Presented by: Spillpeak Media & Ghost Trian PR
Fri, Sep 16
Mon, Sep 19
Brick City Sound Riot Music Arts Festival w/ Rye Coalition! 3-Day Pass!
Rye Coalition, The Black Hollies, Invisible Lines, Secret Country, ¡No Pasaran!, The Ashes, The One and Nines, Nikki Sue & The Bad News, Cicada Radio, Those Mocking Birds, Those Mocking Birds, Not Blood Paint, Wyldlife, I Am The Heat, U Say USA, Killing The Messenger, The Micks, The O-matics, Theodore Grimm, Cecilia Celeste, Lost Romance, Fairmont, The Porchistas, Bootlegger, The Dead Exs, The Press, Ben Franklin, The Courtesy Tier, Life Size Maps, Lost Gloves, Holy City Zoo, Nico Blues, Black Water, Eula, Blackout Stereo, Elsa and the awesomeAWESOMES, Man Lee, KNTRLR, cinema cinema
27 Central Ave.
Newark, NJ, 07102
Doors 6:00 PM
This event is 21 and over
Watch & Listen
Brick City Sound Riot Music Festival w/ Rye Coalition!
**HEADLINER ANNOUNCED: RYE COALITION!!!!!**
SpillPeak Media and Ghost Train PR are proud to announce the initial lineup for the first annual BRICK CITY SOUND RIOT MUSIC AND ARTS FESTIVAL. The three-day music showcase and flea market will be held on September 16-18 at Kilkenny’s Ale House at 27 Central Avenue Newark, NJ. Confirmed Acts all listed above and more will be announced in the coming weeks.
SpillPeak Media and Ghost Train PR are making history in Newark this fall with their first annual music and art festival. A longtime cultural hub, Newark will provide the stage for this blowout, adrenaline filled get-together of NJ and NYC’s upcoming and established talents of the underground art and music scene. Kilkenny’s Ale House at 27 Central Avenue will set the stage for this momentous occasion that is slated to become a New Jersey staple.
About Ghost Train PR/SpillPeak Media:
Ghost Train PR/SpillPeak Media believes in independent, quality local music and business. We believe in localism; a return to the mom & pop caliber standards of goods and entertainment. Ghost Train PR’s goal is to unite artists and fans together by creating a platform for communication in order to give them the tools they need to help one another. We specialize in cultivating new music, fashion and the preservation of the distinct character of local business, musicians and artists. We host rock events, fashion events, offer band management as well as PR, visual & social media services. We are the underground railroad connecting bands, fans record labels, promoters, sound engineers, small businesses and anyone else that has anything to do with independent music, business and fashion.
If there's one thing that's interesting about New Jersey's Rye Coalition, it's that they're a dysfunctional family, a tight fitting cable-knit sweater of emotions. Rye Coalition comes from their daddy. They live only for the beat, inhaling smoke, contracting fever, and continually producing quality albums. Who would've guessed that seven years after their inception RC would be opening for legends The Fall at the Knitting Factory?
Seven years ago, Rye Coalition lamented of dwindling, sweet love affairs, seeing tomorrow, and never saying goodbye. Seven years later -- today -- Rye Coalition takes a more shallow approach to love in exchange for the pseudo-brave, grab-life-by-the-balls approach.
In the year 2001 Rye Coalition have come full circle as human beings in their relationships to each other, those in their lives, and the music they create. They are ready to bring the rock to the people. For the first time since 1995, Rye Coalition consists of its original quintet line-up, "The Hard Luck Five": the line-up that broke those bastards with such jackrabbit-catchy tunes as "Baby Put Out Old Flames" and "Romancing The Italian Horn." Rye Coalition began as part of some white-bred punk, hard-core, metal, emo, independent rock, college wierdo-fest. At an average age of seventeen after one summer of touring on a five-song demo in 1994, Rye Coalition recorded two seven inches and a split twelve inch with Karp featuring White Jesus of 114th Street, called by some the greatest emo record of all time.
The irony of it all was that Rye Coalition felt like a bunch of fucking lepers who didn't know, care, or want to find out what emo was. The truth was, Rye Coalition loved to make music together, loved their friends, and enjoyed meeting interesting people on the road with whom to talk and exchange ideas and emotions. Their parents were a bunch of divorced music lovers who loved their kids but…had some interesting things going on, to say the least. Rye Coalition were brought up on hamburgers, cigarettes, Budwieser, and rock n' roll. They live life to learn. Their only goal is to become better musicians and write songs that give people enjoyment. Rye Coalition have no regard for politics, vegans, straight-edge, or emo and this causes the majority of the people they play for to turn their noses up or dismiss Rye as a bunch of scumbags without ever knowing them as real human beings. For the minority of fans that love to rock regardless of anything, Rye Coalition have always been more than grateful. And the people that actually get to know these five guys usually admit that they're as nice as they come. At the time of Rye's inception, New Jersey bands like Merel, Rorschach, Born Against, and Native Nod were playing at ABC No Rio and managed to gain some national acclaim. These were before the days of magical commercial engineering like At The Drive In on David Letterman or The Strokes on a bill with Ozzy.
In 1996, during the college years, Rye Coalition recorded its first full-length without H.J. Wiley V, one of the group's guitar players. Hee Saw Dhuh Kaet was the record and it captured an exciting and inventive direction for Rye. It was the first time they tried their hands at the big rock studio. The songs were good but they surely weren't bright-eyed, headless numbers about love lost with hope for a better tomorrow. Song structures adhered more to musical precision, and lyrical subject matter examined the chaos of the soul -- the forked cobra tongue realization that people are imperfect, ridiculous, clown-like beings who live by mistakes. The only things that really matter are what the individual truly values. For Rye Coalition, that means the people they love, artistic contribution, imagination, productivity, non-conformity, and musicianship. On Hee Saw Dhuh Kaet Rye achieved this with poignant, off-kilter lyrical images, skronky angular song structures, and the slightly unabashed display of a classic rock sweet tooth.
After another line-up change, replacing J. A. Morey with drummer G.J. Leto, moving D.A. Leto to bass, Rye Coalition turned a sweet tooth for classic rock into an obsession-like homage that commenced in a piano-led coda replete with strings, acoustic guitars, and Rye's first attempt at a classic rock march (a staple of any true rock outfit). Aptly titled "Through the Years," it featured J.Gonnelli's father, J. Forsdahl, on piano. With two brothers, a father, a son, and one very close friend, it was clear that at its best being in Rye Coalition meant creating ugly music with your family. If the world still exists, check the Nick Gilder tribute section at Douche Bag's Vinyl in thirty years and you'll find this insane-a-thon, The Lipstick Game, recorded in 1998 by four interesting fellows with a penchant for who the hell knows what.
Seven years after it all began, after a disjointed chain of events and lifestyle changes, Rye Coalition are once again "The Hard Luck Five"… and they put together a brilliant testament of their original ethos to prove it. The record is called On Top and the songs speak in strange pictures; beautiful women too hot to cool down, smoking pocket books, getting the stank off your hang-low, goin' out to have a good time, alright!, the kids, jailbirds, indentured servants, city streets, old ladies, filthy men, balls and chains, gigalettes and gold chains, empty-headed rock critics, and the roots of rock n' roll. As 2001 winds down to a mindfuckingly bizarre close, Rye Coalition have realized that it is more important to bring the rock to the people with the ones they love than to give their money to The Man. Rye Coalition's third full length, On Top, is a gesture of five close friends trying to keep hope alive. It's an island of laughter in a sea of confusion and madness. Hopefully you don't miss the point.
The Black Hollies
The Black Hollies began in 2005, and have three full length LP's, a slew of 45's, and years of touring under their belts. Their themes have always been exploration of form, channeling the spontaneity of the moment, making arrangements, caring, not caring, charcuterie, imported Belgian ales, Indicas v.s. Sativas, French wines, nasty fuzz tones, tight grooves, leslie rotors, tape wound bottom end, deep slow panning, organ grinders, tape echoes, and feeling the flow. As a collective all the players involved share a varied yet connected musical past.
The Black Hollies hastily turn a deaf ear toward connotations used to pigeonhole the band. Maybe The Black Hollies did it to themselves by recording their latest LP, Softly Towards The Light, at Pigeon Club in Hoboken, NJ, amidst surly, yet seemingly narcoleptic old Italian men with a penchant for jugs of Carlo Rossi and Entemann's donuts. Maybe after seeing these mean old men passed out in their wood-paneled club house drooling on worn out lazy boy chairs in front of a ratty early 1980's wood-paneled television with tin foil bunny rabbit ears for antennas at two o'clock in the afternoon, the band realized it wanted nothing to do with being a throw back. Call the Black Hollies a throw back and the members usual responses are either, "How about I throw you back?" Or, "Oh, did you throw your back out? You should try acupuncture and Chinese herbs."
The Black Hollies live performances pull beautifully from all three of their albums, Crimson Reflections, Casting Shadows, and Softly Towards The Light with a musical representation of where the band is currently at: its most interesting and diverse phase. Recently, The Black Hollies performed a supporting role for UK's The Heavy at Bowery Ballroom. Does anything compare to the rabid screams of encouragement uttered from 600 plus fans of The Heavy who had no idea who the Black Hollies were or what had just happened but knew only two things: that they loved it and they wanted more? I don't know, you'll have to ask one of The Black Hollies. Ed Koch was heard afterward saying, "I felt like I was seeing Zep at MSG in 1972. I thought Justin was going to start playing bass with a bow."
Killing The Messenger
Killing the Messenger is a diverse band within the metal genre. We are compiled of members selected from a number of other local bands, to form the super group known as Killing The Messenger. We have a unique methodology of weaving through many styles of metal music, drawing from all of our influences. We are best known for turning family art shows and small bars into madness driven psycho pits. We have an energetic live show captivating crowds with our passion for music and forcing them to witness our souls pierce theirs with every note. Killing the messenger is a band that will not disappoint. We were all born to play music and share the legacies of the fallen to all who will give us a chance. Lyrically based in death wrapped up in captivating diverse package. We will never quit the fight until the world knows the stories of tragedy we convey.
The Micks consists of two friends from brooklyn who have played music together for a long time. Both boys enjoy a variety of different music, and so the result is, a variety of original tunes. They very much enjoy playing for crowds and will almost always play to any crowd. All you have to do is ask.
Transcendence the 5th studio album from New Jersey Indie rockers Fairmont, contains both biographical and autobiographical material, but could well be imagined as the soundtrack to a film that was never made. There is a story, detailing personal dramas and love lost and found, told through an evolving set of repeating themes that culminate with the climactic reprise of one of the album's most memorable melodies. In addition 2009 finds Fairmont touring on the critical acclaim of Transcendence which Amp Magazine called "Indie Rock we can all be thankful for" and working on their follow up EP The Meadow at Dusk with Producer Bryan Russell (Straylight Run, Coldplay, etc.)
The Dead Exs
bring it back to mono, recording entirely LIVE in the studio with dp (David Pattillo) on electric slide guitar and vocals and Wylie Wirth on the skins.
Pattiillo is a producer with a credit list from Alanis Morrissette to the Hold Steady, The Black Crowes to the Beastie Boys and last year produced the Reni Lane debut for Universal Motown. Wirth has toured extensively in Europe and the US with various bands and was a member of the Warner Bros act Sweet Lizard Illtet.
Pattillo's love for the upbeat raw recordings of Howlin' Wolf and the garage rock of The Sonics inspired him to go back to his roots and record a true to life thrashing blues record. Although acquaintances for years and involved in various projects in NYC, Wirth and Pattillo had yet to musically meet. Their fortuitous jam session on Wirth's July birthday revealed the magic that became The Dead Exs.
Recently they were asked to open for the young rock band Carney (Stars of Spiderman on Broadway) for a "bring the house down" sold out show at Pianos NYC. Their debut record is slated for release in early 2011, with a US and European tour to follow.
The Press is a band from Brooklyn via Atlanta who will release their first full-length album INTEOTWJTEOAE this spring. This ornery foursome has spent the better part of the last five years honing their musical skills both separately and together, until they finally coalesced into their present incarnation in 2005. You can definitely divine many of the bands influences—Modest Mouse, Of Montreal, The Grateful Dead, The Violent Femmes, The Clash, Nine Inch Nails, The Everly Brothers, Burt Bacarach —but the band succeeds in letting their predecessors guide them without crowding their jocks.
The Courtesy Tier
They took the stage, the duo, be-flanneled and hairy, singer and guitarist Omer Leibovitz's worn features circling, bird-like, in front of the microphone, while Layton Weedeman saddled up next to him, nestled by a drumset. Mercury Lounge's audience filtered in punctually. Though cold as shit and rainy outside, inside was warm and cozy with fans and friends savoring the raw flavor of blues-burnt rock.
You know them, you love them, because The Courtesy Tier are seasoned performers and musicians, and play together like a no-frills dynamic duo, neither member pushing for the prominent role. Pretty much constant playing is required by both for their rocking symbiosis - Omer provides the thrashy guitars and punk-blues vocals, and Layton the clicking, splashing foundation of drums and vocal harmonies. The vibe was all the more welcoming as the Courtesy Tier sounds pretty mature, because they don't treat the audience like idiots. They are comfortable presenting their own thing, fine with being themselves onstage, not relying on patronizing shock value or cutesy bullshit.
The set was songs on the short side, lyrics as honest and forthright as their instrumental playing: "I need a friend... I need a friend... I need a friend to show me how to live again." They capture simple, serious, important feelings that none of us pay particular attention to, and preserve them in concise songs that just get the point across. But they're not downers either, as each song has a Hendrix-like heaviness and an old school blues influence (often with unison guitar and vocal lines), played with smashing precision.
Life Size Maps
“A darker, paranoid underbelly haunts Magnifier from the very moment it opens with a tense hissing static...Filled with intricate instrumental flourishes, every song on Magnifier feels at the cusp of bursting at the seams”
- Jonny Leather (Mecca Lecca Recording Co.)
Black Water is a group of eight accomplished musicians with diverse abilities who share a love for Classic Rock, R&B, and the music of the Doobie Brothers. Playing the songs that will get you out of your seat, Black Water provides an upbeat and entertaining show delivered with style, power, and an extra large helping of soul!
Self-proclaimed spazoid post punk with a dash of lemon. Heavily influenced by Conan the Barbarian, muppet babies, love & loud noises.
SpillPeak Media and Ghost Train PR are making history in Newark this fall with their first annual music and art festival. A longtime cultural hub, Newark will provide the stage for this blowout, adrenaline-filled get-together of NJ and NYC’s upcoming and established talents of the underground art and music scene. Kilkenny’s Ale House at 27 Central Avenue will set the stage for this momentous occasion that is slated to become a New Jersey staple.
Kilkenny's Ale House
- Sorry, there are currently no upcoming events.