. From the NH Independent comments section: 'I am pretty sure that this is the kind of sign that proves the world will end in 2012,' 'This is so horrifying,' 'I am devastated to hear this news,' and on and on. Immediately rumors began swirling that Yale was forcing Rudy's out or that owner Omer Ipek was only completing the latest chapter in an alleged diabolical scheme to ruin the bar. Truth be told, Ipek had secretly been battling with the landlord who owned the building for over a year. At one point Ipek even fought off an attempt by the landlord to close the bar with only days notice. After some quick thinking and dealings on Ipek's part, he was able to secure a new location for Rudy's close by at 1227 Chapel Street (just a couple blocks down Howe Street) while keeping the bar open at its current location until the end of July. And with a promise that the new location will have many of the elements of the old as well as a bigger and better area for bands, some of the detractors even began to change their tune.
In the end though, Rudy's move from Elm Street will surely be the end of an era for many of the generations who have come through its doors. Savor it while you can.
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Rudy's final show at its original Elm Street location will be occurring this Saturday, July 31st with locals The Black Noise Scam (full-on hardcore punk) and Nasty Disaster (metal heads galore) as well as the Boardlords (NYC punk). The Black Noise Scam recently joined the roster of Volatile Records (also home to the Boardlords) and will be releasing their next record sometime later this year. I can think of no better way to end the Rudy's long and illustrious run on Elm Street than a good ole' punk show.
p.s. And for those of you looking to take home a souvenir this Saturday, think again. Rudy's owner Omer Ipek has taken great care to strip the bar of almost everything short of the benches and bar stools in fear of thievery (he will be apparently transferring everything over to the new location this summer).
A healthy dose of irony can go a long way towards fun, a goal of music that tends to be obfuscated by its other, more lofty aims.Sometimes, when I press I play, believe it or not, I’m not really looking to lose myself in some transcendental soundvision that takes twenty minutes to get going.And it’s not always necessary for me to be brought to the edge of tears by the universal lyrics of a lionized songsmith.Sometimes, most of the time, I want to laugh and smile, and maybe sing along, to a fun tune that tries to invoke nothing more in the listener than just that.
That’s why I love the Electric Six.I recall the moment they rooted themselves into my brain.We were smoking cigarettes in an empty lot overlooking Lake Champlain, black water doubling the city lights on the horizon.‘Jimmy Carter’ tested the limits of the car’s speakers (backstreet’s back all right), a song meant to be funny, but one equipped with sufficient cleverness to amount to more than just a laugh.I love Electric Six, I remember yelling over the maxed volume.Tonight, they were coming to Daniel Street.
Nor I opened.The song was ‘As Time Turns,’ fitting, I suppose, for their first show in five years.I don’t think I’ve ever heard an opening band receive such genuine and energetic applause.
By the time they played ‘From Here to There,’ they had established a fine, hardy groove.I wasn’t sure what to expect from them, but I liked what they brought.Highhats ticking away, bass carrying, rhythm rolling; I nodded along.An unexpected darkening during the breakdown built up a creeping tension that exploded into a short, triumphant reprieve of the dancey chorus.
Then, a galloping helping of rock and roll.Then, a song as much punk as pop.Then, a ballad of sorts, sustained by the soaring, precise singing of Joe Jules.The ballad built and blew up in the end like a good one should.Then, a simple bouncy number that a fifth of the audience (the fifth closest to the stage, of course) had no problem bouncing along to.I would be amiss not to point out Phil Conine’s funky bass that made the bouncing possible.Then, cheers normally reserved for headliners.I hope to see Nor I again, as soon as possible.
“Life starts tonight!” the grizzly front man yelled at the start of the next set.
Township, all long hair and unpretentious rock, wiggity-whammed right out of the gate. The place felt dingier while they played, in a good way.These gnarly dudes from Boston were bar-band to the core (wisping, knotty locks, blown out sideburns and itchy beards; leather).They did not disappoint.
“I want to feel/feel it with you tonight.”
I was singing along though I’d never heard the song before, a good sign.Simple lines can be golden; they’re inclusive, which is a fine way to describe Township as a whole.They were a cover band (ZZ Top, Zeppelin, ACDC, Aerosmith, Motorhead, Black Sabbath, Audioslave, Atomic Bitchwax), except they played original music, and were awesome, to put it plainly.
They sang lofty, metal lyrics, coarse and on key; they beat out beefy arterial bass lines; ground 9 gauge strings into memorable riffs; and hammered it home with primal, hard rock drumming.They were so metal, in fact, they looked like cavemen.A member of the audience was, at one point, coerced into a set of pushups, which he was all too eager to provide for the cause of testosterone. The lead singer, Alex “Side Salad” Necochea knew how to have fun with a crowd.
As soon as I thought I had them pegged, they played ‘Eye,’ a shred heavy epic that I will surely play the next time I’m beating the shit out of dragons with a lightsaber.The final song of their set, ‘Burnin’, was a comfortable jam that summed up their sound and energy into an easily digestible, memorable goodbye.A meandering whammy bar interlude culminated in a high-metal, wig-out two man solo.Wicked.
And somehow I managed to miss the start of Electric Six.Dancing was underway.Electric fever.
“This is a song of public and political activism,” said Dick Valentine, wise man and lead singer of the band, in preface to ‘Future Boys,’ a high hat orgasm and favorite of mine.The crowd did not resist the call to move.It was a small crowd, but I won’t hold that against them.
‘The Future is in the Future’ made me want to karaoke all night long and Macarena till the break of dawn.Mr. Dick Valentine took the liberty of a 3 minute breakdown during this song to riff on Stonebridge, the packed bar across the street.He lamented his inability to love any number of “49 year old women” that doubtlessly awaited his company at the bar.He made it clear where he’d rather be, if not for his “contractual obligation” to entertain the pesky fans that undulated and cheered before him.We stood in his way and were happy for his comedy, which ran throughout the night and through all of their music.
A track off their new album replaced funkydisco with discometal, inciting a mosh pit among the boys who were hand pumping and hip humping (totally in jest though, totally) moments before.Gay Bar brought the pit full-term; it was the first gender neutral mosh pit I’ve encountered.
And then, to prove to me that the night was completely awesome, a beautiful woman emerged from the ruckus of the audience and approached Dan and I, who were tapping our feet along the margin of the crowd.Maybe we looked like we needed to loosen up (I was scrawling madly into a notebook).Maybe we were the first two people she saw.Either way, she gave us a pair of mostly full beers.The plastic cups were slicked by a recent spill; I assume she decided dancing and drinking was not going to happen at the same time. I drank both, and I want to take this opportunity to thank the nameless woman.This is how I had always pictured an E6 show should go.
“Electric Six is a motivational seminar.We have the headsets.We have the bagels.Randy’s hot tonight!”
Among the crowd, through my beer colored glasses, I’d never seen a happier group of dancers.Pockets of bald spots and big girls twisted like 1962.Sleeveless crew cuts, emblazoned baseball caps, branded T-shirts and pristine cabby hats cheered and jumped along unselfconsciously.
Fists pumping, crowd pulsing, Valentine donned a visor and told the crowd to applaud themselves.He informed us that the next song was written in 2005, which, for whatever reason, was cause for celebration.We obliged, laughing, cheering, eating from the palm of his hand. I count myself lucky to have seen these guys in a club half filled by people who really wanted to be there.As soon as I scrawled this thought into my little green pad, I decided to stick it in my pocket and forget about it.I’m not going to bother with the names of any more songs or trite observations.I’m just going to say that, no sooner was that notebook in my pocket, I threw myself into the middle of the crowd and danced like I was drunk at a wedding.I love Electric Six.
