The Uncluded (Kimya Dawson and Aesop Rock)

In 2007, while on tour supporting his album None Shall Pass, indie rapper/ producer Aesop Rock wrote a fan email to folk singer/songwriter Kimya Dawson. A few years later they reconnected during the creation of arts-and-oddities blog 900Bats, which in turn sparked the pair's collaborative musical efforts. After appearing on each other's respective recent solo records, Aesop Rock's Skelethon (Rhymesayers) and Kimya Dawson's Thunder Thighs (Great Crap Factory), both found more worth pursuing within the group dynamic, and The Uncluded were hatched.

Hamell On Trial

Righteous Babe Records Ed Hamell a.k.a. Hamell On Trial is a one-man punk show bringing you (mostly) loud, fast music informed by politics, passion, energy, and intelligence, played by a guy with a sharp tongue and a wicked sense of humor. 2011 launches Hamell into new territory, captivating audiences not only by his award-winning performances, but also a Kerouac-esque story of social commentary shaped through years on the road.

Equipped with a battered 1937 Gibson acoustic guitar he strums like a machine gun, a politically astute mind that can't stop moving and a mouth that can be profane one minute and profound the next, Hamell sets his sights on some classic subjects (sex, drugs, and rock and roll) and some personal ones, too. His performances invoke thoughts of the great rebellious comedians and social commentators of the past: Lenny Bruce, Bill Hicks, and even a bit of Sam Kinison. Hamell is a great mind; acoustic punk rock mixed with a traveler's soul. There's no way around his obscenity, but in that is a willingness to fight for the free-thinkers of the world. Hamell On Trial is a refreshing punk-rock bomb on the unsuspecting folk singer-songwriter world and above all else a preacher of common sense and truth.

Born in Syracuse, NY, Ed Hamell started many a band before grasping the amazing appeal of autonomy: the solo musician's ability to write a song and perform it the same evening. After freeing himself from the spiritual and financial burdens of a full band, he found himself with a bunch of new songs and a gig at a benefit concert. "I had never played solo before and never really listened to acoustic music," he recalls. "Every musician in town was going to be there, so, knowing that I was going to be scrutinized, and also to differentiate myself from the James Taylors of the world, I decided to call it Hamell on Trial, figuring it would be a one-time deal. After the show, I was offered a record deal from a local label, something I had never come close to in my band years, so even an idiot like me realized I was on to something, and the name stuck."

The Trial eventually adjourned for Albany, NY, where a steady Wednesday night gig at a place called the Half Moon Café drew a whopping 10 to 12 people a week. That lucky few got to witness the musician incorporating elements of comedy, theater, spoken word, and even a cheek-shaking "face solo" or two, as Hamell attempted to further stake a claim for himself far from standard singer-songwriter territory. At the same time, he notes, "I realized that the sonic structure of the acoustic guitar was broader than that of the electric guitar, so I could fill in where the bass and drums would be, all by myself." But it was only after another relocation – this time to Austin, TX – that things started to click, including a regular spot at The Electric Lounge, a showcase at South By Southwest, and a contract with Mercury Records, which ultimately produced two albums (Big as Life and The Chord is Mightier Than the Sword; highlights of both were later collected as Mercuroyale).

Parting ways with both the Lone Star State and his major-label home, Hamell moved to New York in 1997 and started Such-A-Punch Media, on which he self-released his next disc, Choochtown, an interconnected collection of songs about drunken, disaffected characters of the sort he'd met while tending bar back in Syracuse. "A lot of them are true stories," he says about his career-long tendency to write about criminals and other shady sorts. "I gravitate to the darker stuff. I've been accused of being misanthropic, but in reality, I hope I affectionately give a voice to the disenfranchised, and they're infinitely more fun to write about than Christians or Republicans."

A serious car accident while touring waylaid Hamell on Trial for a year, during which time he started work on a one-man play. Before he could finish it, however, the European success of Choochtown encouraged him to tour the continent, and an invitation to open a number of U.S. shows for longtime supporter Ani DiFranco led to a live album, Ed's Not Dead/Hamell Comes Alive. 2003 brought his acclaimed Righteous Babe Records debut, Tough Love.

Propelled by critical success and his newfound status as a father, Ed conceived his second Righteous Babe Records release, Songs For Parents Who Enjoy Drugs, a record that somehow managed to be both sweet and apocalyptic. "This isn't one of those Barneyed-out, "I've got a kid, isn't that precious? kind of albums," Hamell comments. "I'm trying to make the point that us left wingers have to breed. There's too much breeding going on with the right." The album was an exploration of family values that's based in reality, spiked with the hysterically bitter perspective of an undeniably talented daddy-o.

Over the course of 2007, Hamell On Trial began moving in a new direction, focusing on the live performance aspect of his music and developing his live set into an hour-long, one-man theatrical production, titled "The Terrorism Of Everyday Life," that mixed political music with stand-up comedy and social commentary told through stories from his life and travels. He honed the act in between stints on the road, and in August 2007 Ed Hamell traveled to Scotland to take his show to the Edinburgh Festival Fringe, one of the oldest festivals for new and outsider performance art. A week of performances ensued, from which Hamell received a slew of outstanding reviews. Three Weeks raved, "The man may very well be a genius. Obscene, outrageous and brilliant."

This year, he is bringing his show to Fringe Festivals, theatres and clubs across North America and Europe.

$18.00 - $20.00


**Tickets purchased on day of show at the door will have $2 facility fee applied ** *Seating is first come, first serve*
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