King Black Acid

King Black Acid

Daniel Riddle started recording under the name King Black Acid
in the late 1980's from his bedroom studio in the San Francisco bay area.

He then started playing out live with his first line up
called King Black Acid and the Wombstar Orchestra.
Featuring keyboardist Melinda DiCillo, guitarist Roger Campos(Papillon), and Bassist Nathan Jorg (SnowBud), the band quickly gained alarge audience with their spacey live show and dreamy sound-- self dubbed "coma-core".

After adding drummer Scott Adamo (ex Wipers) and percussionist Joseph Trump (ex Pig Face, Elliott Sharp's Carbon), the band recorded their debut album titled "Womb Star Session" (1995). The album was recorded live during a radio station broadcast, capturing some of the lush sound and epic delivery the band was becoming known for.

Their sophomore release "Sunlit" was recorded in early
1996 and helped bring the band super-cult like status on an international level, as well as starting the group off on a career of sound track work.

"Royal Subjects" was the bands next album, released in 1998; recorded as a soundtrack for an independent film. The group collaged a mix of songs and soundscapes, exploring new territory in arrangement and instrumentation. This was King Black Acid's first attempt recording sounds to movies.

For his next project Riddle put together a new band with a new batch of songs. With Scott Adamo(drums), Sarah Mayfield (guitars), Bobeck (bass), Pete Ficht (keyboards), and eventually Sean Farrell (keyboards) joining Riddle to form King Black Acid and the Starseed Transmission. It was this incarnation of KBA that would result in the full length album, "Loves A Long Song", released in October 2000. The album was released to excellent reviews and high ranking numbers in the college radio charts.
Finally, the industry and the fans had a record with a more distilled songwriting style that worked well with both radio, film and television, as well as with the hard-core audiophiles.

In 2002, Riddle introduced King Black Acid and the 144,000 Member Acid Army, consisting of Sarah Mayfield, Sean Farrell, Joe Trump, bassist Sean Tichner, and keyboardist Rich Landar. This particular line-up was assembled to perform on stage the songs Riddle wrote and recorded for the motion picture soundtrack of The Mothman Prophecies. During this time, Riddle also wrote, recorded, produced and performed with James Angell's Private Player--featuring John Taylor of Duran Duran on bass, Tony Lash of Heatmiser/ Elliott Smith on drums, Sean T guitar and Kevy Kozad on keys.

In 2008 Riddle started collaborating with longtime friend and fellow musician Jeffery Trapp (ex Everclear) and formed a powerful new line-up with King Black Acid and the Sacred Heart. The Sacred Heart was bringing with it an explosive new sound and style. Shedding most of the atmospherics and languid arrangements of the past for a more anthemic and 'sexy' sound. Live show reviews were quoted to say
"King Black Acid and the Sacred Heart is heavy like a Chevy and has more hooks than a fucking pirate convention."

In 2009 King Black Acid released the song "Let's Burn" on the UnderWorld III Rise Of The Lycans soundtrack.

Daniel Riddle is currently writing and recording in his home studio known as the Mazinga Laboratory (KBA Labs) where he is working on new King Black Acid recordings as well as writing, recording and producing other artists.

King Black Acid's music has been heard in such films, TV shows, and soundtracks as CSI Miami, Buffy The Vampire Slayer, Mothman Prophecies, UnderWorld III, MTV's Real World/Road Rules, Dream with the Fishes, Highway, Witchblade, The Maker, Do Me a Favor and many more.

King Black Acid’s music has appeared in advertisements for Nike, Blue Cross Blue Shield, Portland Trail Blazers, CNN Sports, Coca Cola, Virgin Mobile and Reebok.

Ezza Rose

Since 2009, Ezza Rose has been cultivating a sound of her own. Drawing on several influences from the likes of Etta James, Stevie Nicks, and her residency in Portland, Ezza writes and performs music which reflects the listeners’ lives back at them while hinting at a new perspective. The fluidity of love, the ebb and flow of relationships, and getting caught in the machine of expectations and technology, all are deconstructed with flowy rhythm, aggressive electric guitars, and dreamy vocal melodies.

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