WARMFEST - SAT AUG 31 - SINGLE DAY TICKETS
Mayer Hawthorne, Delta Spirit, Dale Earnhardt Jr. Jr., RJD2, Kopecky Family Band, We Are Hex, The Pieces, Roadkill Ghost Choir, JC Brooks & The Uptown Sound, Party Lines, Sleeping Bag, Denney & The Jets, Pravada, The Lonely Wild, Andy D, Know No Stranger, Holy Ghost Tent Revival, Gentlemen Hall, Gabby Love, Ranch Ghost, Brooks & Daegar, Coyote Armada, Lord of the Yum Yum, Heidi Gluck, KyleLong, Magnetic, Anderson East, Shelby County Sinners, Jomberfox, Dolfish, Cadillac G, Human Lights, Lockstar, Fortissimo, Landon Keller
1550 Broad Ripple Avenue
Indianapolis, IN, 46220
Doors 10:00 AM / Show 11:00 AM
This event is all ages
WARMFEST - SAT AUG 31 - SINGLE DAY TICKETS
Mayer Hawthorne grew up in Ann Arbor, Michigan, just outside of Detroit, and vividly remembers, as a child, driving with his father and tuning the car radio in to the rich soul and jazz history the region provided. "Most of the best music ever made came out of Detroit," claims the singer, producer, and multi-instrumentalist, who counts Isaac Hayes, Leroy Hutson, Mike Terry, and Barry White among his influences, but draws the most inspiration from the music of Smokey Robinson, Curtis Mayfield, and the legendary songwriting and production trio of Lamont Dozier, Brian Holland, and Eddie Holland Jr. ~ Ronnie Reese (Wax Poetics / Rollingstone.com)
When it came time to record Delta Spirit's third album, the band members knew one thing: It was time to shake off the stylistic labels that have shadowed them since they formed in San Diego, CA, in 2005. Though lyricists Matt Vasquez and Kelly Winrich were grateful for the warm reviews that their previous albums Ode To Sunshine (2008) and History From Below (2010) received, they were perplexed at being called "rootsy Americana" or "twangy folk." In their eyes, Delta Spirit has always been a thoroughly modern rock band, and, with their self-titled new album, they set out to prove it.
We found the sound that we've been looking for, that we've been growing into, and as soon as we hit on it, we ran with it," Vasquez says. "That's why it's a self-titled record, so we could connect our identity with the album, because this album is what we think Delta Spirit is. People make records for their time and we wanted to make one for our time. Just like novelists want to write the Great American Novel, we wanted to make a Great American Record. Not one about yesterday, but one about right now."
To help them realize their vision, Delta Spirit recruited producer Chris Coady, not only for his indie-rock credentials (he's worked with Yeah Yeah Yeahs, TV on the Radio, Beach House, and Smith Westerns, among others), but also because, with five strongly opinionated band members, Delta Spirit needed a producer who wouldn't be pushed around easily. "We also wanted a great engineer and someone who knew how to make sounds that didn't sound stock and average," Vasquez says of Coady, who brought in a home-built synthesizer, which was used on the song "Home."
The band also experimented sonically, creating layers of texture by using previously verboten instruments like MPC samples and drum machines. They also empowered their new guitarist, Will McLaren, to create stand-alone parts, and to go to town on electric instruments. The experimentation can be heard throughout the album, which opens with the rollicking
opening number "Empty House," and serves as a transition between Delta Spirit's previous sound and its new one. "The intention was to introduce the album with something that hints at what we used to sound like," Winrich says. "We wanted to ease people into it." The band, who recorded the album at Dreamland — a converted church built in 1896 in Woodstock, New York — also upended traditional song structures, playing around with writing songs with no choruses ("California") and generally throwing off simple verse-chorus-bridge conventions, making sure each verse felt different from the one that preceded it.
When it came to lyrical content, Vasquez and Winrich stuck to what they knew. "We're not hearkening back to anything in the lyrics," Vasquez says. "We're writing about situations that are mostly personal. I think the topic of love has affected us the most." The most direct approach comes from Winrich. "My songs all seem to pertain to one situation, a failed relationship," he says. "'Anyone who's been in a long-distance situation will be able to relate to 'California.' 'Otherside' is about being delusional and holding onto something that may or may not be real, and 'Time Bomb' is about being blind to what the future holds and how happiness and sadness are kind of intertwined."
Several (though not all) of Vasquez's songs tend to make their points through the perspective of others, a style favored by some of his favorite songwriters, including Tom Waits and Nick Cave. On "Empty House," he takes on the persona of a construction worker who is seeing the Dharma in his work. "This guy is mixing concrete and suddenly notices the tiny glinting specks in it," Vasquez explains. "He begins to wonder 'What got me here? Where am I headed' and relating that little speck to his life." "Tellin' The Mind" is about Colton Harris Moore, the teenager known as the Barefoot Bandit who became an internet sensation after committing several burglaries, and stealing and crashing a plane. "I loved him," Vasquez says. "I thought he deserved an anthem." "Tear It Up" was originally inspired by the events in Egypt during the Arab spring, but morphed into a more universal song about what can happen with people get together with a common goal. Vasquez's most personal song is "Yamaha," which he wrote for his wife when she grew upset about his being away on tour for long stretches of time. "I felt like shit but I couldn't do anything. A guy's first instinct is to fix it, but you can't when you're three time zones away, so I wrote this song for her."
The album's raucous energy and no-holds barred performances will appeal to Delta Spirit's fanbase, which has grown consistently thanks to their explosive live shows. The band, who have completed headlining tours of the U.S. and Europe and appeared at SXSW, Bonnaroo, Lollapalooza, and Coachella, are looking forward to hitting the road and playing the new songs. "There's no other experience on earth like playing music with people and feeling that kinetic energy," Vasquez says. "I want to do it even when I'm old and it's ridiculous to see me on stage. If I can hold on to even a tenth of the feeling we have when we're playing, I'll be happy."
Matt Vasquez (lead vocals, guitar), Kelly Winrich (keyboards, vocals, drums), Jonathan Jameson (bass), Brandon Young (drums/percussion), Will McLaren (guitar, vocals)
Dale Earnhardt Jr. Jr.
""Formed in late 2009, Dale Earnhardt Jr. Jr. is the off-kilter title under which Detroit-area natives Joshua Epstein and Daniel Zott record, release and perform music.
Initially beginning as an exercise in collaboration undertaken with very little intention of ever being publicly consumed, the band's trajectory has been as unexpected as it has been unlikely. In just a few short years, fans have seen the project grow from basement recording project--to media curiosity--to an international touring ensemble widely recognized for their joy-fueled live offerings.
While Epstein and Zott have no ties to popular NASCAR circuit driver Dale Earnhardt Jr. nor his late father, the band's peculiar name was initially suggested to the duo on a lark. The pair assert that the strange moniker has been kept in tact due to the freedom they came to realize such a title gave them to explore whatever musical endeavors they could think up. "The idea being", Epstein says, "that if one can accept a band being named Dale Earnhardt Jr. Jr., then you've already opened yourself up to listening to anything that band can come up with. You've already decided to leave expectations behind".
From that mantra, the foundation of their partnership was built. Each having spent a good deal of time in various recording and performance environments prior to working with one another, Epstein & Zott set out to explore the many intricacies of cross-genre songwriting and production together with a willingness to borrow as much from the Beach Boys as the Geto Boys if it meant a more dynamic form of pop music. An organic vs. synthesized perspective which by necessity lacked a specified audience or desired outcome, outside of challenging oneself."
10 years! My god, that is a LIFETIME! I cant believe I have been making records on a national level for 10 years. In 1999, I was just making these little beats in my bedroom for release on an independent label. Fast forward to 2009, and I'm….making these little beats in my bedroom for release on an independent label. Ok, to be fair, some things have changed; a bigger studio, I OWN the studio, I OWN the independent label, and instead of driving 10 blocks to a gig in m hometown, I fly 10 hours to a gig in another country. But when it all comes down to its most base level, the goal is still the same: to make a piece of music that is going to hopefully rearrange your brain, or at least provide some relief from real life for a moment or two. So let's take a look at what's happened over the course of those 10 years….
Things all started in Columbus, OH with Fondle 'em records and a rap group I was in called the MHz. We did a few 12" singles in the late 90's on (the now defunct) Fondle 'em, which lead to one of the members, Copywrite, doing a record on (the now defunct) Eastern Conference, which I produced some of. Those early singles also brought me to the attention of Definitive Jux, with whom I signed to(after having my demo turned down by virtually EVERY label in the US and UK that did anything remotely instrumental or weird in hiphop!). After a few singles and songs came out in 2001 under "rjd2", 2002 saw the release of "Dead Ringer", my first solo album. That year became the first in a series of whirlwinds that seem to change shape annually, but never slow down. I toured the world for the first time-Europe/Japan/the US several times, licensed music to an auto company of yesteryear called Saturn, spent time opening for DJ Shadow, and moved to Philadelphia. The following year of 2003 saw the release of "The Horror EP", remixes for Massive Attack, Mos Def, Polyphonic Spree(among MANY others), more touring, and the release of the first Soul Position album, "8 Million Stories". While traveling the states in support of the Soul Position album, I had my MPC plugged into the cigarette lighter of a rented minivan, feverishly slaving away. These tracks I made during drives across the US would become the 2004 album "Since We Last Spoke". By then, "Dead Ringer" had surpassed 75,000 copies worldwide, and had gotten a fair amount of attention, including folks like David Lynch and Mark Ecko, among others.
With the 2004 release of "Since We Last Spoke", I hit the road for my first headlining tour ever. Armed with 4 turntables, an mpc and a video rig, I made my way across the US and Europe for the third year in a row. The production work for other artists also continued for both rappers and singers(Diverse, Tweet, Fallout Boy,Cage, etc). But unbeknownst to the rest of the world, this year was critical in the path that lead me to where I am now: I made the decision to not resign with Definitive Jux. It was really my first move outside of a comfort zone, and into uncharted territory. It was also the start of realizing a vision of being my own boss, both creatively AND business-wise. 2004 was also the beginning of my love affair with "vintage" synthesizers and restoring them; this would lead to things later…
The next few years saw the release of many side projects: a 2nd Soul Position LP-"Things Go Better With RJ and Al", a collaboration with Aceyalone-"Magnificent City", the scoring of my first video game-"Mark Ecko's Getting Up", and the usual remixes and production work for other artists. I also contributed to the cookbook "I Like Food, Food Tastes Good", a cookbook of musicians' recipes. Still waiting for a Vol. 2 so I can include my homemade apple/walnut/raisin pie. Of course, I toured to support the records this year as well(I have traversed the continental US at least once a year since 2001-watch out for my comprehensive guide to espresso in America). But throughout this period of 2005-2006, I was working on some recordings that would mark the furthest reaches of anything I had done to date….
These recordings became 2007's "The Third Hand", a record that was done with a specific methodology in mind: get as far as I could using strictly my own resources. This meant using the MPC sampler, as I always had for my solo records, but primarily for the drums. But save for a few small passages, all of the instrumentation was performed by myself in a studio I had spent years building up to mimic the types of keyboards/guitars/amps/synths/etc that would have appeared on the types of records I COULD have been sampling. And in keeping with the intent of weaning myself off of the samples I had relied on for so long, I took on the duties of vocalist as well. My take on "sample based music" had always been to try and make things that felt like pop records, in the sense that they had a vocal element, but had the urgency and immediacy of funk or hip-hop records. To boot, I arrived at the decision to do the record on XL recordings, as I felt they believed in the record the most. Thus, 2007 was a year that many saw as one of departures, but to me was more another stop in what is hopefully a long journey. I decided at a point that I'd rather look back on a varied catalog that was interesting and challenging, than one of multiple attempts at the same vibe, with varying degrees of success. Furthermore, I just cant get excited about doing the same thing over and over. And if I cant get excited about the music im making, how can I expect someone else to?
Which brings us to now. After two years of touring as a headliner in support of "The Third Hand" with a full band, as well as winning my first award, ASCAP'S best TV Theme for my recording the Mad Men theme-its time for my 4th solo album, "The Colossus". As "The Third Hand" was my first TRULY solo album, with NO guest performances whatsoever, I decided to do the opposite of sorts this time: an album that is as collaborative as possible; an "overview" of all the different types of working approaches ive used over the years; some strictly sample-based material, some live; some guest vocalists, a few songs I sing,; both instrumental and vocal. As this was all tracked at the same time, I think it has a cohesive feel to it. Featuring Phonte Coleman(Little Brother, Foreign Exchange), Kenna(Star Trak, VA Beach), Aaron Livingston(The Roots' "Guns Are Drawn"), Columbus mc's The Catalyst, Illogic, and NP, and a slew of instrumentalists, I think I can safely say this is the most sonically lush and varied record I've ever done.
The last piece of the puzzle is that this record marks the first album I will release on my own label, RJ's Electrical Connections. In addition to re-acquiring the master recordings to ALL of my Definitive Jux catalog, and re-releasing them, this marks a massive step towards being completely working on my own terms, artistically and business-wise. Cheers-here's to many more to hopefully come.
Kopecky Family Band
Like all families, Kopecky Family Band beats with the same heart and writes in the same blood. 'The Family' began creating music together in Nashville, Tennessee in the Fall of 2007. What began as late night talks about life and dreams gradually flowed into eccentric and beautiful music that has led to numerous tours, including adventures to CMJ, SXSW and Bonnaroo, three EP releases, a recent full length album release (Kids Raising Kids) and friendships across the country.
"Family" is a word that encompasses a variety of definitions. With that in mind, let this introduction to Kopecky Family Band be taken with an open mind and with a grain of salt. This family is connected not by blood or by heritage, but by circumstance. No, this is a family bound by the miles on their odometer and by the songs they have crafted over the years. These six young musicians have created a family through their commitment to each other and to their craft. Crack open your dictionary, if you need to.
The Kopecky Family Band – a non-traditional family, at that – is dynamic, and they wield an equally dynamic slew of instruments. Their thoughtful songwriting is supported by a diverse backdrop of sound. And the musical canvas is covered with broad brushstrokes – ranging from clanging tambourines and guitars, booming percussion, intelligent string arrangements, and triumphant horns. These six band-mates – siblings, if you will – swap their musical tools without a second thought, creating an emotive, adventurous, and energetic environment onstage.
In late 2007, founding members Kelsey Kopecky and Gabriel Simon became united with four friends who shared a mutual vision. They planted seeds that have been nurtured for the past five years through persistent touring and recording – and those seeds are rapidly reaching maturity. With thousands of miles traveled, and surely thousands to come, the Kopecky Family Band is only just beginning their adventure – and they want to bring you along for the ride.
We Are Hex
We Are Hex, from Indianapolis, have their eyes focused both forward and backward. Borrowing the classic sounds of new wave and goth and mixing them with the skronk of modern noise, We Are Hex are making music that's very contemporary. With everything old being new again and rediscovered by newer acts, this band sounds both fresh and classic at the same time. Recorded in the middle of one of Indianapolis' nastiest neighbourhoods, the foursome are hard to pin down as a sound. Each song has its own distinct flavour. Some brood along the edges of classic, sythn-laden goth ("Bottom of My Belly") and Gary Numan-esque new wave ("Easy Vision", "Tired of White Nights"), some recall the shoegazer styles of My Bloody Valentine ("Serious Sedatives") , some remind the listener of Sonic Youth or Liars ("No FM/No AM"). Songs also range from the spacy and orchestral to the short and brutal. This is a young band clearly still trying to find their sound, but what they've made so far in their exploration is remarkable. Recommended.
JC Brooks & The Uptown Sound
What does post-punk soul look like? Six and a half feet of raw emotion and sweat, with one leather boot planted in gutsy R&B, the other in taut minimalist grind. Snarling at the crowd beneath an afro pompadour, while indulging in a sly wink, singing to you directly, and here to make you dance. What does post-punk soul look like? It looks like JC Brooks & the Uptown Sound.
JC Brooks was born the son of a Jersey funk diva, his voice erupts with heart and heartache over the ferocious rhythm and star-time charisma of guitarist Billy Bungeroth, drummer Kevin Marks, keyboardist Andy Rosenstein, and bassist Ben Taylor. With a take-no-prisoners live attack and lyrics speaking of the torment and triumph of these tumultuous times, it's no wonder that the Chicago Tribune called JC Brooks "the real deal". This is a soul band rallying against our disaffected and disengaged era, connecting with people the old-fashioned way, by whipping them into a frenzy with honest appeal and unbridled enthusiasm.
The Uptown Sound has attracted a true-blue grassroots following, with MOJO Magazine identifying them as "one of the hottest US soul acts". Since unleashing their Bloodshot Records debut "Want More" ("A lively set of gritty old- school soul and funk injected with raw garage-rock aggression" - KEXP), they've barnstormed North America and Europe relentlessly, while burning up NPR and AAA radio with their stomping cover of Wilco's "I Am Trying To Break Your Heart" (which they performed with the song's composer, Jeff Tweedy, at Wilco's Solid Sound Festival).
JC Brooks & the Uptown Sound have toured, warred, scored, and they're not to be ignored. Bear witness, for these young men are on the move and they know what post-punk soul looks like. It looks like the future.
Party Lines is a dance rock band based out of Ftn Square in Indianapolis that falls somewhere on the sonic spectrum between Jamariquai and Chromeo. Started as a duo between front man Jerred Lowe and producer Aaron Hogan, the band now includes up to 9 members for performances. Party Lines frequently includes the horn section from ska legend Johnny Socko.
Stripped-down, unblighted, bedroom pop songs... about girls. "Women Of Your Life" is the intimately facile sophomore album from indie-slackers Sleeping Bag.
The Bloomington, Indiana based trio is spearheaded by Dave Segedy, who is the group's drummer, songwriter and primary vocalist (that's right: a drummer who writes and sings all the songs!). Specializing in simple and honest songwriting, Malkmus-deadpan vocal delivery, and unusually addictive melodies, Sleeping Bag craft songs that are at once familiar and fresh.
The band's debut s/t album was released on Joyful Noise in August 2011, receiving praise from Under The Radar, Impose Magazine, Village Voice, RCRD LBL, and My Old Kentucky Blog. With their second album, the trio have matured in the ways one might expect: songs are a bit longer, lyrics a bit more personal, and arrangements more developed. But all of Sleeping Bag's signature elements are well represented throughout: the heartfelt ("In The Pocket", "Still Life"), the playful ("Allison Cole", "Saturday Night") and the unbelievably catchy ("Soccer Ball", "Walk Home").
Segedy's effortless melodies, accompanied by the distinctively jangling guitar work of Lewis Rogers and the tastily minimal bass of David Woodruff, combine to form a sound that summons the energy and earnestness of 90s rock, while sidestepping throwback territory. Familiar influences are organically reconstructed into relevant, captivating pop. These are instantly accessible songs which gain surprising depth with each obsessively repeated listen.
The Lonely Wild
Rarely does a young band emerge with a combination of skills, talents and vision fully developed. But the LA-based quintet The Lonely Wild is that true gem who's writing and arranging talents are only surpassed by its members' ability to work seamlessly as a singular, dynamic voice.
Formed in 2010, The Lonely Wild is the brainchild of Andrew Carroll who had moved to Los Angeles to study writing, music and film. Carroll and multi-instrumentalist Ryan Ross met in school and quickly discovered that their skills as composers and arrangers complimented one another's abilities. The two added lead guitarist Andrew Schneider, vocalist/multi-instrumentalist Jessi Williams and drummer Dave Farina to round out the mix – each a friend or fellow LA performer bringing their own unique background and talent.
Picking up solid momentum from their critically acclaimed debut EP, Dead End, The Lonely Wild quickly made a name for themselves in and around greater LA with fans such as Nic Harcourt (KCSN), Chris Douridas (KCRW) and Kevin Bronson (BuzzBands LA) on board. The band continued to hone their dynamic live performance through a series of high-profile shows opening for John Doe, Damien Rice, The Elected, Laura Marling and Lord Huron in addition to their highly successful residency at Silverlake's famed Satellite.
In early 2012, the band holed up in The Hangar in Sacramento for a weeklong recording session. Working through consecutive 16, 18 and 24 hour days to produce what would ultimately become The Sun As It Comes, an album filled with gut-wrenching emotion, fragile beauty, and explosive energy. "It was a true labor of love," Carroll says, "and a sheer force of will, that allowed us to
finish this record. We all knew it was the most important artistic statement we had ever made, so we had to pull out all the stops."
The title-track kicks things off, opening with sparse guitar and dual male/female vocals of parents imparting a lesson to a child. As the arrangement expands to multiple layers and textures, the lyrics transition to a more global scope with the second verse questioning how long someone can
ignore the sound of one drum being played by "the hands of millions."
"The song was inspired by the Arab Spring," explains Carroll. Despite the arguably polarizing subject matter, the lyrical nuance and cinematic arrangement ascend to an emotional climax, bringing the listener closer to the beauty that can lie in unsettling chaos.
Heavily influenced by Matt Taibi's The Griftopia, "Banks and Ballrooms" explores the idea of success being defined solely by monetary wealth. Drums pulse and persist, almost as if leading the charge of the common-man marching to confront the 1% head-on.
The album's up-tempo "Everything You Need" hits the ground running with thumping guitars and rhythm section before the mariachi-influenced two-part trumpet line interjects. Sung in tandem by Carroll and Williams, the narrator professes that they will be the constant in the listener's life, singing, "I will beat your heart," a line that recurs throughout the album – a subtle beacon of hope.
The epic track "Buried In The Murder" is a sonic voyage that perhaps best showcases The Lonely Wild's unique and genre-defying sound. Carroll's lyrics act almost as a confession of guilt for playing a part in corruption, greed and entitlement. With an arrangement reminiscent of a classic western, the song allows The Lonely Wild to truly showcase their unique ability to perform each
part with bombastic confidence as a singular unit. No one voice outshines the other; no member more important – collaboration rarely found in a developing band.
Slated for an April 2, 2013 release via their own Ursa Major Recordings (distributed and marketed by Thirty Tigers/RED), The Lonely Wild's The Sun As It Comes is a record that reflects upon the times in which we live while taking the listener on a sonic journey of impressive heights.
Andy D is what you wanted to be when you were eight years old. He's also an adult which means rather than just having adult responsibilities he also has adult freedoms to decide exactly what he wants to be and doing all he can to actualize that desire. He plays music this like he lives life and it sounds like Andrew WK meets Grand Master Melle Mel or Like Prince if he couldn't sing that well and if he weren't a hyper-talented multi-instrumentalist. This is what his music is all about: part epicurean hip-hop-dance songs and part sincere dance rock songs, being eclectic and catchy is the only goal.
He is now joined on stage and in the studio by his lovely wife Victoria AKA Anna Vision and his Shreddy Krueger of a guitarist Lord Sven Midnite.
His debut album Choose Your Perversion came out in 2007
His second album Songs in the Key of Magic came out in the spring of 2011 on Roaring Colonel Records.
His next album War Cries will be released this fall on Rad Summer. It is an amazing 15 song concept album about a Post-Apocalyptic world in which robot and mutant factions are at war with each other, and the music itself is an evolutionary step forward for Andy D as well.
This is rap but not necessarily hip-hop. It rocks but it's not rap-rock. These songs are meaningful party songs but maximized! Andy D bends the genres but his influences are pretty apparent. And people take notice where ever he goes. From rapping about having sex with Werewolves to singing about quantum entanglement, no subject is taboo in an Andy D song; and he gets raunchy with it. Half of the fun of Andy D is hearing what he will say next… the other half is dancing. Welcome to your new addiction!
Holy Ghost Tent Revival
Holy Ghost Tent Revival, based in Greensboro, NC, has swept away audiences over the past five years and built a reputation for energetic, tightly crafted music with meaningful lyrics presented in signature memorable, passionate performances. It is this music that moved Chris Hillman from The Flying Burrito Brothers to exclaim "Man! You guys have really got something," as he watched from offstage at the Loveless Café in Nashville. This feeling manifests itself in the band's second full length album, Sweat Like the Old Days. Listeners will find the group maturing away from their blend of Dixieland- and ragtime inspired folk rock into a more electric, horn and rock driven sound.
Their first release from 2008, So Long I Screamed, is indicative of the national folk explosion taking hold of musicians at that time. Essentially an acoustic album, it has the ring of bluegrass, yet has all the sensibility and infectious energy of rock; an album chock full of driving horn sections, rich harmonies, and catchy melodies. This progression continued the next year with their second release, Family, enlisting A-list musicians to supply additional talent to their expanding electric sound. Here, the band allowed the tape to roll well before and after each take, and this laidback approach not only calls to mind the quality of an Alan Lomax field recording from the 1930s, but also invites listeners into the loose and raucous affair.
Since 2009, the band has played 300 dates per year up and down the East coast and as far west as Chicago and Austin, headlining festivals like Shakori Hills, Bele Chere, and Bristol Rhythm & Roots. Withstanding the loss of their founding bassist in the fall of 2011, the band has nursed their sound after months in the studio into an even more concentrated rush of electric joy that may surprise listeners accustomed to vintage Ghost. Their third studio album, Sweat Like the Old Days, which was released in September 2012, reveals a group of songwriters producing mature, thoughtful lyrics atop lush arrangements. It is a wholly original sound, unshaken by change, which signals a bright and enduring future for years to come.
Standing strong between the high-handed anthemic choruses of Foster the People and the retro synth melodies of MGMT along with a dash of wildman flutist antics, Gentlemen Hall has established itself as one of the most talked about bands to emerge from Boston in recent years. Beginning as a group of friends hanging in college dorms in the mid 2000s the 6 guys formed the band in 2008. After winning numerous accolades such as MTV's Best Breakout Band in 2009 and Boston's Best Act in 2011, the band was nominated and won Billboard's Battle of the Bands and made history being the first independent band to perform on the Billboard Music Awards in 2011. In September 2011 they released their debut EP "When We All Disappear" (http://gentlemenhall.com/freedownload) to critical acclaim and toured nationally throughout 2012.
They are currently finishing their full length album which is due out in 2013
andy plus josh plus matt plus tanner
Lucid folk music from the Crossroads of America. We specialize in crop dusting.
"Coyote Armada is a young project consisting of college-age members from Butler University. For now, they appear content playing music that they and their friends find enjoyable, unconcerned with fitting their style into a neatly labeled box. This lack of pretension is a plus and will likely carry the band as it evolves. One thing we know for certain: these kids can play and sing. Everything else is inconsequential anyway."
- Musical Family Tree
Lord of the Yum Yum
Known for strange vocal ruminations and a hilarious live show, Lord of the Yum-Yum promises only the highest quality, most enriching and mind numbing entertainment all at the same time. Lord of the Yum-Yum, aka Paul V., combines a guttural scat vocal style, classical/jazz themes, throat singing, improvisation, and electronics to take the modern voice to a new place. As a performer, Paul has toured nationally with a concentration on the Midwest and since 1991, he has done many radio and television appearances as well as hundreds of performances around the greater Chicago area.
Read more: http://www.myspace.com/5834604#ixzz0yyGZOoFW
Offering up a heaping helping of alternative rock with a healthy dose of timeless Americana influence, Anderson East is a dynamic artist who fuses modern sound with the rich undertones of his southern roots.
There was, "a lot of preachin', a lot of prayin' & a lot of piano playin'." That best describes Anderson's early years as a Southern Baptist Pastor's grandson. Add the sweet sound of a gospel singing father, coupled with the big dreams that only a small town will inspire and you get a young man full of emotion, depth, curiosity, and song. Although profoundly influenced by the sounds of his childhood, Anderson East knew early on that his musical landscape was much broader than his conservative upbringing and embarked on a pursuit that would encompass both reverence and rebellion. With lyrics exploring timeless and thought provoking subjects, vocals that both soothe and mend the most human urges to love, hate, cry and lose control, and a palette of musical instruments best described in the art world as mixed media, Anderson East offers the listener something new to the ear yet familiar to the spirit. Bearing an unforgettable voice that allows you to explore the rich emotions of his music, Anderson's vocals range from soulful cries to haunting whispers, and paint a vivid picture of his lyrics. Described as taking only the best qualities from Otis Redding, Ray LaMontagne, Ryan Adams, and John Mayer, Anderson's voice is a lovely blend of unique inflection and delivery that creates a sound of its own.
After independently releasing the well-received EP Fire Demos in 2010, followed by Transitive Property in 2011, a new project was born: the double LP, Flowers of the Broken Hearted. A musical endeavor that explores the human condition of heartbreak through love lived and love lost. With a two LP canvas, Anderson explores his dynamic musical range, offering the listener two independently unique sounds, yet one universal theme.
Embarking on the first half, Anderson set out for Los Angeles and into the studio with co-producer Chris Seefried (Counting Crows, Fitz & the Tantrums), alongside a prized cast of individuals including Grammy award winning engineer Seth A. Horan, and an array of acclaimed musicians including Charles Gillingham & David Immergluck (members of the Counting Crows), Rob Wasserman (Lou Reed), Waddy Wachtel (Stevie Nicks), Don Heffington (Bob Dylan), Noel Scaggs (Fitz & the Tantrums) and Justine Bennett.
The second half of Flowers, recorded back in Nashville, is a modern, darker, more contemplative side of Anderson, a dualistically fulfilling contrast to the more classic Americana/Soul side of the album. Joining East is drummer Evan Hutching, bassist Tim Marks, and cellist Matt Nelson, as well as guest vocalist such as Callie and Phoebe Cryar (The Vespers), Natalie Prass and other gifted Nashville artists.
"Better" aptly kicks off Disc One like a revolver tied up in a pink bow. It's both angry and danceable with Motown undertones. "Lyrically it's right in line with the other songs, but asked for that Jackson 5 thing. It had to come first, it sets up the album in a positive mood before moving on."
The soul-tinged title track captures the people that populate his songs. "Flowers of the Broken Hearted" is about an ex sending flowers to his girlfriend, and as East shares, "feeling a little sorry for the guy after the initial shock wore off."
"New Life/New York" introduces another dynamic on Disc Two, a mournful ballad of the pain of restarting life yet again. It's followed by the atmospheric and sinister "Fire Song," about a woman burning down her house to get rid of her old life. Disc two (Red), closes with homage to the gospel music his grandparents so loved.
Flowers of the Broken Hearted was released in the Fall of 2012.
Shelby County Sinners
The drummer-less Americana band Shelby County Sinners isn't actually from Shelby County, though it is fronted by a Shelby — Shelby Kelley, formerly of Creepin' Charley and the Boneyard Orchestra, occasional contributor to these very pages as an illustrator.
Dolfish is the moniker of 23 year-old Cleveland born songwriter, Max Sollisch. His debut EP, Your Love is Bummin' Me Out was released on vinyl last December by Minneapolis based Afternoon Records (home to Pomegranates, John Vanderslice and The Poison Control Center) and met with great praise by taste-makers My Old Kentucky Blog, Daytrotter.com and You Ain't No Picasso among others. Your Love is Bummin' Me Out's lyrical wit and lo-fi production gained comparisons to folk heroes Daniel Johnston, John Darnielle and Neil Young while it's concise songwriting (5 songs in 8 minutes) yielded comparisons to Ohio-based rockers, Guided By Voices and Times New Viking.
For the first proper Dolfish LP, Sollisch enlisted like-minded label-mate Patrick Tape Fleming (The Poison Control Center) to produce the album in the living room of a friend's apartment in downtown Des Moines, Iowa. Recorded and mixed to 1/2" tape in just 5 days, I'd Rather Disappear Than Stay the Same features a backing band of all Iowa musicians whom Max had only met upon arriving in Des Moines to record. Tracked live with little overdubbing, these 12 songs were rarely rehearsed more than a hand full of times by the all-Iowa, all-star backing band giving the record a spontaneity and rawness rarely achieved on a studio album.
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