Events

Church of Hive Presents
April 1, 2018 7:30 pm PDT

Formed in Keighley, West Yorkshire, England during the Post Punk of early 1980's out of the band 'The Elements", took their name from the title of the song "Chant of the Ever Circling Skeletal Family" from the 1974 David Bowie ... Read more

Formed in Keighley, West Yorkshire, England during the Post Punk of early 1980's out of the band 'The Elements", took their name from the title of the song "Chant of the Ever Circling Skeletal Family" from the 1974 David Bowie album, Diamond Dogs. Something unique was brewing up a dark and broody storm in West Yorkshire at the time with bands like The Sisters Of Mercy, The March Violets, Red Lorry Yellow Lorry, Southern Death Cult (later became The Cult) forming the basis of what became the soundtracks to the Goth Subculture. Skeletal Family soon gained popularity in the UK Independent Charts and furiously gigged the length and breadth of the UK and Europe, recorded tracks for the John Peels Sessions, supported The Sisters of Mercy during their 1984 Black October tour, released 2 studio albums 'Burning Oil' (1984) and 'Futile Combat' (1985) of which saw the release of Skeletal Family's most successful single 'Promised Land' on Red Rhino record label. Anne-Marie left Skeletal Family in 1985 to form Ghost Dance with Gary Marx, former guitarist of The Sisters Of Mercy. The remaining members of Skeletal Family briefly continued before disbanding in 1986. Skeletal Family reformed in 2003 with Stan and Trotwood along with Karl Heinz. Anne-Marie rejoined her fellow band members in 2012 after she released her solo album 'Day Of All Days' in 2011. In 2015, Cherry Red Records released Eternal, a definitive CD box set of Skeletal Family's back catalogue. They have remained one of the original Gothic Rocks bands staying true to their sound and have continued to tour and perform world-wide including Mexico, Poland and the US as well as regular headliners at Whitby Goth Weekend and Wave Gotik Treffen.

Skeletal Family are: Anne Marie Hurst (Vocals) Stan Greenwood (Guitar) Roger Trotwood Nowell (Bass) Adrian Ozzy Osadzenko (Drums)        


ABSTRACT EARTH PROJECT PRESENTS
April 14, 2018 9:00 pm PDT

CHROME SPARKS Chrome Sparks is the solo project of Jeremy Malvin, a Brooklyn transplant from Pittsburgh by way of Ann Arbor. In 2014, after having self released a small handful of singles and two EPs on Bandcamp, Malvin signed to the taste making ... Read more

CHROME SPARKS

Chrome Sparks is the solo project of Jeremy Malvin, a Brooklyn transplant from Pittsburgh by way of Ann Arbor. In 2014, after having self released a small handful of singles and two EPs on Bandcamp, Malvin signed to the taste making Sydney based label Future Classic. Under the new label, he rereleased Sparks EP and released the Goddess EP. His next EP, Parallelism is slated to be released with Future Classic on November 6.

Inspired by a background in classical percussion and an obsession with synthesizers, Malvin creates dazed, melodic beat-centric tunes that loosely hang between down-tempo head nodders and up-tempo club bangers. FADER has described his music as 'form-shifting beats [that] seem to resonate with spaced-out chillers and hyperactive party kids alike.'

In 2012, while on Warped Tour as the drummer for Stepdad, Malvin released the slow burning, bass heavy single "Marijuana" on a Bandcamp compilation highlighting music from he and his friends in Ann Arbor. It quickly rocketed to #1 on Hype Machine and has since become an internet-stoner anthem. It has subsequently been rereleased by Future Classic and Kitsuné.

His upcoming release, Parallelism, was made using sounds from three analog synthesizers, vocal samples from friends, and a tambourine.        

MACHINEDRUM

North Carolina-born artist Travis Stewart AKA Machinedrum has produced and composed over a dozen albums under various aliases since his first independent release in 1999. Covering an astonishing variety of styles through his solo work and with collaborative projects Sepalcure, JETS and Dream Continuum, Travis delivers his signature on every thing he touches; from his 2013 'Vapor City' LP for Ninja Tune, to his production work for the likes of Azealia Banks, Jamie Liddell and Jesse Boykins II, which has made him widely recognised as a producer's producer, a pioneer of many styles, and a master of his craft.        


STAR THEATER PRESENTS
May 3, 2018 9:00 pm PDT

Pink Talking Fish is a Hybrid Tribute Fusion Act that takes the music from three of the world's most beloved bands and creates a special treat for fans of the music. Pink Floyd, The Talking Heads and Phish are all more than just bands... they ... Read more

Pink Talking Fish is a Hybrid Tribute Fusion Act that takes the music from three of the world's most beloved bands and creates a special treat for fans of the music.

Pink Floyd, The Talking Heads and Phish are all more than just bands... they are Phenomenons. Their creations have artistically inspired people and their mindblowing live performances have brought people together to form a special sense of community around the love for their favorite band.

Although the music from each act is different, Pink Talking Fish has discovered that fusing the material together creates an amazing story. The epic emotion of Pink Floyd.... The funky, danceable layerings of The Talking Heads.... The multitude of styles, unique compositional structures and pure fun of Phish.... to merge these three into one gives music lovers a special experience.

Pink Talking Fish features Eric Gould on bass, Richard James on keyboards, Zack Burwick on drums and Dave Brunyak on guitar. This is a band created by musicians who love the music of these acts. It's purpose is to heighten people's passion for this music by creating something fresh and exciting for fans.

Discovering connections is part of the fun: Pink Floyd's "On The Run" seamlessly fitting in the middle of the composition of Phish's "You Enjoy Myself". Perfectly placing Phish's "Sand" into the groove of The Talking Head's "Slippery People". Segued collections from all three acts such as Run Like Hell > Making Flippy Floppy > Piper > Run Like Hell or Mike's Song > Have A Cigar > Once In A Lifetime > Weekapaug Groove. These ideas are the spirit behind Pink Talking Fish.

The story is ever evolving. The experience is always exciting. Come join Pink Talking Fish for the ultimate fusion tribute and celebrate the love of this music in unique fashion.        


Monqui Presents
May 12, 2018 9:30 pm PDT

Preoccupations' songs have always worked through themes of creation, destruction, and futility, and they've always done it with singular post-punk grit. The textures are evocative and razorsharp. The wire is always a live one. But while that ... Read more

Preoccupations' songs have always worked through themes of creation, destruction, and futility, and they've always done it with singular post-punk grit. The textures are evocative and razorsharp. The wire is always a live one. But while that darker side may have been well-explored, that's not quite the same as it being fully, intensely lived. This time it was, and the result is 'New Material', a collection that broadens and deepens Preoccupations to a true mastery of their sound. In it lies the difference between witnessing a car crash and crashing your own, between jumping into an ocean and starting to swallow the water. "It's an ode to depression,' singer Matt Flegel says plainly. "To depression and self-sabotage, and looking inward at yourself with extreme hatred." Typically resilient, the months leading up to recording 'New Material' brought a new order of magnitude to feelings that had been creeping up on Flegel for some time. He'd written bits and pieces of lyrics through the course of it, small snippets he hadn't assigned to any one thought or feeling but were emblematic of a deeper issue, something germinating that was dense and numb and fully unshakeable. As the band began writing music, that process gave shape to the sheer tonnage of what he'd been carrying. With virtually nothing written or demoed before the band sat down together, the process was more collaborative than before. It was almost architectural, building some things up, tearing others down to the beams, sitting down and writing songs not knowing what they were about. But for Flegel, it led to a reckoning.


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