AdHoc Official Showcase at Cheer Up Charlie's

The United States’ myriad inequalities, hatreds and phobias are painfully evident in 2017, offering proof that the age-old dichotomy of “political bands” versus “apolitical bands” simply doesn’t exist. Either you are comfortable and unfazed by the current reigning power structures, or you choose (or have no choice but) to use your music as a vehicle for the dismantling of oppression and the creation of something better. No matter what your songs are about, you are choosing a side.

The position of Providence, RI’s Downtown Boys has been clear since they started storming through basements and DIY spaces with their radically-minded, indefatigable rock music: they are here to topple the white-cis-het hegemony and draft a new history. In the words of vocalist and lyricist Victoria Ruiz, they are “five unique and individual people who believe in the spectrum of people, experiences and emotions.” On their self-titled 2014 EP on Sister Polygon Records (run by their like-minded friends in Priests), they offered songs like “Slumlord Sal,” which strikes out against abusive landlords. Its accompanying video relays the idea that cops can be literally smacked out of their oppressive mindsets and into an exuberantly queer dance party. This is how Downtown Boys began, combining revolutionary ideals with boundless energy and contagious, inclusive fun, and their resolve has only strengthened as both their sound and audience have grown.

Cost of Living is their third full-length, following a self-released 2012 debut and 2015’s Full Communism on Don Giovanni Records. They recorded it with Guy Picciotto, one of indie-rock’s most mythological figures, in the producer’s chair. (Although best known for his ability to sing while dangling from a basketball hoop, he’s also produced pivotal albums by The Gossip and Blonde Redhead, among others.) “He very much enabled us to believe in what we were doing enough to get the record done, and get it done well,” says Joey La Neve DeFrancesco, Downtown Boys’ guitarist, vocalist and primary songwriter. Picciotto fostered the band’s improvisational urges while also pulling the root of their music to the forefront: unflinching choruses, fearlessly confrontational vocals, and the sense that each song will incite the room into action, sending bodies into motion that were previously thought to have atrophied.

Downtown Boys are keenly aware of the increased visibility and credibility that comes with signing to a corporate-media conglomerate such as Sub Pop. They’re using this platform as a megaphone for their protest music, amplifying and centering Chicana, queer, and Latino voices in the far-too-whitewashed world of rock. Opener “A Wall” rides the feel-good power that drove so many tunes by The Clash and Wire as it calls out the idea that a wall could ever succeed in snuffing the humanity and spirit of those it’s designed to crush. “Promissory Note” is a bold self-introduction to the exclusive clubs that either ignore Downtown Boys’ existence, or possibly worse, feign appreciation: “So what’s the matter, you don’t like what you see? I can’t believe you’re even talking to me!” Ruiz shouts that she won’t light herself on fire to keep you warm, and, like underground rock pioneer Alice Bag’s vitriolic verse, it’s a claim you wouldn’t dare question. “Tonta,” one of the three songs written and sung primarily in Spanish, is an introspective and emotional portrait of anguish, and it calls to mind the mighty scrum of Huasipungo at an ABC No Rio matinee.

Compared to previous efforts, Downtown Boys have shifted from a once-meaty brass section to the subtler melodic accompaniment of keyboards and a saxophone, coloring their anthems with warm, bright tones while Ruiz spits out her frustrations, passions, and intents. Some might say it shows a sense of maturity, as Downtown Boys have undoubtedly smoothed down some of their earlier edges, but there is no compromise to their righteous assault and captivating presence. Like the socially conscious groups of years past, from Public Enemy to Rage Against the Machine, Downtown Boys harness powerful sloganeering, repetitive grooves, and earworm hooks to create one of the most necessary musical statements of the day. We should all do well to take notice!

Priests

Priests is a 4 piece punk band from Washington DC. They released their first single "Radiation/Personal Planes" on their own label, Sister Polygon Records, and co-released their EP "Bodies and Control and Money and Power" with Don Giovanni Records last summer. The band is now at work on a debut full length record.

Hoops

Savoy Motel

Welcome to Savoy Motel. The debut album by this Nashville four-piece comes from a pedigree of garage, punk, and power-pop groups (bassist Jeffrey Novak founded both Cheap Time and the Rat Traps; drummer Jessica McFarland was also in Cheap Time, and along with guitarists Dillon Watson and Mimi Galbierz, played in Heavy Cream). Savoy Motel transposes the energy and hooks of those groups to an entirely different move: an intensely orchestrated hybrid of glam rock, soul, dance music, and showmanship. “We use rock and roll as a vehicle to reach and promote the feeling of TOTAL FREEDOM,” claims Dillon. “Savoy Motel is defined more by a feeling than a sound.”

Savoy Motel achieves a compositional harmony through the meshing of the clockwork precision in the rhythms of each song, with Jessica hammering out the beats alongside a vintage Rhythm King drum machine, and Mimi locking in on guitar, alongside the interplay of three lead vocalists, while Dillon rips intense fuzz leads on every track, and Jeffrey adds the hooks on his bass. Dillon remarks: “After Jeffrey repeatedly insisted that I play more and more like Jimi and Clapton, I realized that he wanted the shit to rock, and that he was not only unafraid of, but actually going for what a lot of contemporaries would consider faux pas. I think we were all ready for something radical and new, and Jeffrey was ready to lead us there.”

The whole package opens up their horizons, and yours, to a sound made by four friends tired of witnessing music eat its own tail; with unclouded judgment, creative refinements, and peerless technique, they grab that tail and stick it into a wall socket, putting the cap back on 15+ years of rock revivalism and strident genre adherence. And they make it seem easy. If it was that easy, though, everybody else would be doing it. Look around you. That’s not happening. Savoy Motel is happening. “Whatever musical past we had feels obsolete compared to what we’re doing now,” says Jeffrey. “The past turned its back on us, so we had to turn our backs on the past in order to find our future.”

Snail Mail

3 piece band from bmore.

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.

Latasha Alcindor

Spiritual. Expressive. Experimental. Raw. L.atasha A.lcindor , also known as L.A. is the essence of artistic energy in word and rhyme. Coming from Flatbush, Brooklyn, the young trailblazer utilizes her many talents ranging from poetry and dance to give her bites and story to hip hop. Starting out as a spoken word artist, the now emcee takes upon her shoulders the ancestry of wordplay and the devotion to tradition and spins circles around the current phases of music in hopes that her art may change the paradigm of time. In the last two and a half years of her blossoming career as an emcee, L.atasha A.lcindor has opened for various acts including Ghostface Killah, Big Sean and Nipsey Hussle, rocked at festivals including SXSW, Toronto's Manifesto, BK Hip Hop Festival, and SUNY's Culture Shock, and shined in Jay-Z's That's Rocawear" Campaign, MTV's "Sucker Free Sunday", MTV.com's "Get in the Game" and FuseTV's "Dollar Van Demos". She also has headlined a variety of shows from New York City to Toronto. With a perpetual growth, style and need for something new, A.lcindor has many familiarities to some of music greats including Lisa "Left Eye" Lopes, KRS-One, M.I.A, Kanye West and Biggie. However, not one for comparison, L.atasha A.lcindor leads her future with the idea of "being yourself will take you where you need to be." Currently, L.atasha A.lcindor is working on several artistic projects from LPs,a film, a play and a tour but her focus is geared on creating her story, in hopes that it will inspire others around the hemispheres. L.atasha A.lcindor is excited to be a forefront in the balance of music for the generations to come.

Mothica

KUČKA

Half Waif is the project of Nandi Rose Plunkett, based in Brooklyn NY.

In the home of her Indian mother and Irish/Swiss/American father, Nandi grew up listening to a mix of Joni Mitchell, Tori Amos, Celtic songstress Loreena McKennitt, and traditional Indian bhajans. In college, she studied classical singing and became enamored with the inventive works of Olivier Messiaen and Claude Debussy. A lover of synthesizers and pop tunes, her resulting work as Half Waif features richly layered compositions of various origins. Placeless, and yet the product of many places: the imaginative wilds of Northern Massachusetts; Ohio's stark fields; Brooklyn buzzing at night; and ancestral homes across the ocean.

The United States’ myriad inequalities, hatreds and phobias are painfully evident in 2017, offering proof that the age-old dichotomy of “political bands” versus “apolitical bands” simply doesn’t exist. Either you are comfortable and unfazed by the current reigning power structures, or you choose (or have no choice but) to use your music as a vehicle for the dismantling of oppression and the creation of something better. No matter what your songs are about, you are choosing a side.

The position of Providence, RI’s Downtown Boys has been clear since they started storming through basements and DIY spaces with their radically-minded, indefatigable rock music: they are here to topple the white-cis-het hegemony and draft a new history. In the words of vocalist and lyricist Victoria Ruiz, they are “five unique and individual people who believe in the spectrum of people, experiences and emotions.” On their self-titled 2014 EP on Sister Polygon Records (run by their like-minded friends in Priests), they offered songs like “Slumlord Sal,” which strikes out against abusive landlords. Its accompanying video relays the idea that cops can be literally smacked out of their oppressive mindsets and into an exuberantly queer dance party. This is how Downtown Boys began, combining revolutionary ideals with boundless energy and contagious, inclusive fun, and their resolve has only strengthened as both their sound and audience have grown.

Cost of Living is their third full-length, following a self-released 2012 debut and 2015’s Full Communism on Don Giovanni Records. They recorded it with Guy Picciotto, one of indie-rock’s most mythological figures, in the producer’s chair. (Although best known for his ability to sing while dangling from a basketball hoop, he’s also produced pivotal albums by The Gossip and Blonde Redhead, among others.) “He very much enabled us to believe in what we were doing enough to get the record done, and get it done well,” says Joey La Neve DeFrancesco, Downtown Boys’ guitarist, vocalist and primary songwriter. Picciotto fostered the band’s improvisational urges while also pulling the root of their music to the forefront: unflinching choruses, fearlessly confrontational vocals, and the sense that each song will incite the room into action, sending bodies into motion that were previously thought to have atrophied.

Downtown Boys are keenly aware of the increased visibility and credibility that comes with signing to a corporate-media conglomerate such as Sub Pop. They’re using this platform as a megaphone for their protest music, amplifying and centering Chicana, queer, and Latino voices in the far-too-whitewashed world of rock. Opener “A Wall” rides the feel-good power that drove so many tunes by The Clash and Wire as it calls out the idea that a wall could ever succeed in snuffing the humanity and spirit of those it’s designed to crush. “Promissory Note” is a bold self-introduction to the exclusive clubs that either ignore Downtown Boys’ existence, or possibly worse, feign appreciation: “So what’s the matter, you don’t like what you see? I can’t believe you’re even talking to me!” Ruiz shouts that she won’t light herself on fire to keep you warm, and, like underground rock pioneer Alice Bag’s vitriolic verse, it’s a claim you wouldn’t dare question. “Tonta,” one of the three songs written and sung primarily in Spanish, is an introspective and emotional portrait of anguish, and it calls to mind the mighty scrum of Huasipungo at an ABC No Rio matinee.

Compared to previous efforts, Downtown Boys have shifted from a once-meaty brass section to the subtler melodic accompaniment of keyboards and a saxophone, coloring their anthems with warm, bright tones while Ruiz spits out her frustrations, passions, and intents. Some might say it shows a sense of maturity, as Downtown Boys have undoubtedly smoothed down some of their earlier edges, but there is no compromise to their righteous assault and captivating presence. Like the socially conscious groups of years past, from Public Enemy to Rage Against the Machine, Downtown Boys harness powerful sloganeering, repetitive grooves, and earworm hooks to create one of the most necessary musical statements of the day. We should all do well to take notice!

Priests

Priests is a 4 piece punk band from Washington DC. They released their first single "Radiation/Personal Planes" on their own label, Sister Polygon Records, and co-released their EP "Bodies and Control and Money and Power" with Don Giovanni Records last summer. The band is now at work on a debut full length record.

Hoops

Savoy Motel

Welcome to Savoy Motel. The debut album by this Nashville four-piece comes from a pedigree of garage, punk, and power-pop groups (bassist Jeffrey Novak founded both Cheap Time and the Rat Traps; drummer Jessica McFarland was also in Cheap Time, and along with guitarists Dillon Watson and Mimi Galbierz, played in Heavy Cream). Savoy Motel transposes the energy and hooks of those groups to an entirely different move: an intensely orchestrated hybrid of glam rock, soul, dance music, and showmanship. “We use rock and roll as a vehicle to reach and promote the feeling of TOTAL FREEDOM,” claims Dillon. “Savoy Motel is defined more by a feeling than a sound.”

Savoy Motel achieves a compositional harmony through the meshing of the clockwork precision in the rhythms of each song, with Jessica hammering out the beats alongside a vintage Rhythm King drum machine, and Mimi locking in on guitar, alongside the interplay of three lead vocalists, while Dillon rips intense fuzz leads on every track, and Jeffrey adds the hooks on his bass. Dillon remarks: “After Jeffrey repeatedly insisted that I play more and more like Jimi and Clapton, I realized that he wanted the shit to rock, and that he was not only unafraid of, but actually going for what a lot of contemporaries would consider faux pas. I think we were all ready for something radical and new, and Jeffrey was ready to lead us there.”

The whole package opens up their horizons, and yours, to a sound made by four friends tired of witnessing music eat its own tail; with unclouded judgment, creative refinements, and peerless technique, they grab that tail and stick it into a wall socket, putting the cap back on 15+ years of rock revivalism and strident genre adherence. And they make it seem easy. If it was that easy, though, everybody else would be doing it. Look around you. That’s not happening. Savoy Motel is happening. “Whatever musical past we had feels obsolete compared to what we’re doing now,” says Jeffrey. “The past turned its back on us, so we had to turn our backs on the past in order to find our future.”

Snail Mail

3 piece band from bmore.

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.

Latasha Alcindor

Spiritual. Expressive. Experimental. Raw. L.atasha A.lcindor , also known as L.A. is the essence of artistic energy in word and rhyme. Coming from Flatbush, Brooklyn, the young trailblazer utilizes her many talents ranging from poetry and dance to give her bites and story to hip hop. Starting out as a spoken word artist, the now emcee takes upon her shoulders the ancestry of wordplay and the devotion to tradition and spins circles around the current phases of music in hopes that her art may change the paradigm of time. In the last two and a half years of her blossoming career as an emcee, L.atasha A.lcindor has opened for various acts including Ghostface Killah, Big Sean and Nipsey Hussle, rocked at festivals including SXSW, Toronto's Manifesto, BK Hip Hop Festival, and SUNY's Culture Shock, and shined in Jay-Z's That's Rocawear" Campaign, MTV's "Sucker Free Sunday", MTV.com's "Get in the Game" and FuseTV's "Dollar Van Demos". She also has headlined a variety of shows from New York City to Toronto. With a perpetual growth, style and need for something new, A.lcindor has many familiarities to some of music greats including Lisa "Left Eye" Lopes, KRS-One, M.I.A, Kanye West and Biggie. However, not one for comparison, L.atasha A.lcindor leads her future with the idea of "being yourself will take you where you need to be." Currently, L.atasha A.lcindor is working on several artistic projects from LPs,a film, a play and a tour but her focus is geared on creating her story, in hopes that it will inspire others around the hemispheres. L.atasha A.lcindor is excited to be a forefront in the balance of music for the generations to come.

Mothica

KUČKA

Half Waif is the project of Nandi Rose Plunkett, based in Brooklyn NY.

In the home of her Indian mother and Irish/Swiss/American father, Nandi grew up listening to a mix of Joni Mitchell, Tori Amos, Celtic songstress Loreena McKennitt, and traditional Indian bhajans. In college, she studied classical singing and became enamored with the inventive works of Olivier Messiaen and Claude Debussy. A lover of synthesizers and pop tunes, her resulting work as Half Waif features richly layered compositions of various origins. Placeless, and yet the product of many places: the imaginative wilds of Northern Massachusetts; Ohio's stark fields; Brooklyn buzzing at night; and ancestral homes across the ocean.

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