9pm / $7 / 21+
The Hollywood Horses - FunnySexyCool and on tour!
Fantasy Non Fiction
Dog Park Dissidents
9pm / $7 / 21+
RUMPUS, SHOOKA, and HUNTER ROMERO of THE ICEMAN SPECIAL. Bringing the party to Santos late night of the 23rd of November.
FLIPPER IN NEW ORLEANS!
plus NOOGY (TX) and DUMMY DUMPSTER (LA)
This will be one for the books! It's Izzy's birthday too!!!
Flipper is an American rock band formed in San Francisco, California in 1979, continuing in often erratic fashion until the mid-1990s, then reuniting in 2005. The band influenced a number of grunge, punk rock and noise rock bands. Their slowed-down, bass-driven and heavily distorted style of punk is also considered a key forerunner to sludge, and influenced bands such as the Melvins and Nirvana.
The lineup for the show will feature founding members guitarist Ted Falconi and drummer Steve DePace with Jesus Lizard frontman David Yow on the mic and Frightwig bassist Rachel Thoele.
Ticket link will be up soon.
Presented by Sheer Terror Records/Creepy Fest
Doors at 8pm/Show at 9pm
21+ $15 ADV./$20 DOS
From practicing in their family shed as teenagers in rural Australia, to touring the world with Fleetwood Mac, Black Rebel Motorcycle Club, King Tuff, and King Gizzard, it’s been a strange trip for the four Findlay sisters. As Stonefield, they’ve got three albums and thousands of miles under their belts, plus plenty of perspective on what it’s like to fight to make a place for themselves, and tell their own story.
Written largely on the road in America earlier this year, the songs on BENT are filled with reference and reflection--the kind that comes from months spent far from home, living on four wheels. The surreal isolation of trudging through white-out snow and snaking down deserted highways served as the perfect backdrop for the band to look inward, taking stock of the journeythey’ve taken thus far as musicians, and as people. “It’s a culmination of experiences, emotions,and stories collected over time,” explains lead singer and drummer Amy Findlay, “A growth of honest, raw, energy that has been burning within us and waiting for its moment.”
Recorded in just five days with Joe Walker and Stu Mackenzie from King Gizzard at their studio in Melbourne, the album is almost 100% live. Besides being an impressive feat and the flexing of a confident band operating at the height of their powers, that immediacy lends the album a distinct, crackling energy--thunder, lightning, and muscle-bound horsepower. “Sleep” opens the album with guitars covered in five inches of sludge and distortion and something that sounds like a far-off siren, or the high-pitched howling of the wind. It serves as a warning, a call to arms,kicking things off with a next-level version of the massive, unholy racket the band has become known for over the course of their last three albums.
The sonic inspiration taken from listening to Black Sabbath, Beak, Deep Purple, The Alan Parsons Project, and Mike Oldfield inject BENT with its sternum-shaking heaviness and ever-present swagger, but also its exploratory fearlessness--letting the songs loose to twist and turn, sticking to no one’s rules but their own. Take the proggy, keyboard-soaked intro at the top of “People,” or the cheeky combination of tinnitus-inducing hard rock and hip-shaking boogie at thecore of “Dead Alive.” “Don’t make me think I’ve lost control / I know exactly what you said / Don’tmake me think it’s in my head,” Amy sings during the latter, keeping the lyrics as defiant as the music.
“The album is about our own experiences and stories,” explains Amy, “Songs about the fear of walking home alone at night, stories of what it’s like being an all-female band and the power of supporting one another." With that being the lyrical subject, the music that came out is definitely our heaviest.” It’s clear that darker thoughts were on the Findlay sisters’ mind-- “Route 29,” with its suspenseful synth intro was inspired by the creepy The Route 29 Stalker podcast the band was listening to as they drove the namesake road on their way to a gig with King Tuff, and the cascading synth line and slinky restraint of the hi-hat on “If I Die” can only distract so much from the song’s terror-stricken lyrics.
It’s on the album’s last two songs that the band makes their strongest statement, using “Shutdown” to explore the doubt and search for validation that comes from moving and working within an industry that often makes the band feel like outsiders, lacing lines like “Is it easy for you living / When you don’t have to prove your meaning” in between a battle-cry chorus and detonations of guitar and keyboard. And “Woman” takes it to the edge with a chorus of “I am enough / I am woman,” spelling it out for anyone that hasn’t been paying attention.
BENT has all the chills and spills you would expect from an album that mines inspiration from some of the darker experiences of being misrepresented, belittled, and underestimated. By taking control of the narrative, and pumping it up with stack-blowing, guitar hero riffs and razor-edged vocals, it becomes an album of power, control, and confidence--projected in the face of a world that too often forces the opposite.
$8 Adv. Tix
Biscuithound, Biglemoi, The Foragers
Biscuithound [Progressive Rock]
With a musical vision that began in 2008, the New Orleans’ experimental-rock outfit, Biscuithound, emits an evolving sound and lyrical message that is real, human, and above all, transcendental. In their often-extended compositions, the band balances an accessible use of melody and catchy riffing with healthy doses of progressive adventurism, atmospheric layering, and gritty contrast. Biscuithound offers a freshness to hard rock, with an emotional and intellectual seriousness. It is not “the New Orleans sound,” but has an organic feel, much like the swampy surroundings.
HISPANIC SATANIC ORG PROUDLY PRESENT
ESBBAT / Black Metal From COLOMBIA South since 1996
BITRU / Colombia South América
SACRIFICIAL MASSACRE / Wisconsin
Pre Hispanic Black Metal
ANARETA / New Orleans
Xtreme string Doom Metal
LUNGS / Minnesota
Doors 8:00 Pm
The Siouxsies, N.O.'s own all-female tribute to Siouxsie and the Banshees return once again to Santos with special guests from Houston, The Temple of Mercy, a tribute to The Sisters of Mercy. So line those eyes, touch up those roots and don your blackest blacks and Gothic finery.This is a night not to be missed.
If you’ve ever heard a room full of people yelling “I hope your husband dies” in a some harmoniously sloppy, drunken unison, you’ve probably stumbled into an Amigo The Devil show. Danny Kiranos, better known to the masses as his musical counterpart Amigo The Devil, has been challenging the expectations of traditional folk, country music purists, and rock/extreme metal fans alike with his morbid, yet oddly romantic, take on folk that has amassed a dedicated and cult like fan-base. Despite being armed with only his vocals and a banjo/acoustic guitar, the live show is worlds away from what people expect of a folk show. Loaded with sing-alongs and an unsuspecting dose of humor to make otherwise grim topics accessible for fans of every genre, the songs remain deeply rooted in the tradition of story-telling that seems to be slipping away from the human condition.
For the press release, I basically just wrote down my experiences going into and my purpose for this record and same thing, use it as you please or if you want me to do something else entirely, let me know. I know Kevin wanted me to dig deep and get personal so I did.
RAMBLING:"I got tired of seeing people overcomplicate what they feel, or worse, ignore it altogether. Amigo The Devil started as an outlet for the brutal honesty that people didn’t feel comfortable discussing. More than create, I listened. At a bar, while eating dinner, at the DMV. Call it creeping if you want but it’s a pass time nonetheless. Even in the music being released about it, people used metaphors to dance around and avoid mentioning the dark thoughts people have and that just isn’t enough to shake you from the daydream, or a fever. It had to be simple, direct and honest. At the start, it seemed logical to learn this process by taking the worst people and trying to find the humanity in them. I wrote some songs about serial killers and realized that no matter how despicable their crimes were, everything was still rooted in the human condition with the same basic need to be needed, to feel valued, to have worth. Through this learning process, I realized there was actually something so much more dangerous than the people committing heinous crimes and it was stained so deeply into the fabric of our daily lives. Doubt and the depression it leaves us stranded in. Every experience is clearly different but for me, all of a sudden, it felt like I was living in a well so deep that if I shouted up for help, it would be lost on the way and never heard. It’s terrifying when it feels like you’re alone down there and there isn’t enough light to look around to realize how many people are there alongside you. For some reason, I refused to talk to my friends and family about it. It was shameful or irrelevant or any other excuse I can come up with to avoid bringing it up and when they would notice and ask, I caught myself repeatedly answering “everything is fine” or any variation of it in that moment. So this record was born. I started listening again, realizing it wasn’t just me. I saw people around me falling into the well but as I started paying attention, I saw people climbing out of it too. These are the stories of leaving the burden behind, whatever that may be and hopefully along with it the realization that carrying them for any period of time doesn’t break us, but makes us stronger than we ever were.
This is where Ross Robinson comes in. He allowed me to become and guided me towards being the best vessel I could be to filter these stories through. We sat there and accepted what wanted to come through, what wanted to be heard. It was the first process of recording that ever made complete sense with absolutely no filter or veil to compensate for the sounds. Recording in a studio untouched since the 70’s with all the original gear, straight to tape. Everything, recording, mixing mastering, to tape! It was absolute and pure brutal honesty, what I’ve been trying to achieve since the start of this thing. Then Brad Wilk added his pulse to it and it felt like together we had given life to these stories that otherwise are sounds and lyrics filling space. Everyone involved dove head first into a pool without water for this one and I’m unbelievably grateful to be in there with them."
w/ King Dude
and Twin Temple
Adv tix - $15
9PM at Santos Bar!! $15 ADV/$20 DOS
Looking somewhat like Dracula's nasty little brother who spent some hard years drinking and working as a carnival barker for a second-rate freak show, Unknown Hinson translates that vibe to his style of country and western-tinged psychobilly. The band is now touring nationwide, wowing audiences with outrageous and campy persona and freewheeling, sleazy tone. Unknown is the voice of Earl Cuyler on Adult Swim's show The Squidbillies!
+ Ponch Bueller
“Aggressive and putrid these motherfuckers will destroy everything you love and you'll still beg for more. Political, deep and silly as fuck they'll confuse and enthrall you, while having you mosh until you puke. Out of Atlanta, GA they keep the torch lit for amazing southern punk. Skumfucks for life, punks until they die these cats will fuck you up and keep you moving.”
FORSAKEN PROFIT$ (Atlanta)
Forsaken Profits - "Revolution" A BlankTV World Premiere!
The Chodes (Panama City)
w/ The Unnatturals // Jessie Tripp & The Nightbreed
$14 ADV. // $16 DOS
The Devil has always been there. He is the great outsider, the original iconoclast. He is a conniving little shit and never seems to tire of giving humanity a wedgie or a wet willie just for a laugh. The Devil is capable of taking many forms. He can exist as one being or spread out amongst many. He can present himself as an ordinary man or as a horrific cloven-hoofed beast depending on his mood. Above all else, The Devil lives to corrupt, to adulterate, to defile.
Electric Six has often used The Devil as subject matter for its songs because of that last bit, the part about corruption and adulteration. That’s what Electric Six has been trying to do with its music now for quite some time!!!! We want to corrupt young women….just like The Devil!!! There’s nothing more rewarding than the seduction of a young innocent maiden, forcing her to wear demonic dresses, levitating her towards the great fiery skull and watching her eyes turn black as she gives into evil and becomes the bride of The Devil!!!! That….is why we started this band….to help women realize their potential as sexy evil maidens with eyes reflecting the utter darkness of a corrupted soul.
With its fourteenth studio album Bride of the Devil, Electric Six examines the concepts of evil and corruption, humanity’s various falls from grace, the nine circles of purgatory and of course, the internet itself. Bride of the Devil opens with the thunderous opener “The Opener”, a bombastic celebration of the arena rock Electric Six never got to play. The next two numbers are textbook ear worm guitar pop numbers that deal with debilitating income inequality and nepotism (“Daddy’s Boy”) and the horrors of being forced into a pool of toxic waste by an a rabid Doberman trained to kill (“(It Gets) (A Little) Jumpy”).
And then we get to the title track, a radio anthem, where it all becomes clear that The Devil is a metaphor for Russia and the United States is the young girl who is seduced, corrupted and wedded into a Satanic covenant with the beast. It’s all there in black and white. The Carrie Underwood-esque lyrics alongside a backdrop of vodka and caviar and backchannels and Seychllian bank accounts. That’s how they did it. They went after our country performers and got the rubes to feel good about being Russian assets. And still, it is the feel-good anthem of the summer.
Finally, the haunting album closer “Worm In the Wood” is Electric Six at its most serious, most tender and emotional. Haunting. Effervescent. Corrupt. Jaundiced. Tired.
So there you have it. Electric Six is back with its fourteenth record and it’s poppy and feel-good, as well as heavy, both sonically and lyrically. Our sound will corrupt you and enslave you as the beautiful demonic bride you know you truly are. Fraulein, take this severed hand with it’s creepy long nails from the beginning of time. To do so is truly thine destiny.
Come see Electric Six on the “Russia, If You’re Listening” tour this fall and into 2019. Bride of the Devil will be released on Metropolis Records on October 5, 2018 world-wide.