Apr
18
Zoogma

all good news

 
Lotus
Zoogma | @Rams Head Live | view more info »
Apr
18

Lotus

Zoogma


Friday Apr 18|doors 7:30 pm|all ages
Rams Head Live|get directions »
20 Market Place
Baltimore, MD|p: (410) 244-1131


Lotus

official band site »

Lotus has crafted a unique musical style outside of simple genre limitations. On a given weekend the band could be the only group with guitars at an all electronic music festival and then the next night crash a traditional rock festival with their dance heavy beats, synths and samples. Equal parts instrumental post-rock and electronic dance, the band's distinguishing feature is the ability to maintain a decidedly unique musical voice and remain current while bucking passing trends.

No matter what the venue, the energetic joy and catharsis of a Lotus show is infectious. The band slowly built a devoted fan base through steady touring and the crowds have grown at an increasing pace. This grassroots growth has made the band in high demand for festivals including Bonnaroo, Outside Lands, Ultra, and Rothbury and earned the band sold out shows at the country's premier theatres and clubs.


Zoogma

official band site »

Over the past 3 years of constant touring, playing over 300 shows, ZOOGMA has grown as staple in the Electronic Rock scene, with highlights at Camp Bisco, Global Dance - Red Rocks, CounterPoint Music Festival, NorthCoast Music Festival, The Hangout Music Festival, Wakarusa Music Festival, Aura Music Festival, and over 200 club shows spanning coast-to-coast.


 
Lotus
Zoogma | @Rams Head Live | view more info »
Apr
19

Lotus

Zoogma


Saturday Apr 19|doors 7:30 pm|all ages
Rams Head Live|get directions »
20 Market Place
Baltimore, MD|p: (410) 244-1131


Lotus

official band site »

Lotus has crafted a unique musical style outside of simple genre limitations. On a given weekend the band could be the only group with guitars at an all electronic music festival and then the next night crash a traditional rock festival with their dance heavy beats, synths and samples. Equal parts instrumental post-rock and electronic dance, the band's distinguishing feature is the ability to maintain a decidedly unique musical voice and remain current while bucking passing trends.

No matter what the venue, the energetic joy and catharsis of a Lotus show is infectious. The band slowly built a devoted fan base through steady touring and the crowds have grown at an increasing pace. This grassroots growth has made the band in high demand for festivals including Bonnaroo, Outside Lands, Ultra, and Rothbury and earned the band sold out shows at the country's premier theatres and clubs.


Zoogma

official band site »

Over the past 3 years of constant touring, playing over 300 shows, ZOOGMA has grown as staple in the Electronic Rock scene, with highlights at Camp Bisco, Global Dance - Red Rocks, CounterPoint Music Festival, NorthCoast Music Festival, The Hangout Music Festival, Wakarusa Music Festival, Aura Music Festival, and over 200 club shows spanning coast-to-coast.


 
The Revivalists & Moon Taxi
B Side Shuffle | @9:30 club | view more info »
Apr
19

The Revivalists & Moon Taxi

B Side Shuffle


Saturday Apr 19|doors 8:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


The Revivalists

official band site »

The formation of The Revivalists was all about chance, but everything since then has been a combination of hard work, awesome music, and friendship. The septet has been playing nonstop since 2007, crafting a genre-hopping sound that rounds out traditional rock instrumentation with horns and pedal steel guitar and mixes the divergent backgrounds of its individual members with the humid, funky undercurrents of the band’s New Orleans home. The result is like English spoken with an exotic accent: familiar, yet difficult to pin down.

Religion aside, a revival is all about the tangible electricity that can only be created when enough like minds are crammed under a single roof for a singular purpose. It’s a spiritual spectacle, a carnival of the divine, a whole greater than the sum of its parts. The same could be said for The Revivalists’ searing live performances. The band has a knack for bringing music to life on a stage, and they have tuned their talents to Swiss-watch precision over years of relentless touring. Their bombastic showmanship is the outgrowth of a desire to connect with audiences on a personal level, and that intimate connection is what elevates their shows above simple entertainment. True to their name, The Revivalists lean more heavily on the older styles and warmer sounds of the golden age of rock ‘n roll, but the band isn’t afraid to dabble in electronics and sleight-of-studio when it’s right for the song. The group tends not to bother with questions like “does this sound like us?” or “does this fit with our other stuff?”, instead allowing songs to define themselves and take shape organically, each on its own terms. Is this a dark, heavy rock manifesto driven by a steel guitar line that borders on electronica, or is it an airy, acoustic story about star-crossed lovers, rich in vocal harmony and sparsely arranged until the coda? This one’s funky, that one’s sweet, this one’s heavy….

To The Revivalists, it doesn’t matter. They just write songs that they want to play.


Moon Taxi

official band site »

For the members of Moon Taxi, their third album, Mountains Beaches Cities, represents the idea of exploration - searching both the world and themselves for new experiences. The Nashville rock group, who had honed in on a notably compelling aesthetic with their previous album Cabaret, focused on extending the sonic landscape they’d created in earlier recordings, but this time around they amp up the speed and turn up the volume – creating an overall bigger sound.

The album was self-produced by Moon Taxi’s own guitarist Spencer Thomson with the help of keyboardist Wes Bailey and was mixed by Vance Powell (Jack White, The Dead Weather) and mastered by Greg Calbi (Talking Heads, Paul Simon, Fleet Foxes).

The band, which was founded in 2006, toured extensively in support of Cabaret, appearing at Bonnaroo, Forecastle, and Lollapalooza. Additionally, they have opened for such artists as Matisyahu, Dr. John, and Dirty Heads, and ended 2012 selling out multiple theaters on their own. While on the road, the musicians began to stockpile song ideas and demos, inspired by the trials and tribulations of traveling around the country to play shows. In early 2013, the band went into the studio to begin recording Mountains Beaches Cities with these touring experiences in mind. Much of the recording was done in Spencer’s apartment with only a few days of drum and bass riffs laid down in Nashville’s Sony Tree studio. Although Mountains Beaches Cities feels like an extension of Cabaret’s aesthetic, the new album is explorative, and its lyrics recount a new narrative for the musicians.


B Side Shuffle

official band site »

B Side Shuffle emerged from the nation's capital in 2012 with a single mission: deliver fun to the masses. And deliver they have. With a sound built on old school District funk, new school dance grooves, snarling rock riffs, and vocal-forward hooks, the Shuffle quickly gained a reputation for explosive live shows in 2013—and their second EP, Farmalade (2/14), shows this band has no plan to slow down any time soon.


 
Dopapod
Moogatu | @Gypsy Sally's | view more info »
Apr
23

Dopapod

Moogatu


Wednesday Apr 23|doors 7:00 pm|21+
Gypsy Sally's|get directions »
3401 K St NW
Washington DC|p: (202) 333-7700


Dopapod

official band site »

Dopapod is not so much a jam band as they are a band that improvises. They are an electronic band without computers. They are a metal band with groove and soul. They are a funk band that’s not afraid to get intricate. With no regard towards toward stylistic boundaries, the sound that emerges from the quartet both live and in the studio is as varied and diverse as the many influences that they adapt from. Their approach to complementing a distinct genre bending sound to top-notch musicianship is what has kept the quartet committed to evolving their unique brand. This progressive song writing leaves room for boundless improvisational exploration and has been the root of why more and more music lovers are steadily growing in numbers eagerly returning for more.


Moogatu

official band site »

In late 2010, Moogatu planted the first seeds for its unique blend of funky, wompy prog rock just outside of the nation's capital in bucolic northern Virginia. Soaring dual lead guitars and a pulsing rhythm section bring the quintet's inviting songcraft and creative improvisations to an audience that grows at every club and festival. Moogatu is carving its niche with high energy sets that keep people grooving long into the night. Moogatu is: Brian Raubacher (guitar, vocals) Chris Lee (guitar), Steve Jacyna (drums) and Brian Zupruk (bass, vocals).

Moogatu has shared bills with: moe., EOTO, Ron Holloway, Dopapod, Keller Williams, Tea Leaf Green, Steve Kimock, The Werks, Kung Fu, Conspirator, The Pimps of Joytime, Zoogma, Larry Keel & Natural Bridge, Perpetual Groove, DrFameus, New Riders of the Purple Sage, Melvin Seals, The Mantras, Papadosio, Boombox, Jimkata, Tiny Boxes, Former Champions, Silo Effect, The Shack Band, Pigeons Playing Ping Pong, Freedom Enterprise and Galaxy Dynamite.


 
John Brown's Body
Sister Sparrow & The Dirty Birds | @The 8x10 | view more info »
Apr
24

John Brown's Body

Sister Sparrow & The Dirty Birds


Thursday Apr 24|doors 8:00 pm|all ages
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


John Brown's Body

official band site »

If you’ve been paying attention, you’ll know that Kings And Queens is a synthesis of every aspect of John Brown’s Body’s storied career. It’s as if, after close to two decades of existence, this pioneering band has finally crafted their ultimate statement, tying together styles they’ve dabbled in, paid respect to, created, or pushed forward into one tightly woven mosaic. JBB’s Future Roots is now present tense.

John Brown’s Body formed (in Boston in the mid 1990s) at a time when there wasn’t what you’d call a U.S. reggae scene. The American bands that played reggae were regional at best, touring little, and many were primarily cover bands of the best known Jamaican reggae. JBB was one of a handful of groups that began touring nationally and created distinctly American reggae, steeped in traditional vibes but incorporating elements from other genres. Whereas most groups tackled typical reggae themes –religion and marijuana – JBB acted more like an indie band, writing songs that used the vocabulary of reggae to express their own experiences. Over time, this style has become the norm. The U.S. scene has grown tremendously – to the point of having two bands debut records in the Billboard Top 20 in 2012 – and many in the genre point to John Brown’s Body as a key influence.

However, this is not your typical story of an influential band doing what they did 20 years ago now trying to cash in on the movement they helped foment. Because a funny thing happened along the way for John Brown’s Body – they evolved and grew, taking their music ever forward, and have continued to influence the scene as much today – some might even say more so today – than they did at the start. The band’s relentless touring schedule helped pave the way for the nationwide scene, showing other bands that it was okay to be from the Northeast and still be comfortable playing in California, Hawaii, Colorado or Iowa. Early on, members of the band formed their own record label to highlight their local scene, which has since become the norm in many pockets of the scene. JBB delved deeply into dub effects from the start, incorporating elements of electronic music well before that became standard for today’s bands. Yet, JBB is somehow still utterly unique within the scene, even after two decades at work, which brings us back to the record at hand.

Musically and lyrically, lead singer/songwriter Elliot Martin has crafted a work that seems both self-reflective and visionary. A song like “Old John Brown” is obviously open to interpretation that Martin is commenting on both the man for whom the band is named after, as well as the legacy of the band itself. Musically, the song evokes riddims Burning Spear used in the 1970s, which has been an undercurrent influence on the group since the beginning, but has rarely surfaced as obviously as it does here since the band’s earliest breakthrough records.

The group’s last full-length record, Amplify (#1 on the Billboard Reggae chart in 2008), was extremely forward-thinking, steeped in electronic effects. Last Fall’s JBB IN DUB EP (#1 on iTunes’ Reggae Chart) stripped things down to the bedrock elements of reggae. Kings And Queens utilizes the best aspects of both these records, while bringing back much more of the classic JBB sound into the mix and production. This is reinforced by working with engineer Matt Saccuccimorano, who worked on some of the band’s earliest successful albums, and the involvement on numerous songs by former guitarist/keyboardist Nate “Silas” Richardson. Bassist Nate Edgar continues to astonish with his nimble and muscular bass lines. The bass and drums have always been at the center of Martin’s songwriting, but in Edgar and founding drummer Tommy Benedetti, he has found his most spectacular partners-in-crime. Martin has crafted his strongest batch of songs ever, coupled with startling horn lines written by the JBB Horns. Saying the JBB Horns are an influential bunch is no small talk, considering past alums have gone on to play for Slightly Stoopid as well as form the eclectically amazing band Rubblebucket.

The most obvious touch point for the band’s sound has always been classic UK reggae, especially the work of Aswad, Steel Pulse and Dennis Bovell, and that unmistakable influence permeates every track, most noticeably in the heavy drum and bass and complicated horn lines. As it was in that scene, JBB’s songs are more focused on sufferation, urban realities and overcoming, with songs like “Plantation,” “Empty Hands,” and “The Battle” sparking protest over haunting minor chords. This is not beach resort reggae. This is reality. However, the record is by no means all gloom and doom! Songs like “Shine Bright” and the love song “Fall On Deep” both add lightness, and even in his darkest metaphors, Martin can find hope and positivity (listen to the chorus of “Plantation” for evidence of that).

Kings And Queens is bookended by three songs (“Step Inside” and “Invitation” at the start and “Searchlight” at the end) that invite listeners into the live arena where this band has excelled from the beginning. Evoking sound systems from the music’s origins in 1960s Jamaica as well as JBB’s own powerful live show, these songs remind all listeners about the strength in numbers found in the reggae community, especially at live shows and festivals, and how John Brown’s Body has long been one of the greatest live acts in the genre.

This record shows that John Brown’s Body continues to lead from the front of the pack. They look forward by looking back and find a way to invite JBB fans from all eras into their packed and sweaty tent. As the opening song says, “So many people / Step inside, step inside / Come one and all / Got to make the dancehall tight.”


Sister Sparrow & The Dirty Birds

official band site »

Sister Sparrow & The Dirty Birds is an eight-piece powerhouse that puts a modern spin on classic soul. The band is led by Arleigh Kincheloe (Sister Sparrow), whose astoundingly powerful voice and sly demeanor make for a spellbinding presence onstage. She is backed by the mighty force of The Dirty Birds, a flock of seven men who masterfully lay down thundering grooves and soaring melodies. While each of the Birds are capable of lighting up the stage with jaw-dropping displays of musicianship, it’s clear they’re focused on delivering the band’s infectious music as a single entity. Simply put, the band’s live show is explosive.


 
John Brown's Body
Jah Works | @Gypsy Sally's | view more info »
Apr
25

John Brown's Body

Jah Works


Friday Apr 25|doors 7:00 pm|21+
Gypsy Sally's|get directions »
3401 K St NW
Washington DC|p: (202) 333-7700


John Brown's Body

official band site »

If you’ve been paying attention, you’ll know that Kings And Queens is a synthesis of every aspect of John Brown’s Body’s storied career. It’s as if, after close to two decades of existence, this pioneering band has finally crafted their ultimate statement, tying together styles they’ve dabbled in, paid respect to, created, or pushed forward into one tightly woven mosaic. JBB’s Future Roots is now present tense.

John Brown’s Body formed (in Boston in the mid 1990s) at a time when there wasn’t what you’d call a U.S. reggae scene. The American bands that played reggae were regional at best, touring little, and many were primarily cover bands of the best known Jamaican reggae. JBB was one of a handful of groups that began touring nationally and created distinctly American reggae, steeped in traditional vibes but incorporating elements from other genres. Whereas most groups tackled typical reggae themes –religion and marijuana – JBB acted more like an indie band, writing songs that used the vocabulary of reggae to express their own experiences. Over time, this style has become the norm. The U.S. scene has grown tremendously – to the point of having two bands debut records in the Billboard Top 20 in 2012 – and many in the genre point to John Brown’s Body as a key influence.

However, this is not your typical story of an influential band doing what they did 20 years ago now trying to cash in on the movement they helped foment. Because a funny thing happened along the way for John Brown’s Body – they evolved and grew, taking their music ever forward, and have continued to influence the scene as much today – some might even say more so today – than they did at the start. The band’s relentless touring schedule helped pave the way for the nationwide scene, showing other bands that it was okay to be from the Northeast and still be comfortable playing in California, Hawaii, Colorado or Iowa. Early on, members of the band formed their own record label to highlight their local scene, which has since become the norm in many pockets of the scene. JBB delved deeply into dub effects from the start, incorporating elements of electronic music well before that became standard for today’s bands. Yet, JBB is somehow still utterly unique within the scene, even after two decades at work, which brings us back to the record at hand.

Musically and lyrically, lead singer/songwriter Elliot Martin has crafted a work that seems both self-reflective and visionary. A song like “Old John Brown” is obviously open to interpretation that Martin is commenting on both the man for whom the band is named after, as well as the legacy of the band itself. Musically, the song evokes riddims Burning Spear used in the 1970s, which has been an undercurrent influence on the group since the beginning, but has rarely surfaced as obviously as it does here since the band’s earliest breakthrough records.

The group’s last full-length record, Amplify (#1 on the Billboard Reggae chart in 2008), was extremely forward-thinking, steeped in electronic effects. Last Fall’s JBB IN DUB EP (#1 on iTunes’ Reggae Chart) stripped things down to the bedrock elements of reggae. Kings And Queens utilizes the best aspects of both these records, while bringing back much more of the classic JBB sound into the mix and production. This is reinforced by working with engineer Matt Saccuccimorano, who worked on some of the band’s earliest successful albums, and the involvement on numerous songs by former guitarist/keyboardist Nate “Silas” Richardson. Bassist Nate Edgar continues to astonish with his nimble and muscular bass lines. The bass and drums have always been at the center of Martin’s songwriting, but in Edgar and founding drummer Tommy Benedetti, he has found his most spectacular partners-in-crime. Martin has crafted his strongest batch of songs ever, coupled with startling horn lines written by the JBB Horns. Saying the JBB Horns are an influential bunch is no small talk, considering past alums have gone on to play for Slightly Stoopid as well as form the eclectically amazing band Rubblebucket.

The most obvious touch point for the band’s sound has always been classic UK reggae, especially the work of Aswad, Steel Pulse and Dennis Bovell, and that unmistakable influence permeates every track, most noticeably in the heavy drum and bass and complicated horn lines. As it was in that scene, JBB’s songs are more focused on sufferation, urban realities and overcoming, with songs like “Plantation,” “Empty Hands,” and “The Battle” sparking protest over haunting minor chords. This is not beach resort reggae. This is reality. However, the record is by no means all gloom and doom! Songs like “Shine Bright” and the love song “Fall On Deep” both add lightness, and even in his darkest metaphors, Martin can find hope and positivity (listen to the chorus of “Plantation” for evidence of that).

Kings And Queens is bookended by three songs (“Step Inside” and “Invitation” at the start and “Searchlight” at the end) that invite listeners into the live arena where this band has excelled from the beginning. Evoking sound systems from the music’s origins in 1960s Jamaica as well as JBB’s own powerful live show, these songs remind all listeners about the strength in numbers found in the reggae community, especially at live shows and festivals, and how John Brown’s Body has long been one of the greatest live acts in the genre.

This record shows that John Brown’s Body continues to lead from the front of the pack. They look forward by looking back and find a way to invite JBB fans from all eras into their packed and sweaty tent. As the opening song says, “So many people / Step inside, step inside / Come one and all / Got to make the dancehall tight.”


Jah Works

official band site »

Riddim House Productions presents their premiere group, Jah Works. Jah Works is a band of brothers based out of Baltimore, MD dedicated to writing, recording and performing original reggae music. While rooted firmly in the tradition of authentic Jamaican roots and dancehall, the band also blend elements of hip hop and popular music into their mix. A heavy dose of drum and bass combined with sweet melodies and catchy hooks are the groups’ trademarks.

Formed officially in the spring of 1993, Jah Works have been blazing up the live music scene ever since. With an average of 200 plus shows a year they have covered a lot of ground in their time together. Though best known on the East Coast, Jah Works has played throughout the US as well as internationally in Jamaica, Canada, Holland, the South Pacific, and the Middle East. The band is honored to have taken part in Armed Forces Entertainment which provides shows for troops stationed abroad. They also recently performed in Washington DC for the inauguration of President Barack Obama.


 
The Werks
The Heavy Pets | The McLovins | @Baltimore Soundstage | view more info »
Apr
26

The Werks

The Heavy Pets
The McLovins

Saturday Apr 26|doors 8:00 pm|all ages
Baltimore Soundstage|get directions »
124 Market Place
Baltimore, MD|p: (410) 244-0057


The Werks

official band site »

The Werks have quickly emerged as a national powerhouse. As a result of their eclectic individual influences, The Werks produce a dance party that can be appreciated by a majority of musical tastes. Known for fusing psychedelic shredding guitar, wailing organ of jam and classic rock with funk slap bass, synthesizers, and modern dance beats, The Werks create their own style of music. Their unique style of performing is affected and manipulated by the energy of the audience, guaranteeing that each show will be different and memorable.


The Heavy Pets

official band site »

The Heavy Pets are an American rock band that blends rhythm & blues, jazz, funk, disco and reggae with rock & roll. Called “a living, breathing, force of nature” by Relix Magazine, the Pets are known for their soulful songcraft and powerhouse live performances. Riding high on the success of their most recent studio effort, Two Horses, look out for The Heavy Pets as they continue to hit the road hard.

The McLovins

official band site »

McLovins specialize in the creation of dynamic and improvised sound, influenced by the members' disparate and eclectic music influences. The band consists of Jason Ott, Jake Huffman, Justin Berger and Atticus Kelly. These early twenty-year-olds embrace simultaneous and intricate improvisation with a more versatile front line in which all members are singing in four-part harmony, writing lyrics and music, as well as expounding on one another's musical ideas. Set list segues and fiery improvisations are a staple of the band's performances, keeping their audience always guessing what's coming next and wanting more.


 
Dopapod
Moon Hooch | Deaf Scene | @Baltimore Soundstage | view more info »
May
1

Dopapod

Moon Hooch
Deaf Scene

Thursday May 1|doors 8:00 pm|all ages
Baltimore Soundstage|get directions »
124 Market Place
Baltimore, MD|p: (410) 244-0057


Dopapod

official band site »

Dopapod is not so much a jam band as they are a band that improvises. They are an electronic band without computers. They are a metal band with groove and soul. They are a funk band that’s not afraid to get intricate. With no regard towards toward stylistic boundaries, the sound that emerges from the quartet both live and in the studio is as varied and diverse as the many influences that they adapt from. Their approach to complementing a distinct genre bending sound to top-notch musicianship is what has kept the quartet committed to evolving their unique brand. This progressive song writing leaves room for boundless improvisational exploration and has been the root of why more and more music lovers are steadily growing in numbers eagerly returning for more.


Moon Hooch

official band site »

The reaction is instantaneous. It doesn't even matter when they're the opening act no one in the room has heard before -- as soon as Moon Hooch starts playing, it's as if the room becomes a living, surging, pulsing thing. They call it "cave music": like house music, but more primitive and jagged and raw. But there are no DJs or manufactured beats here -- just one drum kit and two saxophones.

Moon Hooch -- saxophonists Mike Wilbur and Wenzl McGowen, and drummer James Muschler -- met while all three were students at The New School for Jazz and Contemporary Music in New York City. They found in each other a similar drive to work hard, practice, and create new, unusual sounds with their instruments. They first played in the summer of 2010, busking in front of the Metropolitan Museum of Art.

Deaf Scene

official band site »

Deaf Scene is an experimental band based out of Baltimore, Maryland. As an instrumental drum-bass-guitar trio, they pull off a vast range of sound, and push the sonic boundaries of each effect they use. The band has cultivated a unique musical style, defiying any sort of traditional “jam-band”, “post-rock”, or “electronic” categorization. Ethereal loops are tightly arranged with lush guitar melodies, intircate bass harmonies, over propulsive rhythms. Onstage, Deaf Scene‘s raw energy and eerie psychedelia will draw you into their live performance. In 2010, the band self-released their debut EP, a cohesive movement of music which showcases their brand of loop-infused rock experimentation. With plans to release a long-awaited full length by Fall 2013, Deaf Scene is truly proving to be "one of Maryland’s best up-and-coming acts” -explodinginsound.com


 
Beats Antique
Sean Hayes | Horse Head McGee | @Rams Head Live | view more info »
May
1

Beats Antique

Sean Hayes
Horse Head McGee

Thursday May 1|doors 7:30 pm|all ages
Rams Head Live|get directions »
20 Market Place
Baltimore, MD|p: (410) 244-1131


Beats Antique

official band site »

"Come with us on a trip through your inner dimensions…."

Electronic/World fusion dance trio Beats Antique brings you their new album and multi-media touring show A Thousand Faces, a journey beyond the sonic realm that’s part odyssey, part genre-warping rock opera. The album is an epic two-volume adventure that follows every stage of Joseph Campbell’s hero’s journey with sweeping and lushly textured new compositions. While the fully immersive show will carry audiences through the complete journey, A Thousand Faces – Act 1 represents just the first half of the monomyth, with the second volume due out next spring.

“A Thousand Faces is meant to be an adventure for the audience, a wild ride that takes them through these mystical lands all across the globe,” says David Satori, who formed the Bay Area-based group with fellow musician/producers Tommy Cappel and Zoe Jakes in 2007. A Thousand Faces – Act 1 features a carefully curated ensemble of guest artists, including PRIMUS vocalist/bassist Les Claypool, Sarod player Alam Khan (son of legendary classical Indian musician Ali Akbar Khan), and vocalists Morgan Sorne and long-time collaborator Lynx.

For Beats Antique—who have fused genres as disparate as flamenco, afro-beat, and French Gypsy jazz since their 2007 debut Tribal Derivations—taking on a musical interpretation of the monomyth was a prime opportunity to deepen their exploration of faraway cultures. “In Beats Antique we’re always trying to cross cultures and weave together a lot of different sounds,” says Satori. “So we were very much drawn to the fact that Joseph Campbell had studied traditions all over the world and found a link between so many different mythologies, from Native American to African to Southeast Asian.” Not only embodying the spirit of cross-cultural connection, A Thousand Faces merges a spectrum of musical styles—from Indian classical music to Balinese fusion to EDM—in a manner that’s both seamless and endlessly surprising.


Sean Hayes

official band site »

If there were a map of Sean Hayes’ 20-plus year career, it would be circuitous. A tangled criss-crossing of backroads and blue highways denoting place, influence, and trajectory. You can hear it in the deep-roots syncopation, in the dusty folk-stomp and in the biorhythmic pulse that ebbs and thumps throughout his soul-tinged songs.

For Hayes, it’s never been about the destination. It’s always been about the journey: The words on paper, fingers on strings, impromptu dance parties, darkened clubs, late night mysteries, firing synapses, human connection, deeper meaning and the kind of beats that really make a body move. “I got moves the kids ain’t seen,” he sings on “Magic Slim vs. Dynamite.” The smoke-and-sparklers dance party video for the song aptly captures the serious fun of his music.

Horse Head McGee


 
Cornmeal
Trace Friends Mucho | @The 8x10 | view more info »
May
2

Cornmeal

Trace Friends Mucho


Friday May 2|doors 8:00 pm|all ages
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


Cornmeal

official band site »

Cornmeal has never been a band to shy away from reinvention and after over a decade, 2013 proves to be just that as the band sets out with a newly reformed lineup and a fresh energetic sound. Heavily influenced by American roots and folk music, Cornmeal blends lightning fast tempos and impeccable harmonies into an unrivaled live performance that continues to expand upon the five-piece acoustic-electric groups’ vast musical repertoire.


Trace Friends Mucho

official band site »

Put together on a whim, TFM fell in love with the sound and energy on stage. Born on the stage of the 8x10 and in the living rooms of all the members, Trace Friends (for short) has been described as, "if the Ratpack and the Highwaymen had a bastard child and dropped them off on Cross St. to be raised you would get Trace Friends Mucho."


 
Moon Hooch
Sakima | @Gypsy Sally's | view more info »
May
4

Moon Hooch

Sakima


Sunday May 4|doors 7:00 pm|21+
Gypsy Sally's|get directions »
3401 K St NW
Washington DC|p: (202) 333-7700


Moon Hooch

official band site »

The reaction is instantaneous. It doesn't even matter when they're the opening act no one in the room has heard before -- as soon as Moon Hooch starts playing, it's as if the room becomes a living, surging, pulsing thing. They call it "cave music": like house music, but more primitive and jagged and raw. But there are no DJs or manufactured beats here -- just one drum kit and two saxophones.

Moon Hooch -- saxophonists Mike Wilbur and Wenzl McGowen, and drummer James Muschler -- met while all three were students at The New School for Jazz and Contemporary Music in New York City. They found in each other a similar drive to work hard, practice, and create new, unusual sounds with their instruments. They first played in the summer of 2010, busking in front of the Metropolitan Museum of Art.

Later that summer, the band set up to play on the L train subway platform at Bedford Avenue in Brooklyn. Above ground and a few blocks way, Modest Mouse was playing a concert at the Williamsburg Waterfront, which was rained out just a few songs in; hundreds of hungry music fans flooded the subway and stumbled upon Moon Hooch -- initiating an impromptu underground rave, along with a habit of having their platform parties shut down by the police. (They've since been banned from playing in the Bedford station by a weary NYPD. Fortunately, there are plenty of other, friendlier stations... for now.)

The "cave music" sound developed around an organic approach to playing electronic dance music. The looping, frenetic sax melodies and James's furious drumming are fierce and trance-like, as Mike and Wenzl rock back and forth, pushing and pulling each other from across the stage. Sometimes Wenzl switches over to a contrabass clarinet, or inserts a long cardboard tube into the bell of his sax to create the deep, throbbing womp of a dubstep bassline. It's manic, and thrilling, and perhaps a little bit evil.

One time, someone hollered at them between songs, "What are you called?" The trio didn't have a name yet, but Mike blurted out "MOON JUICE!" It seemed like a good fit, until they Googled the name and found a number of other bands were already using it, so a few minutes of thesaurus-diving yielded a suitable synonym for "juice," and Moon Hooch was born.

They recorded their self-titled debut album at The Bunker Studio in Brooklyn in the space of one 24-hour period. Their fanatical rehearsal regimen and hours-long busking sessions had prepared them well; most of the 13 songs were recorded in a single take.

After several months of busking on New York City subway platforms, Moon Hooch was spotted by former Soul Coughing frontman Mike Doughty, who was so taken with them that he invited them to open his national tour. That immediacy that served them so well in the underground translated nicely to rock club stages, as Moon Hooch began building a fan base across the country. Early in the tour, the band asked an audience in Harrisburg, Pennsylvania, if anyone had a floor they could crash on; the couple who offered their house joked that the band's music would make a great alarm clock. Well, the Hooch abides: at 9 AM the next morning, Moon Hooch was set up in their living room, and brought them dancing down the stairs to greet the day. (Lest you think this apocryphal, the whole thing's on YouTube.)

The band continued to play shows above ground, including gigs supporting Galactic and a CMJ showcase with the Soul Rebels and Maceo Parker, and U.S. tours supporting Lotus and They Might Be Giants. In the summer of 2013, Moon Hooch will graduate from busking at the ferry dock during New York's Governor's Ball Music Festival to playing the festival itself. And their album, heretofore only available from the hand of a band member at gig, will finally get wider distribution when it's re-released by Hornblow/Palmetto Records in June, with a new song added for good measure.

By organifying electronic music, by producing synthetic sounds with acoustic musical machines, Moon Hooch creates hope that anything synthetic can be replaced with something organic.


Sakima

official band site »

Sakima performs a plethora of musical tastes and varieties paying homage to rock, jazz, funk, blues, bluegrass, reggae and world fusion. This group blends these many textures of sound together to create new concepts with an all original expedition. Sakima has hit the scene ready to permeate the ears of listeners with music that comes direct from the heart and soul. This band promotes unity and peace by bringing people together to celebrate life while expressing our collective complex nature via musical exploration and experimentation.


 
Papadosio
ELM | @9:30 club | view more info »
May
9

Papadosio

ELM


Friday May 9|doors 10:30 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Papadosio

official band site »

The information age has a sound. Revolutionary technology meets a revolutionary message in Papadosio. Melding progressive rock with psychedelia, folk with electronica, and dance music with jam, the quintet has amassed a dedicated following of thousands of likeminded individuals sowing the seeds of unity and spreading the sounds of exaltation. Singer-songwriter Anthony Thogmartin’s visionary lyrics, eclectic production, and signature guitar work are anchored by the rock solid battery of drummer Mike Healy and bassist Rob McConnell. The quintet is rounded out by brothers Billy and Sam Brouse, whose virtuosic two-headed keyboard, synth, and programming attack give the band its unmistakable complexity and intensity.


ELM

official band site »

ELM (Electric Love Machine) is a Baltimore based quartet that combines Electronica, Dance, Rock, Soul, and Funk into an incomparable, high energy live music experience. The heartbeat of ELM is drummer, Steve Gorsuch, who lays down relentless dance beats on a traditional kit peppered with polyrhythms and electro-glitches on Electronic drum pads. Locking in on those beats with surgical precision on the bass is Colin Rappa. He has a Jazz background and plays tight, melodic bass lines that are grounded in unreality. On piano, synth and backing vocals is Jon Brady. Tron’s modulating hooks, speed and accuracy are the zenith of ELM’s sound. Rounding out the quartet on guitar and vocals is Jon Wood. Jon has a versatile vocal range and has a unique guitar playing style that includes solid rhythm playing, melodic interplay, and searing leads. In addition to their original compositions and face melting jams, they like to play popular and classic tunes by other artists like David Bowie, Talking Heads, Daft Punk and many others. XenofoneX is the band’s debut album, and it was recorded, mixed and mastered by Chris Bentley at The Bunker Studio in Maryland. Props must go to the band’s stellar management team, who have been infinitely accommodating, supportive, flexible, and good looking. ELM is eternally grateful for all the support they have received from family, friends and fans, and collectively intend to help this community flourish and grow and break down barriers in music, art and life.

2-Night Pass

Click Here For 2-Night Pass for Friday, May 9 and Saturday, May 10

Single Night Ticket

Click Here For Single Night Ticket for Friday, May 9


 
Papadosio
The Mantras | @9:30 club | view more info »
May
10

Papadosio

The Mantras


Saturday May 10|doors 8:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Papadosio

official band site »

The information age has a sound. Revolutionary technology meets a revolutionary message in Papadosio. Melding progressive rock with psychedelia, folk with electronica, and dance music with jam, the quintet has amassed a dedicated following of thousands of likeminded individuals sowing the seeds of unity and spreading the sounds of exaltation. Singer-songwriter Anthony Thogmartin’s visionary lyrics, eclectic production, and signature guitar work are anchored by the rock solid battery of drummer Mike Healy and bassist Rob McConnell. The quintet is rounded out by brothers Billy and Sam Brouse, whose virtuosic two-headed keyboard, synth, and programming attack give the band its unmistakable complexity and intensity.


The Mantras

official band site »

Building a reputation as a go-for-broke live act, The Mantras have been playing to consistently larger crowds all over the East coast and Midwest. Steadily building a following both regionally and nationally with music that is a high-energy collaborative of funk-rock, middle-eastern, electronica, and metal; The Mantras’ music is sure to shake your knees and rattle your toes. All of this is combined with the amazing and awe inspiring 3D projections of VIDEOmetry to make The Mantras one of the hottest tickets touring today.

2-Night Pass

Click Here For 2-Night Pass for Friday, May 9 and Saturday, May 10

Single Night Ticket

Click Here For Single Night Ticket for Saturday, May 10


 
The Congress
@Gypsy Sally's | view more info »
May
15

The Congress



Thursday May 15|doors 7:00 pm|21+
Gypsy Sally's|get directions »
3401 K St NW
Washington DC|p: (202) 333-7700


The Congress

official band site »

Evoking emotions that you thought had long passed – the feeling of your first cigarette, or the way you feel listening to a worn vinyl as it warmly crackles against the sound of a summer night – The Congress is naturally compared to many names and styles of years gone by. But drawing such comparisons is, in many respects, a misguided endeavor. Misguided not because you’d be wrong, but because you’d be missing the beautiful point – The Congress are a natural evolution of more than 60 years of purely American music. With a spirit rooted just south of the Mason-Dixon Line, and now calling Denver – “The Queen City of the West” – their home, they’ve got enough soul, grit, and have spent enough time in the woodshed and on the road to call them pretty much whatever you want. But whatever words you think you need to describe their contribution to the American music tradition – save your breath. The Congress play Rock & Roll.



 
Dark Star Orchestra
@Rams Head Live | view more info »
May
18

Dark Star Orchestra



Sunday May 18|doors 7:00 pm|all ages
Rams Head Live|get directions »
20 Market Place
Baltimore, MD|p: (410) 244-1131


Dark Star Orchestra

official band site »

Dark Star Orchestras shows are built off the extensive catalog of the Grateful Dead. On any given night the band will perform a show based on a set list from the Grateful Dead's 30 years of extensive touring or use the catalog of original songs and often played covers to create a unique set list for the show. This allows music fans both young and old to share in the experience. Dark Star Orchestra presents its critically acclaimed live show at esteemed venues from coast to coast and internationally. Grateful Dead classics are performed in the same way that an orchestra interprets music of classical composers. The composer spirit is derived and channeled as the players capture the excitement and innovation of the original performances and compositions. Touring nationwide for over 15 years to the tune of nearly 2200 shows since forming, the band's determined commitment to "raising the Dead" has drawn national media attention.



 
Rusted Root & The Wailers (Performing 'Legend' In It's Entirety)
Adam Ezra Group | @9:30 club | view more info »
May
29

Rusted Root & The Wailers (Performing 'Legend' In It's Entirety)

Adam Ezra Group


Thursday May 29|doors 7:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Rusted Root

official band site »

Formed in the early 90’s by singer/guitarist Michael Glabicki, Rusted Root’s worldly style quickly charmed fans of roots music and world rock. To date they have released 7 albums and sold over 3 million records worldwide. After debuting in 1992 with the self released Cruel Sun, Rusted Root signed with Mercury Records and released the 1994 platinum selling breakthrough When I Woke, which featured the massive hits Send Me On My Way, Ecstasy and Martyr. Their huge success allowed the band to tours with Santana, The Grateful Dead, Dave Matthews Band, The Allman Brothers Band, HORDE Festival and, perhaps most notably, the highly coveted support role on the landmark Jimmy Page/Robert Plant reunion tour. In 1996, the hard-touring Rusted Root returned with Remember, which was followed by 1998’s Rusted Root. In 2002 the band reemerged with Welcome To My Party. In 2004, the band released a double live album aptly entitled Rusted Root Live; This double set was the second release Rusted Root’s Touchy Pegg label, following the re-release of the newly remastered Cruel Sun in 2003.


The Wailers (Performing 'Legend' In It's Entirety)

official band site »

There is no more legendary band in Jamaican music history than The Wailers. Formed in 1969, the group has created an extraordinary body of work whose echoes are heard in every corner of the world today. Original members included the man hailed as “The Artist of the 20th Century,” Bob Marley and his vocal partners Bunny Wailer and Peter Tosh, alongside the ground-breaking rhythm section of the Barrett brothers, Carlton on drums and Aston “Family Man” on bass. Today Aston leads the band as it continues its worldwide campaign of promoting peace, love and equality through the message of reggae and Rastafari.


Adam Ezra Group

official band site »

The Adam Ezra Group (AEG) is not just a band; they are a force to be reckoned with musically, personally and socially. Selling records and tickets is important to AEG, but they are committed to changing the world with their songs and their actions along the way. Ezra and his band are activists and community leaders as much as they are musicians and songwriters. Ezra has spent time living out of a van, farming in Canada, volunteering for the relief effort in Kosovo, and practicing environmental geography in South Africa. Whether as a kitchen hand or carpenter, teacher, athlete, or traveler, Ezra crams it all into the music, always challenging our perspective and often teetering somewhere between the ballsy rocker and sensitive poet. Through their non profit organization, RallySound, AEG helps people organize live music events that inspire communities and encourage grassroots activism.


 
Spirit Family Reunion
@The 8x10 | view more info »
Jun
5

Spirit Family Reunion



Thursday Jun 5|doors 8:00 pm|all ages
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


Spirit Family Reunion

official band site »

Spirit Family Reunion play homegrown American music to stomp, clap, shake and holler with. Ever since they started singing together on the street corners, farmer's markets and subway stations of New York City, their songs have rung-out in a pure and timeless way. When Spirit Family Reunion gather to sing, there is communion. Strangers and neighbors come to rejoice in the sound, and there is no divide between performer and spectator.

In a strange barroom or a grand music hall, at a barn dance or on the sunny street corner, Spirit Family Reunion keep the book open, and that old familiar feeling that was almost lost is again new.

"Dusty acoustic guitars, wailing fiddles and weeping accordions, with a woozy-yet-skintight rhythm section-- and topped off with burr-edged vocals that sound like they've been soaked in a Mason jar for generations -- it's the type of music that blurs the line between past and present so thoroughly, and so deftly, that time feels irrelevant."



 
Rebelution
Iration | The Green | Stick Figure | @Pier Six Pavilion | view more info »
Jun
15

Rebelution

Iration
The Green | Stick Figure

Sunday Jun 15|doors 5:30 pm|all ages
Pier Six Pavilion|get directions »
731 Eastern Ave
Baltimore, MD|p: (410) 783-4189


Rebelution

official band site »

With the band’s 2012 album having debuted at #1 on Billboard’s Reggae and Independent charts, and at #13 on the Top 200 Albums chart, Rebelution will follow up with Count Me In, their fourth full-length release, on June 10. The album will be released on Rebelution’s own label, 87 Music, in partnership with Easy Star Records. Fans can get a taste of the new music by going to www.rebelutionmusic.com for a free download of the track, “De-Stress.”

“From writing these songs to mixing and mastering the album, we were involved in every step,” said Rebelution’s vocalist/guitarist Eric Rachmany. “We’re becoming comfortable expressing ourselves both in the studio and on stage. This album was truly fun to make, it’s an honest expression of who we are.”

Count Me In was produced by the SoCal-based Rebelution (Rachmany, Rory Carey/keyboards, Marley D. Williams/bass, and Wesley Finley/drums), and recorded in Miami and Burbank, CA between September and December of last year. The album features special guest appearances by dancehall singer Collie Buddz (on the track “Hate To Be The One”) and legendary roots reggae vocalist Don Carlos (on “Roots Reggae Music”). Buddz has toured with Rebelution, and Carlos has been an enormous vocal influence on Rachmany, so these are both special pairings for the band.

Rebelution chose the album’s title as each member is a strong believer in the sense of community and collaboration. “Over the past ten years as an independent band,” Rachmany explained, “we have felt a strong connection to the many people who have been incredibly supportive, and could not be more thankful to be a part of such a like-minded, positive and inspiring community.”

While the music and lyrical content varies on Count Me In, the album’s11 tracks provide positive inspiration, encouraging fans to create a pro-active and optimistic impact on society and life. “A lot of what we hear every day is that money measures success,” added Rachmany. “This new album is a reminder to spread love and positivity to the people around us - these are the true measures of success.”

Originally formed in Santa Barbara, CA in 2004, Rebelution’s strong DIY mentality, relentless touring and deep connection to their fan base via social media, has led them to being one of the best-selling reggae artists on the planet. Since the 2007 release of Courage to Grow, the band’s first full-length album, Rebelution’s music has been praised for its crafty melodies, socially-conscious lyrics and savvy musicianship. Courage to Grow was selected as the iTunes Editors Choice for Best Reggae Album, went to #4 on Billboard’s Reggae charts, and the track “Safe and Sound” was in rotation at powerhouse radio stations such as San Francisco’s Live 105, San Diego’s 91X and KROQ in Los Angeles. Bright Side of Life, the band’s second album (2009), took the #1 spot on iTunes in the Reggae music genre, charted at #1 on Billboard’s Top Reggae Albums, and #54 on Billboard’s Top 200 Albums charts. And despite giving away half of the album to their fans during the six weeks leading up to its release, Rebelution’s third album Peace of Mind, aptly demonstrated a steady and impressive growth when it debuted at #1 on Billboard’s Independent and Reggae charts, and at #13 on the Top 200 charts. In addition, Rebelution has performed at festivals such as Bonnaroo, Lollapalooza, Austin City Limits and Glastonbury, and has sold out headlining performances at amphitheaters across the USA such as Denver’s Red Rocks and Berkeley’s Greek Theatre. Not bad for a totally DIY band with no major label support.


Iration

official band site »

The Green | Stick Figure

official band site »

Official Band Site >>


 
Xavier Rudd
Ash Grunwald | @9:30 club | view more info »
Jun
22

Xavier Rudd

Ash Grunwald


Sunday Jun 22|doors 7:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930


Xavier Rudd

official band site »

With an identifiable array of guitars, yidakis (didgeridoos), stomp box and percussion, Rudd’s has reintroduced Australians to the sounds and stories of the land’s original owners, while introducing the rest of the world to an entirely new sound altogether. Over the course of a decade, he has taken this sound to every corner of the globe; producing seven studio albums, two live albums, multiple ARIA nominations and a global fan-base of likeminded souls.


Ash Grunwald

official band site »

The music traverses many a tale as well; the blues propelled by driving dancefloor rhythms, buoyed by hip hop beats and slammed by the dubstep crunch. Naturally. 10 years since the release of that first blues record and hundreds of thousands of arses shaken since, Ash welcomes you as always to strive toward life’s greatest mission amongst the sadness and the challenges – the presence of good times and the possession of a happy heart.


 
Lake Street Dive
The Sun Parade | @9:30 club | view more info »
sold out
Jun
24

Lake Street Dive

The Sun Parade


Tuesday Jun 24|doors 7:00 pm|all ages
9:30 club|get directions »
815 V Street NW
Washington DC|p: (202) 265-0930
Sold Out


Lake Street Dive

official band site »

Lake Street Dive find themselves on the cusp of stardom, though they insist they will always be the same people whose stage outfits once consisted of matching sweater vests. “We realize this could all go away tomorrow,” says Rachael Price. “But that won’t change what we do. We want to continue to do this for a long, long time. This is what we love. We just want to make sure we keep enjoying ourselves.”

Lake Street Dive have been performing for nearly a decade after meeting as fellow students at the New England Conservatory in Boston. The band was hand picked by Minneapolis trumpet/guitar player Mike Olson and named after an actual neighborhood of seedy bars in his hometown. Vocalist Rachael Price came from outside Nashville, Tennessee, stand-up bassist Bridget Kearney was an Iowa native, while drummer Mike Calabrese called Philadelphia home. “I wasn’t only impressed with their musicianship,” says Olson, who acquired the nickname “McDuck” while at the conservatory for his reclusive ways. “They were also a lot of fun just to hang out with. The first four years of rehearsals were more like glorified dinner parties.”

Lake Street Dive has come a long way, but this just could be the start of something even bigger.


The Sun Parade

official band site »

Chris Marlon Jennings and Jefferson Lewis are two roving Northern gents who blaze their guitars and sing lusty pop songs of their own brand. At times incanting psychedelia, Nirvana, and disco, they find their roots in bluegrass and the magic of The Beatles. Jacob Rosazza and Noam Schatz are the heavy rhythm backbone that makes “folk/rock” really rock. Based in Northampton MA since 2011, The Sun Parade has been steadily creating a buzz and has many loyal fans across the country. They are in the midst of creating a new “power-pack” EP for release in early 2014 and will be touring in March for their 3rd SXSW.


 
Ozric Tentacles
@The 8x10 | view more info »
Jun
26

Ozric Tentacles



Thursday Jun 26|doors 8:00 pm|all ages
The 8x10|get directions »
10 E. Cross St.
Baltimore, MD|p: (410) 625-2000


Ozric Tentacles

official band site »

A campfire at the Stonehenge free festival in 1983 witnessed the birth of Ozric Tentacles. It was there that composer and band leader Ed Wynne (guitar & keyboards), and brother Roly Wynne (bass), who were performing in a group known at the time as ‘Bolshem People’, along with drummer Nick 'Tig' Van Gelder (Jamiroquai), stumbled upon keyboardist Joie Hinton. After a session of warming their bones and discussing imaginary breakfast cereals, the group went to perform an impromptu late jam session. Over the course of what became an epic six hour performance, an audience member inquired as to the name of the band. Randomly thinking back to the group’s former conversation, visions of ridiculous mythical mueslis entered Ed’s mind, and consequently he replied; “Ozric Tentacles”. (…Good job too, since some of the previous alternatives had been “Desmond Whisps”, “Gilbert Chunks” and “Malcolm Segments”).

From that very first jam session, a musical compatibility was evoked that has since been a trademark of the Ozric Tentacles. It's a signature blend of hippy aesthetics and raver electronics with spiraling guitars, textured waves of keyboards, midi, samplers, and super-groovy bass and drum rhythms. Before long the band was laughing in dismay, as requests came piling in from people who were looking for more music by “Ozric Tentacles”, or “The Ozrics”, (as they had become more commonly known). The band swiftly claimed their place as a staple of the UK's burgeoning festival scene, and are now credited as one of the influential musical linchpins of the scene's re-emergence.

1984 saw the band's first cassette release, “Erpsongs”. Recorded at home on a barely more than a domestic hi-fi and lined with hand drawn covers, it ignited the underground psychedelic scene. The album showcased a variety of styles, which has been a characteristic feature of the band throughout their career. Some tracks seemed a mixture of alien, spacey sounds in a floating ambiance, while other tracks showed the Ozrics' harder rock tendencies with a solid rhythm section underpinning soaring guitar and synthesizer passages.

1986 was a very productive year for the band with three cassette releases, “Live Ethereal Cereal”, “Tantric Obstacles”, and “There Is Nothing”. Live Ethereal Cereal, record from those early festival jams, showed the band to be hot psychedelic property indeed. There was also a truly new and unique form of reggae and dub emerging in their recordings intrinsic to Ozrics’ sound. ‘There Is Nothing’ featured increasingly more ethnic elements. Scales, styles, and samples gathered by Joie on visits to India, and Ed on trips to Thailand became deeply entwined with the band's sound.

At Stonehenge festival the year following the bands inception, Ozrics had picked up a second synth player, Tom Brooks, who helped to fill in the audio spectrum with bubbling ethereal effects. In 1987 “Horse Drawn Tom” gave up his synthesizers for greener pastures, (…after renouncing the electricity used to power them). Following Tom’s departure, Ed found himself forced to fill the sonic gap by focusing more on his own synthesis and keyboard skills. (A concept that had become appealing to Ed after releasing “The Grove of Selves” by Nodens Ictus, earlier in the year. Nodens Ictus was Ed and Joie’s ambient project, still very “Ozricky”, but mellower in nature and without the live rhythm section, hence they decided that they should release the project under a different name.) This shift would prove not only to be a comfortable success for Ed, swapping seamlessly between guitar and keyboards, but the ethereal sounds of his Sequential Circuits Pro-One synth, and Roland D-50 keyboard would essentially become a molecular base of Ozrics’ DNA.

1988 saw the band's most cohesive and endearing of the early cassette releases, “Sliding Gliding Worlds”, a favourite for many friends and fans. Around the same time, drummer Tig evaporates, and Ozrics recruit Merv Pepler, a 21 year old phychobilly drummer from Somerset. Merv’s raw untrained energy, which managed to shift through multiple time-signatures without a thought of it, would not only suit the band, but inherently provide a solid backbone for their sound. Six months later the band would release their last cassette-only release, “Bits Between The Bits”, and closed the tape only period of the band with a collection of odds and ends from the 1985 - 89.

The live performances from this time have become something of folklore amongst the hardcore fan-base: jam sessions lasting for hours and featuring an array of musicians. Tape trade amongst these fans has reached the feverish dedication shown by the Dead-heads in the USA, with similar rules of free trade and no profit. Realizing that signing with any of the established companies would inhibit their creative freedom, in 1989 the band formed their own record label, “Dovetail Records”. Their first major release, (available on CD, vinyl, and cassette), “Pungent Effulgent” invoked a clutch of rave reviews from somewhat startled music journalists, and is also a blinding example of the live experience and the raw energy the Ozrics put into every performance.

Throughout the early 1990's, constant touring of the UK helped the Ozric Tentacles to build a tremendous national fan base on a grass roots level. In 1991 the band’s first and only single was released. “Sploosh!” scored the group a #1 in the indie charts, and spilled the band into the mainstream. The single was released just as dance music was exploding in the UK, and the ravers embraced its hypnotic pulse. The subsequent album “Strangitude” took the music to a new level, leaning towards electronic but retaining the authenticity of an Ozric recording. By 1992 The Ozrics were the soundtrack to the summer. Travelers were suddenly trendy and free festivals were attracting tens of thousands of people.

With the band's 1993 release "Jurassic Shift," which debuted at #11 on the British indie chart and climbed into the Top 10 in the National Album Charts, the Ozrics eventually won over the adulation of mainstream press, and found themselves heralded in publications such as NME and Melody Maker. It was, and still is, an astonishing accomplishment for a band with no celebrity status, and no major record label backing.

Over the years Ozrics have toured extensively both at home and abroad, performing regularly throughout Europe, Asia, North America, and South America. Ed’s influences are rooted in ethnic scales and the native music of many continents, rather than from any particular artist and this is continually illustrated in the twists and turns of each piece and the varying sounds used in their construction. As the Ozrics continue to create genre-free music with no boundaries in sight, it means that their aim and goals are enthusiastically raised as they strive to take each track to a new level, and each album must grow substantially for the band to be satisfied.

Post 1994, along with the release of “Arborescence”, the music press had realized that the Ozrics were never here for chart success, nor to be the latest fad, rather to simply have the opportunity to explore their music with an almost obsessive zeal by wringing the most bizarre and unlikely sounds from whatever instrument they happened to be playing, …and long may they continue to do so!



 
JJ Grey & Mofro
Cris Jacobs Band | @Flying Dog Brewery | view more info »
Jun
28

JJ Grey & Mofro

Cris Jacobs Band


Saturday Jun 28|doors 5:00 pm|21+
Flying Dog Brewery|get directions »
4607 Wedgewood Blvd
Frederick, MD|p: (301) 694-7899


JJ Grey & Mofro

official band site »

Over the course of six albums and a decade of touring, JJ Grey's grimy blend of front porch soul and down-home storytelling has taken him around the world and back again. Beating the streets on nearly every continent, he and his band Mofro have sewn a continuous thread of laying-it-on-the-line shows that move folks to dance and at times to tears.

JJ was raised in North Florida by a typically Southern extended family that valued hard work and self-reliance. This upbringing permeates his no nonsense approach to writing and performing and has given him an abundance of material to write about in his songs.

“A friend of mine once said that we’re all characters if we're given enough room to be one. I guess I was lucky enough to be surrounded by people who had plenty of room cause Lord knows I know some larger-than-life ones. I’ve had a lot of laughs and good times with those characters. We’ve shared some hard times too.”


Cris Jacobs Band

official band site »

After 10 years fronting the Baltimore band The Bridge, Cris Jacobs is continuing to show his depth and range as a gifted songwriter and performer. With his deeply expressive vocals, passionate and gritty guitar playing, and poignant songwriting, Cris creates an instantly engaging sound that ranges from intensely rockin’ to sublimely sweet to hauntingly psychedelic. Cris’ prolific songbook provides the fertile ground for his improvisational fearlessness, creating a truly dynamic live experience.