The DIRTY ROTTEN IMBECILES' history begins on May 2, 1982 around 4:00pm, in the city of Houston, TX. It was on this day that the musically aggressive quartet we now know as D.R.I. made their first Dirty Rotten noise and called it a song. Back then it was Spike Cassidy (guitar), Kurt Brecht (vocals), Eric Brecht (drums), and Dennis Johnson (bass).
Dirty Rotten Imbeciles (also known as D.R.I.) are a United States hardcore punk/thrashcore/crossover thrash band that formed in Houston, Texas, in 1982. The band currently comprises founding members, vocalist Kurt Brecht and guitarist Spike Cassidy, as well as drummer Rob Rampy and bassist Harald Oimoen.
D.R.I. never gained a mainstream audience, but the integration of their hardcore punk roots with thrash metal influences was a stylistic catalyst for their contemporaries --most notably Suicidal Tendencies, Corrosion of Conformity, and Stormtroopers of Death-- alongside whom they are considered pioneers of what would later be called "crossover thrash." This subgenre was also coined from their 1987 album Crossover.
Okilly Dokilly is the world's only Nedal band. Hailing from Phoenix, Arizona, a majority of the band's lyrics are direct Ned quotes. The band's members include Head Ned, Red Ned, Thread Ned, Stead Ned and Bled Ned.
Established in 2015, the band found success before ever playing their first show, becoming a viral phenomenon after releasing just a few press photos and a 4-song demo. Within 2 weeks, the band had nearly 30,000 Facebook fans and was featured by numerous publications including Billboard, Time, The Independent, BBC, Esquire, Vice and many more.
Okilly Dokilly's live shows are high energy affairs that weave together comedy and brutality. Guttural screams and pounding drums provide a soundtrack for the pummeling of an inflatable donut as green sweaters and round glasses blur across the stage. As of early 2016, Okilly Dokilly has been steadily working on their debut record, which is projected to release later in the year.
Witch Mountain was founded by guitarist/songwriter Rob Wrong and drummer/manager Nathan Carson in Portland, OR in 1997. In those days, if you didn't wear a cardigan and play sloppy indie-rock on a guitar you bought at a garage sale, you were not going anywhere. But the band was committed to its roots in the Blues, Rock, and Metal. Carson and Wrong shared a love of the Beatles, Black Sabbath, Pink Floyd, Jimi Hendrix, Judas Priest, and the Beach Boys. By the time the Homegrown Doom demo was recorded in '99, the band was already on its 4th bass player (he didn't last long, either).
Since those early days, Witch Mountain's accomplishments read like a laundry list: Three albums for Profound Lore, a single for Scion, a comp track on Adult Swim's metal compilation. Festival performances at Roadburn, Hellfest, Hopscotch, and tours all over Europe and North America with the likes of Nik Turner's Hawkwind, Cough, Lord Dying, Spirit Caravan, Weedeater, were all great successes. Likewise, the major press has levied accolades on Witch Mountain, from Pitchfork to NPR, Spin to MSN, Noisey to Rhapsody. If you can name a band that influenced doom, be it Candlemass or Blue Oyster Cult, Sleep or Diamond Head, Saint Vitus or Uli Jon Roth, Witch Mountain has shared the stage with them.
2015 brings new blood to the group, with vocalist Kayla Dixon taking over for the recently retired Uta Plotkin. Dixon's talent and enthusiasm continues to revitalize the band, which is remarkably far from jaded after nearly 18 years as a unit. Latest album Mobile of Angels won worldwide praise, and placed on most Top 20 Year End lists for metal music in 2014. Now, with latest and greatest bass player Justin Brown (#11, we think...) in tow, the group is set to tour America once more, this time in support of its longtime friends YOB.
Once against the grain in every way, time and culture has cycled the band into a new era where Doom is somehow considered cool, and Witch Mountain is recognized as an organic, unwavering stalwart of the scene.
Conan are as heavy as interplanetary thunder amplified through the roaring black hole anus of Azathoth. Remember that sentence, for it is writ large in virgin blood on the walls of the forgotten temple of Bol-Krastor, deep in the steaming forests of forgotten Lemuria. Conan, a monumentally brutal three piece (in the grand tradition of all the hallowed three pieces through time) hold a sinew-tight line and an iron-grip command over the uber-synchronised powerchord changes and tempo-shifts of the anti-holy trio of bass, drums and guitar. Two weary yet defiant men have the task of vocalising wretched thoughts over the turgid weight of Conan's metalized bombast. They bear it well, for the task is immense.
Punk rock may not be rocket science, but it’s only the smartest and
sharpest bands that make the grade and stay the course.
Formed in London in 2009, Booze & Glory started life as a straight-ahead
salute to the rowdy street punk and Oi! bands of the late ‘70s and ‘80s
UK scene. Thanks to some of the most infectious songwriting to emerge
from the capital’s mean streets for a long time, and with a heroic and
ruthless dedication to playing live, the band were steadily embraced by a
colossal international fan base, with debut video London Skinhead Crew
notching up in excess of 7 000,000 views on YouTube along the way.
Triumphant trips to Asia, South America, the US and pretty much
anywhere that would have them ensured that Booze & Glory’s first three
albums – Always On The Wrong Side (2010), Trouble Free (2011) and As
Bold As Brass (2014) – became essential listening for fans of balls-out
and snotty rock’n’roll.
But far from resting on their laurels and sticking to a tried-and- tested
formula, Booze & Glory are now poised to reveal the subtle but
unmistakable evolution that their music and aesthetic have undergone in
recent times, the four-piece have come of age on album number four,
the appropriately-titled Chapter IV.
Instead, the rampaging, lethally melodic anthems contained on Chapter
IV are an exhilarating exercise in positive thinking, the power of the
people and the importance of seizing the day and living life like there’s
no tomorrow (which, given recent events, may well turn out to be the
case!). With shades of everything from One Way System and Stiff Little
Fingers to the Dropkick Murphys and Rancid, Booze & Glory’s all-
encompassing punk rock sound is a loud, proud and big-hearted antidote
to fake plastic pop stars and off-the- shelf punk posers. With songs
touching upon everything from the joys of unity to singer/guitarist
Mark’s recent battle with cancer, all human life is present and correct,
with every last track sounding like a custom-built anthem for the
masses. There is evidence of instinctive musical growth here too, as
showcased on folk-fuelled opener Days, Months, Years and the riotous,
soulful clatter of Violence & Fear: songs with plenty to say and no
shortage of fresh ways to say it.
Newly signed to legendary Swedish imprint Burning Heart, Booze & Glory
are set to claim 2017 as their own. With plans to play over 150 shows
over the next 12 months, including a full month in the US and festival
appearances across Europe, the boys’ mission to spread the ageless joy
and fury of pure punk rock looks certain to continue long into the future.
With a record as strong as Chapter IV behind them, the B&G crew have
nothing but glory on the horizon. Always an international band, with past
and present members hailing from Poland, Ireland, England, Sweden and
Greece, the current line-up all possessing migrant blood. An international hard working
brigade with aim and sight on the future. Up the punx!
The Upper Crust began in 1994 as an admittedly frivolous and comical concept, with no expectation but to entertain a few friends, that to everyone’s surprise immediately took on a vigorous momentum of its own that continues to accelerate to this day. Two decades later the band has toured the United States and Europe, appeared on television’s Late Night With Conan O’Brien and the Late Late Show with Craig Ferguson, played with bands like Aerosmith and the Go-Gos, performed at festivals including All Tomorrow’s Parties and Tenacious D’s Festival Supreme; they have placed a song in Guitar Hero, written the theme for the History Channel’s American Daredevils; they were the subject of a full-length documentary film, produced a half-hour pilot for VH1, and were immortalized as animated characters in the children’s TV show Codename: Kids Next Door. Now that they have worked the kinks out, they are ready to take the concept to its natural conclusion, which appears to be no less than massive, worldwide acclaim and, incidentally, riches beyond imagining.
So far the Upper Crust have released five albums: Let Them Eat Rock, The Decline and Fall of the Upper Crust, Once More Into the Breeches, Entitled, and Revenge For Imagined Slights. 2016 sees the release of a back-to-back album with friends the Grannies from San Francisco, to be called Lords & Ladies, and very soon another full-length record of new hits, tentatively entitled One Hand in the Cradle, One Foot in the Grave, but in reality to be called something else entirely. This new record is almost completed; the release date is yet to be determined.
The band consists of the Lord Bendover and the Duc d’Istortion on guitar, Count Bassie on bass (replacing Lord Rockingham and Marquis Mark, who left the band after the first year to pursue less lofty ambitions) and Jackie Kickassis on drums.
In the two decades of its existence, the band has won devoted fans around the world and secured beyond dispute its position as the finest purveyor of 18th-Century Rocque and Roll to the most demanding aficionados of the genre. With the release of the new album they are poised to win over those stragglers who have been thus far slow to perceive the seismic cultural shift represented by the Upper Crust. With their powdered wigs and velvet knee breeches the band may be perceived as funny (and maybe the observation is not entirely without merit), but they’re not to be dismissed as a joke—their songwriting, their recordings and their live performances all speak to the fact that the Upper Crust are across the board, by every pertinent criteria, among the best rock, or as they say “rocque,” bands to come along since the invention of the electrical guitar and the steam-powered amplifier.
So, Gentle Reader, if you have not already done so, take notice of the Upper Crust, for they are an indispensable anachronism of our modern age, and their music will be the theme to, and the cause and effect of, both the greatest events and the smallest and most intimate occasions thereof.
Sir Frederick of Hollywood
There will be a limited number of ThrowBack Tickets available beginning Thursday, January 19 at 12pm!
25 tickets will be available at $15 each!
On a hot summer night in Veracruz Mexico circa 1982, Consuela Espinoza stumbled out of her dilapidated shanty and into Rock N Roll history. What began as an innocent night of snorting horse tranquilzers in a hotel room with seven members of the village jai alai team went on to produce the greatest metal band to ever live. Unhampered by a steady regime of tequila and ill advised sumo lessons, nine months later five bastard children were born. Unable to care for her hungry offspring and concerned that motherhood would seriously interfere with her Tuesday night Karaoke league, Consuela hastily packed the babies into the saddlebags of a burro and sent her children off to America in search of a better life. Against all odds, 14 years later, and nearly dead from dehydration, the burro knelt down to drink from the stagnant waters of the Rio Grande just ouside of Juarez Mexico -mere yards from the U.S. border. With one fleeting burst of energy the brothers Espinoza cinco climbed from their leather restraints and scampered the vast reaches of the river, collapsing onto the sweet amber hue of American soil. As if by destiny, lodged in the sand beneath their tanned faces was a record sleeve upon which were the words "PARANOID" and "BLACK SABBATH". For many years to follow, this definitive black metal album served not only as a teacher and a mentor..but also as a friend. From these bleak and humble beginnings grew the seed that would eventually be the band we know today. Often referred to as the greatest heavy metal band to ever live..always referred to as...METALACHI.