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

Nothing Feels Natural is the first full-length by Washington, D.C.’s Priests.

Recorded in the fall of 2016, the record is the culmination of two years’ writing, touring, tweaking, and
refining. Throughout that time the band has carved out an existence on its own terms, performing mostly
all-ages shows booked via a network of like-minded artists both within and outside punk communities.
The album represents a major step forward for Priests. It’s the band’s most stylistically diverse set of songs
to date, expanding on their lo-fi post-punk bona-fides with ideas drawn from pop, R&B, and industrial
noise. Thematically, Nothing can be understood as a series of vignettes—nine stories that crystallize into a
bigger picture about the economics of human relationships, the invisibility of feminized labor, and the dual
purpose of art for both the group and the individual.

The album will be the first full-length LP released on Sister Polygon Records, the label that Priests founded
and operate.

Priests are Daniele Daniele (drums), Katie Alice Greer (vocals), G.L. Jaguar (guitar), and Taylor Mulitz (bass).
Formed in 2011, the band has proven a valuable force for strangeness in a city that is increasingly
terraformed by norms. At a time when few groups were making serious moves beyond the Beltway, Priests
toured throughout North America and Europe. More significantly, they’ve helped to raise the general
standard of show-going at home through cassettes and singles released on Sister Polygon, including music
by bands like Sneaks, Snail Mail, Pinkwash, Cigarette, Downtown Boys, and numerous Priests-affiliated
groups like Gauche and Flasher. Still, even amidst thriving hometown creativity, Priests possess a singular
gravity. They are physical and combustible, urgent and visceral.

Following the release of Bodies and Control and Money and Power, Priests began to tweak their
songwriting process – concentrating more deeply on melody, dialing down the distortion, and
experimenting with dynamics. New songs evolved in performance, starting off tentative and gaining
confidence and character on tour. The band recorded and scrapped versions of Nothing Feels Natural for
almost a year before enlisting Hugh McElroy (Black Eyes) and Kevin Erickson, who worked with Priests
previously on Tape Two, their Radiation/Personal Planes single, and half of Bodies. Nothing Feels Natural
was tracked throughout summer of 2016 at Inner Ear Studios in Arlington, VA.

The result is by turns moody and explosive. “Appropriate” is a nod to Priests’ earliest incarnations – loud
and corrosive, chaotic and improvisatory. “JJ” is streamlined and melodic, pitting barroom piano against
warped guitar and bass tones. On “No Big Bang” Daniele takes up the mic, programming a Roland TR-707
to hold down an unflagging pulse. The album’s title track and centerpiece “Nothing Feels Natural” builds
slowly, with shimmering guitars eventually giving way to feedback and billowing reverb. Lyrically, Priests
songs present contradiction. They are often delivered first person but under pretense that “you are not
you”. Nothing Feels Natural centers the experiences of women but still asks us to “consider the options of a
binary”.

In these songs, innocuous moments often drive major ideological scene shifts. A cruel joke jostles the
power structure of a love triangle. A PR sales-pitch is called out as identity theft. A list of aspirational
consumer luxuries are chanted into a twisted emptiness. It’s a record that thrives amid the tension
between that what is valued and what is dismissed; between what is desired and what is presented.
Nothing Feels Natural is out January 27th on Sister Polygon Records.

-Aaron Leitko

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

Snail Mail is the Baltimore based indie rock solo project of 17 year old, Lindsey Jordan. She released a six song EP titled, “Habit,” on DC punks Priests’ Sister Polygon Records in July of 2016. The record features a full band with Shawn Durham on drums and Ryan Vieira on bass.

In their “Best New Track” review for the EPs opening track “Thinning”, Pitchfork describes Jordan as possessing a voice that “sounds like it’s coming from a distance, perfect for a song with lines about wanting to lie face down on the floor for a whole year and the triumph of wasting time”.

In addition to her standout vocal abilities, Jordan is a classically trained guitarist of twelve years and experiments often with various guitar tunings and techniques in order to generate Snail Mail’s unique sound.

Chrome Sparks

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

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

Nothing Feels Natural is the first full-length by Washington, D.C.’s Priests.

Recorded in the fall of 2016, the record is the culmination of two years’ writing, touring, tweaking, and
refining. Throughout that time the band has carved out an existence on its own terms, performing mostly
all-ages shows booked via a network of like-minded artists both within and outside punk communities.
The album represents a major step forward for Priests. It’s the band’s most stylistically diverse set of songs
to date, expanding on their lo-fi post-punk bona-fides with ideas drawn from pop, R&B, and industrial
noise. Thematically, Nothing can be understood as a series of vignettes—nine stories that crystallize into a
bigger picture about the economics of human relationships, the invisibility of feminized labor, and the dual
purpose of art for both the group and the individual.

The album will be the first full-length LP released on Sister Polygon Records, the label that Priests founded
and operate.

Priests are Daniele Daniele (drums), Katie Alice Greer (vocals), G.L. Jaguar (guitar), and Taylor Mulitz (bass).
Formed in 2011, the band has proven a valuable force for strangeness in a city that is increasingly
terraformed by norms. At a time when few groups were making serious moves beyond the Beltway, Priests
toured throughout North America and Europe. More significantly, they’ve helped to raise the general
standard of show-going at home through cassettes and singles released on Sister Polygon, including music
by bands like Sneaks, Snail Mail, Pinkwash, Cigarette, Downtown Boys, and numerous Priests-affiliated
groups like Gauche and Flasher. Still, even amidst thriving hometown creativity, Priests possess a singular
gravity. They are physical and combustible, urgent and visceral.

Following the release of Bodies and Control and Money and Power, Priests began to tweak their
songwriting process – concentrating more deeply on melody, dialing down the distortion, and
experimenting with dynamics. New songs evolved in performance, starting off tentative and gaining
confidence and character on tour. The band recorded and scrapped versions of Nothing Feels Natural for
almost a year before enlisting Hugh McElroy (Black Eyes) and Kevin Erickson, who worked with Priests
previously on Tape Two, their Radiation/Personal Planes single, and half of Bodies. Nothing Feels Natural
was tracked throughout summer of 2016 at Inner Ear Studios in Arlington, VA.

The result is by turns moody and explosive. “Appropriate” is a nod to Priests’ earliest incarnations – loud
and corrosive, chaotic and improvisatory. “JJ” is streamlined and melodic, pitting barroom piano against
warped guitar and bass tones. On “No Big Bang” Daniele takes up the mic, programming a Roland TR-707
to hold down an unflagging pulse. The album’s title track and centerpiece “Nothing Feels Natural” builds
slowly, with shimmering guitars eventually giving way to feedback and billowing reverb. Lyrically, Priests
songs present contradiction. They are often delivered first person but under pretense that “you are not
you”. Nothing Feels Natural centers the experiences of women but still asks us to “consider the options of a
binary”.

In these songs, innocuous moments often drive major ideological scene shifts. A cruel joke jostles the
power structure of a love triangle. A PR sales-pitch is called out as identity theft. A list of aspirational
consumer luxuries are chanted into a twisted emptiness. It’s a record that thrives amid the tension
between that what is valued and what is dismissed; between what is desired and what is presented.
Nothing Feels Natural is out January 27th on Sister Polygon Records.

-Aaron Leitko

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

Snail Mail is the Baltimore based indie rock solo project of 17 year old, Lindsey Jordan. She released a six song EP titled, “Habit,” on DC punks Priests’ Sister Polygon Records in July of 2016. The record features a full band with Shawn Durham on drums and Ryan Vieira on bass.

In their “Best New Track” review for the EPs opening track “Thinning”, Pitchfork describes Jordan as possessing a voice that “sounds like it’s coming from a distance, perfect for a song with lines about wanting to lie face down on the floor for a whole year and the triumph of wasting time”.

In addition to her standout vocal abilities, Jordan is a classically trained guitarist of twelve years and experiments often with various guitar tunings and techniques in order to generate Snail Mail’s unique sound.

Chrome Sparks

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

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