with Shallou, Skybison

Presented by The Bowery

Jan 18

Jan 18

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $12 General Admission / $14 General Admission

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A trio with musical influences that extend far beyond their hometown of Nashville, BASECAMP came to fruition when the three producers joined forces to write. Quickly realizing there was a strong chemistry between them, the idea of BASECAMP immediately took hold. Deconstructing typical genre boundaries by utilizing haunting melodies, intensified by thumping bass lines and heavily percussive drums, BASECAMP effortlessly layer unpredictable tempo changes with elements of subtle glitch and organic strings.

Releasing their standout self-titled debut EP in late 2013, tracks like ‘Emmanuel’ and ‘Smoke Filled Lungs' instantly stole the attention of audiences and fellow artists alike, through the EP’s sophisticated combination of seductive vocals and irresistible R&B timbre. After touring across America with Chvrches, and Phantogram, the band signed to Skrillex’s boutique record label, OWSLA to release their anticipated follow-up, ‘Greater Than’, in the summer of 2015. Featuring the introspective single ‘Watch My Back’, the result saw an impactful record full of dark, brooding tones, heartfelt melodies, and body shuddering bass.

Now, after releasing stand-alone singles ‘Comfort Zone’ and ‘In My Veins’ (collaborations with Jamie Lidell, Del The Funky Homosapien) the stage has yet again been set for the return of BASECAMP - this time in the form of their forthcoming six song ‘In Stone’ EP.

Their most complete body of work to date, ‘In Stone’, takes listeners on an audible journey through drastic genre, and tempo changes as the music progresses. All the while so, there is an underlying sense of cohesion that is unlike anything the trio has delivered.

Universally relatable with burning lyrics and a fully realized musicianship that can't be faltered, this promises to be yet another exciting new chapter in the ever growing BASECAMP narrative.
More introspective than the last EP, the result is a record full of dark, brooding tones, heartfelt melodies and body shudderingbass echoed with sweeping cellos and inflections of ghostly guitars that expertly mirror the real-life experiences of their creators. Universally relatable with burning lyrics and a fully realized musicianship that can't be faltered, this promises to be an exciting new chapter of the eclectic BASECAMP narrative.



 

Jan 19

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $5 General Admission / $8 General Admission

Presented by Together at Last and Full Circle

Jan 20

Jan 20

Doors open at 9:00 pm Starts at 9:00 pm All ages

Price: $15 General Admission

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Psymbionic 

 

Cresting the modern wave of electronic producers, Psymbionic creates aural experiences that explore the range of multi-tempo Bass Music within an influential and dynamic culture. With an ear for situational relevance, Psymbionic enjoys turning non-traditional sound design and infectious rhythms into dancefloor heat, while also maintaining his history in the downtempo, emotive side of the electronic sound.

John Burcham has been moving bodies and turning heads as Psymbionic for several years in all corners of the USA, playing with acts such as Bassnectar, STS9, Big Gigantic, ill.Gates, Excision, EOTO, and Tipper. His passion and innovation in the music world are showcased through album releases on Muti Music and MalLabel, as well as in his role as label manager for the popular Electronic imprint Gravitas Recordings.

 

Clozee

Hailing from Toulouse, CloZee is Chloé, a young music producer who seamlessly combines technical precision with a wild imagination. An accomplished instrumentalist, she began playing the classical guitar at 11. Influenced by edIT, Bonobo, The Widdler and Amon To-bin, she started producing electronic music at the age of 16.

In 2014, she won the 'Best International Newcomer of 2013' at the UK Glitch-Hop Award.Her tracks defy genres, oscillating between Glitch-Hop, Trip-Hop, Future Bass and World Bass. She created her own place in the glitch community, thanks to a unique, highly sur-prising style mixing powerful basslines, funky off beat percussion, world instruments and emotional cinematic sounds. Her recent track ‘Koto’ (Otodayo Records) is about to reach 900k plays on Soundcloud in 6 months, and already more than a million views on YouTube in only 2 months.

A musical identity which led her to play in the USA (more than 45 dates in 2014/2015, in-cluding the festivals Coachella, Camp Bisco, Sonic Bloom, Enchanted Forest, Farm Fest…) but also in Canada, India, Germany, Ukraine, and more than 30 different cities in France, alongside artists like Bonobo, Gramatik, Chet Faker, Pretty Lights, TOKiMONSTA, Tipper, GRiZ, Phutureprimitive, Big Gigantic, Papadosio, Stwo…
Runner-up of several remix contests (launched by artists Mr. Bill, Asian Trash Boy, Crazy Daylight, Daenine...), CloZee was spotted by respected labels such as Gravitas Recordings, Glitch Hop Community, Otodayo Records, Adapted Records, Digital Whomp…

Jan 21

Doors open at 7:30 pm Starts at 8:00 pm All ages

Price: $14 General Admission / $16 General Admission

Jan 24

Doors open at 8:00 pm Starts at 9:00 pm All ages

Price: $13 General Admission / $15 General Admission

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Speakeasy Presents...
"Definition of a Rap Flow Tour"
RA The Rugged Man
AFRO (All FLows Reach Out)
w/ special guests: Dope KNife, Dillon

with Blanco, Angelina Sherie, Dri Jack

Jan 25

Jan 25

Doors open at 8:00 pm Starts at 8:00 pm All ages

Price: $15 General Admission / $15 General Admission

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3 Shades of Soul w/ Blanco, Angelina Sherie, Dri Jack

with Dissisoma, Quicktemper

Presented by Speakeasy and Terminal West

Jan 27

Jan 27

Doors open at 9:00 pm Starts at 9:00 pm All ages

Price: $15 General Admission

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Burrowing into liminal space, that forgotten zone between the organic and the inorganic, reality and surreality, that’s  the  place  Bluetech calls home. Boundless cosmic beats stretch out across sprawling ambient soundscapes. Melodic strings pluck and shimmer; echoing voices expand and contract over the  electronic  landscape.  You  can’t  pin  down  Evan  Bartholomew,  and  there’s  no  sense  trying. 


 

Over  a  decade  of  releases  has  brought  Bluetech’s  music  to  fans  of downtempo, future bass, and progressive electronic music, rife with emotional intent, and polyrhythmic percussion. From his homebase in the far-flung  islands  of  Hawai’i,  Bartholomew  transcends the constructs normally associated  with  a  calculated  “electronic  artist,”  pursuing  music  with meaning  and purpose. Choosing to spend his off-stage time meticulously tweaking precision productions, building the solar-powered studio of his dreams, running his music and arts webzine Nomadculture.net, or putting in time on his Critical Beats imprint —dedicated  to  preserving  and  protecting  Earth’s  remaining rainforests —Evan shirks preconceptions of fellow superstar producers.
 

There’s  no  bravado,  no  boasting;; just the gentle tendrils of careful composition stretching and seeking; awakening, inspiring, and delighting fans  across  the  country  and  around  the  world.  Bluetech’s  forthcoming collection, Spacehop Chronicles Vol 1, sets out to explore a new realm of his unique music, pulling equally on his training as a classical musician with nomadic harmonic progressions and a deep awareness of music as a kinetic force  with  body  moving  beat mechanics,  and  as  always,  it’s  all  inside  that space in-between.

with Riverside Joyride & Travers Brothership

Jan 28

Jan 28

Doors open at 9:00 pm Starts at 10:00 pm All ages

Price: $8 General Admission / $10 General Admission

with The Space Time Travelers

Feb 2

Feb 2

Doors open at 9:00 pm Starts at 10:00 pm All ages

Price: $5 General Admission / $8 General Admission

with Wax Future, Robbie Dude

Presented by Together at Last and Speakeasy

Feb 3

Feb 3

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $12 General Admission

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Taking influences from game-changing producers in the ever exploding Electro-Hiphop-Glitch-Funk movement, and combining it with elements of bluegrass, folk, blues and jam, Vibe Street (Ben Davis) brings a flavor that is unrivaled in the world of music today. Davis has coined the genre "Grass-Hop/Future-Folk" to describe his unique sound - ranging from feel good, blue-grassy tunes, to spacey, soulful electronic beats that can rock a late-night dance tent. Combining forward thinking and versatility, Vibe Street is providing music fans across all spectrums with the refreshing dose of originality that they so desperately crave.

with Oak House, Neighbor Lady

Feb 4

Feb 4

Doors open at 9:00 pm Starts at 10:00 pm All ages

Price: $10 General Admission / $12 General Admission

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Roadkill Ghost Choir is an American alternative rock band from DeLand, Florida. In January 2014 they performed on Late Night with David Letterman, and have had notable appearances at Bonnaroo, Lollapalooza and Governors Ball festivals.

Feb 8

Doors open at 9:00 pm Starts at 9:00 pm All ages

Price: $10 Advance Admission / $12 Day of Show Admission / $25 Meet & Greet

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Atlanta based recording artist Quentin Miller has gained national attention with his songwriting abilities. He has collaborated with some of the biggest artist in the game. Quentin began to intrigue a lot of prominent figures attention by mixing his calm, jovial demeanor with witty, catchy lyrics and over impeccable beat selection. Surpassing well over 10 million plays on SoundCloud matched by millions of views on Youtube, the world is wondering who exactly is Quentin Miller?


With the release of his debut project Hey Thanks Alot 2 in 2014, Showcased his unique flow hopping onto many industry radars, building connections that manifest itself to this day. After collaborating with one of raps biggest artists Drake, and contributing on a grammy nominated project, QM began to elevate himself into a conversation with some of the best songwriters in the game.


When His second project released in late 2015, Hey Thanks Alot 3, the world got a glimpse of who Quentin really is. The project featured appearances from Juicy J, Ricky Anthony, TheCoolisMac, Vic Mensa and Rich the Kid, and production by C4, Wheezy, Nick Miles HitBoy, and Needlz and Donut. With his singles Potential and Choze, he solidified himself as a promising upcoming act, being nominated as a 2016 XXL freshman cover nominee


Alongside the Success with making music, Quentin has done a variety of shows from intimate settings to stadiums, with his introduction to the world being at a Sold Out Tidal 10/20 show at Brooklyn's Barclays Center alongside acts like Jay Z, Beyoncé, Nicki Minaj and Lil Wayne and Rick Ross. Building upon that success he has done shows in multiple markets, like performing at Houston's Warehouse Live with Houston legend Trae Tha Truth, to rocking out a capacity Tory Lanez show in Queens, NY in early 2016. Alongside of performances outside of his hometown, Quentin has also performed at beloved Atlanta venues such as the Center Stage, Masquerade, Smiths Olde Bar and Department Store.


 

Feb 9

Doors open at 9:00 pm Starts at 9:00 pm All ages

Price: $15 General Admission

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Jantsen w/ DJ Hippo, Doyle

Feb 10

Doors open at 9:00 pm Starts at 10:00 pm All ages

Price: $12 General Admission / $15 General Admission

with Ceschi

Presented by Speakeasy

Feb 11

Feb 11

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $15 General Admission Admission / $18 General Admission

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P.O.S
Doomtree co-founder, punk philosopher and lyrical bomb-thrower Stefon Alexander, aka P.O.S, makes tight, declamatory music that builds on the Minneapolis-bred rapper and producer’s penchant for grinding beats and radical lyrics. Known for welding hip-hop with guitar squalls, screamed vocals, and futuristic beats fit for a Berlin nightclub, P.O.S steps even further into genre-blurring territory with Chill, dummy, his first official release with Doomtree Records since his 2002 debut Ipecac Neat. The album reflects on the past three years since a near-fatal kidney transplant sidelined him from making music and deals with the the difficulties of trying to maintain peace of mind and navigate through a confusing world which is becoming increasingly more alienating. P.O.S' production fingerprints are all over this one as he maneuvers through a wide range of sprawling beats contributed by himself, usual suspects Lazerbeak and Ryan Olson, and newcomers Cory Grindberg and Makr. Several friends touch down along the way to offer up biting commentary and varying points of view (Allan Kingdom, Astronautalis, Kathleen Hanna, Justin Vernon, Open Mike Eagle, Busdriver, and Lady Midnight to name a few), but the album never suffers from an oversaturation of scattered voices, instead using everyone's individual ethos and strengths to build a unifying call to arms. The result is P.O.S' most bold, honest, and daring work to date, so Chill, dummy.


 


Ceschi


Ceschi Ramos is a rapper and singer from Connecticut who has been hopping genres and spilling guts for the better part of two decades. He has been seen outside venues at 3am in Germany playing an acoustic guitar and singing to people that didn’t want the show to end. He has written poems to fans from behind bars whilst locked up on bogus marijuana charges. He has suffered a spiral fracture of the humerus while arm wrestling a marine in Hawaii. He has recorded with and toured alongside some of independent rap music’s most influential figures, including Sage Francis, Busdriver and Astronautalis. He has been in bands described as hardcore, crunk rap, lo-fi synth pop, Latin progressive and psych-jazz-rap. He has crafted abstracted and personal narratives mining the depths of depression and heights of hope. He has slept on countless floors when hotels weren’t in the touring budget and lost girlfriends and jobs all for the love of creating and performing.


 


Ceschi was born with four fingers on his right hand, which served as partial inspiration for the name of his DIY record label, Fake Four, Inc. Those who have worked with him describe Ceschi as one of the most artist-friendly labelheads out there, a rare breed who values art over profit almost to a fault. Since 2008, he has curated a roster of wildly original and critically praised talent and put out albums from the likes of Open Mike Eagle, Buck 65, Sister Crayon and Dark Time Sunshine in addition to his solo records The One Man Band Broke Up and Broken Bone Ballads.


 


An engaging, theatrical live performer, Ceschi Ramos has treated entire venues like a stage, viewing the middle of the audience or an empty barstool as good a place as any to perform a soul-baring folk song or tongue-twisting rap track. Ceschi once described himself in song as “a martyr at most… a failure at least” and said that, “In the eyes of history I’ll be no more than a leaf on a tree.” He knows what it is to suffer for his art and is aware that music exploring the ugliness and sorrow of the human condition will always exist on the fringes of a game dominated by disposable escapism and expensive publicists. Yet he still pours everything he has into his craft, and on any given night you can find him tracking vocals at his cousin’s New Haven studio, warmly greeting fans and friends at a dive bar merch booth or rapping double-time in Japan or Europe for audiences that often don’t speak his language, but are able to see the giant heart at the core of it all.


 

A. Rippin Production

Feb 15

Feb 15

Doors open at 8:00 pm Starts at 8:30 pm All ages

Price: $18 General Admission / $20 General Admission

Event Information

MetalSucks.net presents:
Alcest
the body
Creepers

Wednesday February 15th at Aisle 5
$18 adv
$20 dos
all ages

A. Rippin' Production

with Hayley Jane and the Primates

Feb 16

Feb 16

Doors open at 9:00 pm Starts at 10:00 pm All ages

Price: $10 General Admission / $10 General Admission

with Little Raine Band

Feb 17

Feb 17

Doors open at 9:00 pm Starts at 10:00 pm All ages

Price: $10 General Admission / $10 General Admission

Feb 18

Doors open at 9:00 pm Starts at 10:00 pm All ages

Price: $12 General Admission / $14 General Admission

Feb 24

Doors open at 9:00 pm Starts at 10:00 pm All ages

Price: $10 General Admission / $10 General Admission

Feb 25

Doors open at 9:00 pm Starts at 10:00 pm All ages

Price: $15 General Admission / $15 General Admission

Feb 28

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $15 General Admission Admission / $20 General Admission / $20 General

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For New Zealand native Opiuo, making music has been an undeniable passion that encapsulates his every moment. His incredibly original, against the grain style is often referred to simply as “funkadelic bass music”, a term he supports wholeheartedly. The producer who now calls Australia home first gained international recognition in 2010 with his single “Robo Booty” from his debut album “Slurp and Giggle”, which was a finalist for Best Dance/Electro Release at the Australian Independent Music Awards that year. His music has since reached the #1 position on the iTunes, Hype Machine, Beatport & Addictech charts. Racking up 5 million plays on his Soundcloud page, Opiuo swept the 2013 UK Glitch-Hop Awards with 5 wins. His latest full-length album “Meraki” was a finalist for the Best Electronica Album at the New Zealand Music Awards 2014.


Opiuo’s unique take on electronic music has captured the attention of music lovers around the entire globe, with sets at Coachella (USA), Glastonbury (UK), Shambhala (Canada), Lightning In A Bottle (USA), Boomtown Fair (UK) as well as headlining tours across Australia, New Zealand, N. America, Europe, Asia, Israel and India. He’s shared the stage with some of music’s elite including Bassnectar, Moby, Pete Tong, Bonobo, & The Glitch Mob to name a few. Whether he’s equipped with his solo setup of various drum machines and synths, or performing 100% live as The Opiuo Band, his explosive live shows never disappoint.


As a remixer Opiuo’s credits span far & wide, from Gwen Stefani to Kimbra, Pretty Lights to Infected Mushroom, KOAN Sound to Shapeshifter and many more. With such a grand scope its no wonder Opiuo’s musical meanderings are heard the world over.

Presented by Speakeasy and Tight Bros

Mar 2

Mar 2

Doors open at 9:00 pm Starts at 10:00 pm All ages

Price: $15 General Admission / $15 General Admission

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Taking influence from 1960’s Thai funk – their name literally translates to “Engine Fly” in Thai – Khruangbin is steeped in the bass heavy, psychedelic sound of their inspiration, Tarantino soundtracks and surf-rock cool. The Texan trio is formed of Laura Lee on bass, Mark Speer on guitar, and Donald “DJ” Johnson on drums.


Ever since their first rehearsals, Khruangbin have recorded at their spiritual home, a remote barn deep in the Texas countryside. The band listened to a lot of different types of music on the long drives out to the country but their favourites were 60s and 70s Thai cassettes gleaned from the cult Monrakplengthai blog and compilations of southeast Asian pop, rock and funk. This had a heavy impact on the direction of the band, the scales they used and the inflection of the melodies; which coupled with the spaciousness of the Texan countryside culminated in Khruangbin forming their exotic, individual sound.


The seeds of Khruangbin were sown when Mark and Laura were invited to tour with Ninja Tune’s YPPAH supporting Bonobo across his 2010 American tour. The tour galvanised the two of them to start making music together more seriously, with DJ – he and Mark have played in the same gospel band for years – the natural choice for drums.


Sharing their first recordings, Bonobo included Khruangbin’s ‘A Calf Born In Winter’ on his 2013 Late Night Tales compilation. Subsequently signed to Late Night Tales offshoot Night Time Stories, ‘A Calf Born In Winter’ was released as a single in May 2014, four track EP ‘The Infamous Bill’ followed in October, with covers EP ‘History Of Flight’ on Record Store Day 2015. Their debut album ‘The Universe Smiles Upon You’ was released in November 2015 to widespread acclaim. 2016 is set to be an important year for the band and their rising profile with a series of international live dates planned including Festivals in the UK, Europe and US, SXSW and out on the road this May with Father John Misty supporting on his UK and European tour.


“Hypnotic, spacious, drifting soul music with a cinematic dreaminess” -The Guardian “A positive energy” – The Independent “Like a Tarantino soundtrack crossed with Curtis Mayfield. In Thailand” – The Telegraph “Intriguing Thai-influenced funk” – Mojo “A sea of sound that’s lovely to get lost in” – The Line Of Best Fit “An imaginative, inventive and sublime debut album” – Stamp The Wax “An outstanding debut” – Future Music

with The Georgia Flood

Presented by The Bowery

Mar 3

Mar 3

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $12.50 General Admission / $15 General Admission

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This guy was telling me all this stuff that no one else could possibly know,” says Dorothy Martin, the singer and namesake of Los Angeles rock quartet Dorothy. “The theme from The Twilight Zone was playing in my head. It was a ritual cleaning, where this medicine man from Guadalajara spit all over me and blew smoke in my face. It was crazy. Then, we went and climbed a pyramid. When we got to the top there were all these butterflies everywhere. It felt like a dream. But, the weirdest part is that I had written the song before this happened.”


 


As Dorothy Martin talks about her favorite song (“Medicine Man”) from her band’s forthcoming debut on Jay-Z’s Roc Nation label, you begin to realize the precise reason why her music is so bewitching.


No, it’s not because she might be more of a shaman than that mystic she met in Mexico City. It’s because despite drawing from a familiar musical tradition—they are a rock band after all—Dorothy’s music is rendered anew by this front-woman’s singular vision. All of it is channeled through her. There is no one quite like her. So it follows, there has been nothing quite like this band before now.


We're not trying to fit into a box. We're not trying to write songs we think should be on the radio,” Martin says. “We just want to write good music. For me, the challenge is to be as honest as possible. I cannot live my life as a lie, at all. Every day, I wake up and think, 'What can I learn today and how can I give something back?' This is not selfishly motivated. The picture is bigger than me. It has nothing to do with me. It has to do with everybody. How is this going to make me better, other people better, the world better? If you don't have that, then why even do it?”


Even her contradictions make sense. She is filled with humility, yet wants to change the world. She has managed to tame any trace of an ego, yet knows instinctively she has something. In conversation, she pauses thoughtfully and expresses gratitude. On stage, she’s intimidating and maybe a little scary, but the possibility of danger that lurks inside of her music is what makes you move a little closer. It’s curiosity. You can’t take your eyes off her. But, she is the first to remind you that Dorothy might be her name, but Dorothy is a band. It is both her and not her.


“It’s like having three older brothers,” she says. “I had to magically bump into these people and it's almost like it was predetermined, or predestined. It really feels that way.”


Rounding out the quartet is drummer Dylan Howard, guitarist DJ Black and bassist Gregg. Rehearsing and touring and recording for well over a year, they’ve become a close-knit gang.


Martin is adamant about Dorothy being a group effort, but she no longer has to make that plea once you’ve heard the songs. The music they make is undeniably the sound of four, a muscular rhythm section elevated by the melodic counterpoint of guitar and vocals, all woven together into something not exactly rock, or blues, or punk, or even a combination of all three. Dorothy is its own invention, built upon familiar foundations, but sounding only like itself.


Take “Raise Hell,” a song that shuffles along with nothing less than the blues-rock audacity of a lost Led Zeppelin track. The first verse arrives and Martin upends the whole affair, floating high above the floor-stomp kick drum and slide guitar, conducting this sinister orchestra without a baton, but the singular force of her incomparable voice. Go ahead and make your comparisons, you are not wrong. This is music that belongs on the historical timeline that runs from Black Sabbath up to Rid of Me-era PJ Harvey and right through recent bands like the Dead Weather. But this is Dorothy—next on that list, written in bold, not hiding inside an overcrowded timeline.


The momentum of Dorothy’s rise speaks for itself. Just as Martin describes the formation of the band as something akin to fate, Dorothy’s recent tour in support of Miguel, Rolling Stone putting them high on their list of new bands to know, Levi’s grabbing the track “Wicked Ones” for an international campaign, and the band’s self-made clip for “After Midnight” captivating none other than the decision-makers at Jay-Z’s Roc Nation to sign the four-piece to a label not usually interested in rock bands—Dorothy’s ascent is as transcendent as that pyramid in Mexico City adorned with the flapping wings of magic butterflies. In other words, you can’t really explain it, so step aside or join in. Either way, this thing, this Dorothy, it’s coming right at you.


I'm just glad that they welcomed us and saw something special,” Martin says of signing to Roc Nation, while pondering the band’s future on the eve of their debut. “I try not to have any expectations. I'm always pushing us to be better. I'm my own toughest critic and I think this record is great. We'll just have to wait and see what the world thinks.”

Mar 4

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $10 General Admission / $12 General Admission

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Templo:
Liam Shea, aka Templo, strives to blend atmospheric soundscapes with head bobbing beats. Born and raised in Denver, Templo’s interest in music began at the age of 11 behind a drum kit. This sparked an exploration into all types of instruments and music. On his tracks you will hear all original riffs and drum beats, incorporating a variety of instruments and styles. Templo has one foot in the future with influences including Tipper, Random Rab, and Emancipator. While at the same time paying heed to the classics, attempting to emulate the sounds of J Dilla, Eek-A-Mouse, and Gorillaz. Templo’s eclectic tastes comes through in his music as he aims to blend downtempo trip-hop, funk and dub elements, with deep melodic bass. Ultimately, Templo aims to inspire creation and imagination in the music community and beyond.


A relative new comer to the music scene, Templo has seen his music evolve exponentially since its inception in 2011. Already he has shared the stage with artists such as Polish Ambassador, Random Rab, Opiou, Andrellion (Heyoka), and Vibesquad. Templo headlined his first show in 2013 at the Denver art galley Lumonics. Templo released his first album for free in 2013 and it is available for download on bandcamp.


Supersillyus:
Robert Jacob Max is a musician and producer based in Brooklyn, His extensively layered soundscapes take listeners on melodic cinematic adventures with his solo project Supersillyus. His most recent album, Interabang, has been downloaded over 15,000 times and featured on Ektoplazm.com, the premier source for psychedelic electronic music from around the world. He has a passion for his uniquely expressive and creative brand of instrumental story telling. Exemplified not just by his multiple support performances with Visionary musicians Shpongle, Tipper, Ott but by his artistic and performance collaborations with visionary weirdos Space Jesus, Yheti, Freddy Todd, and more. In October 2012 He debuted Supersillyus Lifeband, a full band transforming Supersillyus’ music into a living breathing agent of artfully crafted psychedelic chaos.

Mar 8

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $13 General Admission / $15 General Admission

Event Information

“It’s surprising this record even got made,” bass player and songwriter Kristian Dunn reflects. “[Drummer] Tim’s dad died just before the recording was to begin. Obviously he needed to go back to Pittsburgh to be with his family. He returned to California relatively quickly, ready to work, and then I was struck with serious food poisoning.”


As soon as one band member in the duo was ready to work, it seemed the other had something come up. Even their engineer, Chris Cheney, had to leave in the middle of recording to go DJ for the Arizona Diamondbacks baseball team. Deadlines were rapidly approaching and the record wasn’t finished. “It was stressful, but it seemed to all work out,” Tim Fogarty adds.


Appropriately, the record is all about family and the connection between parent and child. Opening with “Point Breeze” (an area in Pittsburgh in which Tim’s dad used to hang out when young) and moving right into “Scott Township” (an area of Pittsburgh where Fogarty did the same), the record is alive with sounds both futuristic and anachronistic.


The album is full of parental nods. “’Fast Forward’ is a band name my dad would always suggest when I was starting new bands in high school. I thought it was stupid and would blow him off! Now I actually think it’s cool. It really represents something that is old, but also forward looking and inventive.” Dunn explains. “Peter and Jack” is a thank you to father and son team Peter Hook (of New Order and Joy Division) and Jack Bates who, after playing some shows with El Ten Eleven, suggested to Dunn that he employ one of the six string basses they were using.


“Not to exaggerate, but the effect those two had on El Ten Eleven is sort of incalculable. I wouldn’t have even considered the Bass VI if it weren’t for them. And the direction of the band definitely changed because of it,” Dunn says.


The record was written at their homes and practice studio in Atwater Village, and recorded with Cheney at Costa Mesa Recording Studio in Costa Mesa, CA. Dunn and Fogarty are the only musicians that appear on Fast Forward; everything you hear was done by the two of them using two basses, electronic drums, acoustic drums, and myriad looping pedals and effects.


While most artists use looping technology improvisationally, Dunn and Fogarty see the loopers themselves as another instrument. Over a decade plus together they’ve attained hard-won virtuosity with the devices, and can now concentrate on songwriting itself rather than logistics. “Nothing we do is improvised” explains Dunn. “When we first started playing shows we’d sometimes run into troubles with the loops and have to stop and retry songs!”


“It’s almost like our rig itself is an instrument we’ve had to master,” he continues. “I’ll loop Tim’s electronic drums with one of my pedals while looping my own bassline, then switch to my six string bass midsong while he moves to playing acoustic drums, layering up the sonics and shaping the song as it all grows.” By refusing to use anything pre-recorded live they’ve pushed themselves into new territory, now able to deftly recreate their complex compositions nightly.


In the end, of course, it all comes back to family; from Dunn and Fogarty’s own parents to Hook and Bates, to their own growing families. Dunn discloses, “I didn’t come up with the artwork just because I thought it looked cool. The triangle on the front represents the connection between my wife, daughter and me, but if you look closely, it isn’t actually there. Your mind creates that triangle. And that is symbolic of the family connection, always there, even if not physically.”


More dedications round out the record: “JD” (Tim’s dad), “We Lost A Giant” (a phrase used by a Pittsburgh Steelers radio announcer to describe Tim’s dad) and “Be Kind, Rewind” (a plea for respect for one’s ancestors).


“I’m so relieved this record is finished.  It was a lot of work… like family!” laughs Dunn.

Presented by The Bowery

Mar 11

Mar 11

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $14 General Admission / $16 General Admission

Event Information

Asa Taccone needed to come back to himself. After years of grinding towards a dream, the Electric Guest frontman and his musical partner, Matthew Compton, finally achieved breakout success with their 2012 debut, ‘Mondo.’ Recorded with longtime friend and mentor Danger Mouse, the album was an unqualified success, but for all the benefits that came from working with an established producer, Taccone wanted to know who he was independently. Rather than lose himself in some idea of success, he wanted to define himself on his own, so he quietly recorded a left-turn of a follow-up album alone in his bedroom. It was a somber reflection of a particularly difficult stretch of life. He pored over every detail, stressed over every sound and syllable, and then, when it was finished, he threw it away. “It kind of broke me down mentally,” reflects Taccone, “Nobody liked it, not the few people who’s opinions I trust, not the label-& after sitting with it-i realized it was garbage too,” “ but the great thing about it was that it inspired me to get me back to what music used to be for me: intuitive, and not over-intellectualized. Once I scrapped that record, a completely different album emerged really quickly and naturally & I love it so much more.” Enter ‘Plural,’ a record that finds Taccone and Compton at the absolute top of their game, infusing their version of electronic r&b with an even more confident, adventurous spirit than ‘Mondo’ displayed. And that’s saying something, because ‘Mondo’ was a life-changer for the band. Rolling Stone called it “a Beck-ian journey into L.A. slacker soul, full of hooky neon jams,” while Entertainment Weekly hailed its “winking falsetto and retro swagger,” and The Guardian praised its “soulful, funked-up pop.” Lead single “This Head I Hold” was featured in an NFL Super Bowl commercial, while other tunes turned up in soundtracks everywhere from ‘Girls’ to ‘Suits.’ MTV named Electric Guest an Artist To Watch, NME tagged them as a Band Of The Week, and they made the rounds at festivals from Bonnaroo to Outside Lands in addition to taking late night TV by storm with electrifying performances on Letterman, Fallon, Conan, and more. When it came to record ‘Plural,’ Taccone forced himself to simplify and look for the joy in writing and recording that had inspired the band’s debut. “I just realized that working quickly and intuitively is part of the magic of making music,” says Taccone. “I think a lot of music suffers when people get into a studio and feel like the process has to be this heady thing. When you go in with expectations, it wears down the levity and the fluidity that the natural process should have. And that’s not to say there weren’t songs on this record that were puzzles we had to figure out, but making music is supposed to be fun, and it was important for us to get back to that.” “I think we found that it’s better to record all of your initial ideas quickly and then spend more time whittling them down to the most important components,” adds Compton. “While we were making the new album I found myself being influenced by things that were very simple but rich in texture and still posses an emotional payoff.” Emotional payoffs are Electric Guest’s specialty, and the freewheeling sense of looseness Taccone rediscovered resulted in several off-the-cuff collaborations, including impromptu Joanna Newsom and the Haim sisters. It also led to a new level of comfort both at the mixing board and behind the microphone.


“The last album had lot more falsetto vocals,” says Taccone, “but on this one I decided I was going to sing in my regular voice. I had to learn to be OK with the way my voice sounded because I’ve struggled with disliking the sound of my voice.” The record opens with “Zero,” a bouncing, piano-driven banger that sets the stage for Electric Guest’s off-kilter blend of electronic music, r&b, and pop. It’s a sonic mélange that sounds as if it’s from both the past and the future, and the band’s recording environments often reflect that. “Dear To Me” (which features the Haim girls) layers up vintage synthesizers from the 70’s and 80’s into an irresistible, analog jam, while the dance-floor-ready “Back and Forth” was recorded in a 14- hour marathon fueled by Taccone’s first experience with MDMA, and “Glorious Warrior” is built on top of an iPhone simulating a drum machine. “I think we tried to create a different palette of sounds and styles than what you heard on ‘Mondo,’ says Compton. “Most of the sounds we ended up liking this time were more modern and less throwback. Music has changed quite a bit since our last album came out, and I think we embraced that rather than shy away from it.” Lyrically, the album tackles difficult times with a determined optimism, “I”ve seen the light in you before / I’ll see the light again” he sings on “See The Light,” while “Over” and “My Omen” dig down deep within to find the strength to carry on. The slow-burning “Hold On” came out of writing sessions for the French artist Charlotte Gainsbourg, and “Oh Devil,” which draws influence from Latin and Caribbean sounds, was born from time the boys spent in Mexico.


“I wrote Devil in Mexico. We were in Baja on the beach and a man in a homemade airplane landed about a hundred yards from us,” says Taccone. ” I offered him $40 to take me on a ride over the ocean. We flew over the coastline for about 15 minutes, and later that night, I bought a candle with a depiction of the patron saint of death and spent a long time just looking at it. At that time, I was making a lot of mistakes in life, and the song is about having to make peace with your devil because he’s always going to resurface at some point.” Taccone’s faced down his devil, and he emerges on ‘Plural’ much stronger for having done it. By searching within, he found the courage to begin again, he stopped overthinking and second- guessing and tapped into the truest part of his self, pure and unfiltered. He wrote these songs in an effort to figure out who he was. With an album this good, it won’t be long before the rest of the world figures out who Electric Guest is, too.

with Bearface

Mar 12

Mar 12

Doors open at 7:00 pm Starts at 8:00 pm All ages

Price: $12 General Admission / $15 General Admission

Event Information

Kevin Abstract


Bearface

Sunday March 12 at Aisle 5

At the young age of 17 after high school, Kevin Abstract made the bold decision to run away to Texas in search of hope & friendship. Brockhampton was born thereafter. Kevin Abstract is the de facto leader of the hip-hop boyband Brockhampton. He recently left his home state of Texas, moving to Los Angeles along with his Brockhampton compatriots. At the young age of 20, he has already developed a concrete image both on stage and online and is commanding attention due to his progressive music as well as his carefully curated visual presentation. Befriending The Neighbourhood shipped him across the pond to koin them in the UK before being asked to join the US dates. Leading up to the release, Kevin shared a cinematic visual for his single "Empty" that spread rapidly online and gained the attention of fans and critics alike. Earlier last month, Kevin shared his deeply personal song "Miserable America" which earned him praise from The New York Times. A week before the album, Kevin performed new songs at Tyler, the Creator's Camp Flog Gnaw Carnival with an intricate stage set up including cheerleaders in uniform and kids sitting on bleachers reminiscent of a high school gym. Leading up to the album's release, Kevin recently spoke with The Fader for a Gen F feature. After releasing his acclaimed mixtape MTV1987 in 2014 with right hand man & producer Romil, he set out to make his followup - working tediously on any versions of what turned into his debut album. Citing influences like Kid Cudi & Tyler, The Creator,  Abstract's ability to champion and relate to those whom have been fortunate enough to discover  him through his unique approach of transparency and honesty with fans will continue to allow himself to propel his impactful & progressive album to audiences and news fans alike in 2017.

Mar 18

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $15 General Admission

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EPROM (USA) and Alix Perez (Belgium/UK) are SHADES. 

 

Eprom gained his well-deserved success through his innovative take on bass music, a unique sound that has the likes of Gaslamp Killer, Kutmah, D-Styles singing his praises and supporting his music.

 

Perez found his rise to fame in drum n bass, releasing on Shogun Audio, Exit Recordings amongst many other labels and collaborating with the foremost names in dance and electronic music such as Noisia, Foreign Beggars, dBridge, and many more.

 

SHADES exemplifies slanted grooves, a deep pocket and hard yet graceful composition. The debut self-titled EP (released on Alpha Pup) is a truly unique body of work. 

 

Aware of each other's music for some time before meeting, Perez and Eprom first crossed paths at the 2013/2014 Northern Bass festival in New Zealand. The following summer they met again at the Red Bull Studios LA producing the Foreign Beggars’ Modus EP. This initial studio session led to further collaborations and SHADES was born. 

 

XLR8R have rightly said “music that's not only a legitimate full-frontal assault in the same vein as tunes from that golden era of gluttonous bass and synths, but that embraces that ethos while giving it a more polished feel”.

Mar 21

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $15 General Admission / $15 General Admission

Event Information

Expansive yet exactingly nuanced, hypnotic yet uncompromisingly complex, The Japanese House offers up timeless synth-pop whose layered vocals and lavish textures unfold into infinite dimensions of feeling. In each track, East London-based artist Amber Bain charts such terrain as the pain of shattered relationships, the growth that comes from moving solitarily through life-changing experience, and the newfound lucidity that ultimately follows.

A perfectly fitting moniker for music so dreamlike, transcendent, and defiant of all convention, The Japanese House references the Bain family nickname for their vacation home in Cornwall. While staying in that home at age eight, Amber developed a crush on the girl next door. By tucking her hair inside her hat, she soon led her crush into mistaking her for a boy, and within days the girl was sending Amber love letters.

The follow-up to 2015’s much-acclaimed Clean, The Japanese House’s new EP Swim Against the Tide delves into memory and loss and love of all kinds. Written by Amber Bain and produced by the 21-year-old in collaboration with labelmate George Daniel of The 1975, the EP reveals the emotional intricacy of The Japanese House in songs like lead single “Face Like Thunder.” The track offsets its bright beats and radiant melodies with Amber’s painfully poignant lyrics (“I kiss the floor, curled up in a ball/There’s nothing coming out of my mouth, so I said nothing at all”), brilliantly rendering “Face Like Thunder” both heavy-hearted and hopeful. Another luminous moment, “Good side in” matches Amber’s ethereal vocals with her mesmerizing guitar work. On “Leon,” meanwhile, Amber proves her lyrical ingenuity by spinning a narrative inspired by the film of the same name. “I got obsessed with how, in the original script, Natalie Portman and Leon are meant to have sex,” notes Amber. “The song is about her when she’s older. Leon is dead. She’s found another guy and doesn’t really give a shit about him. She has a child, but her life is really boring.”

And on Swim Against the Tide’s powerful title track, the many interconnected stories informing the work of The Japanese House become unified at last. “It’s about losing someone in a number of ways: literally losing them, and having someone fading through your life, then coming back. It’s about them literally being a presence in your head,” explains Amber. In the end, she continues, “Swim Against the Tide” strives to examine “the pain of falling for someone—and how the feeling of losing someone, loving them, and them dying are all kind of the same feelings.”

Born and raised in Buckinghamshire, Amber began exploring her musicality by playing guitar with her father as a child. Learning to play on a right-handed acoustic—despite being left-landed—Amber quickly became entrenched in the long-enduring art of The Beatles, Frankie Valli and the Four Seasons, and—perhaps most crucially—Brian Wilson of The Beach Boys. Such artists played a central role in shaping Amber’s timeless sense of songcraft, as well as the singular melodic sensibilities that make her music so captivating.

Released in 2015, The Japanese House’s debut EP Pools to Bathe In features the beautifully devastating debut single “Still,” which holds the distinction of being Zane Lowe’s last-ever Hottest Record on Radio 1. Written after the end of Amber’s first relationship, “Still” illuminates the fragility that lies in directing your heart, and someone else’s, into the unknown. With its delicate meditation on both commitment and loss, the song also reflects on the jarring phenomenon of continuing to feel connected even after breaking up. “We went on holiday together afterwards as we’d already booked tickets,” Amber points out. “I still really loved them.”

In all her musical output, Amber shows a supreme clarity of vision that extends to the visual element of her artistry. To that end, she’s traveled to Morocco and Iceland and Los Angeles to take photos for all three of her EPs, essentially serving as creative director for The Japanese House. With her journeys around the world also including tours with acts like The 1975, The Japanese House is now set for a headlining tour of the U.S. and Europe.

Mar 22

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $10 General Admission / $12 General Admission

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For New York duo SOFI TUKKER, comprised of Sophie Hawley-Weld and Tucker Halpern, these words are not just a guiding life principle, but how they measure the music they create. SOFI TUKKER’s “holy trinity,” as they describe it, is movement, community, and joy. Despite their yin-and-yang dynamic and coming from different worlds, the pair shares a deep-rooted spiritual connection around their music.


Halpern was on track to become a professional basketball player, focusing on NCAA stardom and training, before health problems put his athletic dreams on hold and caused his plans to take a serendipitous turn. While recuperating and on bed rest for nine months, Halpern taught himself how to produce electronic music and DJ, adding to the musical skills he had developed in numerous bands during his grade school years.


Hawley-Weld is something of a renaissance woman. Born in Germany, spending her youth in rural Canada and Italy, her international background sparked studies in International development, Brazilian poetry, yoga, and even West African drums and music. As soon as Tucker and Sophie first met, when Halpern stumbled upon Hawley-Weld singing bossa nova in a warehouse, they instantly jumped at the chance to collaborate.


Around this time, Tucker earned a gig supporting NY dance outfit The Knocks, who eventually helped nurture their early demos. “They became instant family, and encouraged us to pursue the collaboration for real,” Tucker recalls. Sophie and Tucker immediately made the jump to New York City and began working on their debut EP at the Knocks’ HeavyRoc Studios. That first week, they penned their debut single “Drinkee,” an instant viral smash that features Portuguese lyrics by Brazilian poet Chacal, now a friend of the group. After putting the track up on Soundcloud, “Drinkee” quickly topped the Spotify viral charts in South America and Europe, popped up on radio stations in countries the band had never visited, and perhaps most prominently featured as the soundtrack to the latest Apple Watch campaign.


Sophie and Tucker also set their sights on putting together a live show, which combines the duo’s unique personalities, instrumental skills, and their need to get a room full of people dancing. In their short live career, they have appeared at everything from Fashion Week to Art Basel to the CMJ Music Marathon, and are set to take their show across the USA and the globe later in the year.


The band has just finished their debut EP. The title, “Soft Animals,” is a nod to poet Mary Oliver. Their second track, “Matadora,” premiered the first week of 2016 on Apple’s world-spanning Beats 1 radio and cutting-edge NYC music bible the FADER, and topped the Hype Machine Popular chart before the track was even 3 days old. The EP promises a number of surprises, and shows Sophie and Tucker have created one of the most unique sounds the music community has heard in years – a heady cocktail that blends global instrumentation with modern technology, while sounding anything but machine-made. People have tried to categorize them, but nobody can seem to agree what box to put them in. That suits them just fine.

with Thrice Groove

Mar 24

Mar 24

Doors open at 9:00 pm Starts at 10:00 pm All ages

Price: $10 General Admission / $10 General Admission

Apr 1

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $16 General Admission / $20 General Admission / $20 General Admission / $65 Meet & Greet Package Admission

Event Information

Devin Copeland (born June 4, 1970),better known by his stage name Devin the Dude, is a Houston hip hop artist who started out as a member of the Odd Squad, later known as the Coughee Brothaz, a group of rappers signed to Rap-A-Lot Records.

The label is notable for being the home of hip-hop artists such as Geto Boys, Scarface, and Too Much Trouble. Devin Copeland moved on to become part of Scarface's Facemob, who is also a member of the Coughee Brothaz, before going solo in 1998.

Copeland has released six solo albums: “The Dude” 1998), “Just Tryin' ta Live” (2002), “To tha X-Treme” (2004), “Waitin' to Inhale” (2007), “Landing Gear” (2008), and “Suite 420” (2010). He also made a number of guest appearances, including on Dr. Dre's "Fuck You" in 1999, and De La Soul's "Baby Phat" in 2001, and on Tech N9ne's "After Party" 2010 off of The Gates Mixed Plate.

In 2008, he ended his 15 year relationship with Houston based Rap-A-Lot Records after he decided not to renew his contract. Later that year, he signed with indie label Razor & Tie. Devin is currently being distributed by E1 Entertainment, formerly Koch. Despite being a critical success, Devin the Dude has not achieved success in the mainstream but continues to be a well-known underground hip-hop artist. The “New York Times” has called him "A brilliant oddball with a spaced-out flow."

In addition, he has been called "Rap's best-kept secret" and "Your favorite rapper's favorite rapper." In 2007, he appeared in a documentary titled “Screwed In Houston” produced by VBS/Vice Magazine that details the history of the Houston rap scene.

with Laura Gibson

Apr 28

Apr 28

Doors open at 9:00 pm Starts at 9:30 pm All ages

Price: $16 General Admission / $18 General Admission

Event Information

Like previous Clap Your Hands Say Yeah records, The Tourist nods to Ounsworth’s musical heroes—a group that includes artists such as John Cale, Robert Wyatt, Tom Waits and Nick Cave. However, this album also shows a natural progression from previous records. “Better Off” and “The Vanity Of Trying” are lush, keyboard-augmented songs, while “A Chance To Cure” and “Ambulance Chaser” are rhythmically askew, and the sighing “Loose Ends” is delicate, acoustic-based folk-rock.


The Tourist emerged from a period where Ounsworth was doing a lot of intense soul-searching, and processing personal events that irrevocably shaped his life and future. But although most of these songs came together during this time of reflection, he considers the record to be cathartic—an exhale of sorts, rather than a collection of songs where he was indulging in self-pity or letting things stagnate or fester.


Appropriately, The Tourist’s lyrics reflect how complex upheaval can be (“We can beat around this bush together/Sometimes it’s all I think of/Other times I can forget”) and explore the imperfect nature of blame (“The car left the road and was found without its mirrors/You play the victim/And I’ll play the blind man”). Other songs try to make sense of the present time (“Now that the past is on fire/How can I look around and find I can’t remember who I was”) or employ clever wordplay— “Black cat let’s not split hairs/I’m tethered to the weather/I assure I don’t care about no lucky streak”—for effect.


Ounsworth spent about a week recording The Tourist at Dr. Dog’s Philadelphia-based studio with a drummer and bassist. After that, he and engineer Nick Krill spent a few months “tidying things up” and recording additional embellishments: backup vocals, keyboards, guitars and more percussion. That gives The Tourist more of a band feel than the last album, and contributes to why the record possesses a musical lightness. The dreamy opening track “The Pilot” especially has a lilting edge, courtesy of Smiths-reminiscent acoustic guitars strums and Ounsworth’s hiccupping, conspiratorial vocals.


The Tourist was then mixed by Dave Fridmann, who also worked on two previous Clap Your Hands Say Yeah albums, 2007’s Some Loud Thunder and 2014’s Only Run. Ounsworth says he and Fridmann are on the same musical wavelength, which makes their long-time working relationship an anchor of sorts. “Dave and I don’t necessarily stick with what’s easiest which is fine and anxiety-inducing, in a good way,” he says. “He challenges me to do something a little bit different.”


“I am a relatively solitary person and seem to work best alone,” he says. “I do count on others to help the project as the process of making and releasing an album moves forward, but if it doesn’t match what I have in mind, it’s hard for me to really be there for it. I guess this is one reason why the project has been independent all this time. Trust me, I understand that thinking this way is both an asset and a liability.”


However, this stubborn independence also reflects Ounsworth’s commitment to musical integrity. Clap Your Hands Say Yeah’s career arc is all about building on previous successes while staying true to a core artistic vision. And although The Tourist may have emerged from challenging times, it reflects Ounsworth’s uncanny ability to move forward, no matter what the circumstances.


“I’d rather not say that it was a dark time, but it was a difficult time in my life—among the most difficult,” he says. “But I needed and need to try to let it go. And this is how I let things go. Though it’s the same for any album—this one probably more than the others.


“But I have to try to do something each time that’s new and engaging for me,” he adds. “I mean, I could very well just write songs the way they were early on. But I don’t think that people would appreciate listening to someone just going through the motions. We have to build something to last, rather than just build it because it looks good at the moment.”


– Annie Zeleski

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❄️ Unfortunately, due to the approaching weather and State of Emergency, the Nth Power show tonight has been cancelled. Refunds have started and are on their way. Stay safe and warm with your friends and family! ❄️

Just announced and on sale now: @jantsenr plays @aisle5_atl on Feb 9th with DJ Hippo and @brannandoyle

Join us for the official Disco Biscuits NYE after party with CIA and Space Kadet! Going until 3am, so head over after the Biscuits! #nye #l5p #discobiscuits