THE QUEERS//TBA
Jan
20
9:00 PM21:00

THE QUEERS//TBA

The Queers

We've been playing music and touring all over the world for almost 30 years now. We released a few records for Lookout! Records in the early 90s and then had a terrible stint with Hopeless in the late 90s. I don't think they wanna see us and we definitely don't wanna see them. Then we released one more record with Lookout! but afterwards switched to our favorite record label we've ever had, Asian Man Records. All this while touring a bunch. We'll see you soon, we're The Queers.

https://www.facebook.com/pg/The-Queers-156515077754764/about/?ref=page_internal

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TRIBUTE TO MALCOLM
Jan
25
9:00 PM21:00

TRIBUTE TO MALCOLM

Join us as we gather to pay tribute to one of the pioneers of modern day rock and metal. Deep cuts of AC/DC and a few surprises thrown in as well. Featuring musicians from: Supagroup, Riffer Madness, Suplecs, Mountain of Wizard, Cretus, Pitts Vs. Preps and more TBA! It will be... a most epic night of rock.  

11pm after Real Cool Trash Burlesque party! 
$5
21+

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LIVE NATION PRES. HAUNTED SUMMER//TBA//TBA
Jan
28
9:00 PM21:00

LIVE NATION PRES. HAUNTED SUMMER//TBA//TBA

The songs of Haunted Summer are dreamy and hypnotic, rich with orchestral strings and sultry electronic textures. With their previous EP, Something in the Water, the group crafted a captivating, ethereal musical journey through a nostalgic world of young love and long-forgotten memories. Consisting of husband-and-wife Bridgette Moody and John Seasons, who share songwriting duties in a true collaboration, the Los Angeles duo have shared the stage and toured with groups and performers including Taken By Trees, Islands, 

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Peyote Coyote//DJ Coyote Lord
Jan
31
9:00 PM21:00

Peyote Coyote//DJ Coyote Lord

Peyote Coyote is a psychedelic rock trio based out of Austin, Texas. The group formed in Pompano Beach, Florida, when guitarist and vocalist Ryan Huseman, bassist Jake Stuart and drummer Cari Gee met at Florida Atlantic University as music students in 2012. After collaborating on many different projects together, the three formed Peyote Coyote in late 2014.

With each member bringing their own set of influences to the group, Peyote Coyote has created their own brand of psychedelic rock that’s characterized by hypnotic grooves, catchy riffs and haunting vocal harmonies. 

The band released their debut self-titled EP in April 2016 and a follow-up EP ("Other Moons") in 2017 through their own music collective, The Infinite Channel. The albums are available to stream or purchase on Spotify, Apple Music and more. A full-length album is currently in the works, with a release date to be announced in early 2018.

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The Silhouette of Nude (Tokyo, Japan)//TBA
Feb
1
9:00 PM21:00

The Silhouette of Nude (Tokyo, Japan)//TBA

http://ratainosilhouette.info/

https://www.facebook.com/The-silhouette-of-nude-裸体のシルエット-1804796819781451/

 

https://youtu.be/i9X-J_6s_lA

Crazy shit straight outa Tokyo! Don't miss this one! 

Genre
post rock, math rock, progressive, noise, shogazer

Band Members
Gt.Hiroyuki Suwa
Gt.Tsuyoshi Miura
Ba.Takayuki Obara
Dr.Keiji Yokoyama(support)

Hometown
Japan

About
[Web]http://ratainosilhouette.info/
[BandCamp] https://ratainosilhouette.bandcamp.com/
[SoundCloud]https://soundcloud.com/ratainosilhouette

Current Location
Tokyo, Japan

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Scott H. Biram//The Chris Lee Band//TBA
Feb
3
9:00 PM21:00

Scott H. Biram//The Chris Lee Band//TBA

Rock ‘n’ Roll ain’t pretty and neither is Scott H. Biram. The self proclaimed ‘Dirty Old One Man Band’ successfully, and sometimes violently, lashes together blues, hillbilly and country precariously to raucous punk and godless metal.

Biram ain’t no candy-ass singer/songwriter either, sweetly strumming songs about girls with big eyes and dusty highways. His singing, yodeling, growling, leering and brash preachin’ and hollerin’ is accompanied by sloppy riffs and licks from his '59 Gibson guitar and pounding backbeat brought forth by his amplified left foot. The remainder of this one-man band consists of an unwieldy combination of beat-up amplifiers and old microphones strung together by a tangled mess of guitar cables.

Years of non-stop touring have honed his assault to a fine edge; his wide-eyed throw downs in the First Church of Ultimate Fanaticism routinely lead giddy followers to a fiery baptism.

Scott H. Biram won’t die. On May 11th, 2003, one month after being hit head-on by an 18-wheeler at 75 MPH, he took the stage at The Continental Club in Austin, TX in a wheel chair – I.V. still dangling from his arm. With 2 broken legs, a broken foot, a broken arm and 1 foot less of his lower intestine, Biram unleashed his trademark musical wrath.

When Scott H. Biram took the stage at his 2004 SXSW festival showcase right after Kris Kristofferson he was quoted as growling “They said that was a hard act to follow….I’m a hard act to follow motherfuckers!!” The stunned crowd looked on.

“Scott’s self described ‘dirty old one-man band’ had a captivating immediacy that big rock shows rarely reach. On stage Scott is a man possessed, spitting and snarling like a Mississippi juke-joint shouter on a moonshine bender.” – Eben Sterling, Thrasher

“He has a true stage presence that could be fairly compared to that of Clint Eastwood on film. The dude’s more dude than most other dudes you will ever meet.” – Austin Columnist

“An impassioned multi-instrumentalist unleashing a brutal cacophany with the fury of someone whose check from the Devil finally cleared. Half dirty blues, half underground punk, half honky-tonk, half revival meeting…oh shut up about the math. You’ll see the light.” – Dayna Papaleo, Rochester City News

“His barbarous exorcism of Depression-era blues—with a bedrock of frantic flatpicking, foot stomps into a floor mike, and gutteral growls through a distortion mike—has made Biram a rising star in Austin.” – Brian T. Atkinson, No Depression

“Biram is the kind of guy you don’t laugh at all the way just in case he really is crazy. We all wanna be entertained, but nobody wants to get stabbed in the head with a screwdriver.” – Frank de Blase, Rochester City News

“With a raw immediacy that recalls Hasil Adkins and Bob Log III, Biram specializes in a twisted hybrid of gutbucket, hillbilly and godless metal. He’ll praise the virtues of moonshine and titty bars one minute, then tongue-lash city slickers and hippies the next.” – John La Briola, Houston Press

 

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GOATWHORE//Abysmal Lord//Witch Burial
Feb
17
9:00 PM21:00

GOATWHORE//Abysmal Lord//Witch Burial

"We wanted it raw. We wanted it organic. We wanted it to sound the way we do in the live setting," relays Goatwhore frontman Ben Falgoust of the band's latest output, Vengeful Ascension. Their seventh full-length and second recorded reel-to-reel, Vengeful Ascension was captured at Earth Analog in Tolono, Illinois (near Champaign, Illinois) with longtime soundman and comrade Jarrett Pritchard (1349, Gruesome), breaking a four-album tradition of working with Erik Rutan. "Working with Rutan was awesome. We did some great records with him," Falgoust is quick to point out. "But you come to a point where you're like, ‘All right. Let's try something new.' It was part of trying to remove ourselves from a comfort zone and a risk thing we needed to take. Plus, we really wanted to hit the essence of where we are live and what better way to harness that than by having our live sound guy involved. Jarrett is knowledgeable with the studio stuff. He also knows how we sound coming out of a PA and we really wanted to get closer to that. Pritchard really focused on that live aspect from every members' perspective and I think he pushed us out of our personal comfort zones. He really understands our vision." The resulting ten-track, forty-one-minute production – mixed by Chris Common (Tribulation, Pelican) and mastered by Maor Applebaum (Faith No More, Halford, Today Is The Day) – marches in, clutches its listeners by the throat and refuses to loosen its grip until the abrupt conclusion of "Those Who Denied God's Will." A sonic manifestation of war, chaos, desolation, and emotional conflict, seamlessly bridging twenty years of the band's signature brand of audio venom, it's a record that finds its members at their most accomplished both individually and as a cohesive unit. Guitarist Sammy Duet's dense, sub nuclear riff work and possessed solo blitzes are at their most devastating spiraling flawlessly and instinctually around drummer Zack Simmons' and bassist James Harvey's hammering rhythms while Falgoust's distinctly commanding roar, his acidic prose more enunciated than ever before, complimenting the apocalyptic proceedings. "I think every song on this record is pretty fucking strong," the frontman reflects. "Each song is a representation of Goatwhore. from day one until now. It really shows our evolution as a band. I don't think that this band has reached its peak yet. I mean, I think we're closer now than ever but we're still growing; we're still evolving." While hardly a concept record in the traditional sense, Vengeful Ascension loosely revolves itself around Luciferian notions in title and spirit where the symbol of Lucifer serves not as a fiendish, all-destroying demon but rather an emancipator or guiding light. It's a theme of struggle and transcendence derived from John Milton's Paradise Lost epic and one that has appeared, whether directly or indirectly, within Goatwhore works of the past. "There's that whole idea of Lucifer being the anti-hero," elaborates Falgoust. "He's cast out from this place in Heaven to the depths of nothing. He keeps trying to ascend to the top again but no matter what, there's always this significant force trying to destroy him at any point and banish him back to Hell. If you look at it from an everyday aspect in life, it's the idea of people, hitting the bottom of the barrel or you know, things just aren't going right in life… emotion plays a huge part in how people react. Whether it's based on love or hatred or sadness or whatever, there's always an aspect of emotion that drives people to an extent. So the whole idea of a ‘Vengeful Ascension' is built on being at the bottom, working your way to the top, and realizing along the way that there's other facets to the journey aside from just pure retribution. Within negativity there can exist a positive angle as well." Vengeful Ascension serves as the soundtrack to that luciferious rise straight off with the combative, ritualistic drum onslaught of opening hymn, "Forsaken." Wholly immersive, each track is alarmingly palpable in subject and corresponding execution. The tense, clandestine battery of "Chaos Arcane," based on HP Lovecraft's book Nyarlathotep, a story which attempts to recount the inexplicable sense of fear in expectancy of an unknown evil, conveys that sensation of impending doom through sound in a way only Goatwhore can. "Mankind Will Have No Mercy," a pseudo tribute to Bolt Thrower, seethes under the weight of its own wartime sentiment, while the rapid-fire, punkish urgency of "Under The Flesh, Into The Soul," a first person account of irrepressible resentment, sounds utterly enraged. "If resentment could speak, that's it right there," says Falgoust. "It's the idea of resentment getting into an individual and just consuming you." And with an average runtime of just four minutes, no one song ever overstays its welcome. Forged by former Acid Bath/Crowbar guitarist Sammy Duet in 1997, it's been two decades since Goatwhore reared its menacing head from the swamplands of New Orleans, Louisiana. The band's winding history a dramatic, at times traumatic, sequence of personnel changes, fatal injuries, paranormal activity, natural disasters, and an assortment of other misadventures large and small, their tale begins with the primitive rumblings of the Serenades To The Tides Of Blood demo and subsequent Eclipse Of Ages Into Black debut released in 1998 and 2000 respectively. Then a five-piece comprised of Duet, Soilent Green vocalist Ben Falgoust, guitarist Ben Stout, bassist Patrick Bruders and drummer Zak Nolan, Goatwhore's DIY work ethic, persistent tour schedule and warring, fuck-all approach of songs like "Invert The Virgin" and "Desolate Path To Apocalyptic Ruin" helped spawn a loyal following compelled by the band's unrepentant Celtic Frostian rhythms and corrosive black death bayou swagger. A slower, more introverted affair, Funeral Dirge For The Rotting Sun followed in 2003. The record trailed a near-fatal van crash that left Falgoust temporarily paralyzed and the future of the band uncertain. Against medical odds, Falgoust regained use of his legs and the band, now a four-piece with Duet taking on full guitar duties, quickly returned to the road. Seemingly plagued by bouts of disaster, 2005 found the band fleeing the desolating flood waters of Hurricane Katrina. Delayed but undeterred, Goatwhore's first Metal Blade Records release -- 2006's A Haunting Curse, which featured the revised lineup of Duet, Falgoust, drummer Zack Simmons (ex-Nachtmystium) and bassist Nathan Bergeron -- proved their most vicious manifestation yet. The record was captured at Mana Recording Studios in St. Petersburg, Florida with Erik Rutan (Morbid Angel, Hate Eternal), who would go on to record the band's next three studio offerings. Wholly embracing their long-avowed Hellhammer and Venom devoutness without pirating it, A Haunting Curse is relentless in speed, precision and brazen hostility and six years later, "Diabolical Submergence Of Rebirth," would make its way to HBO award-winning drama series, Treme. By 2009, Goatwhore unleashed the nefarious craftings of Carving Out The Eyes Of God. A behemoth recording in sound, mind and spirit, the record ranked among the year's most worthy metal albums by fans and critics globally, debuting on the Billboard Hard Music chart at #33, the Billboard Top New Artist (Heatseekers) chart at #16, and the Billboard Top Independent Albums chart at #34. No small feat for a blatantly non-mainstream band. Decibel Magazine hailed the band's, "rigid tempo shifts, gargantuan hooks, blasting black mass anthems, and Falgoust's soot and venom snarl," while Outburn likened it to, "a modern day, 'roid-injected sword fight between Celtic Frost and Venom." For the next two years, Goatwhore maintained an unyielding tour schedule, reducing cities throughout the US, Canada, Europe, and Australia to rubble with their notoriously crushing, live performance. Further educating the potentially unversed, unofficial Goat' anthem, "Apocalyptic Havoc," appeared on the Xbox 360/PlayStation 3 game soundtracks for Splatterhouse and Saints Row 3, while the video for the song was featured in an episode of Last Call with Carson Daly. 2011 closed with a win of Best Hard Rock/Metal Artist at the annual Big Easy Awards, which pays tribute and honor to the city's performing talent. Resting only long enough to conjure more audio pandemonium, Goatwhore undraped the chart-topping, critically-lauded Blood For The Master full-length in 2012. Now featuring Duet, Falgoust, Simmons and bassist James Harvey, who joined the cloven-hoofed ranks in 2009 following the exit of Nathan Bergeron, the record found Louisiana's notorious metal horde at their most unified. Delivering a ruthless onslaught of fist-pumping, heathen anthems, and rhythmic obliteration bedecked in the enticingly unhallowed prose of Falgoust who succinctly dubbed the record, "evil rock 'n' roll." The maniacal hymns of Constricting Rage Of The Merciless arrived in 2014 and marked the band's first studio effort to be tracked to two-inch tape, a more challenging approach that demands performance over pro-tooled perfection and leaving little room for error. Boasting a more urgent, ominous and blatantly reckless demeanor than its predecessors, the record again surpassed previous efforts in composition and execution consequently debuting at #81 on Billboard's Top 200 chart, topping their last entry position of #171 with Blood For The Master. Elsewhere, Constricting Rage Of The Merciless ranked in at #21 on Billboard's Rock chart, #7 on the Hard Rock chart, and #13 on the Independent chart while third album single, "Baring Teeth For Revolt," made its audio debut in CBS crime drama series Elementary. Welcoming live bassist Robert "TA" Coleman (Warmaster, Hod), a tireless tour calendar, including shows with Samhain as well as well as a converted performance at Ozzfest-meets-Knotfest opening Black Sabbath's final West Coast show, followed. And now, the time for Vengeful Ascension has come. The Goatwhore journey commenced with the primitive rumblings of the "Serenades To The Tides Of Blood" demo and subsequent "Eclipse Of Ages Into Black" debut. Then a five-piece comprised of Duet, Soilent Green vocalist Ben Falgoust, guitarist Ben Stout, bassist Patrick Bruders and drummer Zak Nolan, the band's stanch DIY work ethic, relentless tour schedule and the battering, fuck-all approach of songs like "Invert The Virgin" and "Desolate Path To Apocalyptic Ruin" helped spawn a maniacal cult following. By 2003, Goatwhore had harvested a legion of disciples possessed by the band's unrepentant Celtic Frostian rhythms and corrosive black death bayou swagger. Second full-length, "Funeral Dirge For The Rotting Sun" transcended far beyond the traditional constructs of black metal. Lyrically dense and impossibly heavy, "Funeral Dirge"… was a slower, broodier, more introverted composition with Falgoust's and Duet's high-to-low vocal exchange punctuating its looming atmosphere. The record trailed a near-fatal van crash that left Falgoust temporarily paralyzed and the future of the band uncertain. Against all medical odds, Falgoust regained use of his legs and the band, now a four-piece with Duet taking on full guitar duties, quickly returned to the road. Seemingly plagued by bouts of disaster, "A Haunting Curse" found the revised Goatwhore lineup of Duet, Falgoust, drummer Zack Simmons (ex-Nachtmystium) and bassist Nathan Bergeron, fleeing the ravaging flood waters of Hurricane Katrina. Delayed but determined, Goatwhore's first Metal Blade production proved their most vicious yet. Relentless in speed, precision and brazen hostility, and fittingly crowned "down and dirty, heavy and blasphemous," (Sputnik Music) the band's rabid blackened death thrash hybrid fully embraced their long-avowed Hellhammer and Venom devotion without pirating it. Six years later, "Diabolical Submergence of Rebirth," would make its way to HBO award-winning drama series, Treme. By 2009, Goatwhore dropped the nefarious craftings of "Carving Out The Eyes Of God" upon unsuspecting ears. A behemoth offering in sound, mind and spirit, the record ranked among the year's most worthy metal albums by fans and critics globally, debuting on the Billboard Hard Music chart at #33, the Billboard Top New Artist (Heatseekers) chart at #16, and the Billboard Top Independent Albums chart at #34. No small feat for a blatantly non-mainstream band. Decibel Magazine crowned "Carving Out The Eyes Of God", "the band's tightest, most guitar-driven offering to date. An unholy smorgasbord of rigid tempo shifts, gargantuan hooks, blasting black mass anthems, and Falgoust's soot and venom snarl…," Outburn likened it to, "a modern day, 'roid-injected sword fight between Celtic Frost and Venom," while MetalSucks proclaimed "Carving Out The Eyes Of God" "the catchiest album Goatwhore have ever released." Additional conquests included a spot on the 2010 edition of Ozzfest and two performances at the annual SXSW music conference enabling the horned collective to deliver their sadistic canticles of religious treachery to an even broader sect of listeners. For the next two years, the band maintained an unyielding tour cycle, reducing cities throughout the US, Canada, Europe and Australia to rubble with their devastating live takeovers. Further educating the potentially unversed, unofficial Goat' anthem, "Apocalyptic Havoc," appeared on the Xbox 360/PlayStation 3 game soundtracks for "Splatterhouse" and "Saints Row 3," while the video for the song was featured in an episode of Last Call with Carson Daly. Closing out a near perfect run of riotous adventures, Goatwhore was named Best Hard Rock/Metal Artist of 2010 at The Big Easy Awards, a deserving honor based on performance throughout the year. Resting only long enough to conjure more audio chaos, the band unleashed the chart-topping "Blood For The Master" long player in 2012. Now featuring Duet, Falgoust, Simmons and bassist James Harvey, who joined the cloven-hoofed ranks in 2009 following the exit of Nathan Bergeron, the record found Louisiana's notorious metal horde at their most unified. Boasting a ruthless onslaught of fist-pumping, heathen anthems, and rhythmic obliteration bedecked in the enticingly unhallowed prose of Falgoust who succinctly dubbed the record, "evil rock 'n' roll." The record further raised the eyebrows of media outlets both stateside and abroad, nabbing the cover of Decibel Magazine, who gushed, "Five albums in, Goatwhore still hold the crown as the hardest-working band in metal. With "Blood For The Master," all of their sacrifices have finally paid off." Craveonline.comproclaimed, "If somebody could capture the speed of the harshest winds in the Antarctic they might come close to understanding the high rocktane insanity of Goatwhore," while About.com added, "There may be other bands who tout this black/death style, but very few can make it both catchy and devastating. Goatwhore have been getting better as the years wear on, and this album established them as a metal band not to be ignored." Surpassing the success of their previous opus, Blood For The Master debuted on the Billboard Heatseeker chart at an impressive #4, the Current Hard Music chart at #12, the Hard Music Chart at #21 and the Top Independent Albums chart at #31 as well as ranking in at #19 on the iTunes Rock chart upon its first week of release. Enter the diseased hymns of 2014's "Constricting Rage Of The Merciless." Captured at Mana Recording Studios in St. Petersburg, Florida with audio magus, Erik Rutan at the helm, "Constricting…" serves as the band's first studio effort to be tracked to two-inch tape. A more challenging approach that demands performance over pro-tooled perfection and leaving little room for error, the ten-track, 37-minute offering marks Goatwhore's most well-executed, sonically devastating manifestation to date, its warm, organic production harnessing the thick, monolithic, war-ready tone and energy of their live performance in a way previous recordings have not. "If we went to someone else, it would be a total disaster," Duet recently told Decibel Magazine of working with Rutan, who, having recorded the band since 2006's A Haunting Curse, has become as much a fundamental asset to Goatwhore's apocalyptic sound and vision as the band members themselves. "He understands what we want out of an album instead of coming away with something that shiny, polished, sterile, digitally manipulated and completely fake and false." "To record mostly to analog was incredible and the results exemplify that," said Rutan, who hadn't worked with tape since Hate Eternal's "I Monarch" and Soilent Green's "Confrontation," both recorded nearly a decade earlier. "Amazing tones and performances. This is the real deal! It takes a lot of guts to record an album to tape in a day and age of metal where conformity and sterility are more commonplace then originality and vibe. I cannot wait for everyone to hear this album. It has been an honor to work with Goatwhore once again and I thank them for bringing out the best of me." A multi-faceted recorded that traverses a broad range of moods and emotions both musically and thematically, "Constricting Rage Of The Merciless" reflects the duality of its creators, adopting a more punishingly urgent, ominous and reckless vibe than its predecessors. "Emotions clash when we write," reveals Falgoust, "Every person involved in this band has different things going on in their lives through the course of writing a record. From the point of Sammy creating a riff, to how Zack perceives the riff for his drum duties, to the way James adds in the low end to fill out its essence to when I take it all in and make my own assessment of how the vocals will intertwine. In all those stages feelings twist and turn in each individual to create the final work that envelops the culmination of that entire emotion." "It was definitely cathartic… a release of some very negative vibes that were pent up," admits Duet of the riff-writing process. "I feel like the last one was more you know, 'let's drink a bunch of Jack Daniels and start a bar fight.' This album is a lot more psychotic. It's more like a serial killer's murder spree." Still lush with the charred, sub-nuclear riff incursions, rhythmic battery and infernal Falgoust/Duet vocal collisions for which the band has become synonymous, Duet speaks in terms of overall atmosphere. "There are parts that will make you very sad (witness the miasmic bone chill of 'Cold Earth Consumed in Dying') but there are also parts that are very angry ('Externalize This Hidden Savagery.' That's we're trying to portray with this record: The total evil of the soul. This album definitely has a darker mentality to it." "The title represents a person or persons being pushed into a corner too far until vengeance is born, but then again it also represents the failing mercy behind organized religion," relays Falgoust, whose traditionally well-scripted psalms of death, debauchery, religious provocation and the improbability of life-after-death explore a more cerebral realm of self-development. From the combatant onset of "Poisonous Existence In Reawakening," and the tense, hammering momentum of "Unraveling Paradise," to the punkish urgency of "FBS" and the fiendish cascades of "Schadenfreude" (literally meaning the pleasure derived from the misfortunes of others), Goatwhore spew their unadulterated, subterranean metal as channeled through the historic likes of Motörhead and Bathory, with the insatiable hunger of a pack of wild boars. These are true requiems of revolt, at once predatory, epic, hate-fueled and sadistic. Due at least in part to the sheer synergy that comes from living in a van together for weeks on end, "Constricting Rage Of The Merciless" is razor sharp in musicianship literally writhing beneath the weight of its own sonic enormity. Duet's thick, gnarled guitar tones and bestial vocal accents coil seamlessly around Simmons' and Harvey's, brash, chest-heaving rhythms. It's all punctuated by the imposing voice and cynical prose of Falgoust who literally ran laps around the studio before taking to the mic to summon a more frantic, rasping edge to his signature tirades, now more enunciated than ever before. When Falgoust howls, "WE ARE COMING TO SMASH YOUR IDOLS!" (in traditional metal rager "Baring Teeth For Revolt"), souls weaken, forests die, planets implode. In a saturated metal landscape where sub-genres spawn sub-sub-genres and the very definition of "metal" seems repeatedly distorted by cross-pollinating madness, sacred are the bands who to stay true to their proverbial roots without repeating them. "Constricting Rage Of The Merciless" will make its final decent upon North America on July 8, 2014 via Metal Blade Records.

"We wanted it raw. We wanted it organic. We wanted it to sound the way we do in the live setting," relays Goatwhore frontman Ben Falgoust of the band's latest output, Vengeful Ascension. Their seventh full-length and second recorded reel-to-reel, Vengeful Ascension was captured at Earth Analog in Tolono, Illinois (near Champaign, Illinois) with longtime soundman and comrade Jarrett Pritchard (1349, Gruesome), breaking a four-album tradition of working with Erik Rutan.

"Working with Rutan was awesome. We did some great records with him," Falgoust is quick to point out. "But you come to a point where you're like, ‘All right. Let's try something new.' It was part of trying to remove ourselves from a comfort zone and a risk thing we needed to take. Plus, we really wanted to hit the essence of where we are live and what better way to harness that than by having our live sound guy involved. Jarrett is knowledgeable with the studio stuff. He also knows how we sound coming out of a PA and we really wanted to get closer to that. Pritchard really focused on that live aspect from every members' perspective and I think he pushed us out of our personal comfort zones. He really understands our vision."

The resulting ten-track, forty-one-minute production – mixed by Chris Common (Tribulation, Pelican) and mastered by Maor Applebaum (Faith No More, Halford, Today Is The Day) – marches in, clutches its listeners by the throat and refuses to loosen its grip until the abrupt conclusion of "Those Who Denied God's Will." A sonic manifestation of war, chaos, desolation, and emotional conflict, seamlessly bridging twenty years of the band's signature brand of audio venom, it's a record that finds its members at their most accomplished both individually and as a cohesive unit. Guitarist Sammy Duet's dense, sub nuclear riff work and possessed solo blitzes are at their most devastating spiraling flawlessly and instinctually around drummer Zack Simmons' and bassist James Harvey's hammering rhythms while Falgoust's distinctly commanding roar, his acidic prose more enunciated than ever before, complimenting the apocalyptic proceedings.

"I think every song on this record is pretty fucking strong," the frontman reflects. "Each song is a representation of Goatwhore. from day one until now. It really shows our evolution as a band. I don't think that this band has reached its peak yet. I mean, I think we're closer now than ever but we're still growing; we're still evolving."

While hardly a concept record in the traditional sense, Vengeful Ascension loosely revolves itself around Luciferian notions in title and spirit where the symbol of Lucifer serves not as a fiendish, all-destroying demon but rather an emancipator or guiding light. It's a theme of struggle and transcendence derived from John Milton's Paradise Lost epic and one that has appeared, whether directly or indirectly, within Goatwhore works of the past.

"There's that whole idea of Lucifer being the anti-hero," elaborates Falgoust. "He's cast out from this place in Heaven to the depths of nothing. He keeps trying to ascend to the top again but no matter what, there's always this significant force trying to destroy him at any point and banish him back to Hell. If you look at it from an everyday aspect in life, it's the idea of people, hitting the bottom of the barrel or you know, things just aren't going right in life… emotion plays a huge part in how people react. Whether it's based on love or hatred or sadness or whatever, there's always an aspect of emotion that drives people to an extent. So the whole idea of a ‘Vengeful Ascension' is built on being at the bottom, working your way to the top, and realizing along the way that there's other facets to the journey aside from just pure retribution. Within negativity there can exist a positive angle as well."

Vengeful Ascension serves as the soundtrack to that luciferious rise straight off with the combative, ritualistic drum onslaught of opening hymn, "Forsaken." Wholly immersive, each track is alarmingly palpable in subject and corresponding execution. The tense, clandestine battery of "Chaos Arcane," based on HP Lovecraft's book Nyarlathotep, a story which attempts to recount the inexplicable sense of fear in expectancy of an unknown evil, conveys that sensation of impending doom through sound in a way only Goatwhore can. "Mankind Will Have No Mercy," a pseudo tribute to Bolt Thrower, seethes under the weight of its own wartime sentiment, while the rapid-fire, punkish urgency of "Under The Flesh, Into The Soul," a first person account of irrepressible resentment, sounds utterly enraged. "If resentment could speak, that's it right there," says Falgoust. "It's the idea of resentment getting into an individual and just consuming you." And with an average runtime of just four minutes, no one song ever overstays its welcome.

Forged by former Acid Bath/Crowbar guitarist Sammy Duet in 1997, it's been two decades since Goatwhore reared its menacing head from the swamplands of New Orleans, Louisiana. The band's winding history a dramatic, at times traumatic, sequence of personnel changes, fatal injuries, paranormal activity, natural disasters, and an assortment of other misadventures large and small, their tale begins with the primitive rumblings of the Serenades To The Tides Of Blood demo and subsequent Eclipse Of Ages Into Black debut released in 1998 and 2000 respectively. Then a five-piece comprised of Duet, Soilent Green vocalist Ben Falgoust, guitarist Ben Stout, bassist Patrick Bruders and drummer Zak Nolan, Goatwhore's DIY work ethic, persistent tour schedule and warring, fuck-all approach of songs like "Invert The Virgin" and "Desolate Path To Apocalyptic Ruin" helped spawn a loyal following compelled by the band's unrepentant Celtic Frostian rhythms and corrosive black death bayou swagger.

A slower, more introverted affair, Funeral Dirge For The Rotting Sun followed in 2003. The record trailed a near-fatal van crash that left Falgoust temporarily paralyzed and the future of the band uncertain. Against medical odds, Falgoust regained use of his legs and the band, now a four-piece with Duet taking on full guitar duties, quickly returned to the road. Seemingly plagued by bouts of disaster, 2005 found the band fleeing the desolating flood waters of Hurricane Katrina. Delayed but undeterred, Goatwhore's first Metal Blade Records release -- 2006's A Haunting Curse, which featured the revised lineup of Duet, Falgoust, drummer Zack Simmons (ex-Nachtmystium) and bassist Nathan Bergeron -- proved their most vicious manifestation yet. The record was captured at Mana Recording Studios in St. Petersburg, Florida with Erik Rutan (Morbid Angel, Hate Eternal), who would go on to record the band's next three studio offerings. Wholly embracing their long-avowed Hellhammer and Venom devoutness without pirating it, A Haunting Curse is relentless in speed, precision and brazen hostility and six years later, "Diabolical Submergence Of Rebirth," would make its way to HBO award-winning drama series, Treme.

By 2009, Goatwhore unleashed the nefarious craftings of Carving Out The Eyes Of God. A behemoth recording in sound, mind and spirit, the record ranked among the year's most worthy metal albums by fans and critics globally, debuting on the Billboard Hard Music chart at #33, the Billboard Top New Artist (Heatseekers) chart at #16, and the Billboard Top Independent Albums chart at #34. No small feat for a blatantly non-mainstream band. Decibel Magazine hailed the band's, "rigid tempo shifts, gargantuan hooks, blasting black mass anthems, and Falgoust's soot and venom snarl," while Outburn likened it to, "a modern day, 'roid-injected sword fight between Celtic Frost and Venom."

For the next two years, Goatwhore maintained an unyielding tour schedule, reducing cities throughout the US, Canada, Europe, and Australia to rubble with their notoriously crushing, live performance. Further educating the potentially unversed, unofficial Goat' anthem, "Apocalyptic Havoc," appeared on the Xbox 360/PlayStation 3 game soundtracks for Splatterhouse and Saints Row 3, while the video for the song was featured in an episode of Last Call with Carson Daly. 2011 closed with a win of Best Hard Rock/Metal Artist at the annual Big Easy Awards, which pays tribute and honor to the city's performing talent.

Resting only long enough to conjure more audio pandemonium, Goatwhore undraped the chart-topping, critically-lauded Blood For The Master full-length in 2012. Now featuring Duet, Falgoust, Simmons and bassist James Harvey, who joined the cloven-hoofed ranks in 2009 following the exit of Nathan Bergeron, the record found Louisiana's notorious metal horde at their most unified. Delivering a ruthless onslaught of fist-pumping, heathen anthems, and rhythmic obliteration bedecked in the enticingly unhallowed prose of Falgoust who succinctly dubbed the record, "evil rock 'n' roll."

The maniacal hymns of Constricting Rage Of The Merciless arrived in 2014 and marked the band's first studio effort to be tracked to two-inch tape, a more challenging approach that demands performance over pro-tooled perfection and leaving little room for error. Boasting a more urgent, ominous and blatantly reckless demeanor than its predecessors, the record again surpassed previous efforts in composition and execution consequently debuting at #81 on Billboard's Top 200 chart, topping their last entry position of #171 with Blood For The Master. Elsewhere, Constricting Rage Of The Merciless ranked in at #21 on Billboard's Rock chart, #7 on the Hard Rock chart, and #13 on the Independent chart while third album single, "Baring Teeth For Revolt," made its audio debut in CBS crime drama series Elementary. Welcoming live bassist Robert "TA" Coleman (Warmaster, Hod), a tireless tour calendar, including shows with Samhain as well as well as a converted performance at Ozzfest-meets-Knotfest opening Black Sabbath's final West Coast show, followed. And now, the time for Vengeful Ascension has come.

The Goatwhore journey commenced with the primitive rumblings of the "Serenades To The Tides Of Blood" demo and subsequent "Eclipse Of Ages Into Black" debut. Then a five-piece comprised of Duet, Soilent Green vocalist Ben Falgoust, guitarist Ben Stout, bassist Patrick Bruders and drummer Zak Nolan, the band's stanch DIY work ethic, relentless tour schedule and the battering, fuck-all approach of songs like "Invert The Virgin" and "Desolate Path To Apocalyptic Ruin" helped spawn a maniacal cult following. By 2003, Goatwhore had harvested a legion of disciples possessed by the band's unrepentant Celtic Frostian rhythms and corrosive black death bayou swagger.

Second full-length, "Funeral Dirge For The Rotting Sun" transcended far beyond the traditional constructs of black metal. Lyrically dense and impossibly heavy, "Funeral Dirge"… was a slower, broodier, more introverted composition with Falgoust's and Duet's high-to-low vocal exchange punctuating its looming atmosphere. The record trailed a near-fatal van crash that left Falgoust temporarily paralyzed and the future of the band uncertain. Against all medical odds, Falgoust regained use of his legs and the band, now a four-piece with Duet taking on full guitar duties, quickly returned to the road. Seemingly plagued by bouts of disaster, "A Haunting Curse" found the revised Goatwhore lineup of Duet, Falgoust, drummer Zack Simmons (ex-Nachtmystium) and bassist Nathan Bergeron, fleeing the ravaging flood waters of Hurricane Katrina. Delayed but determined, Goatwhore's first Metal Blade production proved their most vicious yet. Relentless in speed, precision and brazen hostility, and fittingly crowned "down and dirty, heavy and blasphemous," (Sputnik Music) the band's rabid blackened death thrash hybrid fully embraced their long-avowed Hellhammer and Venom devotion without pirating it. Six years later, "Diabolical Submergence of Rebirth," would make its way to HBO award-winning drama series, Treme.

By 2009, Goatwhore dropped the nefarious craftings of "Carving Out The Eyes Of God" upon unsuspecting ears. A behemoth offering in sound, mind and spirit, the record ranked among the year's most worthy metal albums by fans and critics globally, debuting on the Billboard Hard Music chart at #33, the Billboard Top New Artist (Heatseekers) chart at #16, and the Billboard Top Independent Albums chart at #34. No small feat for a blatantly non-mainstream band. Decibel Magazine crowned "Carving Out The Eyes Of God", "the band's tightest, most guitar-driven offering to date. An unholy smorgasbord of rigid tempo shifts, gargantuan hooks, blasting black mass anthems, and Falgoust's soot and venom snarl…," Outburn likened it to, "a modern day, 'roid-injected sword fight between Celtic Frost and Venom," while MetalSucks proclaimed "Carving Out The Eyes Of God" "the catchiest album Goatwhore have ever released." Additional conquests included a spot on the 2010 edition of Ozzfest and two performances at the annual SXSW music conference enabling the horned collective to deliver their sadistic canticles of religious treachery to an even broader sect of listeners.

For the next two years, the band maintained an unyielding tour cycle, reducing cities throughout the US, Canada, Europe and Australia to rubble with their devastating live takeovers. Further educating the potentially unversed, unofficial Goat' anthem, "Apocalyptic Havoc," appeared on the Xbox 360/PlayStation 3 game soundtracks for "Splatterhouse" and "Saints Row 3," while the video for the song was featured in an episode of Last Call with Carson Daly. Closing out a near perfect run of riotous adventures, Goatwhore was named Best Hard Rock/Metal Artist of 2010 at The Big Easy Awards, a deserving honor based on performance throughout the year.

Resting only long enough to conjure more audio chaos, the band unleashed the chart-topping "Blood For The Master" long player in 2012. Now featuring Duet, Falgoust, Simmons and bassist James Harvey, who joined the cloven-hoofed ranks in 2009 following the exit of Nathan Bergeron, the record found Louisiana's notorious metal horde at their most unified. Boasting a ruthless onslaught of fist-pumping, heathen anthems, and rhythmic obliteration bedecked in the enticingly unhallowed prose of Falgoust who succinctly dubbed the record, "evil rock 'n' roll." The record further raised the eyebrows of media outlets both stateside and abroad, nabbing the cover of Decibel Magazine, who gushed, "Five albums in, Goatwhore still hold the crown as the hardest-working band in metal. With "Blood For The Master," all of their sacrifices have finally paid off." Craveonline.comproclaimed, "If somebody could capture the speed of the harshest winds in the Antarctic they might come close to understanding the high rocktane insanity of Goatwhore," while About.com added, "There may be other bands who tout this black/death style, but very few can make it both catchy and devastating. Goatwhore have been getting better as the years wear on, and this album established them as a metal band not to be ignored." Surpassing the success of their previous opus, Blood For The Master debuted on the Billboard Heatseeker chart at an impressive #4, the Current Hard Music chart at #12, the Hard Music Chart at #21 and the Top Independent Albums chart at #31 as well as ranking in at #19 on the iTunes Rock chart upon its first week of release.

Enter the diseased hymns of 2014's "Constricting Rage Of The Merciless." Captured at Mana Recording Studios in St. Petersburg, Florida with audio magus, Erik Rutan at the helm, "Constricting…" serves as the band's first studio effort to be tracked to two-inch tape. A more challenging approach that demands performance over pro-tooled perfection and leaving little room for error, the ten-track, 37-minute offering marks Goatwhore's most well-executed, sonically devastating manifestation to date, its warm, organic production harnessing the thick, monolithic, war-ready tone and energy of their live performance in a way previous recordings have not.

"If we went to someone else, it would be a total disaster," Duet recently told Decibel Magazine of working with Rutan, who, having recorded the band since 2006's A Haunting Curse, has become as much a fundamental asset to Goatwhore's apocalyptic sound and vision as the band members themselves. "He understands what we want out of an album instead of coming away with something that shiny, polished, sterile, digitally manipulated and completely fake and false."

"To record mostly to analog was incredible and the results exemplify that," said Rutan, who hadn't worked with tape since Hate Eternal's "I Monarch" and Soilent Green's "Confrontation," both recorded nearly a decade earlier. "Amazing tones and performances. This is the real deal! It takes a lot of guts to record an album to tape in a day and age of metal where conformity and sterility are more commonplace then originality and vibe. I cannot wait for everyone to hear this album. It has been an honor to work with Goatwhore once again and I thank them for bringing out the best of me."

A multi-faceted recorded that traverses a broad range of moods and emotions both musically and thematically, "Constricting Rage Of The Merciless" reflects the duality of its creators, adopting a more punishingly urgent, ominous and reckless vibe than its predecessors. "Emotions clash when we write," reveals Falgoust, "Every person involved in this band has different things going on in their lives through the course of writing a record. From the point of Sammy creating a riff, to how Zack perceives the riff for his drum duties, to the way James adds in the low end to fill out its essence to when I take it all in and make my own assessment of how the vocals will intertwine. In all those stages feelings twist and turn in each individual to create the final work that envelops the culmination of that entire emotion."

"It was definitely cathartic… a release of some very negative vibes that were pent up," admits Duet of the riff-writing process. "I feel like the last one was more you know, 'let's drink a bunch of Jack Daniels and start a bar fight.' This album is a lot more psychotic. It's more like a serial killer's murder spree." Still lush with the charred, sub-nuclear riff incursions, rhythmic battery and infernal Falgoust/Duet vocal collisions for which the band has become synonymous, Duet speaks in terms of overall atmosphere. "There are parts that will make you very sad (witness the miasmic bone chill of 'Cold Earth Consumed in Dying') but there are also parts that are very angry ('Externalize This Hidden Savagery.' That's we're trying to portray with this record: The total evil of the soul. This album definitely has a darker mentality to it."

"The title represents a person or persons being pushed into a corner too far until vengeance is born, but then again it also represents the failing mercy behind organized religion," relays Falgoust, whose traditionally well-scripted psalms of death, debauchery, religious provocation and the improbability of life-after-death explore a more cerebral realm of self-development.

From the combatant onset of "Poisonous Existence In Reawakening," and the tense, hammering momentum of "Unraveling Paradise," to the punkish urgency of "FBS" and the fiendish cascades of "Schadenfreude" (literally meaning the pleasure derived from the misfortunes of others), Goatwhore spew their unadulterated, subterranean metal as channeled through the historic likes of Motörhead and Bathory, with the insatiable hunger of a pack of wild boars. These are true requiems of revolt, at once predatory, epic, hate-fueled and sadistic. Due at least in part to the sheer synergy that comes from living in a van together for weeks on end, "Constricting Rage Of The Merciless" is razor sharp in musicianship literally writhing beneath the weight of its own sonic enormity. Duet's thick, gnarled guitar tones and bestial vocal accents coil seamlessly around Simmons' and Harvey's, brash, chest-heaving rhythms. It's all punctuated by the imposing voice and cynical prose of Falgoust who literally ran laps around the studio before taking to the mic to summon a more frantic, rasping edge to his signature tirades, now more enunciated than ever before. When Falgoust howls, "WE ARE COMING TO SMASH YOUR IDOLS!" (in traditional metal rager "Baring Teeth For Revolt"), souls weaken, forests die, planets implode. In a saturated metal landscape where sub-genres spawn sub-sub-genres and the very definition of "metal" seems repeatedly distorted by cross-pollinating madness, sacred are the bands who to stay true to their proverbial roots without repeating them.

"Constricting Rage Of The Merciless" will make its final decent upon North America on July 8, 2014 via Metal Blade Records.

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Hazytones (Montreal) w/ TBA
Jan
16
9:00 PM21:00

Hazytones (Montreal) w/ TBA

The Hazytones is a group of stoner rock founded in 2015 in Montreal. The trio stuns the audience with his stage presence and intensity. Riff after riff, the group is known for his fat sound and heavy destructive saturation.

The band is acknowledged for the powerful voice and guitar playing of Mick Martel (former founding member of Madcooks). Supported by the accuracy of their drummer Antoine St-Germain (current member of God Bless America) and the rigor of the bassist Frederic Couture (former founding member of Reckless Ride), The Hazytones are sanctioned for their energetic rhythm section.

In September 2015, The Hazytones began the production of their debut album recorded and mixed at ReelRoad studio located in Rosemont – La Petite-Partie in Montreal. After a few month of labor, the band launched his first single ‘’Living On The Edge’’, followed by a music video. To mark the imminent release of their first titled album, the trio got on the road across Canada(23 shows) from August to September 2016.

The band launched their first titled album on September 22nd at La Rockette bar in Montreal at the Pop Montreal festival. The album was well received by the stoner/psychedelic community in Canada, USA and Europe.

More recently, the band toured Europe (UK, Belgium, Switzerland and France) for 28 days and 10 days after they embarked on a Canadian tour that led them all the way to Vancouver and back.

Coming back from tour Frey Coaster parted ways with the band to pursue his career. The Hazytones luckily found Adam Gilbert to join the band on bass and back vocals. Since then, the trio has been playing a couple of shows and writing songs. 

For the Hazytones future, a full U.S.A tour is scheduled in January and a second album is on it’s way. The band has been signed to two labels, Ripple Music and Kozmik Artifacts. Both labels will produce Cd, Vinyls and handle the digital distribution. Everything is set to be release on November 3rd.

 

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Melthouse 1 Yr Anniversary - Trance Farmers//Bipolaroid//The Savage Blush
Jan
10
9:00 PM21:00

Melthouse 1 Yr Anniversary - Trance Farmers//Bipolaroid//The Savage Blush

Melt House Productions’ 1-Year Anniversary Party!

FREE SHOW! $0.00
Donations gratefully accepted, though. Support your community if you dig it! 

Trance Farmers
https://trancefarmers.bandcamp.com/

The Savage Blush
https://thesavageblush.bandcamp.com/

+TBA

Santos
1135 Decatur St.
9pm
21+

+ it’s someone’s birthday too. 
gone be far out mang *…*

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The Hannas (NJ) w/ Gools, Wasteman, Papa Watzke
Jan
9
9:00 PM21:00

The Hannas (NJ) w/ Gools, Wasteman, Papa Watzke

The Hannas!
Rock n roll band from New Jersey but also sort of from Boston that sounds like many different things but also like nothing else :o
https://thehannas.bandcamp.com/

Wasteman
incredible , holy-like, reborn . formerly Hound. stylish punk rockRocknrollers . just released two incredibly hot treats for your earholes to enjoy ! 
https://wastemannola.bandcamp.com/album/waste-man

Gools
rocknrollrocknrollrocknroll yaknowwhatimsayin
theyre gunna play the tastee punk rock nd roll and roll around on the ground ! come witness this horror/surf/punk/circus  
https://g00ls.bandcamp.com/releases

Papa Watzke
masters of the craft comin to take us on a ride! prepare to be captivated by the flava
https://papawatzke.bandcamp.com/album/liberosis

$5 21+ 9pm

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DIYke BAR
Dec
22
10:00 PM22:00

DIYke BAR

DIYke Bar

@Santos

December 22nd 9:30-2:30

 

Deep Lez, Ruby Fruit Jungle, Charlene's, Brady’s, Pino’s, The Soiled Dove, Miss Kitty’s, Les Pierres, The Other Side, The Blue Odyssey, The Cuckoo’s Nest, Pinstripes and Lace,Tony’s Garage

 

DJs: 

Dreamer

Flower

Butchcraft

Lil MC

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Copy of METAL FEST II
Dec
16
9:00 PM21:00

Copy of METAL FEST II

New Orleans Metal Festival has combined forces with A Necessary Evil Records and NOLA DOOM FEST to bring you New Orleans Metal Fest II !!! 3 Days of metal, punk, power-violence, and grindcore. There will be raffles, offical merchandise, and a limited edition cassette compilation featuring bands playing the fest. 

Santos Bar - 1135 Decatur St.
December 15th & 16th

Friday: $12 cover | Doors @ 5pm | Show @ 7pm  

Putrid Pile (Racine, Wisconsin) - One man slamming/brutal death metal legend
https://unitedguttural.bandcamp.com/album/putrid-pile-collection-of-butchery
https://www.youtube.com/watch?v=wBO3bAlh43Y

MDFL (Cleveland, Ohio) - LIT ass grindcore
https://mxdxfxlx.bandcamp.com/
https://www.youtube.com/watch?v=41DOSQjlhwA

D.D.A. (Houston, Tx) - power-violence/grind/wrestling freaks
https://ddapv.bandcamp.com/

Six Pack (NOLA by way of Guatemala) - satanik hispanic commandos / alcholic thrash attack featuring members of Grave Ritual & Demonic Destruction
https://sixpack1.bandcamp.com/releases

IxExOxRxFxTx (Austin, Tx) - Pure uncut GORENOISE featuring members of Molestar & Vaginal Mustard
https://www.youtube.com/watch?v=ml1jRvyYS4w
https://www.youtube.com/watch?v=6LgKhtijMbM

Carcass of Christ (San Antonio, Tx) - disgusting 2 piece goregrind
https://carcassofchrist.bandcamp.com/

Pussyrot (NOLA) - grindcore/powder-violence featuring members of Cikada, Donkeypuncher, Disappointed Parents, & Crotchbreaker
https://www.youtube.com/watch?v=biYcHMHbAsk

Sounding (NOLA) - grindcore featuring members of Pacifist & Goatlab
https://www.youtube.com/watch?v=zZ4yxhSfmIc
https://www.youtube.com/watch?v=ShqPIL9WKuU

Saturday: $12 | Doors @ 5pm | Show @ 7pm

??????????????? - headliner TBA soon

BLK OPS (Austin, Tx) - Audio-visual psychological warfare from members of Kill the Client, Pornohelmut, & The Dead See.
https://blkops.bandcamp.com/releases

Vaginal Bear Trap (San Antonio, Tx) - screwed up grindcore guranteed to get ya mind right
https://vaginalbeartrap.bandcamp.com/

The Pallbearers (NOLA) - Murder Capital horror-punk legends
https://thepallbearers.bandcamp.com/

Fat Stupid Ugly People (NOLA) - Murder Capital Power-Violence/Destrehan thugs
https://fatstupiduglypeople.bandcamp.com/

A Hanging (NOLA) - crossover/thrash featuring members of Face First, Antarctica VS The World, S.I.K., & The Ghostwood
https://ahanging504.bandcamp.com/

Shitstormtrooper (Baton Rouge, La) - power-violence to the people
https://shitstormtrooper.bandcamp.com/releases

SUNDAY POST FEST BBQ/DISTRO TO BE ANNOUNCED SOON!

Sponsorsed by:
Mid City Pizza
A Necessary Evil Records
Inferno Screen Printing
C Rage Records
TRASHEYEZ

  •  
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METAL FEST II
Dec
15
9:00 PM21:00

METAL FEST II

New Orleans Metal Festival has combined forces with A Necessary Evil Records and NOLA DOOM FEST to bring you New Orleans Metal Fest II !!! 3 Days of metal, punk, power-violence, and grindcore. There will be raffles, offical merchandise, and a limited edition cassette compilation featuring bands playing the fest. 

Santos Bar - 1135 Decatur St.
December 15th & 16th

Friday: $12 cover | Doors @ 5pm | Show @ 7pm  

Putrid Pile (Racine, Wisconsin) - One man slamming/brutal death metal legend
https://unitedguttural.bandcamp.com/album/putrid-pile-collection-of-butchery
https://www.youtube.com/watch?v=wBO3bAlh43Y

MDFL (Cleveland, Ohio) - LIT ass grindcore
https://mxdxfxlx.bandcamp.com/
https://www.youtube.com/watch?v=41DOSQjlhwA

D.D.A. (Houston, Tx) - power-violence/grind/wrestling freaks
https://ddapv.bandcamp.com/

Six Pack (NOLA by way of Guatemala) - satanik hispanic commandos / alcholic thrash attack featuring members of Grave Ritual & Demonic Destruction
https://sixpack1.bandcamp.com/releases

IxExOxRxFxTx (Austin, Tx) - Pure uncut GORENOISE featuring members of Molestar & Vaginal Mustard
https://www.youtube.com/watch?v=ml1jRvyYS4w
https://www.youtube.com/watch?v=6LgKhtijMbM

Carcass of Christ (San Antonio, Tx) - disgusting 2 piece goregrind
https://carcassofchrist.bandcamp.com/

Pussyrot (NOLA) - grindcore/powder-violence featuring members of Cikada, Donkeypuncher, Disappointed Parents, & Crotchbreaker
https://www.youtube.com/watch?v=biYcHMHbAsk

Sounding (NOLA) - grindcore featuring members of Pacifist & Goatlab
https://www.youtube.com/watch?v=zZ4yxhSfmIc
https://www.youtube.com/watch?v=ShqPIL9WKuU

Saturday: $12 | Doors @ 5pm | Show @ 7pm

??????????????? - headliner TBA soon

BLK OPS (Austin, Tx) - Audio-visual psychological warfare from members of Kill the Client, Pornohelmut, & The Dead See.
https://blkops.bandcamp.com/releases

Vaginal Bear Trap (San Antonio, Tx) - screwed up grindcore guranteed to get ya mind right
https://vaginalbeartrap.bandcamp.com/

The Pallbearers (NOLA) - Murder Capital horror-punk legends
https://thepallbearers.bandcamp.com/

Fat Stupid Ugly People (NOLA) - Murder Capital Power-Violence/Destrehan thugs
https://fatstupiduglypeople.bandcamp.com/

A Hanging (NOLA) - crossover/thrash featuring members of Face First, Antarctica VS The World, S.I.K., & The Ghostwood
https://ahanging504.bandcamp.com/

Shitstormtrooper (Baton Rouge, La) - power-violence to the people
https://shitstormtrooper.bandcamp.com/releases

SUNDAY POST FEST BBQ/DISTRO TO BE ANNOUNCED SOON!

Sponsorsed by:
Mid City Pizza
A Necessary Evil Records
Inferno Screen Printing
C Rage Records
TRASHEYEZ

  •  
21688378_1992832907618115_8278324008337921199_o.jpg
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ABRAMS//CROSSED//ENDALL
Dec
11
9:00 PM21:00

ABRAMS//CROSSED//ENDALL

"Expertly constructed... There are hints of AmRep-era noise rock a la Unsane, as well as sludgy riffs you might have heard cranking out of Josh Homme's amp back in his Kyuss days – and there's even a strange sense of kinetic propulsion mastered by fellow Denver residents Plane Mistaken for Stars... Lust. Love. Loss. is worth your attention."
–Substream

"Lust. Love. Loss. is a nimble crusher, managing to steamroll and get down with its bad semi-melodic self all at the same time... You will likely be reminded of Baroness, Mastodon and occasionally Neurosis, but only ever in a good way."
–Decibel

"Post-hardcore, filtered through big Melvins-esque guitar rigs... Abrams find the sweet spot on their independent debut, Lust. Love. Loss., about midway between Hot Snakes and Blood Mountain-era Mastodon, and toss in some great lyrics as well."
–Invisible Oranges

"The trio's self-released debut portends big, big things for the band. Effortlessly meshing angular mathcore with chunky stoner metal, Lust. Love. Loss. recalls Remission-era Mastodon..."
–MetalSucks

"Denver trio Abrams make their full-length debut... with an obvious focus on flow, complexity of songwriting, crisp execution, tight performances and an overarching sense of heft that is more than ably wielded... The three-piece seem to take their cues from the post-Baroness school of progressive heavy rock, bringing the occasional flourish of post-rock..."
–The Obelisk

"Similar, stylistically, to Remission-era Mastodon: polyrhthmic bluesy grooves hammer away as washed-out leads dance and skip around jazz-influenced drum fills. The combination fulfills a niche that hasn't seen a true successor since the aforementioned 2002 masterpiece."
–Heavy Blog Is Heavy

The synergy of melody, groove, and bullet-train force displayed on Lust. Love. Loss. sets Abrams in line with heavy transcenders like Mastodon and Pelican. Drummer Michael Amster pushes forward with crisp, ghost-noted beats that nod to Dailor at his best; twin brother Zach Amster scrapes shimmering melodies and massive crunch out of his axe; Taylor Iversen's basslines roll along like boulders down mountainsides.

When asked about their influences, the guys name-check heroes of post-hardcore like Fugazi and At the Drive-In. Indeed, Abrams' sound could be perceived as a turbo-boosted, sludged-up incarnation of those bands' spirits – driving and impassioned, traversing the spectrum of feeling, from mournful to triumphant.

 

$5 DOS

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SINNERS & SAINTS//LAUREN JEAN//SCISSORBILLS
Dec
10
9:00 PM21:00

SINNERS & SAINTS//LAUREN JEAN//SCISSORBILLS

Sinners and Saints

Since the band's formation in 2011, Charlotte, NC country crooners Sinners & Saints have brought their live show to many a main stage or festival with a combination of small regional tours in the Southeast and regular appearances across their native Charlotte. The band has shared the stage with the likes of Flogging Molly, Shovel and Rope, 500 Miles to Memphis, Bombadil and many others as they seek to spread their whiskey drinking, shit kickin', sweet loving music to as many ears as they can find. The band is set to make 2015 even bigger with plans for extensive touring, college radio and press campaigns. Their 2014 release, Love and Misery also brings the band's first partnership with Silent Uproar Records, who will help with the promotion and distribution of the release.

The band features Perry Fowler on guitar, vocals, kick snare, and harmonica and Mark Baran on stand-up bass, vocals, kick drum, tenor banjo. Their latest album was recorded by Electromagnetic Radio Recorders in Winston Salem, NC in the fall of 2013. Other southern talent EMRR has worked in the past include The Avett Brothers, The Wood Brothers, Mad Tea Party, Overmountain Men, Lou Ford, and Poprocket. Love and Misery also features special guest Geoff White of Overmountain Men, Appalucia, and Leadville Social Club playing fiddle, mandolin, and 5 string banjo.


Dirty Rotten Snake In The Grass

https://www.facebook.com/Dirty-Rotten-Snake-in-the-Grass-352829811481083/

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DARCY MALONE//SOUTH JONES
Dec
9
9:00 PM21:00

DARCY MALONE//SOUTH JONES

Darcy Malone & The Tangle began when the daughter of Dave Malone of The Radiators fame met skateboarder/guitar player Christopher Boye. The husband/wife duo wanted to create music that incorporated Darcy’s background of Soul and Pop with Chris’ love of Indie/Underground Rock n Roll. After adding band members Craig Toomey (vocals, bass),  James Beaumont (Saxophone, Keyboards), Billy Schell (Drums), and Rory Callais (Lead Guitar),  the two musicians got the exact fresh sound they were looking for. Incorporating a “Tangle” of genres, the band go from the Funky catchy grooves of their hit “Be A Man” to the Dynamic Rock n Roll hooks of songs like “Still Life”. Great songs combined with an intensely fun live performance make this band for everyone.

 

$10 DOS 

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COVEN!
Nov
30
8:00 PM20:00

COVEN!

Are you a good witch or a bad bitch?

COVEN is a New Orleans drag show like no other!
Witches! Vampires! Ghosts! Why limit all this juicy spooky goodness to October?! COVEN is a new monthly show that celebrates this town's darkest herstories!

COVEN IS IDEAL FOR: 
queer AF tourists, local drag experts, paranormal investigators, corporate conventioneers, ghost hunters, recovering drug addicts working as DJs, and anyone with a heart who's harboring a troubled teen with dark powers.

COVEN WILL:
put you in a trance, provoke visions, restore youth and beauty, attract the school hunk, temporarily cure erectile dysfunction, advance your academic career, make you hum like a bayou mud dauber’s nest, and simulate a loudcrash in a living room somewhere on the edge of the French Quarter.

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Featuring performances from our core cast members:

Apostrophe
Tarah Cards
Franky
Garlic Junior

Haus DJ Vinsantos

and introducing our virginal stage kitten
Bennigan Applebee McFridayz

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door: 9pm, show: 10pm
$10 admission
21+

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FRANKIE & THE WITCH FINGERS//Painted Hands//Loudness Wars
Nov
21
8:00 PM20:00

FRANKIE & THE WITCH FINGERS//Painted Hands//Loudness Wars

FRANKIE AND THE WITCH FINGERS
THE PAINTED HANDS
LOUDNESS WAR

Santos
1135 Decatur St. 
New Orleans, LA

November 21 | 7:00PM - MIDNIGHT
21+ | $7

FRANKIE AND THE WITCH FINGERS
•Facebook
https://www.facebook.com/FrankieandtheWitchFingers/
•Bandcamp
https://frankieandthewitchfingers.bandcamp.com/
•YouTube
https://www.youtube.com/channel/UCPtx9yaWQxY7lidDnzmNs9g/feed

THE PAINTED HANDS
•Website
http://www.thepaintedhands.com/
•Bandcamp
https://thepaintedhands.bandcamp.com/
•Facebook
https://www.facebook.com/ThePaintedHandsBand/

LOUNDNESS WAR
•Facebook
https://www.facebook.com/loudnesswarband/
•Bandcamp
https://loudnesswarband.bandcamp.com/

"West Coast screamers Frankie and the Witch Fingers trade on a tradition built up from the very fabric of psychedelic soul. Shot through with the same melted juke jitters that sent Doug Sahm, The 13th Floor Elevators and The Pretty Things scratching through the record needles of every child indebted to the vibrational cathedral, the L.A. crew comes barreling into 2017 with their own brand of heatstroke mojo. The band’s latest, Brain Telephone, is an acid bath for the soul delivered in pulsating waves via fuzz guitar. It’s an electric jolt to the endocrine system, shaking the last dregs of reluctance out of your system and inducing bouts of dance euphoria.  

The band, C. Dylan Sizemore (vocalist, guitarist, and songwriter), Glenn Brigman (drums, organ), Alex Bulli (bass), and Josh Menashe (lead guitar and backing vocals), has spent the past few years crawling around the heat-swamped corners of L.A.’s sweatbox circuit, honing the gospel across 2013’s Sidewalk, 2015’s eponymous album, and pumping straight motor oil through the veins of last year’s neon meltdown, Heavy Roller. They took the circus on the road, pounding every last inch of varnish from their weary husks from the heartland to the Bay. They’re thrumming on a new vibration that’s found it’s way to them on a light beam ripped into their deepest subconscious. They’re hooked up to the Brain Telephone that’s opened through the switchboard in their soul and they’re dropping you the digits to dial in.

They’ve tapped into something primal and it’s beating quick and frothy in the veins, combining the levitation-laced vibrations of Spacemen 3 with a scarred guitar growl straight out of the Motor City’s storied rock lineage. Brain Telephone is bent through the prism of shake n’ shimmy ­– a sweat-drenched dance party that’s equal parts Northern Soul all-nighter, Monterey Pop implosion, and modern warehouse wall-dripper all in one. That’s not to say they don’t know how to get tender, though. For all their eight-piston pummel, they can bring it down to a spine-tingling simmer when the time comes. At its heart, Brain Telephone is Frankie and The Witch Fingers at their most visceral – primed, polished, and funneling the fragrant heat of rock through your cranked speakers."

- Andy French


presented by:
Melt House Productions, Santos Bar, Citlin Richard Posters + Design and Entheo Sound Records

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The Painted Hands Record Release Party//Tasche & the Psychedelic Roses//Babes
Nov
16
8:30 PM20:30

The Painted Hands Record Release Party//Tasche & the Psychedelic Roses//Babes

THE PAINTED HANDS' RECORD RELEASE PARTY!!!

•The Painted Hands
http://thepaintedhands.com/
https://facebook.com/ThePaintedHandsBand

•Tasche & the Psychedelic Roses
https://facebook.com/taschedelarocha
https://taschedelarocha.com/
***find the "Gold Rose" LP by Tasche de la Rocha at Skully'z Recordz 907 Bourbon St.

•Babes
https://www.facebook.com/Babes504/
https://pizzaburglarrecords.bandcamp.com/

Santos
1135 Decatur St.
New Orleans, LA

Doors at 7:00pm
Show at 8:00pm

$8/$10 DOS
21+

presented by:
Melt House ProductionsSantos BarEntheo Sound Records and Caitlin Richard Posters + Design

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PRIMITIVE MAN
Nov
15
8:00 PM20:00

PRIMITIVE MAN

Denver’s PRIMITIVE MAN’s music matches its name: a savage, sparse mix of death metal, blackened noise, and doom riffs. The threepiece was formed in February of 2012 by Ethan Lee McCarthy, Jonathan Campos, and Bennet Kennedy (all current and former members of Vermin Womb, Withered, Clinging To The Trees of A Forest Fire, Death of Self and Reproacher). In October of 2012 the band recorded their debut LP Scorn at Flatline Audio with Dave Otero (Cephalic Carnage, Cobalt, Catheter, CTTTOAFF). Scorn was released a collaboration between Throatruiner and Mordgrimm Records. After the release of Scorn, the band parted ways with Kennedy and recruited Isidro "Spy" Soto to temporarily take over on drums for a number of tours/releases before settling on a permanent replacement in drummer Joe Linden in 2015. The band also self-released a three-song EP in February titled P/M.


The unique metal hybridization of Scorn caught the attention of Relapse, who liked the record enough to sign the band and reissue the full-length in summer 2013. Dubbed a "totally malignant sounding record and one that will consume you whole if you’re not careful,” by Cvlt Nation and called “the best worst thing that has ever happened to you,” in an 8/10 review from Metal Hammer, Scorn found PRIMITIVE MAN celebrating a slow-roasted apocalypse through seven suffocating hymns of hatred, disease and sonic deviance. The record put the band on the map for many listeners, and enabled PRIMITIVE MAN to embark on a relentless touring schedule that would soon see the band playing live shows across the US and Europe (often for the vast majority of the year) in company with acts such as Magrudergrind, Weekend Nachos, Hexis, Reproacher, Fister, Celeste, Opium Lord, and Northless. PRIMITIVE MAN also played Denver Black Sky in 2013 alongside Relapse brethren Dying Fetus, Exhumed, Skinless, Iron Reagan, Mammoth grinder, Call of the Void, and Weekend Nachos.


All of Ethan McCarthy’s projects have been prolific, and PRIMITIVE MAN is no exception – the band released four splits between 2013 and 2015, and dropped another bombshell of nihility in 2015 with its Relapse EP Home Is Where The Hatred Is. The EP was well-received by publications including Metal Injection, MetalSucks, Revolver, and Exclaim!, the latter of who stated, “unapologetically bleak and permeated by loathing and hostility, Home Is Where The Hatred Is will either leave you wanting more or contemplating teetering off a ledge.” Despite their primeval, bludgeoning approach, PRIMITIVE MAN wouldn’t exist without their savage awareness of modern humanity: simultaneously old and new, atavistic and groundbreaking, PRIMITIVE MAN stands to redefine current conceptions of hope, faith, and metal music.

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THE SKULL//TBA
Nov
9
8:30 PM20:30

THE SKULL//TBA

The Skull features original Trouble member vocalist Eric Wagner alongside longtime former Trouble bassist Ron Holzner with guitarist Lothar Keller (Sacred Dawn), drummer Brian Dixon( Cathedral) and guitarist Rob Wrong (Witch Mountain)

“The Skull” is made up of a group of very talented members whose main goal is to bring back the unique sound of American Doom Metal band “Trouble” combined with new material which has all the quality and feel of the original sound, plus so much more.

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Simply Saucer // HEAVY LIDS // The Luxurious Faux Furs
Nov
5
8:00 PM20:00

Simply Saucer // HEAVY LIDS // The Luxurious Faux Furs

Saucer was - and still IS - Canada's foremost psychedelic/proto-punk (whatever THAT means) unit was responsible for creating some of the most intense, out-there musical moments inthe mid-to late '70's. 

Saucer combined Detroit street rock grit w/Velvet Underground -inspiration, mixed it with Kraut-rock and early electronic experimentation and came up with something original. "Cyborgs Revisited" , a compilation of demos and live material was originally released in 1989 on a piece of pressed petroleum-by-product, was re-issued in 2003 on CD by Sonic Unyon, and has garnered great gobs of press. See the influences column for a sample. 

Half Human, Half Live is the group's first new set of recordings in nearly 30 years. Both the Human (i.e studio) and Live sides were produced by the band @ Catharine North Studios, with guitarist Stephen Foster overseeing the technical end of things. 

The live sides were recorded on June 23rd, 2007, in front of a live, partisan audience. The studio sessions capture the full range of the band's musical parameters, from the Kinks-ian pop-rock of Almost Ready Betty to the spacey, progressive-rock opus Clearly Invisible to the pastoral, Syd Barret-esque (RIP) Dandelion Kingdom. 

Edgar continues his parallel career as an acoustic solo artist.

 

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