Fernandito Ferrer brings the Nueva Trova vibe into the twenty first century. His multi-layered live sampling, percussive guitar work, and soulful vocals combine with deep lyrics for a very powerful performance that is truly mesmerizing.
Chilean born and Chicago raised Rodrigo Starz brings his solo show to the Elm City for a night Nuevo Latino Hip Hop.
Come enjoy an afternoon of live jazz with the areas finest players. Sit in with the band and show off your chops or just sit and enjoy a cold drink while the music creates the vibe.
After playing for 20 years, Michael Coppola, on a mission to solve the age old problem of executing jazz piano voicing on guitar, created a tuning for an 8 stringed instrument. This new type of guitar, with inner high end strings was the predecessor to the 9 string "hydra", which became Coppola’s instrument for life.
Michael Coppola has become one of a small handful of guitarists who have pushed the boundaries of the instrument, and the only to come up with this unique tuning. Reviews of his CDs have been filled with descriptions such as unique, amazing, mindboggling, magical, inventive and so much more.
He has played at major guitar shows and concerts throughout the world including the
Montreal Jazz Festival, The Chet Atkins Festival, Namm, and many others, as well as
some of the country’s top jazz clubs such as the Blue Note, The Iridium,
Knickerbocker and many others.
Mainly a solo artist, Coppola has also performed or recorded with many of today’s top
musicians, especially guitarists such as Gene Bertoncini, Jack Wilkins, Tony Purrone,
Howard Alden, Stephen Bennett, Tommy Emmanuel, and Joscho Stephan. Michael
was a regular guest on Monday nights at the Iridium, invited by Les Paul himself.
Lately, he has been performing with his 17 year old prodigy daughter Michaela, who is
the CT high school Allstate jazz guitarist as well as the national honor ensemble jazz
guitarist (#1 in the country).
Michael Coppola’s album Return Of The Hydra was chosen as a top ten pick for the
year 2002, in Coda Magazine. His original composition "Movin", released on the New
Impressions album, was a winner in the 2002 John Lennon Song Competition.
Reviews and articles about his work have appeared in numerous magazines including:
Guitar Player, Just Jazz Guitar, Jazztimes, 20th Century Guitar, and Fingerstyle
Guitar. Michael was listed as a main entry in acclaimed critic Scott Yanow's 2013 book
"The Great Jazz Guitarists, the ultimate guide". Yanow names Coppola "The master
of the 9 string guitar".
Joey Wit & The Definition host their Annual Toys For Tots benefit. Bring an unwrapped Toy for FREE ADMission or ay $10 ate the door. All proceeds will go to the cause.
Joey Wit & The Definition
As he sings in his song, Throwing Stones, “...I’m a son to the North and a brother to the South”, Joey Wit’s story is just as unique and original as his sound. As a former professional athlete, it would seem Joe dedicated the majority of his life and childhood to the game of baseball. However, music was just as important as athletics in his upbringing. Growing up in a household with parents whose record collection included everything from Chet Atkins, Duane Eddy and Elvis Presley to Pink Floyd, Jimi Hendrix, and The Rolling Stones, it’s easy to see how the Connecticut native gravitated towards rock and roll. After spending several years in the American Southeast (Durham, NC) working on his musical craft, Wit returned home to New England in 2015 and started recruitment for his rock and roll band, now known as The Definition. With inspiration coming from countless sources such as the Beatles, Radiohead, Wilco, Doves and Oasis; Joey Wit and The Definition offer an innovative and energetic approach to rock and roll with a little something every music fan can appreciate.
"Eastern Standard", the debut record from Joey Wit & The Definition, will be available on all digital media platforms December 14th, 2020.
The Red Hots band began in October of 2012 in Danbury, CT — the brainchild and collaborative effort of Petra Herceg and Cynthia Preston, two beautiful and talented ladies who grew up playing music and had both performed professionally in the past. The band began re-imagining and re-doing classic, timeless pieces of music that were beginning to be lost to the ages, particularly old blues, jazz, ragtime and rockabilly. Mixing the retro-stylized covers in with their own eclectic sound, The Red Hots began gigging at local places around town, experimenting with their sound and musical elements. After dabbling with various instruments and line-ups, the band has solidified their image as a tight-knit trio, expanding their live performances all the way to NYC festivals and private parties at the Jersey shore, as well as becoming a well-known act in their hometown. Their adaptability has become their coup de grace, able to play anything from low key acoustic shows in wine bars and lounges, to swingin’ and jivin’ upbeat sets in bars and rock venues.
Entry to this show requires proof of vaccine by card, photo or a negative test result within 48 hours of show time.
Doors at 3pm, music starts at 4pm.
Larry Kirwan of Black 47 and host of Celtic Crush on SiriusXM will bring his Halfway to St. Patrick’s Day Show to Café 9.
Kirwan, a founder of American Celtic Rock, will revisit many of the iconic Black 47 songs including Funky Ceili, James Connolly, Five Points, 40 Shades of Blue. Kirwan will also introduce songs from his musical theatre career, including Hard Times (expected to open on Broadway later this year as Paradise Square) along with his critically acclaimed re-imagined David Bowie song, Heroes/Belfast.
Known for his exuberant and passionate live shows, the pints will be flowing and the craic will be mighty as Black 47 fans, Celtic Crushers and all who love Irish music will celebrate in fine fashion.
Entry to this show requires proof of vaccine by card, photo or a negative test result within 48 hours of show time.
Released in the Summer of 2020, Right Now is a cosmic map of the new and glistening journeys of Twisted Pine, the Boston-based spacecraft of a band that was once bluegrass but is now “something else, a wider version of a stringband, boundary jumpers akin to outfits like Punch Brothers, Nickel Creek, and Crooked Still [The Boston Globe].” The soundscape for this full-length sophomore release has all the sass of zero-gravity pop; the grooves of 2 a.m. funk jams; the astral flute and shoobedoos of 70s radio. “Punch Brothers meets Jean-Luc Ponty and Ian Anderson [Jethro Tull],” writes Folk Alley of the instrumental track “Amadeus Party" -- and yet the lyric narratives are packed with the elements of earthling mountain music. “Right Now” aims to shut the careless mouth of an ex. “Papaya" whispers, "Don't just pass me right by." “Dreamaway” describes a faith that comes and goes. “Don’t Come Over Tonight” demands a night off from a guy's opinions. The covers pay homage to Father John Misty and Tex Logan -- two points that intersect the plane of this exquisite world. Twisted Pine is Kathleen Parks (Newburgh, NY) on fiddle and lead vox; Dan Bui (Houston, TX) on mandolin; Chris Sartori (Concord, MA) on bass; and Twisted Pine's newest addition, Anh Phung (Chilliwack, BC) on flute. Everybody sings. Twisted Pine plays under the influence of explorers Jerry Douglas (with whom the band occasionally tours), Bela Fleck, Sierra Hull, Billy Strings, The Wood Brothers, and Lake Street Dive and Crooked Still (label mates at Signature Sounds Recordings). Right Now was produced by Twisted Pine and by Dan Cardinal at Dimension Sound in Jamaica Plain (Boston), MA.
Folk rock from New Haven, CT.
Entry to this show requires proof of vaccine by card, photo or a negative test result within 48 hours of show time.
With the release of her debut album, 'Hard Won,' in March 2017, singer-songwriter, harpist, and guitarist Lizzie No established herself as one of the most exciting new voices in contemporary folk music. Billboard Magazine called the album “simultaneously understated and fervent.” She followed up the album with the release of “Sundown,” a benefit track for Black Lives Matter.
Building on the songwriting prowess displayed in her critically acclaimed debut album, Lizzie No is unsparing in the stories she tells on her new album 'Vanity,' released August 2, 2019. The nine songs on ‘Vanity’ are epic tales of ego, featuring narrative shifts within vividly crafted characters. No embodies characters ranging from a handsome egoist in “Narcissus” (which Rolling Stone called a "crisp alt-rock gem") to a broke songwriter waiting for her big break in “Pity Party,” to a bitter and isolated rocker on “Loyalty” who rants that the crowd has left him behind. Inventive arrangements written in collaboration with co-producer Nick Rapley elevate the record to shimmering heights, alternating between swaggering grooves and intimate clarity.
Lizzie has showcased at Americanafest, South by Southwest, and the Mile of Music Festival. Classical arrangements of her songs have been performed at the Louisville Orchestra's Festival of American Music and the Downtown Chamber Series. She is also a winner of the American Songwriter Magazine Lyrics Contest.
Photo by Anna Azarov
Part dreamy Americana, part strange folk rock and a little psychedelia.
WEAREBISON is the duo project of Jennifer Dauphinais & Rory Thomas Derwin. The music is prismatic, electronic, and provocative, incorporating elements of hip-hop, rock, & goth. Dauphinais & Derwin share writing and producing credits on their self-titled debut EP, which was engineered at Deadly West Studios and encompasses the chaotic yet melodic nature of the duos’ experiences during the pandemic.
Falconeer is an audio/visual project bringing the spectacle back to live music in New Haven, Connecticut. Blending over the top synth pop and retro game influences, Falconeer builds on vintage synthesizers, modified videogame consoles, and a bit of tongue-in-cheek nostalgia for hyperbolic electronic hits of the 80s to make a sound somewhere between Kraftwerk and LCD Soundsystem. As a performance Falconeer uses mechanized sounds, but the human element never leaves the equation. All of the songs have a goal, and the whole production is carried out by one man, live on stage, with arena-sized production values scaled for the modern music venue. The culmination of years of experimentation with electronics and chasing classic sounds, Falconeer began in earnest in 2017 with a collection of animated and constantly moving tracks that conjure dreams of electric sheep.
New Havens longest running party for fine music connoisseurs and dancers alike! Curated by DJ Dooley-O. Make sure your Shazam app is updated!
Come enjoy an afternoon of live jazz with the areas finest players. Sit in with the band and show off your chops or just sit and enjoy a cold drink while the music creates the vibe.
Intimate Acoustic Show and Book Signing
“If you open your arms to the world, it’s amazing what will come back atcha,” drawls East Texas native, singer/songwriter/filmmaker/author Jesse Dayton, who has a bunch more homespun wisdoms where that came from. A veteran of more than 30 years as a musician, Dayton was discovered as a young teenager playing “a toilet dive” in his hometown of Beaumont by legendary club owner Clifford Antone, who booked him into his famed Austin venue, then immediately shifted him over to the honky-tonk Broken Spoke, where the likes of Willie Nelson, George Strait and Ernest Tubb have had residencies.
“When I first got to Austin, everybody else sounded like Stevie Ray Vaughan, but I sounded more like Jerry Reed. I didn’t think I was cool, either, because this was before every punk sported that image of Johnny Cash flipping the rod.”
Equally steeped in Texas/Louisiana blues, old-school country and punk-rock, Dayton is the music world’s best-kept secret, hiding in plain sight as a guitarist for Waylon Jennings, Johnny Cash, Ryan Bingham and L.A. punk pioneers X, as well as touring alongside Social Distortion, the Supersuckers and John Doe.
Brought up on his older sister’s Laurel Canyon folk records, the FM album rock and punk he listened to as a teenager plus the array of country acts who used to tour through Beaumont – including Johnny Cash, Johnny Paycheck, David Allen Coe, Conway Twitty, Hank Jr., and George Jones – Dayton has managed to create a genuine hybrid that takes alt-country and Americana in new, exciting directions.
“The world doesn’t need another outlaw country singer covering Waylon Jennings,” he says of his stylistic mix. “Everyone where I was growing up had no idea Neil Young wrote Waylon’s ‘Are You Ready for the Country?’ or that George Jones’ ‘Bartender’s Blues’ was written by James Taylor, a stoned junkie at the time.”
Although he tours nearly 250 days a year, Dayton keeps the home fires burning in the same Austin house he bought thanks to earning 75% of the publishing royalties from writing songs for the soundtracks of three Rob Zombie horror flicks, including The Devils Rejects and Halloween 2 (performing a cameo as Captain Clegg, a roll he revived nightly as the support act on Zombie’s U.S. tour that year).
Dayton’s own career path includes such Zelig-like moments as being recruited by iconic producer Huey P. Meaux to record with zydeco star Rockin Dopsey at Houston’s famed Sugarhill Studios; recording his debut album, Raisin’ Cain, with Doug Sahm, Flaco Jiminez and Johnny Gimble, topping the Americana radio charts. He went on to record with Waylon Jennings, Willie Nelson, Johnny Bush and Glen Campbell.
Dayton has more than 50 songs licensed to film and television, writing and directing what he calls a B-movie Roger Corman monster flick, Zombex, in New Orleans, featuring an eclectic cast including Malcolm McDowell, cult actor Sid Haig, Walking Dead’s Lew Temple, Corey Feldman, Slayer’s Tom Araya and X’s John Doe, who promptly asked him to sit in for Billy Zoom, recovering from cancer treatment, on a 40-city tour. His next project is completing his memoirs and short stories for a book to be published later in 2021, and he just finished playing guitar on Guns N’ Roses bassist Duff McKagan’s new solo album.
Sarah Borges (solo)
— As rock phenoms go, Sarah Borges has never been easy to pin down. Since bursting onto the national scene in 2005 as the lead singer of the Broken Singles, she hasn’t allowed a speck of dust to settle on her sound or her story. Instead, the Massachusetts native has just kept on moving and shaking.
She’s gone from frontwoman to solo act, to frontwoman again. She’s deftly navigated the weird road that winds from emerging artist to veteran performer. She’s made seven records and racked up countless touring miles. She’s collected shiny things, including an Americana Music Award nomination, multiple Boston Music Awards, and song credits on TV shows Sons of Anarchy and The Night Shift. Bands like Los Strait Jackets and Big Sandy & His Fly-Rite Boys have brought her out on the road with them. Cowboy laureates Steve Berlin and Dave Alvin have lined up to collaborate with her.
As if all that wasn't fodder enough for a compelling rock ’n’ roll narrative, in the last few years Sarah has been married and divorced, become a mother, and gotten sober. It’s a whole lot of moving and shaking for someone who just turned 40, but don’t expect to find her pumping the brakes anytime soon.
“I’m not slowing down,” Borges says. “I’m gonna keep on seeking the next sound, the next song, the next chapter of who I am.”
The Cygnus Radio Sunday Buzz Holiday Party
CHRISTINE OHLMAN ROCKS CAFE NINE for “THE SUNDAY BUZZ MATINEE. CYGNUS RADIO Presents: The 9th Annual Beehive Holiday Blowout!" Christine Ohlman & Rebel Montez are comin' home to the Elm City, so get ready to rock around the VERY glittery Beehive Christmas tree as Christine Ohlman, Cliff Goodwin, Lorne Entress, and Michael Colbath serve up a super-festive Soul and R&B lovers holiday show. Grab an extra helping of festive spirit and get down with the Queen. The Sunday Buzz Matinee is always a cool time, so meet up with friends for some holiday cheer, and unleash the December holiday hip-shake!!!
Folk Punk, Indie & Hip Hop Holiday Party
Joseph Johnson, aka heir MAX, is a hip hop artist based in Fort Worth, TX, and half of the duo Alligator Food with Scotty “Sixo” Trimble. heir MAX’s music has been described as “light-hearted with a dark twist” with his delivery of catchy choruses over moody yet upbeat soundscapes which creates a sound uniquely his own. The lack of overcomplicated and obscure references make heir MAX instantly relatable. He has played alongside hip-hop greats such as 2mex, Ceschi and the legendary Myka 9, performed on several dates on the Vans Warped tour and is the go-to opening act at any major hip hop show in Texas due to his dedicated hometown fanbase.
heir MAX recently released his solo EP “The Moment-20” on Fake Four, Inc. Follow him at @heirMAXlovesugly or @fakefourinc to be part of the family.
Debut, full live band performance of the (occasionally) noted British electronic producer and horror film composer Antoni Maiovvi’s post-goth-punk-wave alter ego Jason Priest.
This NYC Synthwave Duo take influence from classic synthpop, Italo Disco and the retrowave stylings of FM Attack. New album ‘Young & In Love’ available now on Aztec Records.
Hailing from upstate NY, Kidaudra’s music lives in the space between Synthwave, Techno and Dreampop.
The Right Offs are a New Haven, CT., USA based trio who consistently channel every ounce of joy, grit, and energy they can muster into their unique brand of rock. Fronted by the soulful and instantly memorable vocals of singer/songwriter/guitarist Maxwell Omer, the band also includes the dynamic rhythm section of Than Rolnick on bass/backing vocals and drummer Bob Rock. Of their live performances the New Haven Independent said "The Right Offs sounded tight, even tighter than the band is on its last release, and more ferocious, raging around the twists and turns in the band's clever, tightly wound material," while the NHV.org Music blog called one of their shows "one of the most high energy performances at Cafe Nine in recent memory...".
After releasing a series of critically acclaimed EPs and a live mini-album, the Right Offs have embarked on their most ambitious studio work yet: Bardo. Clocking in at 10 tracks, Bardo is a resounding reaffirmation of the band's core strengths as an explosive live band and accomplished songwriting team. In addition, the songs presented on the herein break new stylistic ground for the group, building upon their garage and blues roots but with newfound confidence, maturity, and focus on songcraft and production. With the album's release, Bardo provides a link to the band's past as well as an enticing and worthy taste of what is yet to come.
If you are fans of the Clash and 77' style Rock & Roll then come meet the Ditch Boys.
Tony Di / Drew Fermo Duo
Come enjoy an afternoon of live jazz with the areas finest players. Sit in with the band and show off your chops or just sit and enjoy a cold drink while the music creates the vibe.
Tony Dioguardi is a Connecticut based jazz and blues guitarist who has performed with Jaimo's Jazz Band, Bernard Purdie, Jim Oblon, Guitar George Baker, Laco Deczi and Rickie Miller.
JOETOWN’s 153rd Birthday Party - Rock’n’Roll, Bagpipes and Debauchery.
Joetown hits the Stage @ 9pm sharp!
New songs, new band, same attitude.
Hear the upcoming new Single and Video “Freightrain”.
Every person through the door gets a free JOETOWN BOX SET!!
On Joetown’s media sites, fans say that the group’s music sounds like ‘Bon Scott fronting Van Halen... And after hearing Joetown’s catalog of releases, there couldn’t be a better description of what lies within. Featuring scratchy-yet-powerful, whiskey-soaked vocals that bring to mind the late great Bon and the over-the-top testosterone rock of early Van Halen, Joetown continues to win over Rock and Metal fans worldwide.
Hailing from Wallingford, Connecticut, Joetown (who also goes by the name of Joe Delaney) started on the six-string at eleven years old. After cutting his teeth in Hollywood with sold out shows on the strip and a deal with TNT/Capitol Records, Joe set off on his own. The band Joetown was formed in 1994, and released 3 full length offerings in 4 years including ‘Rock ‘n’ Roll Man’ , an album best described by one fan, who proclaimed, “This is what rock and roll is all about - dirty, mean and nasty!” Joetown can be heard on many hit TV Series such as ‘RIDE” with Norman Reedus from the Waking Dead and the FX hit series, ‘The Shield.’ Bad Boy Brands claimed “People Who Rock” as the corporate theme song for their licensing group of lifestyle attire, eyewear, and beverages for many years. Delaney was also featured with world renowned shredder, Jimi Bell on ‘It’s So Easy: A Millennium Tribute to Guns N’ Roses,’ compilation on Versailles Records. Several Joetown videos including GO!, Change and The Wheel have aired on VH1 and MTV, and the group’s last full length release, ‘Pills and Ammo,’ was previewed with a track on Metal Edge’s annual CD sampler with an in-depth review and interview in a later issues. Onstage Joetown has shared the stage with many of Rocks top acts such as Motorhead, Blue Oyster Cult, Ace Frehley, The Dictators, Dick Dale, Ratt, Poison, Peter Criss, Triumph, Marshall Tucker, Warrant, Lita Ford, Earl Slick and tons of others.
Newly generated, explosively energized band formed from the deepest roots of Rock’n’roll.
"A Guy Walks Into A Bar...."
COMEDY OPEN MIC
Host Dan Kalwhite
Sign Up- 7:30
Sets from 8-10pm
Shake 'N' Vibrate All Star Series
DJ B the T Jr trades sets with some of the Elm City's hottest cutters.
Tonight's SPECIAL GUEST
Disco Dan Soto
Soul, Funk, Junk, Trash
All Vinyl! All Dance, All Night
Laini and the Wildfire is a piano-fronted pop rock band with lots of sass and a little soul from New Haven, CT. Since 2016, the band has been actively releasing music and performing at venues and festivals throughout the east coast. Their latest single "Hold On To Your Soul" is a feel-good soulful jam that channels the eclectic musical blend of artists like Lake Street Dive and Grace Potter. The song marks the re-emergence of the group with a message about understanding the value in being who you are at your core without compromise, and sets the tone for future releases.
In November 2017, Laini and the Wildfire released their first full length album, Wandering, which awarded them the title of “Best Pop Band 2017” by Indie Voice Blog, as well as numerous write-ups from press outlets including The Hartford Courant, CD Baby, The Big Takeover, and Indie Spoonful (view "Press" for more info). They have steadily gained recognition for their energetic and engaging performances and some performance highlights include: Sailfest (New London, CT), Riverfront Music Revival (Shelton, CT) and Conserfest (Block Island, RI). Laini and the Wildfire plans to release several singles into early 2022, before releasing a full collection of new songs later in the year.
Band Members: Laini Marenick (vocals and keys), Mark Marenick (guitar/back up vocals), Rob Siraco (drums/back up vocals), Will Talamelli (bass)
We're good friends in and around NHV just trying to have a good time, create good vibes, and play some good music with as many good flavors for all ya'll to love, dance, and feel good too.
Make your 2022 a Funky New Year with New Haven's own Boogie Chillun featuring Jen Durkin. Limited tickets for this special NYE show available now.
with Special Guest Jen Durkin
Exquisitely alternative is the rich mash of confidently-strummed electric guitar chords, sharp snare snaps, and bubble-gum pop vocals that make up the music of Daniprobably.
A refreshng taste of authentic Rock & Roll for those with a garage band palate.
Is this the future of Rock & Roll? We hope so.
Cygnus Radio Presents the Sunday Buzz Matinee
Doors at 3pm, music from 4-6pm
New Haven folk rock with sweet melodies and smooth harmonies.
The southern historic stories of The Band, the longing lonesome voice of Neil Young, the driving rock of Fleetwood Mac. These might be the references that come to mind upon hearing Brian Dolzani’s ninth record, 2018’s ‘Horse’. Brian is an American troubadour in the truest sense of the term - traveling the country singing his deeply personal blues, hopes, and stories. No Depression magazine calls Brian’s music ‘remarkably affecting’ and Lonesome Noise blog says his music is ‘medicine for the soul’.
Born and raised in Connecticut, Brian met his first guitar at age 16, at the same time his father died in a car accident. He poured his feelings into the instrument, which he found to be the best healing for life’s hardest pains. Many of Brian’s strongest songs deal with tragic loss and life’s meaning from a perspective of feeling, perseverance, desire, and seeking beauty and truth.
Brian’s most recent albums, 2012’s ‘If I Don’t Speak A Word…’ and 2015’s ‘A Place That I Can Feel’, have put him on the radar of Americana passionates. He has since traveled the country many times, sharing the stage with James McCartney, Bill Payne, The Black Lillies, Freedy Johnson, Cory Chisel, The Subdudes, and many others.
‘Saddle up boys and away we will ride’ - Ride
‘Horse’ was recorded at a mountain-top studio in eastern Connecticut, and features 11 tracks played entirely by Brian and his producer Eric Michael Lichter. No full track list was ever made; songs were recorded one by one, where the last song recorded gave inspiration and shape to the next song decided on and recorded. The first song recorded was the title track, and the rest of the record layed itself out in an organic, natural, unforced manner. You’ll hear organ, pedal steel, acoustic and electric guitars, layered, Crosby-Stills-Nash-like vocals, along with Western and Southern stories and characters that reveal themselves a little more upon each listen.
‘We snuck out after midnight / out past the railroad tracks’ - 50 Miles from Memphis
One place Brian found inspiration for these songs was in an Alan Lomax book titled ‘The Land Where the Blues Began’. For years Brian’s lyrics had been lifted straight from his own heart and personal life. This time he wanted to look outward a little further, dig into other wells, tell the stories of people he hadn’t met but could imagine fully. People not even of this century. People who represent archetypal American lives.
‘On Tuscarosa mountain in West Pennsylvania / she waits for him from dawn to dusk’ - Tuscarosa Mountain
‘What I’ve realized is the power of fiction’, Brian states. ‘I thought the personal was the most powerful thing. And it is powerful. I’ve told my own story many many times over. Tapping into and writing stories of a character you imagine can free you up to state truths that are either difficult or impossible given your own subjectivity.’
They say the most difficult way to perform is alone on stage. That’s how Brian often rides - just the singer, the song, and a passionate, engaging performance.
GO KAT GO! Presents the undisputed Kings of psychobilly, THE METEORS!!!
The Meteors are an English psychobilly band formed in 1980. Originally from London, England, they are often credited with giving the psychobilly subgenre — which fuses punk rock with rockabilly — its distinctive sound and style.
About.com calls the Meteors "the first true psychobilly band," noting their blend of the "themes of horror, punk and rockabilly". They were the second band to use the term 'Psychobilly' as a description of their music. Formed in South London in 1980, they are considered the first verifiable psychobilly band. Their albums In Heaven (1981) and Wreckin' Crew (1983) are considered landmarks of the early years of the genre. Starting in the neo-rockabilly scene, the Meteors were initially shunned for being too different. Excuses for exclusion from rockabilly concerts varied from the band having too extreme of a sound to their drummer having green hair. The Meteors blended elements of punk rock, rockabilly, and horror film themes in their music. The Meteors articulated psychobilly's apolitical stance, a reaction to the right- and left-wing political attitudes which divided other British youth cultures. Fans of the Meteors, known as "the Crazies", are often attributed with inventing the style of slam dancing known as "wrecking", which became synonymous with the psychobilly.
Cygnus Radio Presents the Sunday Buzz Matinee
Doors at 3pm, music from 4-6pm
Eddie Seville is an American songwriter & multi- instrumentalist who's best known as the raconteur & creative force behind the alt- country rock band, Steel Rodeo .. drawing from folk, roots and country blues, he's written songs released on Island / Atlantic and Universal Records as well as music aired on each of the top three US television networks and HBO.
He's performed throughout the continental US, Canada and Europe, while his songs are covered by local musicians, regional bands and international artists, most notably George Kooymans of the multi- platinum Dutch band Golden Earring, who recorded "Blind Love" and "Ticket to Heaven" from Eddie's Straw Dogs EP.
His single, "One More Guitar" was the centerpiece of an ad campaign by the Netherlands based Homestead Guitar Company and his work spans projects with producer Paul Orofino, Danny Miranda (Queen + Paul Rodgers), Simon Kirke (Free / Bad Company), Frank Carillo (Peter Frampton / Tim Hardin) and Augie Meyers (Texas Tornados / Bob Dylan), in addition to numerous credits on a wide range of recordings that include film, television, independent and major label releases.
Hello, my name is Seth Adam.
It is unconventional to offer a biography written in the first person. As the cliché goes, rules were meant to be broken...
I am a 45 year old singer-songwriter, born and raised in Connecticut. I reside near the great city of New Haven with my wife and daughter. I’ve been playing music, in one form or another, since I was 5 years old. I got my start performing in front of audiences when I was in the elementary school chorus. Rock & roll got a hold of me just before my teen years, and I performed my first “rock & roll band” show at one of those old moose/elk/insert-animal-type halls when I was 14. I've been hooked on the rock & roll ever since.
Here's the part where I tell you what I am currently doing with my career.
2016 was a turning point in my career as I wrote and recorded songs out of a hobbled-together home studio space. Playing all of the instruments, engineering, producing, and everything else-ing on my own resulted in an EP called East Rock. The experience inspired me to continue to do much of the same for the foreseeable future, sidestepping the formal recording studios. In January 2018, I released a single (and video) called ‘Anytown,’ written in response to the events in Charlottesville VA the summer before. On February 14th 2020, I released a single called ‘At Different Ends,’ reflecting on the division and loss of wonder in American society from the perspective of one lonely observer. Shortly after the COVID pandemic began in 2020, I started constructing a formal home-studio space, finishing it in April of 2021. During that time, I also wrote and began recording songs for my fourth full-length album. This album, titled Fits and Starts and Stops, will be released in early 2022.
Here's the part where I give you some history, drop some names, and tell you about some influences.
I describe my music as singer-songwriter/Americana/folk/rock. That’s a lot of sub genres, but probably the best way to characterize it. My earliest influences were Elvis Presley, Johnny Cash, and Kenny Rogers. My dad used to play their records for me when I was a kid. In my teenage years, I embraced hair-metal, progressive-rock, and grunge phases, music I still enjoy to this day. I consider the music I write now to be the most heartfelt and sincere. My biggest influence is Counting Crows with Led Zeppelin coming in at a close second place. In recent years I’ve come to nearly deify The Beatles and Son Volt. Ryan Adams, Jason Isbell, and Wilco have also been tremendous influences on my work.
I love making music. It's how I make a living. It takes a lot of work and it pays off. In 2007, my song ‘Get Out’ was licensed to Volkswagen for their Sights & Sounds campaign. In 2008, then Fox entertainment columnist in NYC, Roger Friedman, called me “the hardest-working, best live act in indie rock.” In 2010, I received a nice hometown nod from The New Haven Advocate’s reader’s poll, winning the Best Rock Band category. For my 2013 release, Steel Tempered Pride, I had the good fortune of working with David Immerglück, guitarist for Counting Crows, James Maddock, and Camper Van Beethoven. In 2016 I was nominated for Male Performer of the Year for The New England Music Awards, and again in 2017 for Songwriter Of The Year. Through the years, I’ve opened for Grammy-winning Steep Canyon Rangers, Grammy-winning Robert Cray, Tonic, Vertical Horizon, The Alternate Routes, Will Hoge, Gary Louris (The Jayhawks), Ken and Drew from Sister Hazel, Kyle Cook (Matchbox Twenty), and Mayer Hawthorne.
I also like dogs. I think they're cool.
See you soon,
-Seth Adam, November 2021
At twelve years old, Ryley Walker discovered that music was the only thing that made him want to get through each day. A midwesterner born to working class parents, as well as an uninspired student who sucked at sports, the only thing in the world that seemed cool to Walker was rock music and guitars. Favoring Jimmy Page, Sonic Youth, Led Zeppelin and “fucked up sounds” that made his parents feel nauseous, he formed his first basement punk band on the cusp of teenagehood. By the time he reached highschool, he began immersing himself in jazz guitar, discovering the polyrhythmic work of Nick Drake, and the melodically dexterous coterie of ‘60s British singer-songwriters that surrounded him. Building on his musical influences and DNA, naturally, Walker became a fingerpicking lunatic.
Walker began his career in the early 2010s, after moving from Illinois’ provincial town of Rockford, and settling into Chicago’s independent scene. After a slew of cassette and vinyl releases, Tompkins Square put out his debut album in 2014, which was then followed up by the Dead Oceans released Primrose Green a year later. Working alongside several of Chicago’s distinguished experimental and jazz musicians, including cellist Fred Longberg-Holm, Walker has almost always left room for improvisation in his music, typically building from a central groove and then mutating and expanding outwards, until the song resembles something like a convulsive octopus.
For the past decade, his output has been prolific. In 2015, Walker released an instrumental album, recorded in collaboration with fellow Chicago musician Bill MacKay, entitled Land of Plenty. Following the release of his fourth solo album, Golden Sings That Have Been Sung, in 2016, the duo's second album, Spiderbeetlebee, was released by Drag City in 2017. Around the same time, he teamed up with free-jazz drummer Charles Rumback, the result was 2016’s Cannots, released by Dead Oceans in 2016, and later, Little Common Twist, released by Thrill Jockey in November, 2019—which followed 2018’s The Lillywhite Sessions, an album of covers of Walker’s beloved Dave Matthews Band. In 2021, he released Deep Fried Grandeur, a live album in collaboration with Japanese psychedelic band Kikagayu Moyo, just before releasing his sixth and most critically acclaimed solo album to date, Course In Fable. Most recently, in September, he released A Tap On The Shoulder alongside frequent collaborator and Squirrel Bait founder David Grubbs.
In 2019, just before the lockdown, he founded Husky Pants, his first record label. After parting ways with Dead Oceans, he opted to release his sixth solo album independently, and has since used his label to release music by artists he admires. “These days I love being at home and putting out other people’s music and advocating for them. I think that’s one of the great honors of my life—asking someone to put out a record, and going to bat for them for it, putting all my resources and time into it,” he said. Splitting costs with the artists straight down the middle, without the use of binding contracts, Walker is championing music on the nicher side—both his own and others’. “I’ll put out anything that sounds good to me,” he said.
Now at thirty-two, and with twenty years of musical experience behind him, Walker’s ethos is simple, unembellished and somewhat blue-collar: He plays rock music because he enjoys it; he plays rock music because it’s a way to avoid manual labor; he plays rock music because he’s good at it.
Having toured with the likes of Richard Thompson, and with a supporting slot for Dinosaur Jr. forthcoming—as well as a tremendous Burt Jansch tribute show behind him, wherein his hero Anne Briggs called him the ‘c word’—Walker has rubbed shoulders with the very best. While, in the past, his desire to be as great as his influences may have dogged and hindered him from bringing his own personality to his music, now, Walker’s music is undeniably his. A mix of Twitter and sobriety may be partially responsible.
“When I was first pitched it was like, remember the sixties? Remember the cool British singer-songwriters?” he said. In response, he made himself a Twitter, mostly “just to say obnoxious shit”, but also to remove himself from the corner he’d been backed into. The humor and singularity he brought to his Twitter page has since seeped into his music, as he writes in a kind of droll, beatnik stream-of-consciousness style, not dissimilar to the likes of Stephen Malkmus. “It’s a super sizzled first person perspective. I’m writing about surroundings and states of mind, and if they’re funny, that’s cool too. I like writers with a sense of humour,” he explained.
For the first time in his life, Walker is writing from a place of joy. “I’m pretty comfortable in my own skin these days,” he said. “Maybe that comes with getting older and caring less and using way less crack cocaine—or none at all, actually.” His fairly recent move toward sobriety has encouraged Walker to prioritize his health in a way that has helped his music greatly. “Music is an exciting thing I get to do because I’m alive and well. I take every opportunity I’m given very seriously; I’ve gotta pay tribute to that by staying alive and being as good to the people who love me as I can,” he said.
The daughter of oboist Robert Bloom, Kath Bloom is an American singer/songwriter comparable to Vashti Bunyan. She grew up in New Haven, Connecticut, where she studied the cello as a child and started playing the guitar when she was a teenager. Bloom 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 five 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.
Bloom stopped recording new material soon after her collaboration with Connors ended, and a period of financial hardship followed. A single mother, Bloom focused on raising her children, rarely playing shows outside of New Haven. Director Richard Linklater discovered Bloom's music sometime in the early '90s and subsequently featured her song "Come Here" in his 1995 film, Before Sunrise. Encouraged by Linklater's interest in her music, Bloom started writing new songs and released her first album in over ten years, Come Here: The Florida Years, in 1999. The album was followed up with 1981-1984, a re-release of songs she had recorded with Connors just before they split up. This was followed by Sing the Children Over in 2001, Kath Bloom and Loren MazzaCane Connors in 2002, and the retrospective collection Finally on Chapter Music in 2005.
In 2008, Bloom issued Terror, which was recorded solo and with backing from her Love at Work Band. Chapter followed this in 2009 with a tribute album called Loving Takes This Course: A Tribute to the Songs of Kath Bloom. It featured covers of Bloom's songs from contributors who included Marble Sounds, Bill Callahan, Laura Jean, Mark Kozelek, Mick Turner & Peggy Frew, Devendra Banhart, Scout Niblett, the Dodos, Josephine Foster, Mia Doi Todd, Corinna Repp, Marianne Dissard & Joey Burns, Amy Rude, and Meg Baird & the Concretes. Bloom signed with Kozelek's Caldo Verde label for 2010's Thin Thin Line.
In typical fashion, Bloom played occasional shows, but otherwise remained silent for another two years. In 2012, Here I Am, a five-track digital EP, was issued by Caldo Verde. Though she appeared on Pink City by Jennifer Castle and This Frontier Needs Heroes' The Future, Bloom focused on writing for the next two years. In 2014 she went to record in California for the first time. She emerged with the album Pass Through Here, which was issued by Chapter Music in early 2015. Recorded over five Los Angeles winters, Bloom's 19th full-length outing, 2017's This Dream of Life, included guest spots from Avi Buffalo, Imaad Wasif, and Mark Kozelek. ~ Thom Jurek
Matt Lorenz's vision, manifest in The Suitcase Junket, developed in the tension between the grand and the solitary. Grand in its imagery, sound, and staging. Solitary in its thrift and self-reliance. What instruments he requires, Lorenz builds from scratch and salvage. What parts five players would perform, he performs alone. The spectacle of his one-man set bears constant comparison to legends of showmanship, brilliance, madness, and invention.
While audiences are captivated by his solitary form and the show itself, Lorenz, who homesteads with rescue dogs and chickens in rural Western Massachusetts, is most serious about the songs. He has been building a catalog, writing a world into existence. Solitary on stage and on the road, his mind is crowded with characters, narratives, voices, imagery, sounds as wide and varied as mountain throat singers and roadhouse juke boxes, plus newsreels of the planet's destruction and salvage. With this 2020 release, The End is New, Lorenz’s grand vision for the song overrides the how of it.
"The things I value are under attack," Lorenz writes. "And writing songs and making art are the methods I have for responding. I have tried to use my observations and reflections of the world bent through my fun-house-mirror mind to show what I see; a planet stressed. ... We can do better."
The End is New was produced by trusted friend, producer Steve Berlin of Los Lobos, who produced The Suitcase Junket’s acclaimed 2018 release, Mean Dog Trampoline.
“Most of the time making records for a living is both fun and edifying,” says Berlin “But every once and a while I get rewarded with a simply superlative experience, and making The End Is New was certainly one of those.” He adds, “We had a blast building these ideas into songs, and Matt’s endless inventiveness made each workday a genuine pleasure. His talent is a unique gift.”
"I told Steve I wanted to make a doom-folk record," says Lorenz. "That’s what I’d started calling my music when people asked. He was game. Neither of us knew quite what that meant at the time, but I think we found out with The End is New. There’s a heavy mix of hope and desperation in the sound and lyrically I was trying to be a mirror to society using truth, myth, confessions and stories."
In the strangest of ironies, the production of this album, an artist moving from solitude to collaboration, went forward in a time when Lorenz, Berlin, all their studio musicians, and the entire world were in isolation for the lockdown of pandemic.
“We had done some tracking in February and felt that we had a good start," says Lorenz, "but things had gotten a bit strange. Steve Berlin, producer extraordinaire, was stuck at home on the West Coast under a newly imposed lockdown and here in Massachusetts the virus was starting to heat up. The bicoastal, remotely produced recording process was bizarre and frustrating but fruitful. We plugged along, track by track, occasionally commenting on how crazy everything was feeling. Justin, the sound engineer and co-owner of Sonelab, and I had spent time together in the same studio so we figured if one of us had The Virus we probably both did so why not finish the record as safely as we could? So we watched as the world drastically changed around our little musical haven, unsure of what lay ahead. We polished off the record bit by bit in the following months, recording overdubs from home with no more studio time to be had. J Mascis made a ripping appearance on ‘Light a Candle’ and Steve Berlin slipped off his producer shoes and laid down some horn parts. I’m so very excited to share these new songs. I think the writing on this album is some of the best I’ve ever done and the production has them sounding huge and cinematic."
The End is New is an artist expanding his possibilities, collaborating, matching his lyrical power over eleven tracks with the epic sounds and narratives of his imagination. “Black Holes and Overdoses” riffs off the unrelenting news cycle, the numbness that wants for oblivion. “And Then There Was Fire” finds Lorenz reflecting on current events, inspired by the destructive wildfire in Australia, which seems like three years ago at this point, but took place right at the end of last year and beginning of this year. “Light a Candle” is the simmering doom of lost love. “Can’t Look Away” protests the overuse of a planet. “Jesus! King of the Dinosaurs” is a romp poking fun at extremists and biblical timelines.
Growing up in Cavendish, Vermont, Matt Lorenz began playing piano at age five, and later took up violin, saxophone, and guitar. During his years at Hampshire College in Amherst, Massachusetts, he studied music and adaptive instrument design, a pursuit that included building a prototype for a drummer who couldn’t use their legs, where they’d be able to play the bass drum and hi-hat through a system of pulleys. After college, he headed to Europe on a $150 plane ticket, ran out of money in Barcelona, and spent a year playing music in the streets. “That’s where I learned how to sing loud, which got me figuring out what my voice could do,” Lorenz notes. Once he’d returned to Amherst, he formed the band Rusty Belle with his sister Kate and, several years later, started The Suitcase Junket with the aid of a guitar he’d found in a dumpster. ‘The Suitcase Junket’ is a nod to Lorenz’s longtime love of collecting old suitcases, including an antique that he’s refurbished into a bass drum, and to a secondary definition of junket, i.e. “a pleasure excursion."
The End is New is Lorenz's sixth full-length album as The Suitcase Junket, his first for Renew Records/BMG. The sound has become more refined and deeper with each release. Lorenz tours extensively and plans to be back on the road for a waylaid release tour for The End is New in 2021. Lorenz is also a visual artist. In the early years he designed all The Suitcase Junket album art and merchandise and made the music videos generated with his songs. He continues to create the visuals for merchandise, and to produce some of his videos, now with collaborators. He gets very excited about coffee, gardening, bees, dogs, birds, mushrooms, tinctures, making his own wine and maple sugaring season.
The Wildmans come from the hills of Floyd, Virginia, in the heart of the Appalachian mountain music tradition. From campsite jamming at festivals and fiddler's conventions and a college level music education comes the foundation for musical exploration that sets this group apart, taking the audience on a musical journey that reflects the growth and passion of these talented musicians.
The band features award winning players:
The group has appeared on stages large and small, performing in festivals such as Red Wing Roots, Chantilly Farm's Bluegrass and BBQ festival, Grey Fox Bluegrass, Floyd Fest, and The Steep Canyon Rangers’ Mountain Song Festival. They also regularly represent young talent along the Crooked Road in regional fiddler’s conventions. Having shared the stage with talents such as Bela Fleck, The Steep Canyon Rangers, The Steel Wheels, Danny Knicely, Sammy Shelor, Sierra Hull, Billy Strings, and more., these young musicians are making their way in the American stringband scene.
On The Trail is a modern acoustic quartet that explores everything from bluegrass to contemporary pop, from stunning instrumentals to beautiful traditional songs. The band bonded from their love of bluegrass and the band Punch Brothers, and has already gained recognition and praise for their exploration and strong execution of the challenging music, as well as for their new original music. On The Trail also features Austin Scelzo-fiddle and vocals, Tom Polizzi-mandolin and vocals, Chet Duke on Banjo, and Charlie Widmer-guitar and vocals.
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Hubby Jenkins is a talented multi-instrumentalist who endeavors to share his love and knowledge of old-time American music. Born and raised in Brooklyn he delved into his Southern roots, following the thread of African American history that wove itself through country blues, ragtime, fiddle and banjo, and traditional jazz. After years of busking around the U.S and making a name for himself, Hubby became acquainted with the Carolina Chocolate Drops. From 2010 to 2014 he has been an integral part of the Grammy award winning Carolina Chocolate Drops. Since 2015, he is an active touring and recording member of the Rhiannon Giddens band. He was on her album “Tomorrow Is My Turn” in 2015 and in 2017 “Freedom Highway.” And around these projects Hubby continues to make solo performances.
An ambitiously itinerant musician, just like other Carolina Chocolate Drops fellow musicians, Leyla McCalla and Dom Fleming, Hubby Jenkins is now taking his show on the road, playing the streets, coffee shops, bars, and house parties of cities around the country.
Renowned for incendiary live shows and ferocious stage presence, Intercourse carve a singular niche within New England’s outsider hardcore scene. Founded in 2014 by vocalist Tarek Ahmed, a self-titled EP soon followed, establishing a steady stream of releases punctuated by 2016's Pissing into the Abyss EP and 2017’s split release with North Carolina’s The Asound. 2018’s debut lp Everything is Pornography When You've Got an Imagination and 2019’s Bum Wine 7” (both on Constant Disappointment Records) saw the band further expanding their reach by venturing out across New England and the Mid-Atlantic through to North Carolina, selling out multiple vinyl pressings in the process.
Though previously beset upon with fluctuating lineups (no doubt folding under the weight of the madness), Ahmed and longtime drummer Caleb Porter mined opportunity from within the inertia of 2020’s pandemic, concluding the year with both a decisive incarnation and sophomore record Rule 36. Recorded at Dead Man’s Blade Studio with Ryan Pelegano (Posture and the Grizzly) at the helm, the 9 tracks contained herein see Ahmed’s cynically unhinged vocals bolstered by guitarist Sean Prior’s unholy squall, Porter’s pummeling onslaught, and bassist Pete Stroczkowski’s molten sludge. The group blister through apocalyptic landscapes of fetishistic surgeons, reptilian onanists, and belligerent MAGA bros at the speed and heft of a bullet train collision, stopping only once the cacophonous feedback of closer ‘Pagliacci Was Ahead Of His Time’ sputters out from the weight of Ahmed’s screams of unfettered grief and self-destruction.
Poised for a return to the stage and an opportunity to once again unleash their particular brand of caterwaul unto live audiences everywhere, Intercourse offer up Rule 36 in the interim. The time until then will be no doubt spent doing what comes naturally to the band: preparing the next barrage of sonic assault.
That place you go to where you realize you don't belong in your own skin.
Gurgling, vitriolic hatred spewed at your ears that will make the deafening silence afterwards drive you back for multiple listens.
ADIOS is Cory Branan’s death record. Not the cheeriest of openings, but like all of Branan’s mercurial work, it’s probably not what you think. As funny and defiant as it is touching and sad, this self-dubbed “loser’s survival kit” doesn’t spare its subjects or the listener.
Not even Branan’s deceased father is let off the hook. In the tender homage “The Vow” he drolly cites his father’s favorite banality “that’s what you get for thinking” as “probably not the best lesson for kids.” For most songwriters that would be the punchline but Branan pushes through words and, in his father’s actions, finds a kind of “genius in the effortless way he just ‘did’.”
Not all the death on ADIOS is literal mortality. “Imogene” is sung from the wreckage of a love that once “poked fun at the pain, stoked the sun in the rain” but ends with the urgent call to “act on the embers, ash won’t remember the way back to fire.”
The trademark lyrical agility is mirrored sonically. Never a genre loyalist, ADIOS finds Branan (much like his musically restless heroes Elvis Costello and Tom Waits) coloring outside the lines in sometimes startling shades of fuzz and twang. While unafraid to play it arrow-straight when called for (“The Vow,” “Equinox,” “Don’t Go”), ADIOS veers wildly from the Buddy Holly-esque rave up “I Only Know” (sung with punk notables Laura Jane Grace and Dave Hause), through the swampy “Walls, MS” to the Costello-like new wave of “Visiting Hours.”
The blistering punk of “Another Nightmare in America” bops along daring listeners to “Look away, look away, move along, nothing to see here” (the song is written from the point of view of a racist killer cop). And as the mourning singer on “Cold Blue Moonlight” shifts from paralysis to panic, the song’s jazzy drone shifts to an almost Sabbath fury. The tonal shifts are always deliberate and not just simple genre hopping; while the turns can be jarring you can trust Branan to take you somewhere unexpected.
The 14-song album was self-produced and recorded in the spring of 2016 at Tweed Studios in Oxford, MS with a tight three piece: Branan on lead vocals and guitar (both electric and acoustic); Robbie Crowell (formerly of Deer Tick) on drums and percussion, keys, and horns; and James “Haggs” Haggerty on bass. Additionally, Amanda Shires contributes on fiddle and vocals, and Laura Jane Grace of Against Me! and Dave Hause provide guest vocals.
Cory Branan has four previous full-length releases: The Hell You Say (2002, Madjack Records), 12 Songs (2006, Madjack), Mutt (2012, Bloodshot Records), and The No-Hit Wonder (2014, Bloodshot). His music has received critical praise from the likes of Rolling Stone and Rolling Stone Country, NPR All Things Considered, Noisey, Wall Street Journal, Paste Magazine, Oxford American, Consequence of Sound, Southern Living, and many others.
There’s something about a record cut by a bunch of folks that have put as many miles on their fretboards of their instruments as they’ve put on the van’s odometer. Gasoline is Boston, MA quintet Grain Thief's first release since 2018's Stardust Lodge. While that release explored the boundaries of Americana, the new record showcases the group's core as a roots string band. It's a musical snapshot of the band's true live sound. Climb on in, turn the key, and give ‘er some gas. I promise you’ll be in for a lovely ride.
There’s no room to fake it when it’s just the band, acoustic instruments, and a microphone. Patrick Mulroy (guitar, vocals), Zach Meyer (mandolin, vocals), Michael Harmon (bass, vocals), Tom Farrell (resonator guitar), and Alex Barstow (fiddle) have grown as individual musicians, and Grain Thief has grown as a cohesive musical unit. Gasoline is a more refined and polished work than the band’s prior releases. “We made a conscious choice to narrow our focus and create an album that was more cohesive and reflective of our live performance” says Harmon.
While on past records (the Animal EP in 2015, followed by Stardust Lodge) the band would track individually, Gasoline represents an intentional departure from that process. “Our goal was to record everything as we would play it live, with as few overdubs as possible” Harmon tells. Determined to emphasize their identity as a string band, Grain Thief recorded the bulk of Gasoline with the whole ensemble recording in one room at the same time. Indeed, this is a band that walks the talk, and the easy grace with which the record unfolds belies the elegant intricacy that lies therein.
Written across the Northeast at late night parties, on airplanes, rolling down the highway, and whilst killing time at various and sundry day jobs, the band pulled from everyone’s experience and influences to create a piece of art that is both nuanced and possessed of a tangible internal cohesion. They play together whenever possible - and at least twice a week - to maintain their melodic brotherhood at the highest level.
Once the band had Gasoline written and the music had become second nature – they even did a retreat to Cape Cod in the desolate dead of winter to dive headfirst into the new material – they headed to Wachusett Recording in Princeton, MA to track. Joining them for the sessions was producer Dan Bui from Twisted Pine. “We have grown as musicians and as a band,” says Mulroy. They have also grown closer as creative companions, and their new more roots-focused sound is a natural progression from prior releases. Gasoline is the sound of a band fully finding their musical sea legs, rather than a group of musicians just recording some songs. Both timely yet inherently timeless, Gasoline will no doubt find its rightful place in the canon of American music.
Grain Thief has toured the north, south, east, and west of the U.S., playing stages large and small. They have graced the stages at the Greyfox Bluegrass Festival, Hempfest, Podunk Bluegrass Festival, Thomas Point Bluegrass Festival, Ossipee Valley Music Festival, UMS Music Festival, and Rockygrass, among others. ‘Gasoline’ reached #8 on the AMA Bubblin’ up chart, #81 on the AMA/CDX chart, #25 on the NACC Folk Chart, and #7 on the weekly top Americana Country chart. Their previous record, ‘Stardust Lodge,’ reached #17 on the Folk DJ Radio Album Chart, #4 on the Roots Music Report Folk Album Chart, and #1 on the Roots Music Report Traditional Folk Album Chart.
Five 'n Change is a New Haven, Connecticut based bluegrass band that drives hard and carries a big pick. They respect the tradition. They respect the trailblazers. And they respect the renegade outlaws. Our final product is an eclectic balance of American roots music which both reinterprets and redefines the bluegrass songbook.
Formed in 2011, the band has spent the last several years building a catalog of music that showcases the group’s strong vocals, musicianship, and passion for genre busting. The band released their debut album in the Fall of 2013 entitled Live in the Chamber to rave reviews and followed up with a self titled EP release. (Both CD's are available in the MUSIC section of this website).
Sarah Borges's unbridled joy at making music two decades into a storied career comes through loud and clear in her latest long player, aptly titled Love's Middle Name. Her third studio record with The Broken Singles, Love's Middle Name is a muscular 10 song cycle that pulses with raw, gritty, unfettered emotion. As the kids like to say: this record has all the feels.
Conduct even a quick Google search, and you'll find that Sarah has been dubbed everything from an Americana darling, to a roots rocker, to a cowpunk by tastemakers as diverse as The New York Times and Sirius XM Outlaw Country Radio. With this latest release Sarah Borges and the Broken Singles show that all of those titles are well deserved.
When you hear Marielle Kraft’s music or experience her candid live shows, you feel as though you already know her. The indie pop singer/songwriter, now based in Nashville, displays craftsmanship beyond her years, following suit to artists like Shawn Mendes, Maisie Peters, and Taylor Swift.
Self-taught, the Rhode Island native began playing guitar at 16 and soon writing songs that strike chords with listeners everywhere. Her gift for storytelling is evident through her use of salient detail, raw emotion, and poignant word choice to describe moments “exactly as they feel.”
Over the past few years, Marielle Kraft has self-released one original EP, seven singles, and four official music videos.
Kraft’s 2017 debut single, "How Far You Feel," has collected nearly half a million streams across platforms. The indie pop breakout track seeks to understand the dichotomy of physical vs. emotional distance in relationships, brilliantly expressing “what many feel but cannot find the right words to say.”
Marielle’s 2018 single, “Test Drive,” was the first on her debut EP, followed by a second release in February 2019: “Toothbrush.” This fan-favorite soft pop tune was coupled with a brilliantly creative lyric video comprised of 50 fans singing along to her lyrics using custom Marielle Kraft toothbrushes.
Kraft’s third EP single, “Better Without You,” arrived on May 17th, 2019 across platforms. This “standout track” reaches new heights in pop production and lyrical construction. Premiering on GroundSounds, the bicoastal music blog raves of the sparkling single, “The song shows Kraft’s big-time pop sensibilities. It’s addicting, charming, and shows why she’s a name to watch this year.”
Each of these three singles culminated as Marielle Kraft’s debut studio EP, “The Deep End.” Officially released on July 12th, 2019 Kraft’s first effort is notably strong both lyrically and sonically, described by The Music Mermaid as “song after song of mini pop addictions.”
Kraft’s EP release was directly followed by her first headlining east coast tour. Her “winning personality,” “genuine connection",” and “gift for story telling” on stage have fueled the ever-growing crowds at each of her shows, with no signs of slowing down.
In February 2020, Marielle Kraft co-released an “anthemic” and “heart-filled” single with Joshua Howard entitled “In It Together”, which has quickly gained support across platforms.
Marielle Kraft regularly plays at venues across the United States, sharing stages with names as big as Jon McLaughlin, Ava Max, and Betty Who. She presents her live shows as a seamless narrative: evocative yet encouraging, deeply reflective yet refreshing. The raw authenticity with which Marielle invites listeners into her story cultivates a relationship with them beyond the song, as she is known to “bring together a room full of strangers.”
In spring 2018, she was crowned Grand Champion of the Mid-Atlantic Singer-Songwriter Competition, and the following June she delivered a Tedx Talk at Firefly 2018, discussing the importance of honesty rooted in her songwriting process.
Marielle Kraft’s October 23rd single, “Portland,” breathtakingly captures the moment we find ourselves in, and speaks volumes of the young artist’s songwriting abilities.
Without missing a beat, Marielle Kraft released back to back singles to kick off 2021, both of which found major traction on Tiktok before becoming fully studio produced releases. “Everyone But Me” (February 19th) and “We Were Never Friends” (March 24th) feature a more developed sound than seen from Marielle before, and have cultivated her biggest streaming debuts to date. With more new releases on the way, Kraft is on track for an even bigger 2021.
Since leaving her full-time teaching career to pursue a life committed to creating music, Marielle Kraft has promise to follow suit to artists like Julia Michaels and Maisie Peters as the young songwriter makes a growing impact in the indie pop scene.
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“Marielle has this admirable ability to translate the world’s unique, and shared, experiences into sweet, profound little tracks that are somehow always exactly what we need at the time.” - The Music Mermaid
“If you like indie-pop with singer/songwriter flair then it’s a must-hear. The songs from the EP sounded even better performed with a whole band in the live setting…they sounded fuller and had an extra dose of vibrancy.” - Love Is Pop
“‘Better Without You’ stands out on the EP and is the perfect breakup / female empowerment song.” - Rock On Philly
“Marielle Kraft finds vulnerability as the avenue to joy, light, and truth, as is rooted in each of her indie-pop songs. Marielle knows who she is, and that comes across so strongly in her music.” - The Narrative Now Podcast
“With each passing second, we allow ourselves to fall more deeply into this incredible soundscape.” - Imperfect Fifth
“Marielle showed a clever intensity in her material that, when coupled with her wonderful voice, pulled the listener into her story.” - Joe Trainor, Gable Music Ventures
"Marielle’s songs tap into young women and millennials’ romantic angst and euphoria in a way that feels flavored by Alanis Morissette and Taylor Swift." - Cheryl Squandrito, Philadelphia Inquirer
While Skout’s earliest work grapples with surviving in a state of uncertainty, her new EP Patterns is a testament to thriving in spite of it.
Skout is the musical moniker of Brooklyn-based singer, songwriter, and guitarist Laura Valk. Known for percussive, melodic guitar work and introspective songwriting, Skout’s lyrics wrestle with the messy truths and “what nows?” that linger once the dust of adolescence starts to settle. Often writing and performing alongside her best friend and longtime collaborator Connor Gladney, Skout has created a sound that floats somewhere between indie, folk, and pop.
While an evolving soundscape defines her sound, it’s the repetitive, cyclical thoughts common with anxiety and depression that ultimately led Patterns to its namesake. In writing the EP, Valk confronted one of her darkest patterns: the swirling self-doubt that seemed to dominate a post-coming-of-age reality.
“The first time I shared the lead single ‘Move’ with loved ones, they were able to hear something I couldn’t,” Valk recalls. “I remember them saying ‘Laura, this song isn’t just about feeling stuck. This is what depressive thinking sounds like.’ It was a revelation that changed my life.”
Patterns was produced by Quinn Redmond and Julian Dente and recorded over several months in both Nashville and NYC. The EP is the result of two years of writing, touring, and intensifying highs and lows, culminating in two particularly difficult struggles for Skout: while Valk grappled with her mental health, Gladney was diagnosed with a debilitating chronic health condition.
Skout’s second single, “Dumb Little Life,” was written at the height of these setbacks. “It was a really dark, uncertain time both personally and professionally, so I challenged myself to write something upbeat, anthemic almost. Whether intentional or not, ‘Dumb Little Life’ has become this reminder that I can always try to change my perspective even if circumstances remain beyond my control.”
In navigating this musical and personal uncertainty, Skout found confidence, healing, and a remarkable new stride. In 2019, Adam Duritz of Counting Crows tapped Skout to play at his Underwater Sunshine Festival in NYC after seeing Valk and Gladney play live, remarking, “they just blew my mind…they are both incredible guitar players.” Later that year, Skout joined platinum-selling soul-pop powerhouse Eric Hutchinson on his sold out City Winery tour. Proudly independent, Skout’s first major release, Just Words, landed on both Spotify’s USA and Canada Viral 50 charts, and her music has since been featured by MTV, NBC, Popmatters, and Music Connection.
The Sunday Buzz Matinee from Cygnus Radio Presents
“The last ten years have been a rollercoaster of deep despair and amazing opportunities that somehow present themselves at the last possible second,” says Eef Barzelay. “During that time, the band bottomed out, I lost my house, and I had to declare bankruptcy. The only way to survive was to try to transcend myself, to find some kind of deeper, spiritual relationship with life. Once I committed to that, all these little miracles started happening.”
‘Forever Just Beyond,’ Barzelay’s stunning album under the Clem Snide moniker, may just be the most miraculous of them all. Produced by Scott Avett, the record is a work of exquisite beauty and profound questioning, a reckoning with faith and reality that rushes headlong into the unknown and the unknowable. The songs here grapple with hope and depression, identity and perception, God and the afterlife, humanizing thorny existential issues and delivering them with the intimate, understated air of a late-night conversation between old friends. Avett’s production is similarly warm and inviting, and the careful, spacious arrangement of gentle guitars and spare percussion carves a wide path for Barzelay’s insightful lyrics and idiosyncratic delivery.
“I look up to Eef with total respect and admiration,” says Avett, “and I hope to survive like he survives: with total love for the new and the unknown. Eef’s a crooner and an indie darling by sound and a mystic sage by depth. That’s not common, but it’s beautiful.”
Named for a William S. Borroughs character, Clem Snide first emerged from Boston as a three-piece in the early 1990’s, and the group would go on to become a cult and critical favorite, picking up high profile fans from Bon Iver to Ben Folds over the course of three decades and more than a dozen studio albums. NPR highlighted the Israeli-born Barzelay as “the most underrated songwriter in the business today, with a sneakily firm grasp on poignancy and humor,” while Rolling Stone hailed his songwriting as “soulful and incisive,” and The New Yorker praised his music’s “soothing melodies and candid wit.”
Barzelay currently resides in Nashville, TN.
GO KAT GO! and Cafe Nine Present
One of the first and most enduring bands on the Celtic punk underground, Chicago’s the Tossers mix the attitude and swagger of punk rock with a muscular but respectful approximation of Irish traditional folk music. Formed in Chicago, Illinois in 1993 by Anthony “T.” Duggins, the group’s lead singer and mandolin player, the Tossers developed a reputation for their storming live show and busy touring schedule, and they influenced similarly minded bands such as the Dropkick Murphys and Flogging Molly.
The Tossers released The Valley of the Shadow of Death (2005), Agony (2007), Gloatin’ and Showboatin’: Live on St. Patrick’s Day (2008), On a Fine Spring Evening (2008), The Emerald City (2013) and Smash the Windows (2017) with Victory Records.
Surfacing from the house parties in northern New Jersey, Crazy & The Brains poured into the punk scene as an acoustic guitar/xylophone duo. Founding members Jesus Christoph and Jeffrey Rubin made their rounds through the Lower East Side Manhattan open mic scene before manifesting into a full band and recording their debut album “Let Me Go” in 2013.Fiercely independent the lyrics confront social and political constructs, explore the dark territories of mental health, champion sexual freedom and express a devoted love for junk food. Sonically, Crazy & The Brains draw comparison to the early days of New York Dolls while replacing every guitar lead with a xylophone solo.
Richie Ramone is the fastest, most powerful drummer who ever played with the legendary punk rock band the Ramones. He joined the Ramones in 1983 and first appeared with the band on their Subterranean Jungle tour.
Richie performed in over 500 shows around the world with the Ramones and wrote several critically-acclaimed and fan-favorite songs for the albums Animal Boy, Too Tough to Die and Halfway to Sanity. Punk rock icon, Joey Ramone, remarked that “[Richie] saved the band as far as I’m concerned. He’s the greatest thing to happen to the Ramones. He put the spirit back in the band.”
Richie is notable as the only Ramones drummer to sing lead vocals on Ramones songs, "(You) Can’t Say Anything Nice” as
well as the unreleased “Elevator Operator.” Richie was also the only drummer to be the sole composer of Ramones songs including their hit “Somebody Put Something in My Drink” which remained a staple in the Ramones set list until their last show in 1996 and continues to be covered by new generations of bands worldwide. “Somebody Put Something in My Drink” was included on “Ramones Mania,” the first Ramones album to go gold as well as “Loud, Fast Ramones: Their Toughest Hits,” an album comprised of songs hand picked by Johnny Ramone as the Ramones’ best works. Richie also wrote "I'm Not Jesus," "Can't Say Anything Nice," "I Know Better Now," "Humankind" and "Smash You" which became the title track for one of the Ramones' most successful re-releases, Smash You: Live '85. Richie's "I'm Not Jesus" took the Ramones in a heavier direction and has become a frequent cover tune for innumerable heavy metal bands. Richie’s songwriting contributions were supported by Joey Ramone: “I encouraged Richie to write songs . . . we never let anybody else write our songs.”
In 2007, Richie Ramone introduced his virtuosic drumming to the symphonic world with his “Suite for Drums and Orchestra” based on Leonard Bernstein's West Side Story. He debuted his arrangement with the Pasadena Pops Orchestra as the featured drum soloist and was an immediate hit with critics and patrons there and in other cities. He is currently working on another innovative “Suite for Drums and Orchestra” comprised of classic James Bond movie songs.
In 2011, the Recording Academy gave the Ramones a Grammy Lifetime Achievement Award in Los Angeles, where all three of the band's drummers (Tommy, Marky and Richie Ramone) stood beneath the same roof for the first time ever. In 2012, Richie was the only surviving Ramone featured on the second Joey Ramone solo album, “Ya Know?” On October 8, 2013, Richie released his first solo album, "Entitled," which features new songs written by Richie as well as new recordings of songs he wrote for the Ramones. Billboard notes, "Richie's 12 freshest cuts aim to please fans of both rock and metal with its blend of power chord-chugging simplicity and guitar hero virtuosity."
Most recently, Richie released his second CD, "Cellophane," in August 2017, followed up by a collectible, clear vinyl LP version, and a 7" single for the track "I Fix This."
Speedealer originally formed in 1992 in Lubbock, TX. under the name REO Speedealer. Its founding members are James Follis [who named the band] (guitar), Rodney Skelton (bass), Jeff Hirshberg (vocals), and Chris Brown (drums). By early '93 REO Speedealer had run its course and broke up. Both Skelton and Hirshberg decided to return to Dallas, while Follis and Brown remained in Lubbock. Upon their return, Skelton, Hirshberg (now on guitar and vocal duties), Mike Noyes (guitar), Dave Woodard (vocals) and Jason Purtle [RIP]/Toby Sheets (drums) reformed the band. REO Speedealer began to play local and regional shows, which in short order turned into DIY, "get in the van," touring on the national level. In the fall of 1995 the band released its first eponymously titled full length record on Lori Barbero's (Babes in Toyland) label, Spanish Fly -- directly after the release of the record, Woodard split from the band.
The following year the group signed with Royalty Records, and it was at that time that the band began touring nonstop, worldwide, playing over 300 shows per year for the next eight years. 1996 also found the guys in the studio with producer Daniel Rey (Ramones, Gang Green, White Zombie, The Misfits, et al.) recording their second self-titled album. Shortly after the record's release in '97, REO Speedwagon served the band a cease-and-desist order on their moniker. As a result, the band shortened its name to Speedealer. And in the subsequent year, after the departures of drummer Todd Mcglaughlin and guitarist Noyes, the foursome — now consisting of Hirshberg, Skelton, and newly added drummer Harden Harrison (Rigor Mortis) and guitarist Eric Schmidt (Pervis) – recorded and released the Daniel Rey produced Here Comes Death. Just as the album hit the streets, Royalty Records folded, leaving Speedealer without either a label or support for their new record.
The band continued its intense touring schedule, pairing up with acts such as Motörhead, Fu Manchu, The Misfits, Neurosis, and GWAR. After their 1999 performance at SXSW, Palm Pictures A&R representative Michael Alago (who signed Metallica to Elektra) contracted the band to his label. Palm Pictures re-released Here Comes Death in 2000, as well as putting out the band's fourth studio album, Second Sight (produced by Jason Newstead of Metallica), in 2001. Early in '02, Speedealer parted ways with Palm Pictures. During that same year founding member Rodney Skelton left the band; and in 2003 Casey Orr (GWAR, Ministry, and Rigor Mortis) took over on bass and Speedealer recorded and released both Bleed (produced by Jeff Pinkus of The Butthole Surfers, Honky, and The Melvins) on Dead Teenager Records and Burned Alive (recorded live at CBGB, produced by Daniel Rey) on Radical Records.
Following their European tour in the summer of 2004, Speedealer ceased existing as a working, full-time band -- though between 2008 - 2012 members would from time to time play one-off shows, that is until Hirshberg decided in the autumn of '12 that he no longer wished to play live. However, in 2016 Schmidt and Harrison partnered with vocalist Daniel Barron (Swingin' Dicks) and bassist Rick Pearson (The Buck Pets), reestablishing the band. And on November 6, 2018, Speedealer, along with Hirshberg, entered into Sonic Dropper Studio with Daniel Rey and Jim King at the helm to record its sixth studio album, Blue Days Black Nights (self-released May 6, 2019). Speedealer is currently touring in support of Blue Days Black Nights.
The band's musical influences include but are not limited to The Butthole Surfers, Motorhead, The Misfits, Alice Cooper, ELO, Black Sabbath, and Judas Priest.
Chris BADNEWS Barnes and Grammy Award-winning producer, Tom Hambridge, have teamed up for Barnes’ first ever original blues album, BADNEWS RISING. This is Barnes’ third release with Vizztone Records. All ten original offerings written by Barnes & Hambridge were recorded at Nashville’s Sound Stage Studio with top studio musicians, Kevin McKendree (Delbert McClinton, Anson Funderburgh) on Piano/B3, Tommy MacDonald (Buddy Guy, Johnny Winter) playing Bass. Pat Buchanan (Cameo, Hall & Oates) on Guitar/Harmonica and Tom Hambridge (Buddy Guy, Susan Tedeschi, Roy Buchanan) behind the console and drum kit as both producer and drummer. BADNEWS RISING delivers the same stock and trade ironic, salacious Hokum Blues lyrics that Barnes is known for.
Barnes, a former Seinfeld, Curb Your Enthusiasm, 30 Rock & Carol Burnett television show performer and writer, has made his mark in the blues community being hailed as The King of Hokum Blues by Elmore Magazine. His first Vizztone Release; Hokum Blues was an homage to The Hokum Boys, i.e .Tampa Red & Georgia Tom, a number one Chart Topper recruiting fellow New York City musicians Will Lee (David Letterman), Jimmy Vivino (Conan O’Brien), Shawn Pelton (Saturday Night Live Band), Bete Sussman (Bette Midler), and Harmonica virtuoso Steve Guyger (Jimmy Rogers). His second Vizztone release LIVE, was recorded aboard the Legendary Rhythm and Blues Cruise. Tony Braunagel produced the album which received two Independent Blues Award nominations; Best Live CD and Best Blues Band. LIVE hit number eight on Billboard and number five on Amazon. Keeping the Blues Alive Award Winning Radio Broadcaster, Vincente’ Zummel, writes : “BADNEWS Barnes is in Blues what Frank Zappa was in 70’s underground sound. Great.”
While BADNEWS RISING is an all original album the satiric muses are also punctuated with honest biographical blues driven gems like : When Koko Came to Town, Barnes tells the story of his early Hokum days performing at Tramps in New York City and sharing the stage with legends like Koko Taylor, Pinetop Perkins, Johnny Copeland. I Slow Danced with Joni Mitchell is a powerful juxtaposition of the highs and lows of Barnes’ celebrated career. A dark treacherous slow ballad co-written with John Hahn (Shemika Copeland) entitled, You Wanna Rock, You Gotta Learn The Blues is sure to draw you in. Two other co-writes , Quid Pro Quo with Chicago Blues authority Terry Abrahamson (Muddy Waters) and Chicks Dig Me, with John Murray, Bill Murray’s younger brother. BADNEWS RISING is exactly what we all need to bring us out of the crazy times. The deep driving rhythm combined with Barnes’ witty lyrics will have you singing right along with Texas Weiner, I Like Cleavage and My Baby Be Cray Cray.
"Bad News Barnes is in blues what Frank Zappa was in seventies underground sound. GREAT." – KBA award -winning radio host, Vincent Zumel
"This guy is not just a comic with a challenging sense of humor, he’s also one helluva singer/songwriter with an at times decidedly jaundiced eye on the skewed social and political world of modern America." – Iain Patience, Elmore Magazine
"This is a wonderful combination of Traditional Hokum and Comtemporary Satire made by mighty fine musicians with a love of both. It is Tight Like This, enjoy." – Bill Wax, Blues Radio Luminary
"This excellent new alblum has been an authentic and amazing revelations. Ireally like Barnes" personal and satrical treatments of blues classics and his original's sharp compositions are so good, delivering a 360 degrees vision of blues, soul and American Roots Music." – Roberto Rossi, European Syndicated Radio Host
"With funky grooves, thunderous rhythmic assault and performing in his blood; the most entertaining Blues albums in recent memory."
– Mark Urichock, Weekender, Northern Pennsylvania's No 1 source for arts and entertainment
"W.C Handy said, “our Hokum Hooked’em”. Well Chris Barnes will Hook you with his latest. “Hokum Blues”. Fourteen songs, steeped in risque’ innuendo and double entendre tomfoolery; that honor the tradition of this great American Art form." – Vinny Marini, Music On The Couch
EYELIDS have a collective history of creating music for some of the most legendary indie songwriters. These longtime Portland, Oregon collaborators were not only the principal instrumentalists for Robert Pollard's post Guided By Voices band Boston Spaceships for over eight releases, but they have also worked with Stephen Malkmus, The Decemberists, Elliott Smith, Sam Coomes of Quasi, Black Prairie, Jason Lytle of Grandaddy, Loch Lomond, Damien Jurado and Peter Buck (who is producing their upcoming EP this Fall).
Principal songwriters John Moen and Chris Slusarenko have turned inwards to their loves of New Zealand/Flying Nun guitar buzz, their teenage L.A. Paisley Underground obsessions, haunts of early Athens and all things beautiful, lopsided and rock. Along with members Jonathan Drews (guitar), Jim Talstra (bass) and Paulie Pulvirenti (drums) they push and pull against each other's songwriting, in a beautiful tension that just works. Their critically celebrated debut 7” SEAGULLS INTO SUBMISSION got airplay everywhere from BBC Radio to WFMU and was also included in MOJO Magazine's Editors Picks of The Month. This single, as well as the accompanying video, is just a hint of what EYELIDS are all about.
With 13 songs, most of them clocking in at less than 2 1/2 minutes, their debut album ‘854’ is full of what EYELIDS describes as “sweet melodies and bummer vibes”. ‘854’ makes us remember when our favorite songs were both melancholy and buoyant—those same songs that could make you feel justifiably sad and later make you feel incredibly happy and empowered. That’s what these guys are onto. And, although they are on their own trip, they’ve been compared to Love, Dinosaur Jr., Big Star, and even early R.E.M. Good company. This is the spirit that comes alive in EYELIDS songs: the Beatles meets Television jangle of “Psych #1,” the wistful pleas of “Abby’s Friends,” the beat-your-head-on-the-dashboard croon of “Forget About Tomorrow” and the deserted desperate cries that propel “Say It's Alright”. And as you listen, you will soon find out that Eyelids’ music is seriously catchy, haunting and uniquely their own.
Jay Gonzalez of the band Drive-by Truckers has more in common with polished sounds of The Beatles and The Beach Boys in his solo efforts than he does with the gritty, loud rock of his main employer. As this writer offered on Gonzalez’s first solo album, 2011’s Mess of Happiness – Gonzalez is an excellent translator. As you listen, you can’t help but hearken back to the hooks of great pop records—be it Billy Joel, Todd Rundgren, or the two aforementioned groups. In fact, According to Gonzalez, his inspiration is drawn from Paul McCartney’s“expansive vocal harmonies, multi-song suites, and bittersweet chord progressions. But a bit rawer.” So here he is once again reimagining the sound of classic A.M. radio through his own kaleidoscopic approach.
Again Gonzalez records in his adopted hometown of Athens, GA, and this time enlists some familiar names to longtime DBT fans, Matt Lane (drums) and John Neff (pedal steel guitar) along with an old friend, drummer Joe Rowe (The Glands). Gonzalez of course can play any keyboard or guitar. Although his vocal opportunities in the DBTs are of the supporting background variety, he steps out confidently on the lead vocals, showing some improvement from his first solos effort. From the straight-ahead pop of “(I Wanna) Hold You” and the buoyant “Trampoline” to the emotional Robin Gibb tribute, “Crying Through The Wall,” the album is a fun-filled pop excursion, imbued with adventurous arrangements and timeless song writing. Many of these songs would be equally at home in the ‘60s or ‘70s.
The wait is over. After nearly 35 years, the Legendary Scottish post-punk band APB returns to New Haven for a rare performance at Café Nine, brought to you by Fernando Pinto Presents, whom brought APB to the Nightshift Café in 1988.
Hailing from Aberdeen, Scotland, apb gained a cult following in the States. College radio became a huge supporter of the band especially on the east coast. Songs like 'What Kind of Girl," 'One Day," and 'Rainy Day," remained in rotation alongside the classic 'Shoot You Down." This radio success allowed apb to tour the United States on twelve separate occasions with artists like The Clash and James Brown. And their influence on today's music scene is immeasurable with bands like Franz Ferdinand, The Faint, The Rapture, and LCD Soundsystem borrowing from apb's dance rock fusion.
So, some thirty years after the urgency of tracks like 'Shoot You Down" coupled with singer Iain Slater's commanding bass lines and heavily accented vocals, is best described as 'a throbbing mix of neo-funk and dance-punk, incredibly intense and visceral.
Sunday April 10, 2022 at Café Nine (4pm)
Tickets: $15. / $20. dOS
Red Elvises Bring “Rokenrol Revolution” to Café Nine. Famed Siberian Surf-Rockers Igor and The Red Elvises brings the party back! Playing a unique blend of Russian folk music, 50’s rockabilly/surf, reggae, and whatever else makes them happy, Igor & Red Elvises’ perpetual world tour has provided a constant delight to legions of passionate Rokenrol fans.
In 1995, band leader and Russian émigré Igor Yuzov dreamed that Elvis Presley came to him and told him to start playing rock ‘n roll. Not one to say “no” to The King, Igor and other Russian friends started playing music on the streets of Santa Monica, California and The Red Elvises were born.
A visit to Café Nine from this indisputably unforgettable band with their special blend of Russian and world ethnic music, reckless surf and rockabilly licks, and good old Rock ‘n Roll can only lead to wild nights of high-energy music.
TEOA (The End of America) is a band of friends who met on the road and found a kindred spirit in one another. The Philadelphia/NYC/New Hampshire based trio credit their name to Kerouac’s On The Road, travelling “across the groaning continent” in search of inspiration and reaching “the end of America, no more land, and now there was nowhere to go but back.” TEOA’s sound weaves three distinct lead vocals into captivating harmonies over a solid foundation of folk, rock and Americana. Songwriting Magazine UK writes, “(TEOA’s) classic songwriting and tight harmonies provide a perfect antidote and an example of what’s possible through collaboration and unity.”
James Downes, Trevor Leonard and Brendon Thomas joined forces in 2010 to record their debut LP, Steep Bay (2010). TEOA released Shakey (2012) and the eponymous self-titled LP, The End of America, in 2016. TEOA moved from the album format to singles in 2019, releasing a song per month beginning June and continuing through December of that same year. In 2019, TEOA released “Break Away” (June), “Monsters” (July), “Howl” (August), “He Was a Friend of Mine” (September), “Footsteps in the Dark” in conjunction with Falcon Music and Sony/ATV (October) and “Evelyn” (November). After WXPN (AAA/Philadelphia, PA) recruited TEOA to perform at the 20th anniversary celebration of Jeff Buckley’s Grace at World Cafe? Live, TEOA released a cover of Leonard Cohen’s “Hallelujah” in December 2019. All of the aforementioned songs were released on the EP, Light Within (March 24, 2020), which Powerpopaholic states in their review, “[Light Within] is the ground floor of a band destined to go far.”
In 2020, TEOA continues to release a song per month, beginning with the Leonard penned “Not the End” (April 30, 2020). Step Inside This House writes, “bolstered by jangly guitars, a sweeping chorus and a breezy effervescence “Not the End” seems like the perfect song for this moment in American history.” “Canyon” (June 19, 2020) was written by Brendon Thomas and premiered on American Songwriter, “a heart-wrenching song with climatic riffs building up to the chorus that features fine-tuned vocal harmonies with whirling guitar solos...brimming with stories and memories.” The James Downes written “A Million Miles of Low Road” (July 16, 2020) premiered in Glide Magazine, “With sparse atmospheric instrumentation backing a simple acoustic guitar, the vocals shine as the band members sing about grappling with the difficulties of life, it dabbles in melancholy before ultimately transforming into a shimmering folk tune that will brighten your spirits.” In October 2020, TEOA will celebrate the 10th anniversary of the release of their debut record, Steep Bay, with a limited edition release and special bonus tracks.
A rising voice in modern folk, singer and songwriter Alice Howe offers a modern love letter to 60s and 70s folk and timeless blues. Howe’s anticipated debut album, Visions, was released in May 2019 to high praise from gatekeepers such as American Blues Scene and smitten local press alike. Produced by former long-time Bonnie Raitt bassist Freebo with a stellar cast of musicians and recorded in Bakersfield, California, Visions features new originals alongside Alice’s interpretations of iconic songs from her family’s vast record collection. A young artist discovering her own power, Alice pays homage without succumbing to imitation.
The follow up to Sue Foley’s acclaimed album, The Ice Queen is due to be released on Stony Plain / True North Records in Spring 2021.
Foley’s highly anticipated new album (currently untitled) was recorded live in the studio in San Marcos, TX and produced by Mike Flanigin (Jimmie Vaughan, Billy F Gibbons). It features Chris “Whipper” Layton (Stevie Ray Vaughan and Double Trouble) on drums and original Sue Foley Band bass
player, Jon Penner on bass. Foley’s new album is a raw, electric guitar driven romp through the backroads of Texas blues, with Foley’s signature pink paisley Fender Telecaster, “Pinky” at the wheel. With this project we find Foley returning to her roots as the band leader and guitar slinger in a dynamic blues power trio.
Sue Foley has been riding a wave of success since The Ice Queen (2018). She won “Best Traditional Female (Koko Taylor Award)” at the 2020 Blues Music Awards in Memphis, was nominated for a Juno Award (Canadian Grammy), and she took home the award for “Best Guitar Player” at the Toronto Maple Blues Awards.
For the last few years Foley and her band have kept a rigorous touring schedule across the US, Canada and Europe. Some highlights were appearances at The Beacon Theater (NYC), guesting with Jimmie Vaughan (opening for Eric Clapton) at Royal Albert Hall in London, Montreal Jazz Fest, Ottawa Blues Fest (w/ Buddy Guy), Utah Blues Fest, The Heights Theater (Houston), Moulin Blues (Holland), NPR’s Mountainstage (w/Bela Fleck), Doheny Blues Fest, and the Jungle Show in Austin, TX.
“I’ve had a lot of time to think about what the next chapter is,” says Foley. “After being home for so long, all I really want to do is turn up and play my guitar for as many folks as I can. I can’t wait to get out on the road.”
Rescheduled from July 15, 2020- all tickets honored.
Doors at 7pm, music starts at 8pm.
American Songwriter describes Eilen Jewell as one of America's most intriguing, creative and idiosyncratic voices. The Boise, Idaho songwriter is one of a kind.
That singular voice springs forth from a woman of more than one mind, and she taps into many of them on Gypsy (August, 2019 Signature Sounds Recordings). By turns personal and political, pissed off and blissed out, Jewell's first album of original material since 2015 expands brief moments of joy into lifetimes, and distills epic sentiments and persistent doubts into succinct songs.
Jewell seamlessly blends heavy electric guitars and dirty fiddles on the rollicking country rocker Crawl with the sweet and understated horn section of the tender Witness. 79 Cents (The Meow Song) skewers sexism and discrimination with pointed humor over a circus bed of musical saw and horns.
Longtime fans who love Eilen Jewell in classic country mode will delight in the pedal steel driven These Blues and the sole cover on Gypsy, You Cared Enough To Lie, written by fellow Idahoan and country legend Pinto Bennett.
Rather than pulling artist and listener this way and that, the tensions within and between these twelve tracks propel Eilen Jewell's eighth studio album forward as a remarkably cohesive full length.