SPILLOVER MF 2014 w/ Ty Segall & Dum Dum Girls

Parade of Flesh presents . . .

SPILLOVER MF 2014 w/ Ty Segall & Dum Dum Girls

Astronautalis, deafheaven, The Pains of Being Pure at Heart, The Orwells, Cerebral Ballzy, Oberhofer, Har Mar Superstar, The Coathangers, The Entrance Band, Iron Reagan, Diarrhea Planet, Blouse, Marijuana Deathsquads, Weekend, Nothing, Upset, Radkey, Obliterations, Whres., Creative Adult, Son of Stan

Sunday, March 16, 2014

1:00 pm

CLUB DADA & THREE LINKS

Dallas, TX

$19.99 - $39.98

This event is all ages

Ty Segall
Ty Segall
San Francisco psych wunderkind Ty Segall continues a tireless musical assault on ears and minds with his third album Melted. Segall says it sounds like "cherry cola, Sno-Cones and taffy." Indeed! Over the past two years he's released records more often than most people do laundry, but somehow there is still a heap of anticipation for this new album on Goner packed full of truly psychedelic pop songs with great vocals and exciting arrangements.

On the heels of two critically acclaimed solo albums, Segall holed up in a basement studio with Mike Donovan of the Sic Alps in late 2009 and early 2010 to come up with Melted. It's a carefree yet precise balance of acoustic and electric elements. Distorted echo and thunder mix together with enough clean guitar lines and addictive choruses to deliver an album that recalls the '60s without sounding like anything created during that decade. Time melts away, vision melts away, minds melt away. Get Melted!
Dum Dum Girls
Dum Dum Girls
Time heals all wounds, or so the phrase goes. For the realists, perhaps time only focuses events and allows us to move on after evolving on a personal level. For the dreamers however, time gives them — or maybe demands — the perspective of every angle, every possibility, every opportunity to wring out whatever is born from experience. Simple moments alone can magnify the processing and expressing of these perspectives, culminating in a deeper empathy, and for a select few, a muse for new artistic expression. Such seems the fate of Dee Dee of Dum Dum Girls.

Much has been written of her personal trials, but no words speak better of her handling of experience than her musical output. The new EP out on Sub Pop (September 25, 2012) titled
End of Daze offers a bracing, daring sonic example of an artist evolving in their understanding of the world.

Two of the songs, "Mine Tonight and "I Got Nothing," were written immediately following the Only In Dreams session. They were recorded in New York City with Sune Rose Wagner of The Raveonettes in February 2011, as was the Strawberry Switchblade cover of "Trees and Flowers." Intended as b-sides, their nature was of another beast entirely, and Dee Dee set them aside for a future, more atmospheric release.

The simultaneous aloneness and togetherness of band life found Dee Dee immersing herself in anything that could elicit a visceral response. She recalls her "headphone world" consisting of a lot of Julee Cruise ("Her voice could serve as headache medicine"); a loop of The Cure's Disintegration ("I definitely ached to capture some of those sounds"); Pale Saints' The Comforts of Madness ("I became so obsessed with this record that we started covering "The Sight Of You" at shows, and the fierceness the other girls injected into it caught my breath"); Lush's first record Spooky, which highlighted her fondness for gorgeous wall of sound; and perhaps finally, an adoration of the sounds and poetry laid out on Velvet Underground and solo Lou Reed records.

She rejoined Wagner and long-standing producer Richard Gottehrer to finish the EP over a year later with "Lord Knows" and "Season In Hell." Gottehrer, whose pedigree spans the Brill Building, CBGB, and Sire Records days, has produced every Dum Dum Girls release since the first full-length, managing to capture and cultivate each step of development.

End of Daze opens with drums beating in the distant bombast of a war march. Guitars build a chugging tension and a depth-defying bass explode into a chiming chorus ("Mine Tonight") before mutating into a tight ripping snare in the far end of the garage for the no-apologies escapism of "I Got Nothing." The guitars then switch to simmering ambience, creating the heavy-yet-light atmosphere of the plaintive Strawberry Switchblade ballad "Trees and Flowers."

The bass takes charge of the accented melody on the regretful ballad "Lord Knows," and this song, the first of the second session to be recorded, sits at a crucial flux of informed reflection. Dee Dee's voice remains rich yet crystalline, a gorgeous, toned instrument handled deftly and weighted with the fervor of lyrics displaying awareness of fear and misstep. The EP closes with a declaration of full acceptance with "Season In Hell," a raucous and practically joyful closing of the book on past pains, and perhaps more importantly, a looking forward ("Doesn't the dawn look divine?") to the future. It is the last stages of grief and its reprecussions, and the hopeful waking up somewhere on the other side, caught on tape.
Astronautalis
Astronautalis
Once you find out that Astronautalis was born to a Texas train man with a nose crooked from bar fights and a pretty Kentucky girl who ran away from home at 17 to become a photographer, it becomes clear that he didn't stumble into the life of a drifter, he was born into it. With a poet uncle who lived off horse betting and hitchhiking, grandfathers who were spies, sailors, and test pilots, and over 500,000 miles of touring under his own belt, you have to wonder where the tales in Astronautalis' music end and the life of Andy Bothwell begins. Currently settled (for now) in Minneapolis, by way of Seattle, by way of Dallas by way of Jacksonville Beach, FL; Bothwell has spent almost every waking moment of the last 7 years, on the road, playing shows, earning scars, collecting/giving tattoos, grinding out a cult like fan base, and living up to his proud, storied, and whiskey soaked blood line.

Having started in music over 15 years ago as a battle rapper, Astronautalis' roots are planted firmly in hip-hop. However, the sounds and styles on his albums are an animal not so easily caged, and his latest release, "This Is Our Science" is no exception to that tradition of wild genre bending. Like previous records Bothwell uses that limitless approach to aid in his vivid storytelling, but where "This is Our Science" takes a turn from tradition, is in the subject matter itself. While previous records read like historical fiction, documenting the lives of the bygone, the footnotes, and the forgotten, "This is Our Science" is pure autobiography. While there are flash references to scientists from the Age of Enlightenment and old dead French mountaineers, these ghosts serve merely as parallels, rest stops in the story of the last 7 years of Bothwell's romance with the road.

To help shape this memoir, Bothwell called in help from the cadre of musical friends he has made in his travels across 4 continents, and created a sound as diverse as the cast that behind it. Once again under the guidance of Grammy nominated producer John Congleton (Modest Mouse, Bill Callahan, St. Vincent), "This is Our Science" finds rock darlings like Tegan Quin (Tegan & Sara), Radical Face, (Electric President), members of Midlake & The Riverboat Gamblers all waltzing in time to the work of P.O.S. (Rhymesayers), Alias (Anticon/Sage Francis), Cecil Otter (Wugazi), Lazerbeak (Doomtree), and more of indie hip-hop's finest. The resulting album is the full realization of everything Bothwell has been chasing after for 7 years. Neither a rap record, nor a rock record, it is a work that finally captures the vein popping intensity and high melodrama of his famous live shows. All the while, maintaining the steadfast literary tradition and masterful storytelling of his previous studio albums.

From the pounding drums and thick synths of the record's opener, "The River, The Woods", the roots in rap are clear. But, that foundation quickly crumbles as the choir swells on the dark electronic gospel of the title track, "This is Our Science". After the banging funeral dirge of "Thomas Jefferson" (featuring Doomtree rapper Sims), the record blazes into the thick of Bothwell's vagabond life with heart breaking road ballad of "Measure the Globe". While songs like undeniably catchy, "Contrails" (featuring Tegan Quin) and the epic rock anthem, "Secrets On Our Lips" carry an astounding pop sensibility, there is something unnerving behind those big choruses and driving drums. In fact, there is something hiding behind every corner of this record, and much like the road Astronautalis traveled to make it, there is no map, no guide book, no way to prepare yourself, all you can do is press on forward and see what is waiting for you just around the bend.
deafheaven
deafheaven
Based out of San Francisco, CA, Deafheaven started as an isolated project between frontman George LeSage and guitarist Kerry M. After sending the demo to various blogs and receiving overwhelmingly positive reception, they accepted offers to play live shows and added members of Whirl and Temple Of Saturn to form the quintet that today tours as Deafheaven. On July 29th, 2010, Deafheaven played their first show, marking the unofficial genesis of their rise to Bay Area prominence.

Their music is described as "A dizzying hybrid of shoegaze shimmer, hardcore punk passion, emo vulnerability, and black metal intensity." They have cited a wide range of musical influences, including, but not limited to, Morbid Angel, The Smiths, Godspeed You! Black Emperor, Orchid and My Bloody Valentine.
The Pains of Being Pure at Heart
The Pains of Being Pure at Heart
Days of Abandon, the long-awaited third record from New York’s The Pains of Being Pure at Heart finds the band focusing on what’s always set them apart from their peers – songwriting. After two critically-acclaimed records (The New York Times, Pitchfork, The Guardian, Rolling Stone, Spin) that demonstrated the group’s ability to shift musical registers from bedroom pop daydreams to Alternative Nation anthems, the band is poised to share a new vision of gilded pop idealism. Gliding along on bright, sleek guitars and light, skipping percussion. Abandon is big-hearted and tonic. From the crystalline confessional of “Art Smock” to the prom-in-heaven ready “Beautiful You,” this rich and ever-striving sound serves as the perfect backdrop to showcase the renewed emotional depth and candor of Kip Berman’s lyricism.

Produced by Andy Savours (My Bloody Valentine, Patrick Wolf, Cloud Boat) and mixed by Charlie Hugall (Swim Deep, Florence And the Machine). Abandon is a bright and refreshing about-face from the roar and clamor that defined the group’s last record, the Flood-and-Alan Moulder helmed Belong. “I didn’t want to make Belonger,” Berman says. “This album was a chance to push beyond that album’s universal style of songwriting to something that was far more personal, more in keeping with my original ideals. I wanted the music to be joyful and full of light, even if the subjects were often dark.

Where their debut stuck to a monochrome playbook of indiepop classics and their follow up was a wide-eyed paean to the 90s titans of American rock, Abandon is the Pains at their most sonically and emotionally complete. “Eurydice” hurtles forward like something out of the early House of Love catalog, guitar arpeggios glinting like dew on morning grass. The song sounds as triumphant as it is tragic, detailing an unresolvable loss. “Massokissed” strolls with the ease and assurance of vintage Aztec Camera, though its twisted desire and mordant wit (“a constant aversion to forgo perversion / beat up covertly in places they can’t see”) tempers any sense that this love is not wrong. “Kelly” is one dizzy pirouette, matching both the grace and sugary melodies of prime Saint Etienne with hopes for a love that likes “filthy films and swill” and rejects “quotes as jokes and coke.” Like “Life After Life,” it’s sung by Jen Goma from A Sunny Day in Glasgow, and her bright, lively voice proves the perfect conduit for Berman’s pop savvy.

The record’s title — a nod toward Elena Ferrante’s celebrated 2002 novel – hints at both the freedom and the fear that comes with solitude. While The Pains of Being Pure at Heart has always been centered on Berman’s songwriting, the amicable departure of three bandmates since the release of Belong allowed for new opportunities for growth and collaborations. The soaring vocals of Jen Goma are featured prominently throughout and help deliver on the pop promise the band has long aspired to. Likewise, multi-instrumentalist Kelly Pratt’s (Beirut, David Byrne) horn arrangements on “Kelly,” “Simple and Sure,” “Life After Life” and “The Asp at My Chest” bring a newfound sophistication. No longer content to simply be “loud” or “soft,” Abandon is a record that revels in nuance and grace,

“I wanted the album to be powerful without being loud. Simply stepping on a fuzz pedal every 14 seconds felt like a crutch, though a pretty cool sounding crutch. I didn’t want to hide these songs behind walls of distortion or elaborate studio wizardry.” The result is a record that is as confident as it is cathartic.

“Music always says the things we can’t say in conversation. So it feels hopeless to say why these songs feel more honest and vivid to me. But for the first time in a while, I feel the same sense of possibility I felt when I started the band.”
The Orwells
The Orwells
"I'm not that old but I'm getting pretty wise" -- a sentiment within the early seconds of The Orwells' new album, Disgraceland, that pretty much sums up the eleven tracks that follow it. Two years have passed since the band emerged from their boring Chicago suburb as five high schoolers hellbent on reminding the world that American rock & roll is still alive. A lot has happened since then for The Orwells. They've slain and sweated on audiences around the world, recorded with their favorite contemporary producers, shared the stage with childhood heroes, raked in accolades from distinguished publications and even had David Letterman begging them for more. And now, as they release their irresistibly raucous yet masterfully architected Disgraceland on Canvasback Music, The Orwells are getting pretty wise.
The story of Disgraceland -- recorded last fall at studios in London, Chicago, New York, Los Angeles and Woodstock, NY -- is the story of The Orwells escaping the confines of their hometown and of their own expectations for themselves. Back when they made their 2012 debut album, Remember When, they were recording by themselves in guitarist Matt O'Keefe's parents' basement. O'Keefe, bassist Grant Brinner, his brother, drummer Henry Brinner, guitarist Dominic Corso and his cousin, singer Mario Cuomo, had been playing together since 9th grade. "We were hoping eventually something would happen and it would become serious," says O'Keefe. "We were like, 'We love writing songs, so let's just keep doing it.' When we were writing those early songs, the goal was just to make all the other bands in our high school jealous." Maybe one day, they thought, they'd get to be as beloved as their heroes The Black Lips. "You make good music, say what you wanna say and have a good time -- that was what we were shooting for," O'Keefe continues. "But now that we're a little older, the goal is bringing rock & roll back to everybody's car speakers. Sometimes you get afraid to go to the highest point you can, at the price of being called sell-outs or whatever. But we say fuck that, if we can get every single kid playing rock and roll music in their parents' car stereos, that's what we wanna do."
Though they eventually teamed with producers Dave Sitek (Yeah Yeah Yeahs, Santigold, TV On the Radio), Chris Coady (Smith Westerns, Beach House) and Jim Abbiss (Arctic Monkeys), they started writing the new album before the first one was even released. "We were still in high school when we wrote the early songs for this album," says O'Keefe. "So we expected that we would be handing the first few songs we were making out on a CD to kids in the hallways, just like we had before. But as time went on and we got signed to Canvasback, we figured this might be the last album we write while still living in Elmhurst. We wanted to capture what the last 18-20 years of our lives were like, in this anywhere USA suburb." Songs like "Dirty Sheets," "Southern Comfort" and "Let It Burn" detail debauched nights, sloppy hook-ups and the kind of trouble you let yourself get into when you're bored, broke and barely legal.
Recorded in Los Angeles with Sitek last summer, "Who Needs You?" was actually written back in October 2011. Says O'Keefe: "It was the day Obama announced we'd be pulling all of the troops out of Iraq, and we thought, 'let's write a kind of 60's Vietnam thing' celebrating these kids coming home. As it developed, in my basement writing it, the song became more like, 'it's fucked up that we were there in the first place,' and it was basically a bunch of ignorant teenagers trying to comment on something political." Released as a single last fall, the tune earned praise from the Chicago Sun-Times, which described it as "ring[ing] with big, chiming guitars, a giant stomping beat straight out of Motown and Cuomo, bellowing societal disgust through a microphone that sounds like it is plugged into a muddy lake bottom: 'You better save the country/you better pass the flask/you better join the army/I say no thank you dear old Uncle Sam!'"
Cuomo says that songs like the Jim Abbiss-produced "Dirty Sheets" and album-closer "North Ave" are "pretty autobiographical," detailing "feelings bundled up from high school shit." Writing about those experiences, he says, is his way of burying them. The rest of The Orwells -- all a year younger than the singer -- had been playing together for awhile when they finally got Cuomo to join them. "Mario was always that kid all of us knew about," says Grant. "Not just because he was cousins with Dominic, either. He was that one dude a grade above us who would flick off a teacher or that kind of thing. You'd always hear stories about something crazy that Mario had done. He was definitely that kid everyone knew about and either hated or loved."
Up until that point, Cuomo had been singing along to CDs in his room, "trying to hit notes and shit." He cites frontmen like Glenn Danzig and Odd Future's Tyler, The Creator, as inspiration, as well as Iggy Pop's menacing, self-destructive presence. Though The Orwells' live show has become the stuff of legend in the past year, inspiring Consequence Of Sound to write, "frontman Mario Cuomo has tapped into something special, carnal, and almost evil," Cuomo admits that it took him a minute to unleash his own inner wildman on stage: "I was super uncomfortable just standing there and it made me feel really bad and not satisfied with shows, using a mike stand and being boring," he says. "Little by little as I started moving around more, it started feeling better. It took maybe 50 shows to really get it down and get super comfortable and know what I was doing. I still don't know but kind of."
Doing whatever comes naturally seems to be paying off for The Orwells. Their television appearances on Later With Jools Holland and The Late Show With David Letterman in the past year gave audiences around the world a taste of what concertgoers have seen during the band's recent tours with Arctic Monkeys, FIDLAR and Palma Violets. Footage of the performances instantly made the rounds. "I thought we did it right," says Cuomo. "I fucked up a bunch, but in retrospect, it's how rock music should be played: No matter what venue and where you are and who you're playing for, it's not going to be perfect. Even if you're on TV, it's ok to fuck it up sometimes."
"The Orwells tap into [a] primal energy… in which youthful abandon and sloppiness are touchstones — and know their way around a nuttily repetitive hook." – SPIN
"The best new live band in America" – NME
"...a mixture of back-breaking intensity, youthful tomfoolery and the utterly unhinged... With their brattish sensibility and near endless displays of energy, The Orwells seem to tap into that perennial youthful outcast in all of us – the kid who is forever being dragged to detention on reputation alone." –Clash Music
Cerebral Ballzy
Cerebral Ballzy
There's a new band in New York City. Of course, there are a lot of new bands in New York City, but a good chunk of them belong to a world inhabited by smarty-pants artsy types like Animal Collective, Dirty Projectors and the foppish Vampire Weekend. This lot are different. Their name is Cerebral Ballzy, which is neither big nor clever, and in being neither big nor clever, seems to do quite a good job of defining what one might describe as their essence.

Five kids from the end of Brooklyn yet to experience the coffee shops and bijou boutiques carried along in New York's waves of gentrification, they play a raggedy, breakneck punk steeped in the music of early-80s hardcore icons Minor Threat and Bad Brains.

-Louis Pattison of 'The Guardian'
Oberhofer
Oberhofer
Emotion is what drives the psychedelic catchy pop rock tunes crafted by the ofteffervescent Brad Oberhofer. Drawing on influences ranging from Brian Wilson to Descartes, the 21 year old is fixated on the idea of making philosophically minded, energetic melodies that just make people smile.
"Music is this thing I just inherently do and psychologically, I have a desire to make as many people happy as possible. Music helps you think about stuff, it helps you feel, you know?"
With an unforgettable way of speaking directly from the heart, Brad Oberhofer's songs have a pulse that form the very core of what makes Oberhofer, Oberhofer. To put it quite simply, a great Rock & Roll band.
Armed with a belief that you spend your entire life searching for the socially aware version of the 5 year old "you", he tries to inject each song with the innocence felt by that same kid, sitting on the couch of his parents house playing the broken guitar he spent months teaching himself how to play.
Referring to his songwriting as "a time capsule of exactly how Im feeling at a particular moment", each song on his forthcoming debut, Time Capsules II, is a clear, unrestrained look inside the head of Brad Oberhofer. "Gold" is a reflection on two magical weeks spent with a first love that inadvertently initiated his musical endeavors. "Away Frm U" is an upbeat pop song about saying goodbye to that love.
Like most of the impressive debut, the stand-out "I Could Go" shows that above all, his heart is on his sleeve in both his words and everything he creates, a trademark that suits his search for sincerity well.
After moving to Brooklyn from his hometown of Tacoma, Washington, to attend New York University, Brad quickly immersed himself in the indie rock community forming the 4 piece which is now quite simply, Oberhofer. Catching the attention of Glassnote Records, the band officially joined the labels roster over the summer of 2011. Brad recorded the debut album Time Capsules II with legendary producer Steve Lillywhite (U2, The Rolling Stones, Morrissey among others) in Brooklyn last fall and is now preparing for a year on the road, playing shows all across the country, including a performance at this springs Coachella.
Its apparent that this year is going to be a big one.
Har Mar Superstar
Har Mar Superstar
Har Mar Superstar was born ten years ago, when Tillmann was living in Minneapolis, playing guitar-based indie rock. The Har Mar idea, he says, was "a reaction to boring indie rock and how people were taking themselves way too seriously, and any aspect of playing and touring was no fun after a while, and I realized if I go to a dance party and sing an R. Kelly song on a couch, the girls are going to go fucking crazy. So I started transferring that to the stage and doing more R&B oriented songs and it really was a no-brainer after I'd done it a few times. Like, 'why don't I just make this gross, why don't I just start writing songs like that?" And as soon as I did, it was obvious, it was like a light bulb went off and I went on my way and got more and more aggressive, and the shows became this weird exercise in sexual tension, and I really learned how to play with that fire and make it work for me.
The Coathangers
The Coathangers
Be leery of any punk band with initial ambitions that go beyond just playing shows with their friends. Sure, great bands ascend beyond basements and handmade demos all the time, but the best acts start with little consideration for the outside world. The groups are their own insular worlds, where the reward comes from the process, not accolades and riches. And the bands that thrive on their own artistic satisfaction usually wind up being the bands that are able to grow beyond the donation jar into sustainable successful musical careers. Their charisma is contagious, their songs exist outside of fads, and their spirits can weather the inevitable ups and downs of life as touring musicians. Such is the case with the Atlanta trio The Coathangers.
When The Coathangers started up in 2006, their aspirations were humble. “I think all bands in their early twenties start for fun,” says guitarist/vocalist Julia Kugel when talking about their early years of cheeky no-wave and irreverent garage rock. But Julia and her bandmates Meredith Franco (bass/vocals) and Stephanie Luke (drums/vocals) were serious about their craft, and that combination of modest outside expectations and absolute dedication to their music made for exhilarating live shows and contagious records. Ten years later, The Coathangers are still going strong, and while their palette has expanded over the years to touch upon hip-shakin’ classic rock, soulful country ballads, and golden oldies pop, their primary attack strategy still relies heavily on the jagged hooks and boisterous choruses of their formative years. Their fifth album Nosebleed Weekend retains all the devil-may-care magnetism and serrated instrumentation of their debut, but it flourishes with a decade’s worth of songwriting discipline and chemistry.
Nosebleed Weekend kicks off with “Perfume”, a song that marries sultry pop vocals with toothy guitar riffs in a manner that would make Ann and Nancy Wilson proud. It’s hard to imagine The Coathangers writing a song this accessible in their early years, but in 2016 it fits perfectly into their canon. From there the band launches into “Dumb Baby”, which harkens back to the gritty neo-garage rock of Murder City Devils. Longtime fans who still clamor for their brash post-punk angle will be immediately satiated by “Squeeki Tiki”. And after hearing the noisy loud-quiet-loud bombast of “Excuse Me?” it’s no wonder that Kim Gordon has become an outspoken fan of the band. It’s an eclectic album inspired by life on the road, lost loved ones, and Kugel’s recent move to Southern California. “We always say that each record is a snapshot of our life at the time,” Kugel says. “As far as style… it’s just what came out of us at that point.” So whether it’s the foreboding garage rock of the title track, the post-punk groove of “Burn Me”, the stripped-down pop of “I Don’t Think So”, or the dynamic grunge of “Down Down”, The Coathangers command their songs with passion and authority.
The biggest departure for Nosebleed Weekend was the recording process. While all their previous albums were recorded in Atlanta at The Living Room with Ed Rawls, their latest album found the band out in California’s North Hollywood at Valentine Recording Studios with Nic Jodoin. “The Beach Boys and Bing Crosby both recorded there!” Kugel says excitedly. “It was an amazing experience, not to mention a ghostly one too. The studio had been custom built by Jimmy Valentine and he was very protective of his passion. It sounds weird, but his spirit was there, checking in on us and fucking with us a bit.” Nosebleed Weekend was the first session at Valentine Recording Studios since Jimmy’s professional interests were diverted elsewhere in 1979. The studio doors were shut, capturing a time capsule of the LA music industry back in the ‘70s. Thinking back to the early years of The Coathangers, it’s hard to imagine the scrappy Southern ladies ever recording in a historic studio in the San Fernando Valley, but it’s a classic demonstration of what can happen when humble young punks stick to their guns.
The Entrance Band
The Entrance Band
THURSTON MOORE
"The Entrance Band's new music is the most alluring and, yes, entrancing vibe I've yet to experience in this new age. A soundtrack for the new groove"

LA TIMES
"Their music creates the feeling that something fresh and powerful is afoot. A potent mix of
political mindedness -- including a few conspiracy theories -- and musical virtuosity,
their songs throb and wail and strive to open minds."

WASHINGTON POST
"The Entrance Band plays apocalyptic psych-rock that is so good it will make you welcome
the end days with open arms, as the guitars menacingly swirl in the background and the
drums echo the sound of the four horsemen."

THE FADER
"Some dudes play guitar solos, Guy Blakeslee shreds. In The Entrance Band,
along with Paz Lenchantin and Derek James, he's reined it all in, harnessed the guitar
magic to ridiculously tight drums and bass and turned the whole thing into much more of
a group effort. Who knew we'd be able to dance to half of this album and imagine taking
acid to the other half?"

THE STRANGER (Seattle)
"The Entrance Band play tempestuous psych-blues songs that often tilt toward the epic.
Blakeslee's serpentine riffing and fists-shaking-to-the-heavens vocals attest to rock's
reputed redemptive power."

RCRDLBL
"Listening to their music is like sojourning into a cactus field at midnight with nothing
but a jug of wine and some Gun Club records."

BALTIMORE CITY PAPER
"The Entrance Band, has honed itself into a rock-solid, mass-appeal beast that could shake
the White Stripes from their throne. "M.L.K." is both breathtaking and soul satisfying in
its massive, alluring riffs (every song has a thick, ringing riff for, like, every day of
the week); simple, reverbed-out vocal hooks; and crystal clear populist message:
"Hey, there's a reason I sing/'cause I want to hear freedom ring/ and I'll remind you all
of one more thing, remember Martin Luther King." The cloud-scraping chorus hook of
"That Is Why" could tame a lion; "Sing for the One" chugs along in a grubby stoner-rock
roil; "Hourglass" sounds like it could fucking own an arena, complete with Jumbotron shots
of Blakeslee shredding like some newly anointed high priest of rockdom.
Basically: watch out."

L.A. RECORD
"Headlining that night was The Entrance Band. Not missing a beat, their set seemed to
explode from the moment the members took the stage, with a fierce combination of
psychedelic, blues, and rock. It almost feels like a Martian attack on your soul,
especially as Guy Blakeslee's vocals reach their coda-like watching the sky opens up
for the birth and death of an actual star accompanied by his beyond stellar,
words fail me, wicked-sounding guitar, giving proper due to Steve Vai and Zappa for
us youngins. Bassist Paz Lenchantin's thunderous sonic mind fuck comes via a much
needed catharsis by her instrument. She maintains the same amount of attention as the
rest of the heavy elements, while the orchestration still makes you feel cleansed and
free. Please do yourself a favor this summer and get lost in this bands mystique."
Iron Reagan
Iron Reagan
IRON REAGAN are no strangers to the fine art of crossover thrash. Comprised of veterans Tony Foresta, Phil Hall, Mark Bronzino, Rob Skotis, and Ryan Parrish, between them they fill, or have filled the ranks of Municipal Waste, Cannabis Corpse, Mammoth Grinder, Darkest Hour and numerous other bands. Formed in 2012, the punk-metal quintet quickly released a demo EP followed by their debut full-length, Worse Than Dead via A389 Recordings, and splits with both Exhumed and Toxic Shock. The gang then signed to Relapse Records and released their self-produced sophomore full-length The Tyranny of Will, mixed by Kurt Ballou (Converge) in 2014.
Alongside the release of The Tyranny of Will came a now cult-classic music video for their song “Miserable Failure”, directed by Whitey McConnaughy (Red Fang, ZZ Top), that has catapulted past 1 million views and showcases the band starting a "flash-mosh" on the streets of Portland, OR.

Since 2014, IRON REAGAN have toured the world almost non-stop, with high-caliber acts in the punk, hardcore and metal worlds such as Poison Idea, Napalm Death, Voivod, Skeletonwitch, The Black Dahlia Murder, GWAR, Seven Seconds, Eyehategod, etc. including appearances at Hellfest, Full Terror Assault, Brutal Assault, This is Hardcore, Party San Open Air, and numerous others.

Now in February 2017, IRON REAGAN calls upon thee to join the holy order of thrash on their latest full-length, Crossover Ministry. Comprised of 18 tracks and thirty minutes of frantic, punk-metal fury with relentlessly catchy riffs and irresistible, mosh-ready grooves, Crossover Ministry is a further continuation of the band's punchy, thrash gallops and unique hardcore punk attitude. Once again, Kurt Ballou was called upon to mix the record with guitarist Phil (Landphil) Hall handling the recording. Hear their vicious sermon at a circle pit near you!

IRON REAGAN is: Tony Foresta – Vocals / Mark Bronzino – Guitar / Landphil Hall – Guitar / Rob Skotis – Bass / Ryan Parrish – Drums
Diarrhea Planet
Diarrhea Planet
Diarrhea Planet is a six-piece rock and roll band from Nashville, TN. Their sound has often been described as The Ramones holding Van Halen hostage with an arsenal of fireworks and explosives. Diarrhea Planet's four guitarists provide enough riffs to make Jack Black squeal like a schoolgirl, while lead singer Hodan delivers enough hooks to straighten the curl out of Justin Timberlake's hair. In a world of unintelligible lo-fi recording, reverb drenched vocals, and tuneless guitars, Diarrhea Planet aims to put the backbone back into rock and roll.
Blouse
Blouse
Blouse is based out of a 6,000 square-foot warehouse in North Portland. The project started in the summer of 2010, after Los Angeles native Charlie Hilton met Patrick Adams in art school. They made a few home recordings and soon began spending nights at the warehouse recording with Jacob Portrait (Producer of Mint Chicks, Dandy Warhols, Starfucker). Having played music since their teens, the three found that there was something inexplicable in their coming together. After posting two demo tracks to Bandcamp's website, the group was picked up by Captured Tracks out of Brooklyn, NY. A 7" single of Into Black was released at the end of March '11 by Captured Tracks. Sub Pop Records will be releasing the second single for Shadow on May 31st.
Marijuana Deathsquads
Marijuana Deathsquads
Marijuana Deathsquads are comprised of multiple drummers, a slew of electronic instruments, and highly effected vocals, their live shows are an onslaught of improvised electronic-hardcore. The bands core group includes Ryan Olson, the leader of GAYNGS, Stef Alexander (POS), Isaac Gale and Ben Ivascu (Building Better Bombs), and Freddy Votel (Cows).
Weekend
Weekend
When asked to describe the album in 3 adjectives, Durkan stated, "Volatile. Cathartic. Bittersweet. The record is a collage of inspiration and ideas from each member of the band. Shards of experiences, images, smells, sounds molded into something we can collectively call ours." The album visually represents the music as well, through personal possessions of each band member that "had singular and emotional connections to and democratize it through a physical process. Painting the objects black adds a new, collective ownership over the previous personal meaning. [There is] the coalescence of our individual art to make something new, stark, and powerful." That Stark black visual sheen is compliments the songs that embody Jinx. Memories and experiences have been reinterpreted and recalled into existence from haunting, beautiful places. Each song on the album charges through a polarizing emotion through an ebb and flow of sounds both ominous and soothing. Lastly, the LP's presumably superstitious title compliments this body of work thematically. Shaun recalls his father nicknaming him "Jinx" as a boy. That name, like all the inspirations, emotions and experiences has returned to haunt the band - this time delivered with a lustrous and magnificent black sheen.
Upset
Upset
UPSET is: Ali Koehler (from Best Coast/Vivian Girls on guitar/lead vocals), Jennifer Prince (from La Sera on lead guitar/vocals), Patty Schemel (from Hole on drums).

Their debut record 'She's Gone' was released on Don Giovanni Records on October 29th, 2013.

"For years, Ali Koehler has been a journeywoman drummer for bands — Vivian Girls, Best Coast — which don't ask much of the job. It's a good recipe for anonymity, or a feeling of alienation from one's work. But Ms. Koehler has been storing her feelings up. This much is clear from "She's Gone" (Don Giovanni), the debut album from Upset, the new band in which she leaves the drums behind and steps out in front. On this bright, economical and often biting album, she's an adept singer, and an even more adept lyricist. Her cheery tone belies the fact that she's painting herself as an aggrieved outsider on these songs, which channel snotty mid-1980s rock and early 2000s pop-punk. (Patty Schemel, late of Hole, does the drumming.) Mostly, Ms. Koehler is singing about bitter rivalries and resentments, taking on the role of someone long unjustly minimized, saying all the things she hasn't ever been given the chance to." -- Jon Caramanica, New York Times
Radkey
Radkey
Radkey is a band made up of three teenage brothers Darrion, Isaiah, and Solomon. The music they play is undeniably rock, which they like to play hard, loud and often. Their influences range from The Who to Nirvana and so many in between. They were invited to play last years Afro-Punk Festival in Brooklyn, NY.
Radkey has played with several national acts including the legendary band Fishbone. Be sure to checkout Radkey when they hit your city and support them in their fight to end false rock.
Obliterations
Obliterations are:
Sam James Velde (Vocals), Austin Barber (Bass), Stephen McBean (Guitar) and Flo Schanze (Drums).

They all played and play in other bands including Black Mountain, Saviours, Bluebird, Night Horse and Pink Mountaintops.

They all started playing together in November 2012.
They all like Black Sabbath and Black Flag.
They all live in Los Angeles, CA.
Debut 7 inch this summer on Outer Battery Records.
Whres.
Whres.
Atlanta, GA’s kings of noise rock, Whores have announced a string of summer US tour dates in support of their latest critically acclaimed release Clean. The dates kick off on August 1st in Atlanta and run through August 17th in Austin, TX, with a stop at the Heavy Montreal festival featuring Slayer, Metallica, Voivod, Lamb of God, Fucked Up and more. Austin, TX road warriors American Sharks offer direct support. More dates to follow.

Additionally, the group has been confirmed for Gainesville, Florida's 13th annual The Fest with noise legends Melvins. A complete list of shows can be seen below. 



Whores released their second record Clean on LP/Digital this past October via Brutal Panda Records and it quickly sold out within a month. The record can be streamed in its entirety here. A second pressing of the hard-hitting noise rock behemoth is now available here.

Additionally, Whores recently released a split 7" of The Cure covers with Portland, OR noise/sludge trio Rabbits via Brutal Panda Records / Eolian Empire. Whores contribution to the split, a cover of "Jumping Someone Else's Train" can be streamed here.

Finally, the band has been confirmed to appear on the newest rendition of Amphetamine Reptile's cult compilation Dope, Guns and Fucking in the Streets, alongside Big Business, Billy Childish, Seawhores and more.
Creative Adult
Son of Stan
Son of Stan
Son of Stan is the solo project and band of songwriter Jordan Richardson (Drummer for Ben Harper, Ringo Starr). The creative debut album is set for release in 2013 and was produced by Adam Lasus (Clap Your Hands Say Yeah) and shocases a unique, psychedelic style that Richardson calls "Divorce Pop".

The sound of his forthcoming album, due for release in 2013, though hard to pinpoint, range in influence from the darker side of 80's pop such as Joe Jackson, Phil Collins, R. Stevie Moore, (and even Hall and Oates) to more, even heavier, stonier psychedelic nods.

Richardson told Dallas based blog Central Track: "It's a little difficult to describe the sound of it, but there is a definite aesthetic goal in mind with the record. There are a lot of songs from my childhood in the mid 80's that when I hear now they give me a totally unsettling feeling (songs I refer to as "divorce pop", though my parents remain happily married) and remind me of the pains of being dragged around by my mom on hot Saturday afternoons in 1989, to a weird strip mall women's clothing store called 'Show Off Fashion'. I want to make songs that convey that feeling and mood. "North Texas Unsettling Childhood Memory Pop". or maybe "Divorce Pop". The song "Corsica" is definitely about that, I think. Both sonically and in subject matter... I dunno. Its weird and you can dance to it, but I hope it makes you feel a little funny.
Venue Information:
CLUB DADA & THREE LINKS
Elm Street
Dallas, TX