Bullets and Octane exploded onto the scene in 2003 with their debut EP "One Night Stand Rock N Roll Band" on Critereon Records. 2004 saw the 2nd EP "Bullets And Octane" and their debut album "The Revelry" produced by Gilby Clark of Guns And Roses also on Critereon Records. In 2005-2006 they Supported Avenged Sevenfold in America and Europe on the City Of Evil Tour. 2006 was a big year for the band as they were signed to RCA/BMG Records.
They released their first major label album "In The Mouth Of The Young", which was produced by Page Hamilton of Helmet. They played The Download Festival and where on "The Family Values Tour" with Korn, Stone Sour, Flyleaf and Deftones. They headlined their own UK tour as well. 2007 saw them Leave RCA for Ares Records, release "Songs For The Underdog" album and tour with Unwritten Law. They had headlining UK Tour with The Knives that year as well. In 2009 they released "Bullets and Octane " a full length album and Toured the U.K. with Gunfire 76 (Wednesday 13's project). In 2016 they played Lost Highway motorcycle show and concert with Social Distortion, Foghat and Eagles Of Death Metal as well as releasing a new song "Burning At Both Wicks".
In 2017 back at it full time with a solid line up, released songs and videos for "Bad Mother Fucker" and "Waking Up Dead", headlined a very successful tour of the U.K and Sweden. They finished the "Waking Up Dead" album and played a string of successful shows in Hollywood, Orange County and Las Vegas. In 2018 they are looking to release the album "Waking Up Dead". They are already slated to headline U.K. dates and Sweden dates in February to kick off the 20 Year anniversary of the band with what has been touted as the most solid line up in it's history.
Formed in 2001, EARTHLESS prides itself on creating energetic, utterly unique and free thinking instrumental music inspired by an eclectic mix of German krautrock and Japanese heavy blues-rock. The Californian trio has dedicated itself to mastery of the mind-bending jam session, evoking the spirits of Jimi Hendrix and Black Sabbath in equal measure. Named after a song title from vintage New York garage-psych band The Druids of Stonehenge, EARTHLESS' sound has been called "A sonic kaleidoscope of lava and lightning", earning it the title of "California's loudest band". The group delivers "one of the best live shows in all of modern, heavy rock," leading to one reviewer stating that the band's "epic shredding harkens back to the days were psychedelic rock had balls the size of grapefruits and wasn't afraid to take its listeners on a ride for which they may never return."
Each member of EARTHLESS has done time in many other bands. Drummer (and former pro skater) Mario Rubalcaba currently plays in the hardcore punk band OFF! and has also occupied the drum throne in Rocket From The Crypt and Hot Snakes amongst many others. Bassist Mike Eginton played with Electric Nazarene and guitarist Isaiah Mitchell was most recently in Howlin' Rain, has played with Nebula and Drunk Horse and also heads up the Bay Area band Golden Void. In the end, EARTHLESS is the musical rock that grounds the three musicians and now, after more than half a decade since the release of their last studio LP, EARTHLESS has returned and is out to prove -- through sheer rock power -- why they are considered the cream of the modern day heavy psych scene.
EARTHLESS' 4th studio album, "Black Heaven", was recorded with Dave Catching (Eagles of Death Metal) at Rancho de la Luna in August 2017 and will be released March 18, 2018 on Nuclear Blast.
The Scientists: "The Scientists turned my head around and made a man out of me! They grew hair on my palms and made my socks stink!" Jon Spencer
"They wrote fantastic singles and looked like they just crawled out of the ooze. What more could you ask for?" Warren Ellis
"The Scientist proved to me that rock n roll could be played by gentlemen in fine silk shirts half unbuttoned and still be dirty, cool and real." Thurston Moore
The Scientists went through many incarnations in their 9 year history but are remembered mostly for the lineup that existed from 1981 to 1985. Kim Salmon, Tony Thewlis, Boris Sujdovic and Brett Rixon together had the peculiar chemistry that produced the classics, Swampland, Happy Hour, the Blood Red River mini LP and We had Love. With a sound that was swampy, primal and modern-urban all at once - as much in the tradition of rock and roll and punk rock as it was a rejection of those things, the Scientists' formula was as universal as it was specific to their own experience. They were about what it was like to be young and living in modern times in an Australian urban/suburban environment. The themes of getting wasted on alcohol and drugs, driving round in hotted up cars, being trapped in crap jobs and paranoia were their subject matter. Machine throb bass and drums with jagged car wreck guitars were their modus operandi. Fitting into no place or time they spurned all but the most rudimentary and elemental of rock structures along with other peoples modes of embellishment. They rejected the contemporary sound and look and so consequently were never able to carry around baggage that would allow them to date.
You could put on a Scientists record from this period and not know it was 23 years old! The Scientists might've been overlooked in their own time but there has been no shortage of younger bands who have cited them over the years. Mudhoney, Nirvana et al, Jon Spencer, the Von Bondies, The White Stripes, The Drones and scores of others just keep coming along dropping their name. Sadly Brett Rixon passed away in 1993. Kim, Boris and Tony recruited his understudy from 1985, Leanne Cowie to help them reanimate the monster. The Scientists were invited by Mudhoney to play on their curated day at All Tomorrow's Parties in May of 2006. The Scientists also supported Mudhoney on Thursday May 11th at Shepherds Bush Empire, where a live recording, 'Sedition' was made.
Ticket holders to GAEA get into Sinferno Cabaret for Free
We Are Sacred Beings of Light on a Journey to help others ground as we ground ourselves through Musical Vibrations using our bodies as tools to perform an ethereal landscape of Cello and Voice in the meditative light frequency of 432z.
Combat Sports is the sound of The Vaccines being The Vaccines. Their fourth album is the sound of one of the defining British rock and roll bands of their generation at full throttle, setting aside pop experiments and concentrating on what caused the rabid excitement at their arrival in 2010. Combat Sports is a record of guitars, of brevity, of speed, of breathless excitement.
"We rediscovered who we were and what kind of band we wanted to be," says singer, songwriter and rhythm guitarist Justin Young. "We wanted to make a record to solidify that in our minds, and the minds of other people. We wanted to make the best record we've ever made."
Combat Sports was born of troubled times. The band ended the campaign for their third album, English Graffiti, in a mess. Members of the band had lifestyle issues and health issues - being in the band wasn't the fun it had once been. They were also questioning themselves and their music: although it had been a No 2 hit in the UK and won some of the best reviews of their career, The Vaccines knew what the audience wanted - and what they loved playing - was rock and roll.
"We lost sight of who we were and why we were there," Young says. "When you're as insecure and self-aware as me, there's a constant process of second-guessing everything you do. I've brought The Vaccines into my heart again now. Being in a band is about compromise and collaboration and I think it's coming to terms with what we are as a collective and falling back in love with that and making the best record we can for us as a band, rather than as individuals."
Then came the departure of drummer Pete Robertson, causing the remaining trio to realise something about the group: "We decided we needed to make it fun again." Lead guitarist Freddie Cowan and bassist Árni Árnason provided the manifesto: "The band were saying: 'We love it when you bring in rock'n'roll songs - they're so much more fun to play.'"
That was crucial for Young, because he realised the Vaccines needed to be a guitar band again. Specifically, they needed to be a band where lead and rhythm guitar worked together, as on their debut, What Did You Expect From The Vaccines? "With great bands, you need to be able to hear the guitar and recognise them," he says. "Lots of people would have been learning Freddie's licks from the first two albums - there are 11 guitar solos on the new album - we were encouraging him to play again."
A key moment in Young realising the power of rock and roll came on a night out in a Los Angeles bar. It's something he remembers vividly, seeing how a great guitar band could set a room alight. "The DJ played Everybody's Happy Nowadays, and all the girls in there were dancing so intensely to it. I thought: 'Fuck! I remember why I love the Buzzcocks - for these really sad, forlorn, dumb, catchy songs.' And I realised rock and roll was sexy again. I'd forgotten it could be sexy."
In case you just woke up from a 30-year coma (bummer for you), here's a quick primer on Strung Out: Way back in 1989, Jason Cruz got the bright idea to start a punk band with his guitar-playing buddies Rob Ramos and Jake Kiley. It wasn't the kind of plan that required much more preparation than play fast, play loud, play all the time. No one thought this high school band would become a career. Yet here we are, nearly three decades later, and Strung Out is not only still active but thriving, a paragon of punk and an inspiration to thousands of fans (and musicians) worldwide. While Strung Out has made their name on intense, frenetic slabs of metal-influenced tech-punk, there is more to the band than meets the eye. It might come as a shock to learn the band's new eight-song release, Black Out the Sky, is an acoustic affair, but as Cruz says, it's not nearly as surprising for the band members.
Nearly three decades in, Strung Out is not driven by trends but instead by each other. As Cruz relays, "There is no 'me' in this band. It's us. Whatever we think of, we're gonna do it. Sometimes, people want to maintain a youthful aura about their band. That's gone. We're old dudes. But we've learned a thing or two. There's nothing wrong with being an old dude. Lemme show you a road that I found; come with me."
Meg Myers is collapsed like a broken ragdoll on her hardwood floors in her Los Angeles apartment -- crying uncontrollable, feeling something she's never felt before. It's that kind of cry you don't even wish upon your worst enemies -- the kind that comes from that hidden place where all your demons are trying to break free.
You'd think something terrible had just happened, but quite the opposite. The singer/songwriter was just listening back to rough mixes of her new record, Take Me to the Disco (300 Entertainment), when a profound realization swept over her. "When I first wrote some of these new songs, I thought I knew what I was writing about. A lot had to do with a breakup."
"Listening back to some of these songs made me realize what I was really writing about... what was underneath it all," continues Myers, who grew up in a Jehovah's Witness household before breaking free to pursue music in L.A. at the age of 19. "All of a sudden it all made sense to me and that moment of realization just overwhelmed me with a flood of tears and joy. On the surface, I thought I was writing about love loss but I've learned it goes much deeper than that. It's going back to the child in me that needed to be healed. I've always written from a true place, but in getting to know myself better, I'm now writing from an even deeper level of honesty."
Hailing from Saskatoon, three-time JUNO awarding winning artists THE SHEEPDOGS' burst onto the international scene after beating out thousands of artists in 2011 to appear on the cover of Rolling Stone Magazine. Since then, The Sheepdogs have amassed six JUNO nominations, toured worldwide and earned Platinum certification for their 2010 LP Learn and Burn.
The Sheepdogs' latest self-titled LP produced by Patrick Carney (The Black Keys) debuted at #1 on the Top 200 SoundScan Chart, garnering another GOLD record for the band.
"Our goal is two-fold," Currie says. "We want to make killer albums that people really want to listen to, but we also want to have a really reputable live show. When we come through town we want to be the hottest ticket there. Those two elements are what make a truly great rock and roll band. Really, though, we just want to play to anyone who is willing to give us a shot and who wants to have a good time."
2 kick ass robots, 1 stupid human. Brutal pummeling music. End of story. But you wanna read more stupid crap? Ok, idiot human. C!BR has been touring the world since 1997, playing thousands of dive bars for millions of drunk humans. In 1996, Jay Vance made the robots because he was extremely unlikeable, and wanted to play in a band after all his past human bands hated him. He got to work. Shortly after, GTRBOT666 and DRMBOT 0110 were born. After a horrible accident involving many drugs and a chemical spill, the Bots became self aware and captured the human, now renamed JBOT. It was decided that they would travel the country, rocking out while bent on world domination and humiliating the masked and chained idiotic human in front of his human peers.
As well, JBOT's mask was removed, after 15 years of captivity removal of the mask serves to show how ugly and disgusting the human JBOT really is. The Bots and JBOT's relationship has changed, now they are much more united in hating humanity. Stockholm syndrome? Maybe... Or maybe you all just suck really really bad.
C!BR's newly found united aggression towards humanity has been channeled into fast n loud music, designed to deafen and destroy, to pound and pummel, breaking your bones with brutal tones.
Years before Carl Broemel joined My Morning Jacket -- the Grammy-nominated, globetrotting rock band featuring his guitar playing, saxophone solos, harmony singing, pedal steel riffs, and songwriting support -- he wrote his very first songs in his Indiana bedroom.
From the start, he was a multi-instrumentalist with a singer's gift for melody. A sideman capa-ble of handling a frontman's job. As his guitar-playing career blossomed, Broemel continued writing songs of his own, carving out a personal, introspective sound that reached beyond My Morning Jacket's sonic landscape. With his third solo album, Wished Out, he merges articu-late, pensive songwriting -- including ruminations about science, love, the passing of time, and the grind of the artistic struggle -- with some of the most energetic, rock-inspired songs to date.
"I wanted to get things moving," says Broemel, who remembers playing shows in support of his 2016 solo release -- the critically-acclaimed 4th of July, full of daydreaming guitar tones and soft dynamics -- and hearing the quiet crash of glass whenever his fans tossed beer bot-tles into the clubs' trash cans. "My songwriting can be very mellow," he adds. "I love that mood, but I needed more balance this time around. I needed more energy! Wished Out is all about the yin and yang."
Broemel recorded Wished Out at his newly-constructed home studio in Nashville, tracking many of the instruments alone before reaching out to several friends -- including Robbie Crowell (Deer Tick), Russ Pollard (Everest, Sebadoh), and My Morning Jacket bandmates Tom Blankenship and Bo Koster -- for help. He worked in spurts, taking short breaks to drive his son to school and longer breaks to hit the road with My Morning Jacket. With sunlight filtering through the studio windows during his days at home, Broemel steadily whittled his new album into shape, pulling triple duty as Wished Out's producer, engineer, and frontman along the way.
From the harmonized guitar riffs and deep-seated grooves of the kickoff track, "Dark Matter," to the McCartney-worthy pop textures and densely-stacked vocals of "Out of Reach," Wished Out finds Broemel picking up the pace without sacrificing his love of melody. Hooks are every-where, hidden in the dreamy, California folk-rock of "Malibu Shadow"; the percussive, psyche-delic punch of "Starting from Scratch"; the stoned, stuttering rock & roll swagger of "Rain Check"; the show-stealing guitar solo that stretches itself throughout the second half of "Wished Out"; and beyond. A heavy reader, Broemel found inspiration in the scientific writings of Neil deGrasse Tyson, the work of evolutionary biologist Richard Dawkins, and the anthropo-logical essays of Loren Eiseley. The result in an album whose melodies go down smooth, but whose lyrics unveil new layers with each listen. It's a thinking man's rock & roll record...or is it the other way around?