Doors @ 8PM - Discounted $10 Advance Tickets Available Now!
ADVANCE TICKETS: https://holdmyticket.com/event/316632
Long-running NYC Noise rockers UNSANE on tour with Miami's WRONG live at Santos Bar plus ZIG ZAGS - Heavy Rock from L.A and local support TBA
REAL COOL TRASH: The only rock n roll dance party where the party dances you!!!
A decadent, monthly Glam, Garage, Punk and Rock 'n' Roll dance party with go-go dancing and special performances by today's burlesque "Rock and Roll Queen," Kacey Chaos, and legendary Shim Shamette performers and co-choreographer, The Rockin' Rollenes.
Doors @ 9PM - $10 Advance / $12 Day of Show
ADVANCE TICKETS: https://holdmyticket.com/event/315104
New Zealand Black/Death metal crushers HERESIARCH live in New Orleans with ANTICHRIST SIEGE MACHINE from Richmond, VA. ABYSMAL LORD opens up.
ANTICHRIST SIEGE MACHINE
DETAILS COMING SOON!
SAT 8/11/18 10 PM - 3AM
Celebrate your “sins” with music, dance, and ritual by joining the Greater New Orleans and West Florida Chapters of The Satanic Temple for a night of Impenitence. Live music will be provided by A Hanging, Dark Star Coven, and Deadsled Funeral Co. Mange will DJ between sets. Burlesque will be performed by Velvet Spade and Reverend Spooky LeStrange. Members of The Satanic Temple will hold an Unbinding Ritual and an Affirmation of the Seven Tenets Ritual.
This is a fundraiser for Grey Faction. Grey Faction is an initiative of The Satanic Temple which documents, exposes, and seeks to bring to an end pseudoscientific mental health care practices that harm mental health patients and contribute to harmful, conspiracist Satanic Panic delusions.
$10 for General Admission, $15 for admission and a gift bag, $40 for admission and a deluxe gift bag including a commemorative t-shirt and glass.
Live Nation presents BAD GIRLS GO TO HELL: Bad Girls of Burlesque at SANTOS
FRIDAY AUGUST 24
9:00 DOORS – 10:00 SHOW
$10 TIX – MAY FLEX UP TO $12 DOS
Tour Announcement! Time to “Burn and Shred”
Were thrilled to announce our upcoming North American “Burn & Shred” headline tour, featuring support from Aethere (8/10-9/7) and Lody Kong (9/14-9/28). The two-leg tour will begin on August 10 in Austin, TX and visit several major North American cities, ending on September 28 in the our hometown of Phoenix, AZ. Tickets will be available via each individual venue. See below for all current tour dates, with more to come!
Diviner Productions Presents a night pf pure unadulterated BLACK METAL at Santos Bar!
Doors 7:30 Show 8:00 (SHOW UP EARLY)
Doors @ 8PM - $12 Advance / $15 Day of Show
ADVANCE TICKETS: https://holdmyticket.com/event/317395
LYDIA LUNCH'S RETROVIRUS:
AN ALL-STAR CAST OF SONIC BRUTARIANS IN A NO-HOLDS-BARRED SURVEY OF HER MUSICAL OUTPUT FROM 1977 TO THE PRESENT FT.
Weasel Walter (The Flying Lutternbachers, Hatewave),
Bob Bert (Sonic Youth, Pussy Galore)
Tim Dahl (Child Abuse)
Lydia Lunch Retrovirus
Emerging from the darkness of the Swedish death metal abyss in 2004, Tribulation has stood apart from what was already a crowded scene, betraying an uncompromising vision that refused to be shackled by any genre stereotypes.
Countless bands have gotten the trajectory wrong. Too many haven’t figured out the musical calculus. More than is fair have veered off the proverbial map never to be heard of again. And they’ve all suffered greatly from it. Not Tribulation. From 2009’s The Horror to 2013’s The Formulas of Death, the Swedes secretly figured out how to refactor death metal’s tenets to their favor. No more were Tribulation merely the product of their influences but rather something more, a step beyond wanton barbarity and the unharnessed fire of youth. Likewise, the venture between 2015’s The Children of the Night—a breakout moment for the Stockholmites—and new album Down Below is a yet another step into the unknown, where shadowy creatures glare with eyes ablaze and howl with white fangs bared. The years between and miles traveled could’ve forced the Swedes off their fiendish path, but they stayed true. From its obsidian core to its fluttering expanses, Down Below is a triumph of darkness and death. Or, very much Tribulation. “I wouldn’t say that evolution is as dramatic this time around,” says guitarist Adam Zaars. “There are elements from both The Formulas of Death and The Children of the Night (and The Horrorfor that matter) on the new album, but with a new flavor. Down Below is heavier and a bit rawer than Children and it wanders in similar territories when it gets more expansive, but it’s surely on different paths. It’s a very peculiar process when making music because you hear quite instantly whether something works if you try something ‘bold.’ And often you feel it even before you try it out and you have to tell everyone else to bear with you until you reach the point (whatever and where ever that is) where your idea has manifested in the way that you first saw or heard it. I think it’s the same for all of us. It’s all very Tribulation at least!” Indeed, Down Below has the hallmarks of Tribulation’s previous oeuvre. Frontman Johannes Andersson is as reptilian as ever, hissing and croaking poetic threads of necro-romance, while the guitars of Zaars and Jonathan Hultén seduce the dead and spellbind the living, and drummer—in his first appearance for Tribulation—Oscar Leander swings through Andersson’s bass playing with star-quality confidence. But there’s more to Down Below than Tribulation let on. There’s creepy pipe organs, John Carpenter-esque slasher movements, ominous church bells, and monk calls woven through and into the Swedes’ Jugendstil-inspired death. While most are conspicuous in their new travails, the Swedes hide their moody innovations on Down Below. “You can fit a lot into the space that we’re creating, but it’s always got to be of the right substance,” Zaars says. “It’s all a matter of balancing on the edge and not falling. I think that’s often what we do, actually. We push it all quite hard in many different directions and try not to fall over, be it cheesiness, pretentiousness or whatever. As an example, we have been writing about the vampire theme for a while now, a theme that is very, very cheesy if you do it in the wrong way (which to me is pretty much every way). Vampires and folk influences, it sounds like a pretty horrible mix, but it’s all very dear to us and so we treat it with respect. We try the same approach in the music. We take it all very seriously, and hopefully that works.” Written by Zaars and Hultén under the spell of countless blood moons, Down Below is the result of Tribulation exploring the painstaking process of songwriting from new vantage points. While Hultén wrote predominantly on his own, Zaars teamed up with Andersson and Leander. They acted not only as bandmates—musicians able to play out Zaars’ maniacal pieces—but also as a feedback loop. Together, they put the sinful skeletons of Down Below to digital tape. The two methodologies worked well between Tribulation’s touring schedule—the Swedes played over 170 shows in support of The Children of the Night—and other band-related commitments. “I worked more closely with Johannes and Oscar,” says Zaars. “I had them on hand throughout the process to help me see if certain ideas worked or not, as well as being open to whatever ideas they had. Very valuable! Oscar also helped me a lot in that he has more skills than I when it comes to music software (and hardware for that matter) so we could record demos of my songs more easily which is something I have never done before. I usually come with the songs to the rehearsal room to try it out there for the first time and then record the demos with the entire band. This saved us a lot of time that we didn’t have in the first place. It was difficult as well. Maybe more difficult than ever. But the result is absolutely worth all the hard work that we’ve all had to put in to this!”
Down Below was recorded at Soundtrade Studios and Studio Cobra, respectively. Soundtrade, renowned for hosting Swedish music legends ABBA, Yngwie Malmsteen, and Europe, is where Leander tracked the drums with Martin Ehrencrona (Vampire, The Oath) at the helm and Linus Björklund at his side. After the Soundtrade sessions were over—about a week, according to Zaars—Tribulation cut over to Studio Cobra, with Ehrencrona in tow, to record the bass, guitar, vocals, and other instruments. For three months the Swedes toiled into the dead of countless nights—where songs like ‘The Lament,’ ‘Lady Death,’ ‘Lacrimosa,’ and ‘Here Be Dragons’ invoked the vaults of heaven to remarkable effect—to realize Down Below. Harvest, however unpleasant, was positively plentiful. “We chose Cobra because we recorded some stuff there for Children and really enjoyed the time there,” Zaars says. “Both the time in Soundtrade and Cobra were very enjoyable. Cobra and Martin gave us the opportunity to be creative. It was a new experience for us to work with a producer as we have this time, and I think we all really enjoyed it. I left a few things unfinished in some of my songs so that we could have his input and he’s been giving input and ideas wherever and whenever he’s had some. You give and you take and you kill a lot of your darlings, but in the end that’s almost always a good thing, and this time it really elevated the songs.” Certainly, Tribulation have come away with an album full of gems. From the death-rock shake of ‘The Lament’ and the windy Carpathian haunts of ‘Subterranea’ to the gloomy post-punk of ‘Nightbound’ and the infectious refrains of ‘Here Be Dragons,’ Down Below is unbelievably great. But it doesn’t stop there. Inside the songs, Tribulation parlay awe and shock into something more impressive. Some of Zaars and Hultén’s best solo work can be heard on ‘Lady Death,’ ‘Cries from the Underworld,’ and ‘The World.’ Time-keeper Leander has also proven himself worthy of his newly appointed position. His ability to play simple yet clever continuously gets better as Down Below progresses. Check out ‘Here Be Dragons’! And Andersson’s vocals—even in their sublime decay—emote heavy sheaves of hate, mourning, loss, and fear. If The Formulas of Death was arboreal and The Children of the Night urban, then Down Below must be nestled in between. “A bit of both for sure,” says Zaars. “We were aiming in one direction that was a bit more foresty and that direction kind of made its own twists and turns, as it always is when we do something. We let it happen, we let it guide us. When we speak in terms like this I would say that it’s still somewhat in the city, but that city is much older, or in a different era, than the city that Childrenresided in. And it’s a lot closer to the forest, and even ventures quite deep into it.” Changes are inevitable. The force of momentum powerful. As with The Children of the Night, so too with Down Below. Tribulation has succumbed to change and momentum, but the Swedes didn’t let it become them. They’ve evolved (or are evolving) on Down Below. To wit, the evocative vibe of places frightful and things malign remains strong, as does Tribulation’s roots as an inspired death metal act. What’s changed is the approach and the inspirations affecting the approach. Down Below isn’t just Album of the Year material, it’s the type of effort that will be remembered for decades. Music from the other, indeed!
The Dirty Nil Embark on First US Headlining Tour
Following co-bills with The Who, Against Me!, Juno “Breakthroughs” Headline in Chicago, LA, NYC, and more this Fall
Listen to “Pain of Infinity” at Alternative Press: XX
After pummeling through 350+ shows over the last three years, 2017 Juno Award “Breakthrough Group of the Year” winners The Dirty Nil embark on their first ever US headlining tour. The band will play tracks from their upcoming LP ‘Master Volume’ (out September 14th on Dine Alone Records) with a raw, kinetic, straight-up rock & roll energy that’s equal parts punk intensity and 80s-rock-god decadence. Equipped with an
inimitable live “swagger” (Brooklyn Vegan), guitarist/vocalist Luke Bentham, bassist Ross Miller, and drummer Kyle Fisher will juxtapose their muscular, venomous riffs and clap-along choruses with stories from the road of good-natured run-ins with the cops and impromptu stripteases in German Christmas Markets.
Watch their no-holds-barred live show video for “Bathed in Light” HERE
Flirting cooly with some of life’s cruelest realities and made to reach the back of the arenas, ‘Master Volume’ rips open with “That’s What Heaven Feels Like,” a late-night ode to living fast and dying young (specifically, blasting through the windshield of your lover’s car) that plays like a greased-up, sucker-punched “There Is
A Light That Never Goes Out,” and ends with “Evil Side,” a six-minute epic perfect for a midnight graveyard stroll. In between, the band alternates between playful lyrics and power riffs (“Please, Please Me,” a ferocious punk track that’s sonically the opposite of its melodic 60s namesake, but shares the same raunchy subject matter) and topical issues like millennial numbness and substance.
Listen to “Pain of Infinity,” which Alternative Press says, “XXX,” HERE
When creating the classic horror, pop-art ‘Master Volume’ cover, designer/illustrator and longtime collaborator Christopher Blackwell of Providence, RI apparel/accessory brand Hungry Ghost Press said he “wanted to do something that felt a little bit gnarly for ‘Master Volume’ - kind of an ode to trash and metal bands that we all grew up on. The whole Dine Alone team have an awesome love and appreciation for vinyl, and the amount of time and energy they put into their releases is refreshing to see. Artwork is
only part of the job- what really ties the album together is the packaging and how the listener can experience the record while listening to the music."
Since they busted out of their quiet hometown of Dundas, Ontario, in 2011, The
Dirty Nil have been making bold impressions with their hard-to-define (only accurate label: rock & roll) sound. Championed by the likes of Vice Noisey and Stereogum and praised by Pitchfork for smashing “the boundaries separating ‘indie,’ ‘pop punk,’ and
‘alt-rock,” the band have cut their teeth on co-bills with everyone from The Who, The Menzingers, and Alexisonfire to Against Me! and Bleached.
The upcoming tour kicks off October 25 at Underground @ DIME in Detroit, MI, and hits many of the nation’s premiere music clubs, including The Echo in LA and Mercury Lounge in NYC, before closing out with a four-night homecoming streak in Ontario.
‘Master Volume’ Track Listing:
1. That’s What Heaven Feels Like 2. Bathed In Light
3. Pain Of Infinity
4. Please, Please Me
5. Auf Wiedersehen 6. Always High
7. Smoking Is Magic 8. Super 8
9. I Don’t Want That Phone Call 10. Evil Side
The Dirty Nil Tour Dates:
Thu, October 25, 2018 - Detroit, MI - Underground @ DIME
Fri, October 26, 2018 - Chicago, IL - Cobra Lounge
Sat, October 27, 2018 - TBA
Sun, October 28, 201 - Minneapolis, MN - 7th Street Entry
Tue, October 30, 2018 - Winnipeg, MB - The Good Will
Wed, October 31, 2018 - Saskatoon, SK - Amigos
Thu, November 1, 2018 - Edmonton, AB - The Starlite Room – Temple Fri, November 2, 2018 - Calgary, AB - Commonwealth Bar & Stage
Sat, November 3, 2018 - Vancouver, BC - Biltmore Cabaret Sun, November 4, 2018 - Victoria, BC - Lucky
Tue, November 6, 2018 - Seattle, WA - Funhouse
Wed, November 7, 2018 - Portland, OR - Sirens (Upstairs)
Fri, November 9, 2018 - San Francisco, CA - Hotel Utah Sat, November 10, 2018 - Los Angeles, CA - The Echo Sun, November 11, 2018 - Phoenix, AZ - Rebel Lounge Tue, November 13, 2018 - Austin, TX - Barracuda
Wed, November 14, 2018 - Dallas, TX - Three Links
Thu, November 15, 2018 - New Orleans, LA - Santos
Fri, November 16, 2018 - Atlanta, GA - Purgatory at The Masquerade
Sat, November 17, 2018 - Nashville, TN - The End
Sun, November 18, 2018 - Chapel Hill, NC - Local 506
Tue, November 20, 2018 - Washington, DC - DC9
Wed, November 21, 2018 - Philadelphia, PA - Voltage Lounge
Fri, November 23, 2018 - New York, NY - Mercury Lounge
Sat, November 24, 2018 - Boston, MA - Middle East - Upstairs
Mon, November 26, 2018 - Quebec City, QC - L'ANTI
Tue, November 27, 2018 - Montreal, QC - Bar Spectacle L'Escogriffe Wed, November 28, 2018 - Ottawa, ON - Babylon
Thu, November 29, 2018 - Kitchener, ON - Wax
Fri, November 30, 2018 - London, ON - Rum Runners
Sat, December 1, 2018 - Toronto, ON - The Opera House
Last year the Buttertones put out Gravedigging, but on their newest Midnight In A Moonless Dream, they’re digging deeper and discovering something dark. If Gravedigging felt like an oversaturated spaghetti-western desertscape, Midnight is much more biting—music made for the swampland that spit out Australia’s mad Scientists, or for the Mickey Spillane night city where the Cramps met all those garbagemen and werewolves. Or maybe the Buttertones are heading for an even more primal place: “Show more teeth / Bite your way in,” sings guitarist Richard Araiza. “You’re back in the jungle again!”
They’d started in 2011 as a trio of music-school misfits. Araiza, bassist Sean Redman and drummer/multi-instrumentalist Modesto ‘Cobi’ Cobiån all wanted to pursue something more than boring industry adequacy, and soon locked together their current five-piece line-up with sax player London Guzman and guitarist Dakota Boettcher. With Gravedigging, they leapt from backyard parties to back-to-back tours, including their first trip to Europe, and scored a Coachella slot for 2018. It was a year that made them sharper, stronger, even more sophisticated. And when they were ready to record, they were ready to do things differently.
Midnight was made in two flash sessions at Long Beach’s Jazzcats studio with Gravedigging producer Jonny Bell, whose genre-smashing record collection and appetite for experimentation made for a perfect match. (He’s really a guru, they say.) What was supposed to be a six song EP during the summer of 2017 bloomed into a full-length by the end of that December. Midnight was like a trust fall, the band says—leap of faith after leap of faith, cut to tape as it happened by a tight and tour-tested band. On this album, they’d decided, everything would be new—not just new sounds, like their first-ever string section, but new ways of working together and writing together. They worked on trust and instinct, by feeling instead of thinking. If it worked, they’d keep it, and if it didn’t, they’d burn it and move on. Gravedigging played like the soundtrack to a good heist movie, but Midnight was like the true story itself—a perfect and intricate crime, executed by a crew of professionals under cover of night.
On the vicious “Winks and Smiles,” the spirit of sax and violence that powered cult-classic L.A. punkers the Deadbeats suddenly comes to life; on the starked-out “You and Your Knife” and fog-and-smoke follow-up “Brickhead,” you’ll hear the cryptic echoes of Suicide or Bauhaus. It’s music made for dancers but also for doomed romancers, and you’ll hear it best on the pocket symphony “Eros,” which closes the album with Lynch-ian vision and power—here Araiza sings with almost startling passion, and if you don’t linger on the idea of graveyard angels in perpetual embrace, it’s a love song for the ages. This is the strong stuff, the kind that comes in an unmarked bottle and burns when it hits.
“It’s the darkness that brings us together,” laughs Guzman—in person, this is a band who prefer comedy to tragedy, even if they do claim to spend hours listening to Smiths records all day. But there’s still a tension and even a sinister new dimension on Midnight that the Buttertones never quite had before. Like lead single “C4,” which ignites like something from a New York no-wave song, with slashing sax and ferocious drums and a piano riff falling of a cliff before Araiza fights through the noise and gunsmoke, and what’s the very first word on the whole album? “Bang!” he shouts—and that says it all.
Breanne Rupp & Kassandra Montaño of Cynarmy bring you a special night of low proof no nonsense fun & wild karaoke!
Upstairs at 10 pm the balcony bar hosts Swamp Moves!
***Swamp Moves is a weekly Speakeasy in the upstairs balcony bar of Santos. Like New Orleans, it’s hot, it’s sweaty, and often weirdly French. This is an open and accepting space, anyone who cannot be respectful will be asked to leave.
***Great opportunity to see some native musicians play out of the touristy clubs and NO COVER.
Friends of Santos review Swamp Moves as
"Acoustic music. Who would have thought." - Nick Jarett
"When did everyone learn how to swing dance?" - Katie Du Bois
"What are the drinks? It's so dark in here." - Lucinda Weed
"Is the Cane and Table upstairs bar still open?" -Toure Folkes
***Downstairs bar will be hosting Karaoke summer camp style! Get on the Santos stage and add that to your resume.
Karaoke starts at 10 pm and lasts until the sun comes up. Not kidding.
Peelander-Yellow (Solo Show) and Kaisoku Tokyo (JPN, Punk Band) have tour together from 7/12 to 7/20!!!
dont miss it!!!
12, Thu @Three Links, Dallas, TX
13, Fri @Opolis, Norman, OK
14, Sat @Maxine’s, Hot Springs, AR
15, Sun @bears, Shreveport, LA
16, Mon @Sundown Tavern, Ruston, LA
17, Tue @Santos Bar, New Orleans, LA
18, Wed @Hi Tone, Memphis, TN
19, Thu @Spruce Goose, Houston, TX
20, Fri @spider House, Austin, TX with Peelander-Z
Dead Boys return to New Orleans for Creepy Fest 10. Their show at Santos last August was explosive! Don't miss Cheetah Chrome and Johnny Blitz blasting all the classics. Things kick off with Real Cool Trash Burlesque, The Killer Hearts from Texas and Birch Boys.
Pre-sale tickets will be up soon.
Creepy Fest runs Thursday July 12th through Sunday July 15th. Check www.facebook.com/creepyfest for the full schedule.
Sheer Terror Records proudly presents the legendary T.S.O.L. in New Orleans on Friday The 13th for the 10th Annual Creepy Fest. They will be performing their first two albums (T.S.O.L. EP and Dance With Me) in their entirety and more. Jack Grisham, Ron Emory, Mike Roche, Greg Kuehn and Antonio Val Hernandez will be flying in for this one-night-only event!
They will be joined by locals The Pallbearers and The Split()Lips (returning after a 3 year hiatus!) with San Diego's Some Kind Of Nightmare.
Doors at 9pm/show at 10pm
$15 pre-sale tickets will be available soon. Check back for updates.
Creepy Fest runs from Thursday July 12th through Sunday July 15th. Check www.facebook.com/creepyfest for full schedule.
Live Nation presents BANE’S WORLD plus INNER WAVE plus MICHAEL SEYER
Monday July 9
$10 ADVANCE, $12 DAY OF SHOW
For fans of Mac DeMarco, Tyler, the Creator, Neon Indian
Bane's World: 21 Year old bedroom producer hails from Long Beach, California. The crooner composes all of the music himself using only his computer and the collection of instruments in his garage.
Michael Seyer: Currently in Los Angeles, singer-songwriter Michael Seyer was originally born in the Philippines. The 23 year old musician produces everything in his bedroom and takes pride in it. With hazy guitars, airy synths, and introspective lyrics, descriptions of his music have ranged from atmospheric, bittersweet, and emotional. However, his unique take on the emerging "Bedroom Pop" community is one that cannot be pinned down too easily."
In the Balcony Bar we have Russell Welch Hot Quartet! Gypsy Jazz swing with a hard wood floor you can dance on! KARAOKE DOWNSTAIRS IN THE MAINROOM! 10pm 21+ No Cover.
Catch a rare performance of Boneparde Lagarde & The Conquerors at Santos. They will be joined by Dummy Dumpster and Les Turdz. Relive the Dixie Taverne days on Decatur!!!
Doors @ 9PM - $12 Advance / $15 Day of Show
ADVANCE TICKETS: https://holdmyticket.com/event/312914
Italian black/death metal pioneers MORTUARY DRAPE live at Santos with California black metallers VOLAHN. LOCAL support TBA.
On Video Age’s forthcoming album Pop Therapy, out June 15 via Inflated Records, longtime friends and songwriting partners Ross Farbe and Ray Micarelli conjure up a thrilling assortment of experimental pop songs. Using a palette of vintage synthesizers and the propulsion of a Sequential Circuits Drumtraks drum machine, the New Orleans-based group’s buoyant synth-pop echoes from some imagined vision of the past, leaning on an invented nostalgia to soundtrack an ideal future that never arrived. Video Age brings that future fully to life on Pop Therapy.
Emerging from New Orleans’ DIY scene and label collectives, Farbe and Micarelli were intrigued by each other’s songwriting among several curiously satisfying guitar pop bands. As a producer and prolific engineer, Farbe has helmed some of the most exciting releases from genre-pushing New Orleans artists, whose singular visions are made possible with his gifted ear and love of tape recording. Micarelli’s talent for crafting simple, tangible melodies complements Farbe’s studio world-building, letting ideas drift until they emerge into impressive arrangements.
The pair’s seemingly effortless gift for crafting earworm hooks was glimpsed on their 2016 debut Living Alone, a gorgeous collection of guitar-driven melancholy. On Pop Therapy, they’re joined by Duncan Troast, Nick Corson and Jordan Odom, taking inspiration from the limitless possibility on sonic canvases of the late 1970s and early 1980s (Yellow Magic Orchestra, McCartney II, Donald Fagen’s The Nightfly). Where Living Alone catalogued the solitude of reflecting on what was and could have been, the sentimental love songs on Pop Therapy gaze longingly at the likeliness of a brighter tomorrow.
The one and only Siouxsie Sioux tribute band The Siouxsies! Back by popular demand w/ The Unnaturals and Dj's Myk Hell & Eugene. 9pm doors, 21+ $7
June 17th Santos will be ruled by the rad, recently signed to Profound Lore Records, Of Feather and Bone (Denver) touring with the super sick Tomb Mold (Toronto) with local support from Kavyk and Bloodsick.
$10 bones for 4 killer bands!
Of Feather and Bone
Forged in the glowing embers of Washington D.C. following the 2016 election and subsequent Women’s March, the members of FuzzQueen are entrenched in the thriving DIY community of the nation’s capital. While keenly aware of the inescapably political nature of their locale, they coalesce around issues of social injustice and feminine power while also reveling in a “seething tension” that serves to both mirror and confront the political climate through sonic exploration.
"...music that’s expensively savage, like rotting metal. In fact, FuzzQueen’s sound is an entirely new sonic paradigm. And it’s excellent, full of intuition, guts and an instinctual feel." - Huffington Post
"Turbulent times breed turbulent songs. FuzzQueen’s new single “Angry, Angry” is an invigorating anthem for the marginalized, a cacophony of repressed rage exploding through the airwaves with empowered fury." - Atwood Magazine