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  • BURGER-A-GO-GO TOUR

     BURGER-A-GO-GO TOUR

    http://burgerrecords.myfreesites.net/gogotour

    BURGER-A-GO-GO TOUR NIGHT 1:
    The Coathangers, Death Valley Girls, The Flytraps, Feels
    Visual projections & environs provided at every stop by Mad Alchemy Light Show & Burger! 
    _______________________________________________________________________________________

    2.19.18 - San Francisco, CA - The Independent
    http://www.theindependentsf.com/event/1582482

    2.21.18 - Eugene, OR - HiFi Music Hall
    https://www.ticketfly.com/purchase/event/1602671?utm_medium=bks

    2.22.18 - Vancouver, BC - The Rickshaw Theatre
    http://bplive.electrostub.com/event.cfm?id=189930&cart

    2.23.18 - Portland, OR - Dante's
    http://www.ticketweb.com/event/burger-a-go-go-w-dantes-tickets/7837975?pl=dante

    2.24.18 - Seattle, WA - The Crocodile
    https://www.ticketfly.com/purchase/event/1600328?utm_medium=bks

    2.26.18 - Santa Cruz, CA - The Catalyst Atrium
    https://www.ticketfly.com/purchase/event/1602377?utm_medium=bks

    2.27.18 - Solana Beach, CA - Belly Up
    https://bellyupsolanabeach.frontgatetickets.com/event/z0nvhb0tb2cl9fc8

    3.1.18 - Las Vegas, NV - Beauty Bar
    https://www.ticketbat.com/event/burger-a-go-go-night-one

    3.2.18 - Los Angeles, CA - 1720
    https://www.ticketfly.com/purchase/event/1602829

    3.3.18 - Long Beach, CA - Alex's Bar
    www.alexsbar.com/event/1602277


    BURGER-A-GO-GO TOUR NIGHT 2:
    Dengue Fever, Winter, Summer Twins, Roya
    Visual projections & environs provided at every stop by Mad Alchemy Light Show & Burger! 
    _______________________________________________________________________________________

    2.20.18 - San Francisco, CA - The Independent
    https://www.ticketfly.com/purchase/event/1582461

    2.22.18 - Eugene, OR - HiFi Music Hall
    https://www.ticketfly.com/purchase/event/1602693?utm_medium=bks

    2.23.18 - Vancouver, BC - The Rickshaw Theatre 
    http://bplive.electrostub.com/event.cfm?id=189931&cart

    2.24.18 - Portland, OR - Dante's
    http://www.ticketweb.com/event/burger-a-go-go-featuring-dantes-tickets/7837995?pl=dante

    2.25.18 - Seattle, WA - The Crocodile
    https://www.ticketfly.com/purchase/event/1603207

    2.27.18 - Santa Cruz, CA - The Catalyst Atrium
    https://www.ticketfly.com/purchase/event/1602386?utm_medium=bks

    2.28.18 - San Diego, CA - Music Box
    https://musicboxsd.frontgatetickets.com/event/sfgikjp213x8cgx

    3.2.18 - Las Vegas, NV - Beauty Bar
    https://www.ticketbat.com/event/burger-a-go-go_-two-day-pass_

    3.3.18 - Los Angeles, CA - 1720
    https://www.ticketfly.com/purchase/event/1601835

    3.4.18 - Long Beach, CA - Alex's Bar
    www.alexsbar.com/event/1602289
  • CITY PAGES feature on DYLAN HICKS

    Tooling through the Triple Rock jukebox with Dylan Hicks

    itemprop

    Dylan HicksWilson Webb

    “Constraints are important,” says Dylan Hicks, mashing down the imaginary buttons on the touchscreen of a digital jukebox at the Triple Rock Social Club.

    This late-model jukebox, unfortunately, offers a lesson in what happens when constraints are tossed out the window. The TouchTunes “interactive entertainment platform”—65,000 of which are located across the U.S.—can summon most any song you can think of. This can lead to what MBA programs call “analysis paralysis,” or at least a strong bout of self-consciousness.

    Hicks is lanky and laconic in a natty collegiate sweater, with longish salt-and-pepper hair hanging over his glasses, but this unstructured universe of infinite choices leaves him a touch flustered. “When there’s a hundred selections or so, you have something to work with. You’re asking, how do I want to present myself? You want to make the best decision...”

    “Right,” I offer. “Within a framework.”

    “Yeah,” he says. “With this, you can just play anything.”

    There’s a knack to selecting tunes on a traditional jukebox, and “A-24,” the lead single from Hicks’ new album, Ad Out, is a valentine to mastering that art. “It’s the best damn jukebox in the county,” Hicks sings in a High Plains drawl. “Got about 1,000 songs so you don’t get bored.”

    Since Hicks is not only a terrific lyricist but also a great writer about music (he was City Pages’ arts editor a little more than a decade ago), I figured it’d be fun to drag him out to a real-life jukebox and get him to punch in a few songs and talk about them.

    TRACK 1: “Clean Up Woman,” Betty Wright (2 credits)

    To narrow our choices, Hicks selects the “Queens of R&B” category, where one of his favorites, Betty Wright’s 1971 hit “Clean Up Woman,” is, through some divine algorithmic intervention, the first song listed. Hicks mashes down a PLAY button that’s as unresponsive as the keys on the crappy ATMs often found at bars, and soon Wright is warning everyone at the T-Rock about the clean-up woman who stole her man’s love.

    “I love a song with a conceit,” Hicks says. “Not every time, but if you can come up with a premise, you can try to enrich that.” And the characters on Ad Out—guys in bars, lovelorn dudes working menial jobs, boyfriends or husbands who may or may not know how good they have it—are often narrating their way through such conceits. When a sad sack charged with a moving violation testifies in court on “Asking for a Friend,” he rhymes “father’s charcoal suit” with “what the English call the boot,” in a manner that’s true to his ironic, deflated sense of his own refinement.

    “They’re beleaguered,” Hicks says of his narrators. “But not defeated.” The cover of Ad Out, appropriately, features a painting of John McEnroe, facedown in the clay at Wimbledon, toward the end of the worst day of his career.

    TRACK 2: “Cruisin’,” Smokey Robinson (2 credits)

    Hicks enters “CRUIS” into the search bar and Smokey Robinson’s 1979 hit is summoned before he can hit the “IN.” “It’s such a seductive song,” Hicks says. “It builds nicely, and it’s dramatic, but there’s no histrionics. And those high notes.” Smokey gets his face on the TouchTunes screen, but Hicks points out that Marv Taplin, the guitarist on the record, may deserve equal billing. “This is my favorite,” he says, as Taplin’s guitar glides beneath Smokey’s croon. “That guitar tone.”

    We get back to the idea of constraints. “That’s why I like rhymes,” he says. “I like the sound of them, but when you use them well, they create meaning—the rhyme scheme influences the verse. When you throw out rhymes”—here he shrugs—“you might as well be dealing with prose.”

    And Hicks knows prose. After a ’90s stint as a witty singer-songwriter, he went on a hiatus from music and embarked on a writing career, first as a critic and journalist, then as the author of two well-received novels.

    “I had a long break from performing,” he says. “But after a few years, I have a better sense for my voice. I have better pitch, and I know precisely my range. I didn’t know then, but I know now: two octaves, a modest baritone range.”

    On Ad Out, Hicks turns what he calls his “limited vocal range” into a superpower. His voice has a conversational quality that allows him to comfortably inhabit each of his characters. In the way his TouchTunes selections cut through the din of the Triple Rock, Hicks floats over Adam Levy’s ’70s R&B-flavored licks, Joe Savage’s pedal steel, Doug Little’s horn arrangements, and his own keyboard, all of which are tidied up and made AM-ready by producer John Munson.

    Hicks describes the sound as “roadhouse cabaret,” but his mix of R&B, country rock, and piano balladry would sound equally at home anywhere the sonic boundaries of the American songbook might unexpectedly bleed together: a backyard barbecue in Tin Pan Alley, or a secret honky-tonk in the basement of Radio City Music Hall.

    TRACK 3: “Slow Hand,” Conway Twitty (2 credits)

    We’ve gone as far as our three dollars will take us, and Conway Twitty’s up last. His gender-inverted 1980 cover of the Pointer Sisters song operates at the border of cosmopolitan country-pop and adult contemporary R&B.

    Hicks points to Twitty as an example of a singer whose vocal range changed over the course of his career, to positive effect. He started out as a country yelper whose voice jumped effortlessly into the higher registers, but by the time of “Slow Hand,” he’d settled into a mellifluous, vaguely seedy baritone croon that suited the spirit Nashville’s mellifluous, vaguely seedy era of sexual liberation.

    “I can’t touch these guys as singers,” he says. “But I hope the songs reflect the influence of these types of country and R&B songs in a way that seems manageable, and in a way that lets me sing like myself.” He grins a crooked grin, and clarifies: “Not loud.”

    Perhaps the most countrified song on the record (“I threw in a little Southern accent on that one”), “A-24” is assertive, but all in fun, the aural equivalent of Hicks’ full-bodied dance in Wilson Webb and Carolyn Swiszcz’s video. (Hicks bops through a cardboard wonderland in white pants and a blue T-shirt, reminding me of what Jack Handey called his “funny cowboy dance” in the “Deep Thoughts” segments on SNL.) It’s a song about stepping out into the commons and staking a claim.

    “You do all this stuff,” Hicks says, talking about performing music and also the act of publicly displaying your taste on a jukebox. “Even if you feel ashamed, there’s some vanity that wants to affirmed. It’s still kind of embarrassing.”

    Hicks continues glancing through the options. “Oh! I love this one.” He mashes down some imaginary key a few times, and the Weeknd’s “Can’t Feel My Face” kicks in.

    On the right night, in the right bar, this song too could be A-24.

    Dylan Hicks & the Looming Crisis
    With: Molly Maher & Her Disbelievers
    When: 8 p.m. Fri. Oct. 27
    Where: Hook and Ladder Theater & Lounge
    Tickets: $12/$15; more info here

     http://www.citypages.com/music/tooling-through-the-triple-rock-jukebox-with-dylan-hicks/452849863

  • '94Broncos - Black Irish Trap-a-Holics release "Come Clean"

    '94Broncos releasing new song in Celebration of O.J. getting parole



    '94 Broncos is Atlanta's asphalt-chewing tricked-out whip of dub-punk trap rock. Zack English (bass) is from Dawonsville; Jack Eggert (guitar/vocals) is from the Northside of Atlanta; and drummer David Pellum II is from Eastside (Atlanta zone's 6 to be exact).    

    Their debut Mixtape "Brazilian Stick-Up" out October 1st is four abrasive but soulful tracks from three moody dudes, cocaine infused and blissed out with a handle of Evan Williams. Jack English has been writing songs with best friend Fooshee for awhile; David was producing rap beats and never saw himself in a band.  

    "I asked a friend to come jam and he couldn't pick me up," David explains, "so Jack ended up picking me up. That was my first time meeting Jack on the way to go jam — I had just got off work and walking to the parking lot to look for a guy I never met before then I heard some guy Yell across the parking lot 'Hey are you David?'"  

    David and Jack would just jam for hours but never listened to other music together. They read Creative Loafing a lot and hit the punk scene to see what the hell was the hype about some bands. But the Atlanta punk scene turned out to be more underground than what people think. They practiced hard to be as tight as Neckbones. So when they got into it, their first show was a packed-out house of action.    

    And they promise on those manic concert thrills. They always have a rapper to try to add diversity to their shows. The mixtape opening cut "Monkey Man" also gets their show jumpin' up and down like the fans are on a trampoline. They tell the rapper "if shit fly don't stop and keep the party going." The rapper is always loved, and '94 Broncos extend the jam and make up songs on the spot, surprising everyone with their freestyling. "People can't believe it," David says. "Some guy was moshing at one our shows and nobody knew the guy but he was rolling around the ground. It reminded me of my granddad's church in Atlanta back in the day when people shouted and were 'filled with the spirit' during a service."   

    '94 Broncos is a reference to the O.J. Simpson escape vehicle that was in the infamous police chase, because while that was taking place Jack was on his way home from the hospital he was born a couple days before the chase.    

    The songs for the Mixtape were written during the making of our third release Acid Wash. All the songs had been recorded at the same time, working fast, and saving these four new ones for fresh vocals.     

    The title Brazilian Stick-Up is based on Ryan Lochte and other U.S. Olympians thrashing a gas station in Brazil and then dealing with it when that country's police showed up. "They lied and said they had been held up at gun point. Privileged Americans found themselves in something they can't get out of. The lesson here is don't lie."     

    Childish and Iggy Pop & the stooges. They all deeply dig Curtis Mayfield, 10cc, Outkast, Pastor Troy, Goodie Mob, Dj Toomp, Baby D, Lil Jon. Kilo Ali is their favorite Atlanta rapper. "We support anybody that comes from ATL. We are on the same team! Fuck that boom bam shit

    INSTAGRAM: @94broncosATL

    TWITTER: @94_broncos 

  • Three Imaginary Girls CD REVIEW: Stealing Sand by Transient Songs

    by  

    Transience. Traveling to escape customary life. Wandering. Vagabond impulses. Songs that were born and created throughout a determination to experience scenes and emotions outside of the routine experience. Sometimes, one must venture outside of familiar cities, states, countries, and climates in order to reflect upon the beauty of an otherwise uneventful daily existence. This is what comes to mind when hearing Stealing Sand, the new album by Seattle quartet, Transient Songs. That said, these kinds of things will likely grasp the listener when hearing their previous releases as well. Stealing Sand is the third full-length release from the band and it might just be their best release yet.

    Transient Songs, in this incarnation, includes Jon Frum, the principal songwriter, on vocals and guitar, Michael Shunk on guitar and keyboards, Dayna Loeffler on bass and Craig Keller on drums. This band gels and clearly has chemistry in both sound and performance. Stealing Sandencapsulates the sound of a band that sounds like they could have been recording their last album together. It is a vital statement that seems like it was hell-bent on being recorded. The songs, and especially Frum’s lyrics, seem to have been cultivated from an estranged perspective outside of himself that yet still comes passionately from within. The vantage point of the listener is thus removed and also extremely intimate. It is beautiful and painful and full of questions that cannot be answered, even after repeated listens.

    “Branches through the Trees” contains vibrato guitars and a stoned, driving melody that is almost hypnotizing, especially considering that it is only four and a half minutes long. “Lost in the Middle” is a kaleidoscopic, beautiful song that sounds like it could have been a classic album track by The Church. “Shoppin’ for Coffins” is perhaps the album’s centerpiece. It is a chilling and surreal song born out of a dream that is full of ghosts, questions, regret, and a general bewilderment of where the line between where reverie and reality intersect. Musically, it is a psychedelic, tight and succinct. “ There is too much uncertainty to fully connect the pieces. In Frum’s words, “The muse is always elusive.”

    “If the Summer Resigns” is reminiscent of Chicago’s criminally unknown melancholy pop outfit, The Chamber Strings. The title track, “Stealing Sand” recalls the breezy, melancholy sound of Transient Songs’ excellent debut, Cave Syndrome. “All Said and Done” includes some truly gorgeous cello and acoustic guitar interplay. It recalls a warm 1960’s sound of The Beatles or The Kinks. Just listen to the moving opening lines, “When it’s all said and done and you’re out of places to run/Chasing other peoples dreams away/You’re out on a limb, spinning your webs again/Did you ever think that luck has led you astray?”

    “Drug Dreams” is the biggest rock number on Stealing Sand and it fucking rocks. This is a classic garage rock song. This one comes from the day that your hangover wears off and all you want to do is start drinking again because being sober again is far more painful than the hangover is. The record closes with “Those Hidden Lakes,” which might be the best song on the album. It is a subtle and sad resignation where the mundane reflection on a day job and drab existence seems to become overwhelming. However, the song ends up being full of hope and an appreciation for all of the unsaid things that one takes for granted. It’s the perfect ending to a record that is heavily involved in a wide spectrum of complex human emotions.

    In short, Stealing Sand is a modern day classic. Transient Songs will be playing The Sunset in Ballard on the 28th of July. Mark your calendar if you want to see some inspired psychedelic rock and roll.

    http://threeimaginarygirls.com/stealing-sand-transient-songs/

  • Carry Illinois' Effortless Talent Makes New Album 'Garage Sale' Endlessly Playable

    ALBUM REVIEW 

    Carry Illinois' Effortless Talent Makes New Album 'Garage Sale' Endlessly Playable

    Carry Illinois - Garage Sale

    ‘Garage Sale,’ the new album from Carry Illinois, is a testament to the human experience. It’s a tour-de-force of emotion and takes you on an emotional journey with the band. For singer/songwriter Lizzy Lehman, losing a bandmate last year was a paralyzing experience, but writing new music gave her hope. 

    She said, “I took some songwriting workshops about using songwriting as truth-telling” and felt a switch in herself. She said that the class made her realize the importance of writing about her genuine experiences because “that’s the stuff that people really connect to.” To draw on the tragedy the band faced, 'Garage Sale' became therapy. 

    Despite the surrounding circumstances, the album became an expression of hope. The songs life you up rather than depress and each one feels like a new experience. The album has so many different influences from vintage college-rock mettle to a little lush AOR that it’s impossible to get bored. Take "Years to Come," which plays midway through the album and catches a current of ringing new-wave guitars, marching choral drums, and Brill Building harmonies: It's a defiant gesture though relatively unadorned.

    By partnering with admired producer John Vanderslice, the band took a raw approach, focusing on emotion and instrumental nuance. Lehman described her experience saying, “I think John, immediately when he heard the music, knew making sure the vocals were right up front and the lyrics could be heard was top priority, and made me super confident recording with him.” 

    But Vanderslice defers credit entirely to the band. He said he mostly tried to stay out of the way and just capture the energy. He even went as far as to say, “The band was so good I didn't want to impose a production style.” 

    With top-tier production, raw emotion, and exciting nuanced tracks, Garage Sale is a memorable album about love and loss. It’s a ode to recovery and moving forward — a true inspirational ballad.

    Album out: May 12

    Rate: 9/10

     

    -- Lou Flesh

    Buy here: https://itunes.apple.com/us/album/siren-ep/id824269502

    Facebook: https://www.facebook.com/carryillinois

    Instagram: https://www.instagram.com/carryillinois/

    Twitter: https://twitter.com/carryillinois

    Youtube: https://www.youtube.com/user/carryillinoisband

    http://nodepression.com/album-review/carry-illinois-effortless-talent-makes-new-album-garage-sale-endlessly-playable

  • Notes From Left of the Dial: Date Night With Brian "Anywhere" video

    Date Night With Brian, "Anywhere"
    Built around the musical muscle of three Seattle punk rock veterans, Date Night With Brian is a bass-less trio that evokes the noise of classic punk and indie rock while wading through a wash of fuzzed-out pop theatrics and rambunctious arrangements. With collected musical histories that extend back well over a decade, the band uses this wealth of experience and innate sense of band-centered dynamism to build a fierce and fiery foundation on which to offer their incendiary wares. Their new self-titled EP is out now on Top Drawer Records and is an apoplectic ride through their communal influences.

    For the video to their new song, "Anywhere," the band opts for a black and white performance piece, which finds them covered head to toe in reel-to-reel tape. The song possesses a fiery punk spirit, the kind that was thought to have died out in the late '70s. They mix in a bit of noisy pop to create a glowing mass of cross-genre pollination, resulting in a sound that doesn't feel beholden to any one set of rhythmic ideas but revels in its brisk dissemination of influences. The band's punk history shines through with their ability to navigate tremendous speeds without losing any sense of musical cohesion—in fact, through this practiced speed, they discover the gooey and reverberating heart of their extensive inspirations.

    http://nooga.com/175904/notes-from-left-of-the-dial-fallow-land-and-more/

  • New Noise Mag: Date Night with Brian CD Review

    Date Night With Brian
    Self-Titled EP
    (Top Drawer Records)

    The bass-less trio, Date Night With Brian, make up for the missing instrument with solid drumming and a brilliant two guitar attack plan. The Seattle group combines a fantastic mix of classic ‘90s alt rocks influences (all the greats like Dinosaur Jr., Sonic Youth and Meat Puppets) with infectious hooks that keep the songs with you long after you’ve stopped listening.

    A bit sloppy, but only in the most endearing way, you can practically smell the sweat and hear the clinking of beer bottles as the band rips through this collection of songs. There is an immediacy to everything from the drums and guitars to the shared male/female vocals that gives these songs that much more of a spotlight.

    The 5-track EP is frustrating only in its length; the songs, each as good as the one before it, end all too soon. A full-length album would be greatly appreciated.

    Purchase the album here.

    http://newnoisemagazine.com/review-date-night-brian-self-titled/

  • PASTE MAGAZINE VIDEO PREMIERE: Carry Illinois's 'Electric Charm' is simply touching and beautifully done

     

    When Carry Illinois’ bassist John Winsor took his life in 2016, the remaining members were numbed by their loss. They channeled their emotions the best way musicians know how: the release of a new album “Garage Sale”. The emotional 6-track tackles their loss not with sadness and helplessness, but with hope for their future. 

    by John Vanderslice, the album focuses on the importance of singer Lizzy Lehman’s lyrics and is a stripped-down wonder. Electric Charm is an upbeat bouncy track that comes from a 2-song release called “Electric Charm/Sea Inside”.The video’s colorful animation by Yukai Du is a unique representation of the music through color and morphing from one shape to the next. The result is the best dang thing I have seen in a long time!

    Lizzy states that the song "Electric Charm" began as a way for her to express and work through the pain that she experienced being bullied in high school.  “The only place I truly felt safe and at home was on stage and in the choir room. It wasn't until college that I was able to make friends that I could relate to and be myself around.  I could finally express my true self without the fear of being ridiculed or laughed at. It is only in the last couple years that I have found the strength to reflect on those early years with the confidence of knowing that I have risen above the hurtful words of my youth and find myself living happily.”

    Lizzy chose to have a video made for this song to express the growth in her personal confidence. She also wanted to have a beautiful piece of art that featured the musical talents of their former bass player John Winsor, who tragically took his own life in March 2016. This video is for him.

    When working with Yukai Du of Bliink Studios (Brighton, England) the collaboration came about very naturally. They provided her with the lyrics, the themes of the song, the color palette they preferred, and then gave her free-reign to work her magic.

    I like to give creative folks as much freedom as possible when starting a project and then ask for certain elements to be modified, provide criticism, and express my thoughts as the process happens. The imagery of a solitary person in space, the electric elements of earth, and the colorful abstract shifting shapes tie together the intimate themes of the song while creating a universal feel that people can relate to.”

    The video for "Electric Charm" is an exciting creative step for the band and Lizzy looks forward to diving deeper into more collaborative artistic efforts with future songs.

    This tribute to her friend and band mate is simply touching and beautifully done. It is an honor to listen to these lyrics and support this release. We suggest you check out Carry Illinois’s upcoming release “Garage Sale” which comes out May 12th. It is jam packed with songs that will instantly give you goose bumps.

    Myra Ivy

    http://carryillinoisband.com

    https://www.pastemagazine.com/articles/2017/04/video-premiere-carry-illinoiss-electric-charm-is-simply-touching-and-beautifully-done.html

  • AYRON JONES on ALTERNATIVE PRESS MAGAZINE

    Produced by legendary drummer Barrett Martin, Ayron Jones’ new album sets release date

     By Caitlyn Ralph

    Ayron Jones And The Way will release their new album, Audio Paint Job, June 2 via Sunyata Records.

    It's produced by legendary drummer Barret Martin (Queens Of The Stone Age). Here's what he had to say about the project:

    "Producing Ayron’s new album was a great experience for both of us. I’m an old school producer, but Ayron gave me hope that the next generation of forward-leaning musicians are going to do some great work in the future. Ayron’s ideas are rooted in the same classic forms I grew up with, yet he draws from modern hip hop, R&B, and soul, to create a new kind of Seattle rock that sounds both new and classic at the same time. During the sessions for Audio Paint Job, he learned from me, and I from him, so the album is both classic and future."

    Jones is on vocals, Ehssan Kirimi is on drums and Bob Lovelace is on bass.

    "Audio Paint Job is a title that has multiple meanings for me," Jones says. "It's a story about my mental and spiritual transformation through music."

    The album release show will take place at Seattle's Neptune Theater June 24.

    Jones also sings in the band Levee Walkers, alongside Pearl Jam's Mike McCready and Guns N' Roses' Duff McKagan. They have a two song single coming this summer.

    Album art:

    Tracklisting:

    Take Me Away
    Emily
    Its Over When Its Over
    Mr. Jones/Rockstar
    Boys From the Puget Sound
    West Coast Feelin’
    Play Me a Song
    Take Your Time
    Stand Up
    Lay Your Body Down
    Be There With You
    Love is the Answer
    Yesterday 

    http://www.altpress.com/news/entry/produced_by_legendary_drummer_barrett_martin_ayron_jones_new_album_sets_rel