Amanda Fish

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Amanda Fish began as a singer songwriter in late 2012, refining her original material as a solo act for 2 years before she formed her band in early 2014, a Roots Rock and Soul project featuring Amanda's signature 'from-the-gut' vocals locked into a sturdy groove.

In 2015, she released her first LP, "Down In The Dirt", on VizzTone Label Group, for which she was awarded the 2016 "Sean Costello Rising Star" Blues Blast Music Award. Amanda and her band set Beale Street on fire in the 2017 International Blues Challenge Semi Finals, playing new material slated for her next release.

Chuck Mead & His Grassy Knoll Boys

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He‟s been known as the co-founder of the three-time Grammy nominated BR549, the honky-tonk
heroes that almost single-handedly lit and carried the blowtorch for the mid-„90s alternative country
explosion. He‟s been hailed as „The Hillbilly Renaissance Man‟ for his subsequent successes as a
songwriter, performer, producer and musical theater director. Now after more than a decade as one of
the most uncompromising and consistent talents in the American roots music movement, Chuck
Mead at last emerges with the most anticipated role of his entire career: Solo Artist.
With Journeyman’s Wager, Chuck Mead throws down the gauntlet with an album that defies all
sonic expectations while re-defining his position as one of the hardest-working artists in the business.
“I respect the term „journeyman‟,” Mead says, “because that‟s I what consider myself. I‟ve been living
by my wits musically for more than 20 years now, going from job to job and doing them all pretty well.
Certainly there‟s a hustle to what I do, but there‟s always been a gambling aspect to it, too. With this
album, it‟s finally all me going all-in. It‟s a record that challenges listeners in a good way. Best of all,
I‟ve challenged myself.”
Produced by Grammy-winner Ray Kennedy, the eleven tracks on Journeyman’s Wager embody not
only the core of country music, but also the pulse of pop, R&B, hillbilly rock, Gospel and beyond. “Why
be confined by barriers or genres?” Chuck asks. “As far as I‟m concerned, it‟s all American Music.
These are the sounds that made up my musical vocabulary. I still believe that American Music is
about real things, good stories and unique songs. And I‟m willing to bet that most everyone else does,
too.”
“It‟s hard to believe that it‟s taken him this long to make a solo record,” says producer/engineer Ray
Kennedy, best known for his work on classic albums by Lucinda Williams and Steve Earle. “What sets
Chuck apart from so many artists is that he‟s a genuine hard-working, blue-collar performer. I hate the
word „old-school‟ but we didn‟t want this album to sound like a lot of modern records where everything
is over-tweaked and perfect. We knew we had to make it intimate and real.” Kennedy recorded the
entire album analog on two-inch tape, in a studio full of both state-of-the art and vintage equipment
that included „60s tube microphones, a Vox Continental organ, and a badass band that featured
Kenny Vaughn (Marty Stuart), Audley Freed (The Black Crowes), Mark Miller (BR549), Mark Horn
(The Derailers), Dave Roe (Johnny Cash), Mike Henderson (The SteelDrivers), Pat Sivers (The
Everly Brothers) and Jen Gunderman (The Jayhawks). “Chuck is the same in the studio as he is on
stage,” Kennedy explains. “He loves working without a net. There are a lot of multiple voices singing
into one microphone and the band playing together in one room. Most of all, it‟s an album that really
represents his worldview song-wise. It has humor, intelligence, sarcasm, a bit of politics and a lot of
spontaneity. Plus he‟s singing his ass off. Chuck doesn‟t have a model; he really is a journeyman in
that songwriting and entertaining is his life.”
For Mead, life and music have always been irrevocably intertwined. “I joined my first band at 12 years
old,” he explains with a laugh. “Ruint me forever.” Throughout his 20s, he led several groups in and
around his hometown of Lawrence, Kansas, including the popular Mid-western cult band The
Homestead Grays. By the early „90s, Chuck found himself as an itinerant musician on Nashville‟s
then-seedy Lower Broadway. It was a place in time where a performer armed with only the vision of a
sonically relentless hillbilly band with nothing to lose could try anything. Within months, Mead cofounded
a quintet that began playing must-see marathon sets in the front window of bar/bootery
Robert‟s Western World. Seven albums, three Grammy nominations and millions of worldwide fans
later, BR549 would become one of the most improbable success stories of the past decade.
“BR549 is on extended hiatus,” Chuck now says. “We were – and remain – a family, and taking a
break from each other will make us miss each other more. We survived the highs, the lows and all the
hype, and we still had fun making music we love. But it was also time for me to do my own thing.”
With the exception of occasional reunions on Prairie Home Companion (at the behest of longtime fan
Garrison Keillor) and benefits for favorite charities, Mead‟s post-BR career soon became known as
much for its continued integrity as for its eclecticism. He founded the touring collective The Hillbilly All-
Stars featuring members of The Mavericks, co-produced acclaimed tribute albums to Johnny Cash
and Waylon Jennings, guest-lectured on „The Sociology of Modern American Culture‟ at Vanderbilt
University, and became a staff writer at one of Nashville‟s top song publishers. In 2007, he was
named Musical Director of Million Dollar Quartet, the new hit stage musical based on the night in 1956
that Johnny Cash, Jerry Lee Lewis, Carl Perkins and Elvis Presley came together for an impromptu
jam session. “It‟s been incredibly liberating to do all these things I‟ve never done before,” Chuck says.
“But most of all, I wanted to call my own shots and make a record that mattered.”
Ten of the eleven tracks on Journeyman’s Wager are co-written by Mead, who‟d spent the past year
working with such idiosyncratic and award-winning songwriters as Tia Sillers, Bobby Huff, Greg
Crowe, Patrick Davis, Angeleena Presley, Mark Collie and Jon & Sally Tiven. The album roars out of
the gate with the twanging highway stomp of “Out On The Natchez Trail”, and runs head-on into the
sinister mystery of “Gun Metal Grey”. The horn-powered “She Got The Ring (I Got The Finger)” is a
sly nod to Jerry Reed‟s “She Got The Goldmine (I Got The Shaft)”. There‟s classic country-pop
wisdom in “Albuquerque”, gentle insight in “Up On Edge Hill”, and hard-driving good times in “I Wish It
Was Friday”. “A Long Time Ago” is a paean of pedal-steel regret, while “After The Last Witness Is
Gone” is a bold testimonial that‟s equal parts honky-tonk and roadhouse rocker. “In A Song” may be
the album‟s genuine showstopper, a gloriously sanctified testament to the Everlasting Church Of
Music. The disc‟s sole cover is a fiery version – complete with yodeling – of George Harrison‟s “Old
Brown Shoe”, the obscure Beatles b-side from “The Ballad Of John & Yoko”. The album closes with
the assured shuffle-funk of “No Requests”, a song whose chorus is a potent statement of purpose
from an artist who is now truly his own man.
“Even when BR549 were being called a throwback act, we never allowed ourselves to be classified,”
says Chuck. “The key was to always bring something new to everything we did. Today my slate is
cleaner than ever before. This album is all me, doing what comes naturally.” For Chuck Mead, the
time has come for one of Americana‟s most uncommon artists to finally step out, step up and be
heard on his own unique terms. And in a game where sure bets are rarely the real deal, one
singer/songwriter/performer is again unafraid to lay it all on the line. “I mean everything I say on this
album,” Chuck Mead says. “You can tell it with a wink and a smile, but it‟s still the truth. And the truth
is that Journeyman’s Wager is the culmination of everything I‟ve learned. These are my decisions.
This is my music.”

OUR LINKS

• Chuck Mead & His Grassy Knoll Boys Homepage

Ricky Dean Sinatra

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Gutter Demons

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Ghost of Grandads Past

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Unmerciful

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Gravehuffer

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Bleed The Victim

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Una Walkenhorst Band

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Teri Quinn and Friends

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Hannah Norris & The Band

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The Phantastics

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The Phantastics are a eight member musical ensemble that specializes genre-blending hip-hop. Expect to hear rock, rap, dance, funk, jazz and soul in our music. We were formed in December of 2010 and have been trying to save live music ever since.

thePhantom*- Lead Spokesman/Vocals / Bowties
Leigh Gibbs - Vocals/ Soul Sista lovin'
JJ Cantrell- Lead Guitar/ Vocals/ Nipples
Danny Florez- Elictric Bass/ Vocals/Kill Streak
Ashley Thompson- Drums / Twizzlers
DJ Mitchell- Saxophone/ Karate chops
Tim Pistone- Percussion / loaded brownies
ZSonic Bailey- DJ / busted ear drums
Austin Quick-Keyboard / Bee Gee

OUR LINKS

• The Phantastics Homepage
• On Facebook
• On Twitter

with special guest

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Duncan Burnett x RIOT

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Fruition

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Fruition
Jay Cobb Anderson (vocals, lead guitar, harmonica) / Kellen Asebroek (vocals, rhythm guitar, piano) / Mimi Naja (vocals, mandolin, electric & acoustic guitar) / Jeff Leonard (bass) / Tyler Thompson (drums, banjo)


On their fifth full-length, Watching It All Fall Apart, Fruition transform pain and heartache into something truly glorious. With their songwriting sharper and more nuanced than ever before—and their sonic palette more daringly expansive—the Portland, Oregon-based band’s full-hearted intensity ultimately gives the album a transcendent power.

“The songs are mostly breakup songs,” says Asebroek. “There was love and now it’s gone—we fucked it up, or some outside circumstance brought it to an end. It’s about dealing with all that but still having hope in your heart, even if you’re feeling a little lost and jaded.”

In a departure from their usual DIY approach, Fruition teamed up with producer/mixer Tucker Martine (My Morning Jacket, The Decemberists, First Aid Kit, case/lang/veirs) to adorn their folk-rooted sound with delicately crafted elements of psychedelia and soul. Showcasing the sublime harmonies the band first discovered during an impromptu busking session in 2008, Watching It All Fall Apart also finds Fruition more fully embracing their rock-and-roll sensibilities and bringing a gritty vitality to each track. “We’ve been a band almost ten years now, and we’re at the point of being comfortable in our skin and unafraid to be whatever we want as time goes on,” Anderson notes.

Recorded in ten days at Flora Recording & Playback in Portland, Watching It All Fall Apart came to life with the same kinetic urgency found in Fruition’s live sound. “It’s kind of an impossible task, this idea of transmuting the live energy into something you can play on your stereo, but I feel like this record comes close to that,” says Asebroek. At the same time, the band pursued a purposeful inventiveness that resulted in their most intricately textured work to date. “Tucker helped us push ourselves to create something that glistens in subtle little ways that you might not even pick up on at first,” says Asebroek. “We got to play around with all this analog gear and these weird old keyboards we wouldn’t ordinarily use, like a bunch of kids in a toy store where everything is free.”

On lead single “I’ll Never Sing Your Name,” that unrestrained creativity manifests in a fuzzed-out, gracefully chaotic track complete with sing-along-ready chorus. Built on brilliantly piercing lyrics (“And all those kisses that you were blowing/Somehow they all got blown right out”), the song echoes the album’s emotional arc by painfully charting the journey from heartache to acceptance. “It’s about going through a breakup, moping around, and then finally getting to the point where it’s like, ‘Okay—I’m done with feeling this way now,’” says Anderson.

Throughout Watching It All Fall Apart, the band’s let-the-bad-times-roll mentality reveals itself in ever-shifting tones and moods. On the stark and sleepy “Northern Town,” Naja’s smoldering vocals channel the ache of longing, the track’s twangy guitar lines blending beautifully with its swirling string arrangement. One of the few album cuts to have already appeared in Fruition’s setlist, “There She Was” sheds the heavy funk influence of its live version and gets reimagined as a shimmering, soulful number documenting Asebroek’s real-life run-in with an ex at a local bar. Meanwhile, “Turn to Dust” emerges as a weary but giddy piece of psych-pop chronicling the end of a failed romance. The song’s opening lyric also lends the album its title, which partly serves as “a commentary on the general state of the world today,” according to Asebroek. “Even if you’re mostly an optimistic person, it’s hard not to feel down when you look at all the insanity happening right now,” he says.

While those unflinchingly intimate breakup songs form the core of Watching It All Fall Apart, Fruition infuse an element of social commentary into songs like “FOMO” as well. Written on the Fourth of July, with its references to wasted white girls and cocaine cowboys, the mournful yet strangely reassuring track unfolds as what Anderson calls “an anti-party party song.” “It’s about one of those situations where you said you’d go to party but you really don’t want to go, because you know it’s going to be the same old bullshit,” he says. “The song is a call to defuse that guilt in your brain.” And on the sweetly uplifting “Let’s Take It Too Far,” the band offers one of the album’s most purely romantic moments by paying loving tribute to music as solace and salvation (“But don’t you worry ’bout dyin’/’Cause there’s no better way to go/We’ll sing until we’re out of honey/Then pour the gravel down our throats”).

From song to song, Fruition display the dynamic musicality they’ve shown since making their debut with 2008’s Hawthorne Hoedown LP. Through the years, the band has evolved from a rootsy, string-centric outfit to a full-fledged rock act, eventually taking the stage at such major festivals as Bonnaroo and Telluride Bluegrass (a set that inspired Rolling Stone to praise their “raucous originals filled with heartfelt lyrics and stadium-worthy energy”). Following the release of 2016’s Labor of Love, Fruition again made the rounds at festivals across the U.S., prompting Rolling Stone to feature the band on its “8 Best Things We Saw” at DelFest 2016.

In choosing a closing track for Watching It All Fall Apart, Fruition landed on “Eraser”—a slow-building, gently determined epic delivering a quiet message of hope in its final line: “Let it help you heal.” “Because there’s so much heartbreak on this album, we wanted to end on Kellen singing that last line very sweetly,” explains Anderson. “The whole point of having all these sad songs is helping people to let those emotions out—and then hopefully when they get to the end, they feel a little better about everything they’ve gone through along the way.”

OUR LINKS

• Fruition Homepage
• On Facebook
• On Youtube
• On SoundCloud
• On Twitter
• On MySpace

TK & The Holy Know-Nothings

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Matt Wilson & His Orchestra (from Trip Shakespeare)

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Kublai Khan

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Orthodox

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Vein

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Soft Kill

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Higher Power

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Modern Color

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jackLNDN

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Jeffery Bass

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Radkey

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It wouldn’t be hard to make the argument that rock and roll in its purest form is pretty much a teenage fantasy writ large. Like a blacklight poster sprung to life, the lure of picking up a guitar that will transform your adolescent bedroom into an arena filled with screaming fans and pot smoke is the myth that keeps rock and roll forever young, and it’s a kind of dream narrative that has keeps getting re-told, whether it’s The Byrds’ “So You Want To Be A Rock-N-Roll Star” or about half the tracks on Weezer’s blue album, the burning adolescent desire to nothing less than fucking rock is the very thing that makes rock music a constantly renewable resource—and it’s also what makes Radkey—a trio of power riffing brothers—such a classic kind of rock and roll phenomenon.

Formed in the quiet enclaves of St. Joseph Missouri, the trio of 20 year-old Isaiah Radke (bass), 18 year-old Solomon Radke (drums), and 22 year-old Dee Radke (vocals/guitar) began making music together in 2010. Fueled by a steady diet of Nevermind and small town boredom, Radkey’s music quickly went from a bedroom hobby into a full-time pursuit. The band opened for Fishbone in 2011 – less than a year after first playing together – and eventually headed out on the road to play shows with the likes of Red Fang, Against Me, and Touche Amore. Given that the band members were homeschooled (and thanks to their incredibly supportive parents), the idea of jumping in the family van and hitting the road gradually morphed from a kind of surreal fantasy into a much-celebrated reality. In 2013 the band unleashed two EPs (Cat And Mouse and Devil Fruit) and knocked out tons of big-ticket live appearances (including Riot Fest, Download, and, in 2015, Coachella and Japan’s Punksping) in addition to taping a memorable spot for Later with Jools Holland. Though early press on the band often focused on their unconventional backstory—a rock band comprised of three homeschooled African-American teenagers from Missouri—the band’s backstory was always eclipsed by their incendiary live sets: balls-to-the-wall garage punk that is messy, explosive, and crazy loud.

“The last couple of years have been really crazy,” says Isaiah, the group’s most outspoken member. “Traveling in England in Europe was really cool for us. It’s incredible—and such a weird feeling—that you are doing something that is actually important to people. To travel to other countries and see people singing along with us is just…it’s really strange. I never thought our music would become a thing that could take us to all of these places.”

After nearly five years of playing and touring together as a band, all of the Radkey’s hard work comes full circle on Dark Black Makeup—the band’s full-length debut. Recorded primarily in the UK alongside producer Ross Orton (Arctic Monkeys, The Fall, Jarvis Cocker), the album is a blistering punk opus—13 tracks that show off the band’s knack for combining stadium-sized riffs with surprising pop sensibilities. Tracks like “Love Spills” and “Evil Doer” rank among some of the best—and hookiest—songs the band has ever written, while tracks like “Le Song” and the album’s title track show just what an unstoppable live juggernaut the band has become. The songs are both tightly wound and explosively huge-sounding “We wanted to show people that you can still make a proper rock record,” explains Isaiah, “Something that is both super catchy and super heavy. We want people to hear it and think Fuck Yeah! Mostly we just try and only write songs that we love—that we love the shit out of—and that way it never gets boring and it never feels like a drag to play them live even if we’ve been playing them for years. It seems like a simple thing, but we really just want to make the music that we want to hear.”

Dark Black Makeup tackles more than a few teenage tropes—boredom, anger, girl problems, broken friendships—but does so in a way that is not only clever, but also refreshingly honest. No where is this more evident than on the record’s title track, which itself is a kind of high-decibel wake up call for young people to take ownership of their own lives: a sort of punch in the face for teen angst that is made all the more visceral coming from three musicians just barely out of their own teen years. “That song is about how much of your teenage years can just be such a waste,” says Isaiah, “If you spend all of your time not caring about anything just because you think you’re not supposed to then you’re probably leading such a boring life. You could be partying or making something, as opposed to just spending all your time worrying about what other people think. It’s like, wake up. Hang out. Do something. It’s annoying that you can’t necessarily change the fucking world at that age, but you can make your own situation better. Stop wasting time”

Five years in and the brothers Radkey are happy to be making a musical statement that will hopefully put to rest a few of the preconceptions that have followed them throughout their career thus far—namely those based around their age, their hometown, and race. “Surprisingly that—the racial thing—hasn’t been a factor for us,” says Dee. “Honestly, it’s never been about that. Mostly we get given a hard time about our age, but that’s also something we can’t really change. We might walk into a venue and feel like people are taken a little bit by surprise when they see us, but usually after we play all of that stuff kind of goes away. We get a lot of questions about being brothers—like, do we argue?—and it’s a good question I guess, but the answer is no, we don’t really argue very much. And yes, we all write the songs together—everyone writes—so it’s not a thing we really spend too much time thinking or talking about it.”

The ambition of Dark Black Makeup is evidenced by the heightened songwriting and broadened sonic palette, but the energy behind the music remains the same—visceral, urgent, and raw. It is the sound of three people doing what they love…loudly. “Our only ambitions have ever really been to make a record that people will love and to be able to play as many shows as we can,” says Isaiah, “It’s also a personal journey. We’ve been living this for years now. This is literally all that we do and the record is the evidence of that. I stop and think, man I’m 20 years old and I’ve been doing this since I was basically 14. We’re still making the same kind of music we were when we started, but we’re better at it now. Thankfully, we’ve had the opportunity to actually go out into the world and experience some real shit, which gives us something to write about now. We just want people to listen. And play it really loud.”

OUR LINKS

• Radkey Homepage
• On Facebook
• On SoundCloud
• On Twitter

with special guests:

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Wick & the Tricks

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The Many Colored Death

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The Many Colored Death is a hard rock trio based out of Columbia, Missouri. With influences ranging from Sabbath and King's X to Muse and RATM, they've forged a sound uniquely theirs, while not wholly unfamiliar. Described by one fan as "a silky mixture of 70's rock and early 90's grunge", The MCD are driven by a desire to make real, honest rock music for real rock music fans. Featuring a thundering rhythm section that would make Bonham and John Paul Jones proud, and a guitarist/vocalist who is equal parts Robin Trower, King Buzzo, and David Gilmour, their brand of rock is both quiet and loud, dark and light. A veritable yin yang of sound and emotion. Soulful lyrics and melodies float effortlessly over the pounding surf of complex polyrhythms and groove laden riffs.

To paraphrase Jimi Hendrix, we don't play loud so you can hear the music.

We play loud so you can feel it.

OUR LINKS

• On Facebook
• On Youtube
• On Twitter
• On MySpace

The Sluts

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The Sluts are a two-piece garage rock/punk/grunge act from Lawrence Fucking Kansas.

OUR LINKS

• The Sluts Homepage
• On Facebook

Horse Jumper of Love

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Slow Mass

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Supersuckers

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You’ve heard our name, you’ve seen our records, our t-shirts and our stickers. We’re probably the favorite band of someone you know and yet we’re still a mystery to you. Well my friend, that’s okay, I’m here to fill you in and help you to get to know the greatest rock-n-roll band in the world, The Supersuckers.

Our story is almost impossible to believe. This band is literally a human cartoon. We all grew up among the dead-ends and cactus needles of Tucson, Arizona and have known each other since grade school. We graduated from the same high school together at the same time (a school immortalized in our song “Santa Rita High”) and we chose to play in a band together because we liked to hang out together, not because we were great musicians or anything. I truly believe that a band is defined by their limitations, that what they can’t (or won’t) do is just as important as what they can do. I guess that, in this era of pre-fabricated, put-together-to-have-a-hit bands, we’re kind of an aberration and I gotta tell ya that that makes us smile a little every day.

We formed the band in 1988 and we were initially a five piece called The Black Supersuckers ( a name found in some quality “adult literature” we had laying around in our impeccably clean band house!), with me on bass, Dan “Thunder” Bolton and Rontrose Heathman on guitars, Dancing Eagle on drums and a lead singer by the name of Eric Martin. After firmly proving ourselves to be the best band in town we decided it was time to get out of Tucson and try our luck somewhere else. So we tossed a coin with heads as New Orleans and tails as Seattle. Tails it was and in May of “89 we packed up and went north.

We had no idea that Seattle was about to become “Rock Mecca USA”, we just wanted to go somewhere where we could wear our leather jackets a little more often. It was exciting and encouraging to see all of the great bands there, doing their own thing and making some kick-ass, aggressive rock-n-roll that we could relate to, so we started recording immediately. After some classic “creative differences” with our lead singer, we decided to try it as a four piece with yours truly as the singer (I was the only one who knew all the words) and The Supersuckers, as you may or may not know them today, were born.

Our first recordings as a four-piece wound up on various singles for small labels and then were compiled for a C.D. called The Songs All Sound The Same. (For the full story on these recordings I highly recommend picking up the re-issued version on our own label, Mid-Fi Recordings). But it was our live shows that caught the eyes of the good people at Sub-Pop Records and, after a particularly scorching show one night, they offered to put out our records. We said ,“Buy us some beer and you got a deal!” And our long and enduring rock-n-roll ride was officially under way.

Starting with 1992,s “The Smoke Of Hell”, we released a total of three rock records, one country record, split singles with Steve Earle and The Rev. Horton Heat, countless singles and a “best-of” double album (all on Sub-Pop,) then we put out what is considered to be our finest recorded moment to date “The Evil Powers Of Rock-n-Roll”(Koch/Aces & Eights) in late 1999. We’ve also been touring our asses off all over the world with bands like Mudhoney, Social Distortion, Bad Religion, The Ramones, Motorhead, The Toadies, The Butthole Surfers, The Reverend Horton Heat, The Dwarves and White Zombie. We’ve played a couple of Farm Aid shows and backed Willie Nelson on The Tonight Show. Our music has appeared in T.V. shows (Beverly Hills 90210), Movies (Baseketball, Hype) and commercials (Mountain Dew) as well as countless snow and skateboarding video compilations.

Throughout this entire time, our sole mission has been to create and perform timeless, quality music and get as many people as possible to hear it. That goal has never changed. The pursuit of that perfectly imperfect rock-n-roll moment is all we’ve ever been after. We’ve been doing this for well over a decade now and we’re just getting started.

2001 found us starting our own label; Mid-Fi Recordings. We’ve finally decided to take control of all of our affairs and have become a lean, mean, self managed, totally independent rock-n-roll machine. We’ve got the greatest fans in the world and no one cares more about them and our music than we do. Having our own label gives us the freedom to make more of our music available to them without the hassles of “the middle-man” worrying about things like “marketing” or “demographics”. Hell, these are just hard words. All we want to do is get some kick-ass music out to the people and with Mid-Fi we have been able to do just that. Our first release was a live country record entitled “Must’ve Been Live”, that came out in March, 2002. Since then, we have dug into our “private reserves” and released several singles of some our finest outtake stock (a habit we intend to keep). We’re also planning some split singles with other great artists, the first one being “Never Go Home” by The Hangmen b/w “Flyin’ Into The Mid-Day Sun” by the ‘suckers.

But, by far the most exciting thing we’re doing now is gearing up for the release of our new rock record, Motherfuckers Be Trippin’. It’s the perfect follow up to The Evil Powers Of Rock-N-Roll and will be available to rock your ass on April 22, 2003. We feel better about this record than any we’ve done to date, which is amazing for a band that has been around as long as we have, and we know you’ll dig it as much as we do. It truly seems like we’re just getting the hang of this music making thing!

So, the next time you see The Supersuckers name, whether it’s in the record store or on the marquee at your local nightclub, know that there’s some quality, honest, ass-kicking, hard working individuals in there, trying to make your life a little better through the “Evil Powers Of Rock-n-Roll” (and the occasional detour into the country of course) and we’d love nothing better than to have you there with us. Just remember to wear you clean underwear, because we’re gonna rock your pants right off of you.

Rawkously Yours,
Eddie Spaghetti

Crowning achievements of rock-n-roll glory
•Performed on “The Tonight Show with Jay Leno” backing Willie Nelson
•Played Woodstock 2000
•Played Reading/Leeds festivals
•Toured extensively throughout the world including Russia, Japan, Australia, etc...
•Recorded with Eddie Vedder of Pearl Jam, Steve Earle, Willie Nelson, Kelley Deal of The Breeders

OUR LINKS

• Supersuckers Homepage

Joecephus and the George Jonestown Massacre

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Reverend Horton Heat

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It’s true that the Reverend Horton Heat have been called a great many things over the course of their storied career: Perpetual Carriers Of The Rockabilly Flame, Genre-Shattering Problem Children, Filthy Drunks, and The Most Electrifying Live Act In America (150 shows every year can’t be wrong). But whatever you happen to call them, their country-flavored punkabilly and onstage antics have brought the Reverend Horton Heat a strikingly diverse fan base and a devoted cult following. The Rev himself, aka Jim Heath, leads the way with signature guitar riffs, while pounding out the bottom notes (often on top of) his upright bass is Jimbo Wallace, while Scott Churilla keeps time on the drums.

OUR LINKS

• Reverend Horton Heat Homepage
• On MySpace

Delta Bombers

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Something to Believe Tour

Weyes Blood

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Helena Deland

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Knocked Loose

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Rotting Out

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Candy

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SeeYouSpaceCowboy

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Joyce Manor

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Stef Chura

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Strange Ranger

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Chase Makai

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Pretty Pink

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PRETTY PINK·FRIDAY, MAY 10, 2019
Emerging from the woods of the Harz in Germany, Pretty Pink has made her mark with her natural distinctive sound and self-made empire.
The versed German DJ, artist and producer captivated people’s attention on a global scale with her relentless drive and passion for her craft. With an ever-changing yet consistent sonic delivery, she is always trying to find a way to take her artistry to the next level. Her recording debut arrived in 2013 with an unforgettable edit of Daft Punk’s ‘Get Lucky’, which demanded the attention of the deep house scene with her uncanny ability to create instantly astounding dancefloor records.
With releases on Armada, Found Frequencies, Suara, and more, Pretty Pink’s impressive discography boasts a variety of sounds bound to please electronic music lovers across the board. She has taken her sound on stage to over a hundred cities worldwide and is planning to extend her journey into North America soon. Playing alongside respectable tastemakers at a myriad of revered venues in her homeland and enchanted the crowds - Nature One, Sonne Mond Sterne, Airbeat One, New Horizon, World Club Dome and more - her loyal fanbase and bookings began to skyrocket.
Her rise to the top is a result of her ever-present work ethic. Having acquired millions of streams across all streaming platforms, along with a self-launched record label WANDERLUST, bi-weekly Radioshow DEEP WOODS, and her own event brands, Pretty Pink has made her work a never-ending party.
With support from distinguished publications like Dancing Astronaut, EARMILK, WARP, Magnetic Magazine, or DJ Mag Mexico, Pretty Pink has cemented her position as one to watch. Her summer record ‘PURE’ in 2018 landed support from industry heavy-hitters, Lane 8, The Mambo Brothers, Lost Frequencies, and WhoMadeWho and still climbes the Beatport Top 100. Her latest track “OVERRATED” (Found Frequencies Records), gained over 500k streams just after one month on Spotify! So, there’s no question that Pretty Pink will continue to command the scene, not just domestically but on a global scale.

Soccer Mommy

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Magic City Hippies

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LUTHI

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Harvest of Doom Night 1

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Coven

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Mothership

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Liege

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They Watch us from the Moon

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Gravehuffer

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Harvest of Doom Night 2

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Wo Fat

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Hyborian

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An age of violence and magic, a world of uncertainty, a soundtrack to a time forgotten by man.

OUR LINKS

• On Facebook

Droids Attack!

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Horned Wolf

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Custom Black

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Grass Giant

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Pit Hag

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Brick + Mortar

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Brick + Mortar is a two-piece indie pop outfit from Asbury Park, NJ. The duo consists of Brandon Asraf (guitars/vocals/programming) and John Tacon(drums/programming). Best described as controlled chaos, the band combines choppy rhythms, smooth bass lines, tempestuous drumming and honest lyrics, all of which culminates in something that is just as likely to show up on an indie up-and-comers list as it is to show up on a DJ’s playlist – something that is evidenced in the band’s role as a remix magnet for artists such as Baauer. Brick + Mortar is one of the few bands who can conjure up images of both carousels and cocaine, combining dancy with dark and pop with despair.
Speaking in an article with VICE Magazine, Asraf says of their most recent music video for Bangs, “The story is my chance to be in [my father's] world and tell a conglomerate of a bunch of stories I’ve heard.” The result is a gripping video reflective not only of Asraf’s father’s violent past as an international fugitive, but also of the sometimes ominous and abrasive tone of the new EP.
Coming off of the release of their EP, “BANGS,” Brick + Mortar is touring relentlessly, opening for Imagine Dragons, Icona Pop, and Jimmy Eat World, as well as performing in the summer festival circuit at mainstays including Made in America, Loufest, and Lollapalooza.
In a time where purists patiently await the return of rock and roll, Brick + Mortar is gifted enough to combine exciting elements of each genre with their no-bullshit approach to songwriting.

OUR LINKS

• Brick + Mortar Homepage
• On Facebook
• On Twitter

Dentist

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Goddamn Gallows w/Scott H Biram

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Rings of Saturn

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Enterprise Earth

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Angelmaker

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Brand of Sacrifice

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Tauk

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John 5

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with special guest

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Jared James Nichols

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Yak Attack

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Monolord

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Blackwater Holylight

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With Confidence

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Seaway

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OUR LINKS

• Seaway Homepage

Between You & Me

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Doll Skin

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