Happy Abandon to release debut full length on re-launched Schoolkids Records

Happy Abandon is set to release their debut full-length record
on Schoolkids Records in August 2017.

Throughout 2016, Happy Abandon proved to be one of North Carolina's most promising acts. Thanks to their powerhouse live performances and highly acclaimed EP, Heavy Lines, they received mention from outlets like Paste Magazine and swiftly became a local favorite in the often overwhelmingly crowded indie rock scene (which is quite the hard task to accomplish). However, despite all of their 2016 successes it looks like 2017 is set to be even more of a breakout year for the band. Just this morning it was announced that in August of 2017 the band will be releasing their full-length debut on the re-launched Schoolkids Records.

Schoolkids one of the South East's premier record stores and in 2008 owner Stephen Judge founded Second Motion Records. The past few years have seen some big adjustments for the ever-evolving Schoolkids entity, between a move from their iconic Hillsborough St. location, expansion into Chapel Hill and Durham, and now a re-branding of their label to the eponymous Schoolkids Records.

Happy Abandon will begin recording their forthcoming record next week with producers Jamie Candiloro (REM, Ryan Adams, Willie Nelson) and Jason Merritt (Tift Merritt, Hot Hot Heat), the record will be pressed to vinyl and CD and distributed through North Carolina-based Red Eye Worldwide. To celebrate this momentous occasion, Happy Abandon will be performing at Kings Barcade in Raleigh on January 28th alongside Lacy Jags and Wailin' Storms. This eclectic bill showcases a wide array of fantastic North Carolina music, ranging from the rich, dynamic melodies of Happy Abandon to the fuzzed-out psych-rock of Lacy Jags to the dark brooding jams of Wailin Storms. Admission in advance is $10 with a $12 cover day-of. You can purchase tickets for the event here and you can check out a stripped down take on their track "Choice" from the Sofar Sounds Series below:

Show Review: Slow Magic w/ Kodak to Graph & Daktyl

Slow Magic at Kings on Sept. 21

Electronic shows can really be a crapshoot sometimes, especially if you haven't checked in on the artist and researched what their live set-up is. It's really easy to end up seeing a handful of dudes in backwards fitted caps slamming pads and spinning knobs on an MPD for about twenty minutes, and frankly after three sets of that you're kind of done for the evening. But what took place at Kings was far from that, it was one of the most engaging and exciting performances I've seen in quite some time. While Daktyl and Kodak to Graph had markedly similar styles, and Daktyl may have fallen a little bit into the first category, there was enough versatility throughout the night's performances to keep things exciting until the main event of the evening came around.

Daktyl started things off with a set filled with crunching bass lines, jittering synths and dreamy yet disjointed vocal samples turned into syncopated rhythms. It was a set built on quick build-ups and even swifter breakdowns, there was bukus of noise sweeps and bass drops, but it felt natural rather than formulaic and expected. With releases set in the near future for Mad Decent and some obvious talent under his belt, I'm excited to hear more from Daktyl as he evolves as an artist. There's some exciting possibilities that lie beneath these danceable tracks, hopefully he's willing to dig deeper into the rabbit hole to really define his style amidst a sea of Mad Decent-hopefuls.

Kodak to Graph at Kings on Sept. 21

The evening got gradually more exciting as the subsequent artists took the stage. As Kodak to Graph's stage began to get set-up I pretty much knew I was going to dig this set. His table was packed in with a laptop, multi-colored beat pads and an analog synth that was all facing towards the crowd for some reason. I'm not quite sure as to whether this was done for aesthetic reasons or for ease of playability, but regardless it got my attention. Kodak to Graph was emanating some heavy house vibes while still making sure he didn't fall with into the new "deep-house" trends. Most of the set bounced between bass-laden tracks that were driven by either ambient vocals that were chopped into rhythmic patterns or hip-hop vocal samples utilized as percussive flair and bridges into heavy bass grooves.


Kodak to Graph had an entertaining set, but nothing was going to top the energy that Slow Magic brought to the stage. I'm very glad I didn't come into this show with expectations for what was about to happen, frankly I thought I'd be taking it easy for this show, maybe sitting in the corner and soaking it all in. I was doing a pretty good job of following that plan until I saw the Slow Magic set-up and then I immediately posted up in front of the stage. Driven by two large toms and a mixture of loops and live mixing, Slow Magic put on one of the most engaging and awe-inspiring electronic sets I've seen in quite some time. Many times acts like these are marked by their impressive lights show or their gimmicky set-ups, but Slow Magic seems to do it for all of the right reasons. Shortly into the set he raised a drum high above his head, hopped into the crowd, and lead the crowd in a tightly packed burst of dance to his tribal beats and poppy production. Shortly after that he was high-fiving members of the crowd, letting the front row contribute to his percussion pads and even had members of the crowd toying with the remote that controlled his light show. It was less of a passive viewing experience and more of an immersive event that everyone felt a part of, which is a massive feat for an artist like this. The tracks were all incredible, the live drumming was nothing short of compelling, and ultimately proved to be a phenomenal way to end what could have been a very blasé show. Kudos to this remarkable showman for putting on the show he does, he's won this writer over as a massive fan.

Show Preview: No Eyes, Jenny Besetzt, and Naked Naps

No Eyes performs with Jenny Besetzt and
Naked Naps at Kings tonight

Kings Barcade will host an end cap to First Friday by hosting a show with No Eyes, Jenny Besetzt and Naked Naps. If you're into any kind of psych rock or fuzzy punk you'll have a good time. No Eyes and Naked Naps are both out of Raleigh, whereas Jenny Besetzt, also local, is from a little farther west out in Greensboro.

Naked Naps is John Meier and Catie Yerkes, two of the masterminds behind house show venue Mattress Fort. They released their first album at the end of January, entitled Ok, Bye. The tracks have great names, like "Bill O'Reilly's Bedroom Song" and "Power, Passion and Purpose (29-32)." Live the band puts on a solid show, and it will be great to see them perform at a bigger venue. They're extremely laid back, especially considering the rawness and power behind the music once the song has started. Between songs they tell jokes, share stories and tune up. The songs are pretty addictive and will be a great precursor for the rest of the bill.

Jenny Besetzt is the fuzzy dreamy indie rock that should appease anyone with a soft heart for shoegaze. With members also in other bands such as Lilac Shadows and The Bronzed Chorus, the members are are comfortable on stage and very in sync with their sound as Jenny Besetzt. Look for a new lineup and new songs -- the guys are working on some new material that should be recorded and officially released before fall. 

Headliners No Eyes have been together for about two years now, playing psych rock along the lines of Birds of Avalon and Tame Impala. The band consists of Nick Kirkland, Andrew Manson and Cyrus Atkins. Although they've been through some lineup changes, Kirkland has continued to front the band, meshing well with both Manson and Atkins. More stability has lended to having a higher frequency of shows, with this being one of the first in quite a while. With another album in the works, expect to hear what they've been working on. 

Doors are at 9:00 pm on Friday, March 7 with music starting about 9:30 pm. Tickets are $5 and it's an all ages show.


No Eyes Live at Dive Bar in Raleigh, NC performing their song "Slob" from David L. Sherrill on Vimeo.

Show Review: Perfect Pussy with Davidians and Whatever Brains

Perfect Pussy at Kings Barcade

I am constantly surprised by the Raleigh hardcore scene which may indicate that I am not as familiar with it as I believe myself to be. This was clear to me on Thursday night's show when Davidians broke out into their set. Davidians is comprised of some former members of Double Negative, a band that really defined the hardcore scene in Raleigh.

The band is pretty much defunct as of 2012 but luckily for die-hard Double Negative fans, Davidians holds the future. When they stepped up on the stage to play their set, you could feel a surge in the crowd. They played a solid hardcore set (although I am not the greatest judge of that...) that was energetic and lively. The whole crowd seemed to sway in unison to their scuzzy guitars and frenetic rhythms.

Whatever Brains at Kings Barcade

Up next were my absolute favorites, Whatever Brains. I always forget just how talented these dudes are but every time I see them play, I am totally blown away.  As they walked out they requested the lights to be turned off and they begin weaving their magic with a gradual build up of noise. Whatever Brains manages to create this incredible wall of sound but each sound is very distinct and they constantly build on to this wall of sound with new sounds. If I totally lost you here, they are basically very talented musicians that manage to create a brand of punk-rock that is totally unique, implementing a slew of synths along with traditional punk-rock instrumentation. This show did not disappoint.


Finally, the infamous Perfect Pussy took the stage. This blog post comes so late because I had to really meditate on what I thought of this show. The band looked like very nice people but when they started playing, the only thing that was audible was their synth-noise-making machine. I came in knowing from their EP that the vocals would be indecipherable however I did not expect to hear nothing at all. All that said, the band was lively and their stage presence was really intense and I could tell they were super into it. Overall, I got the hardcore show experience but I would've loved to hear more of the female fronted vocals.

Show Preview: Perfect Pussy w/ Whatever Brains & Davidians

Perfect Pussy will perform at Kings Barcade in Raleigh
on Thurday, January 7 with Whatever Brains & Davidians

Well the holidays are finally over, school is starting again and I suppose its time to stop having fun….or not. Thursday’s show at Kings will keep your energy high and your feelings on edge, if you will even be able to hear what Perfect Pussy’s Meredith Graves has to say.  Don’t be offended by the vulgar band name because Graves’ lyrics speak honestly and passionately personal experiences under a wave of jarring noise from her band members’ instruments.

The openers for this show are Davidians and Whatever Brains. Davidians remain anonymous in the Internet sphere and perhaps rightfully so, preferring a different route than most blog-famous bands. The next band is a solid staple within the hardcore/punk scene in Raleigh and one of my favorite local bands, Whatever Brains. With a brand new record on Sorry State Records, released just last year, Whatever Brains has critical acclaim across the country. They have a unique sound that is composed genre-bending noise and a nonchalant attitude about their success.

Last of all is the best of all, the new buzzband in the hardcore scene, Perfect Pussy. Hauling all the way from Syracuse, New York, this band had humble and hilarious beginnings. Posing as a fake band for an indie movie to recording a short EP, Perfect Pussy has become one of the most talked about bands in the blogosphere. As a band thats already been reviewed by Rolling Stone, they don't have more than four songs on bandcamd but the songs are easily some of the best hardcore songs I've heard in a while. Maybe its because I'm a girl, but when a girl screams in a hardcore band, with poetic lyrics nonetheless, its hard to resist.

Doors open at 8:30 and the show begins at 9:00. Tickets are $8 and can be purchased online at Kings' website.

Show Review: The Love Language and Sylan Esso

The two-night winter formal at Kings Barcade featured two very loved Triangle bands, The Love Language of Merge Records and Trekky Records artist Sylvan Esso. Both nights sold out, with only a handful released at the door night-of that went well before doors opened. I went out Friday night, enjoying the unseasonably warm weather and First Friday activities beforehand. Making my way to Kings, I saw dapper men on bicycles headed the same direction alongside women in party dresses. Although not required, formal wear was encouraged for the show. And, let's be honest, it made the prom photo booth that much more fun, and drinking champagne a little more appropriate. 

Sylvan Esso kicked things off with instant energy. Balloons bounced around the heads of the audience, everyone bumping them around trying not to let them hit the ground. So, there was the occasional dive to save one. Adorable, fun and easy to dance to, the shoulder-to-shoulder crowd showed the band a ton of love. With only two songs available on hard copy, I was glad to see more of Sylvan Esso's repertoire. And while I enjoyed some songs more than others, there were not "filler" tracks or ones that were by any means subpar. Vocalist Amelia Meath, wearing an all-black pantsuit with a cropped black and gold jacket, led the crowd in arm pumps and dance moves, all while showcasing her vocal range and fluidity between styles. Nick Sanborn backed her up with beats, loops and other effects. Sanborn's exaggerated twists and turns made the layering fun to watch. They've got a solid, consistent sound and clearly have a good time doing it. 

In between sets I made the customary run down to Neptunes, where an additional dance party was inevitably going on. We also had our prom photo taken at the door of Kings. The photographer positioned us in the corny, wonderfully awkward traditional prom poses that I'm sure will all give us a good laugh to go through. 

The Love Language took the stage, and it was definitely the most intense Love Language show I've ever been to. The band performed strong with genuine excitement for the night, and the crowd jumped, danced, moshed (what?!) and crowd surfed (semi-successfully). The new songs took off like wildfire to those who were and weren't familiar with them. They sprinkled in some slow songs, because what would prom be without some swaying around and twirling? But of course, the old sing-a-longs are always the most fun. Everyone was hype on the music, each other, the general prom night contagion of excitement and Stu McLamb's "Spring Break Forever!" shouts between songs. After an incredible encore featuring “Blue Angel,” a favorite off of 2010’s “Libraries,” that isn’t often played live, the sweaty crowd dispersed outside to cool off before heading back in for Trekky’s DJ Sweet William.

As is essential to any good party, Kings was a great host with festive décor and endless PBR. The energy was palpitating all night, and made for the best prom.

Show Preview: The Love Language and Sylvan Esso

Kings Barcade is hosting a Winter Formal presented by Trekky Records on Friday, December 6 and Saturday, December 7, featuring local artists The Love Language and Sylvan Esso. If you head out for either night, make sure to dress up and wear your fanciest dancing shoes – there will be an official Winter Formal photo booth and dance party following the show with DJ Sweet William (OG Trekky Will Hackney) spinning some tunes.

Sylvan Esso is a Durham two-piece made up of Amelia Meath and Nick Sanborn. Meath’s feminine voice dances over pulsing electronic beats and bass lines, all of which are looped and layered throughout the songs. Sanborn is also the bassist of Megafaun, so seeing the genre differences and what he's capable of in both is an interesting thing to keep in mind when listening. Their debut 12” was released in July on Trekky Records, featuring “Hey Mami” and “Play it Right.” Since, they’ve played Hopscotch, have been remixed by Broken Social Scene’s Charles Spearin, and have toured with the likes of Volcano Choir, Man Man and Minor Alps. 

The Love Language is another Triangle favorite. The band had their second Merge Records release in July with Ruby Red, a strong follow-up to 2010’s Libraries, that includes just as many catchy tracks as before.  Tight as ever, they’re known for putting on fun shows with rich harmonies among each instrument. The live show translates their rock side much more explicitly than the album, so look forward to a slight twist to what you’ve been playing on your stereo.

Doors open at 9:00pm and the music starts at 10:00pm. The show is $12 in advance and $14 at the door. Tickets and more information is available at kingsbarcade.com

Show Review: And So I Watch You From Afar, TTNG, Mylets

TTNG

LA record label Sargent House put together a solid bill that flaunted some great rock at Kings Barcade on Tuesday, November 5.

Mylets, putting out his first full-length Sargent House album next year, plays mostly instrumental music. Written and performed by himself, Henry Kohen utilized numerous pedals and samplers to play his songs. At times, he’d yell over the aggressive loop-based songs. He had a knack for making loops on the fly, a difficult task not many can do, especially impulsively to a high tier quality. His guitar riffs were layered, also taking time with the synth bass and percussion pads to build a full sound.

TTNG (This Town Needs Guns) was first of the two headliners, both of whom played full sets. The guys chatted between songs, commenting on the tour, sharing some stories and trying to pump up the audience. Given it was a Tuesday night, there was a decent crowd, but it took a while for the majority to really wake up. As you would expect from the music, a large amount of the songs were constructed with taps, pull offs and harmonics – always fun to watch this guitar style being created feet from your face. Henry Tremain, lead vocalist, guitarist and bassist, had a creative setup. He played a good bit with two guitars stacked on each other, hanging from different lengths. The top, tuned “normally,” the bottom Squire tuned an octave lower to emulate a bass guitar sound.

The band invited Mylets on stage to play a song with them, and he looked stoked, getting into the half-screaming vocals with one arm cemented behind his back as he danced around a bit. At the end of their set, they did something else pretty special. Introducing “26 Is Dancier Than 4,” the first track off of their self-titled 2008 album, they got a great response, pegging it as a crowd favorite. Tremain asked who knew the song, who knew the words, and then after a wave of cheers, who wanted to come up and sing it with him. A younger guy named Casey jumped up on stage and melted right in. Harmonizing wonderfully with Tremain throughout the set, he had no shyness getting behind the mic. At the end of the song, he respectfully and nervously thanked each of the members, shaking their hand, and accidentally interrupting a guitar riff to do so – but it’s cool, he rocked.

And So I Watch You From Afar

And So I Watch You From Afar came on a little after 10:15. They opened with songs off their newest album, All Hail Bright Futures, including “Ambulance,” a track that builds up upon a single riff with powerful beats, breaks, and shouts. Inevitably, a small pit soon formed a few people back from the front. After a few songs, I looked at the friend I was standing next to who hadn’t seen them before. When I could see her face between hair-flying head banging, she was grinning ear to ear. That pretty much reflected my experience. ASIWYFA plays very tight with palpitating energy that mirrors their music in a physical and visual way.

With instrumental shows, there are different approaches the performer-audience connection can take. From an audience perspective, it often feels like you’re sitting in on a practice and watching through a glass window, or at a theatre watching a hi-brow performance. Then, you have ones like this that play to the audience and bounce energies back and forth, transforming it to an emotive rock show. They, too, invited Mylets on stage for a song. Their tour manager also joined for a song and the group just looked like they were having a blast, and the crowd was responsive. I was incredibly happy with the set list’s flow, and they hit all my favorites, including “7 Billion People All At Once,” “Set Guitars to Kill,” and an extended version of “The Voiceless” as their final song.

The bands share the same label and are working closely doing the whole tour together. There is an undeniable level of support and camaraderie between them that made the experience interconnected, rather than seeing three individual bands at face value. 

Show Preview: And So I Watch You From Afar, TTNG, Mylets

And So I Watched You From Afar will perform at
Kings Barcade on Nov. 5

Sargent House, a Los Angeles-based management company and record label, is hosting a tour coming to Kings on Tuesday night showcasing three of their artists. And So I Watch You From Afar (ASIWYFA) will co-headline this show with TTNG (formerly This Town Needs Guns), each playing full sets, with Mylets opening. The label is also known for artists such as Russian Circles, Tera Melos, Red Sparrowes, Boris and Bosnian Rainbows.

Mylets is Henry Kohen’s one-man project, self-described as loop rock. Aggressive vocals lay over mixtures of acoustic and electric drums and guitar. Chances are, if you’re a fan of either of the headliners, you’ll dig Mylets. He’s orchestrated a full rock band sound, and watching him create it live should be interesting. Mylets will record and release his Sargent House debut full length next year.
Math/prog-rock trio TTNG hails from the United Kingdom, which translates to they don’t come through the area very often. They released their sophomore album 13.0.0.0.0 in January of this year, and received solid reviews from music critics at Consequence of Sound and Sputnikmusic. It also marked the transition to officially being called by their acronym, TTNG. If you haven’t checked them out yet, the sound is reminiscent of Minus the Bear and label mates Maps & Atlases, with nontraditional time signatures and impressive rhythm sections.

Irish instrumental rockers ASIWYFA return to the Triangle for another sure to be high-energy show. They also released an album this spring, All Hail Bright Futures, which strays slightly from the sans-lyric form the band has historically done, and delved a bit deeper into experimenting with new sounds and ways to achieve those sounds. While a lot of the set is likely to be drawn from this, expect to hear some old favorites, too, that the band may expand on live. Riff-driven, loud and experimental (one of All Hail’s songs features a strong guitar riff sung rather than played), the band is a fine-tuned machine that puts on a seamless and powerful show.

Doors open at 7:00 pm and the show will begin at 8:00 pm. Tickets are $13 in advance, available online at kingsbarcade.com, and $15 day-of at the door.  

Show Review: FUZZ w/ CCR Headcleaner and Big No

FUZZ at Kings Barcade
Photos and Write-up by Anastassia Olegovna

As predicted, Fuzz, CCR Headcleaner and Big No actually damaged my hearing and almost led me to wear a neck brace for a few days. But why would any one expect anything less from a band associated with Ty Segall’s name?  Although Fuzz arrived late and the show started about an hour later than it should have, the tension and awkwardness of waiting around for them was dissipated very quickly.

Big No started out the night, facing a crowd of well dressed people who looked like they could all be in bands, and probably were. Although a fairly young band, Big No proved that they could reign in the ranks of the loud sludge-garage bands. I was pleasantly surprised because Big No definitely sounds more aggressive and loud live, a quality that I admire in bands. The songs weren’t too long and it didn’t feel like a chore seeing this first band open up. 





CCR Headcleaner
Photo by Anastassia Olegovna

Next CCR Headcleaner restored all my faith in finding a metal band that I actually like. They trudged through a sludge-metal set that I’ve never experienced. The band looked like a combination of The New York Dolls and The Clash but the sound they were producing was very far from punk. The music hung in the air like heavy smoke, a very loud cloud of it. I wasn’t surprised that this would be an opener for Ty’s new project but I was intrigued to see the kind of audience that bands like these bring out.


Finally, Fuzz came on, with Ty positioned front and center. The energy that Ty and every band he gathers put out is truly incredible. I can’t be too sure if I like Fuzz because they are a Ty Segall project or because I really do like the music but Fuzz is definitely a band that you and your Black Sabbath loving dad could seriously bond over. Fuzz channels stoner-metal of 1970s perfectly. While the guitar riffs and the drum patterns can be too familiar at times, there is a pleasant familiarity that presides in all the songs and that is irresistibly insane. No matter how hard I tried to not convulse and head-bang, Fuzz won over my controlling mind.

Show Preview: FUZZ w/ CCR Headcleaner and Big No

FUZZ will be performing at Kings Barcade in Raleigh, NC
on Oct. 10 w/ CCR Headcleaner and Big No
Preview by Anastassia Olegovna

The heart of fall is coming up and I honestly think this is the best time to go to shows in North Carolina. Everyone thinks that summer is the time when bands tour but I’ve found that all of my favorite bands tour in the fall, which is either a weird coincidence or there’s some secret organization behind this.

If you are looking for a quiet way to pass the time look to another place, because on October 10th FUZZ, CCR Headcleaner and Big No will not spare your eardrums. 

Big No is a fairly unknown band hailing from San Francisco by way of Richmond, creating dark, manic pop songs that are understated and out-of-your-mind lo fi. Nathan Grice, the man behind the band, sings heartfelt songs that are borderline garage, laced with sugary-pop synths that create a unique sound in the midst of the Bay Area garage scene.

The San Francisco trend continues with CCR Headcleaner, the second opener for FUZZ. Don’t be fooled though, CCR Headcleaner is not just another California band but one that has its roots set in Georgia, Maine, and Washington, bridging the garage rock gap between the East and West coast in the heart of the Bay Area. They proudly boast a “not giving a damn” attitude backed by their noisy, destructive, psych and punk sound with a premeditated readiness to get real weird.

Finally, FUZZ headlines the show with a band name that should already give you an idea of what you’re in store for. FUZZ is the brainchild of the San Francisco garage rock genius, Ty Segall, and Charles Mootheart, who plays in Ty’s live band. (with Roland Cosio on bass) Segall, taking a break from the spotlight of his two other ongoing projects, Ty Segall and Ty Segall band, situates himself on the drums. Don’t expect him to sit there and haphazardly beat the drums, instead expect insanity and psyched-out drum solos. In fact don’t go expecting anything that might color Ty’s previous work because FUZZ sounds more like Black Sabbath and a heavier version of Ty Segall Band’s Slaughterhouse. Mootheart and Segall trade off vocals over fuzzed-out psychedelic rock and roll that distorts reality and may cause spinal injuries because you will not be able to stop yourself from lurching into the band’s madness headfirst.

Doors open at 8:30 pm and the show starts at 9:00. Tickets are $8 in advance and $10 at the door.

Show Review: Screaming Females with Waxahatchee and Tenement

Tenement at Kings Barcade

Usually it would take a little longer to warm up the crowd and get them past their first PBR of the night cloud when everyone’s feet seem to be glued to the ground. Tenement was able to break that right away. They had fast-paced rock and half stacks almost as tall as the members. Bouncing all around stage, the guitarist showed off his vertical jump skills with a ton of mid-air kicks amplified by windmill-style strumming.  The energy was contagious.

Waxahatchee

Waxahatchee followed, toning the liveliness down a bit. Guitarist and singer Katie Crutchfield was accompanied by a bassist and a drummer on stage. They didn’t interact with each other much. Katie seemed to drift away into her lyrics, with emotive singing while keeping her eyes heavy. She had an effortless air and softness to her voice that sounded great over the distorted guitars.

Screaming Females

Screaming Females came out and rocked it. Marissa Paternoster’s spastic leaps across stage between pick slides and finger taps were impressive. She wore a Slinger Hip instead of the traditional over-the-shoulder guitar strap. It seemed that it made it easier to roll around on stage not having the extra stability based on the shoulder. From backbends to deep lunges and propped-up poses, she ran back and forth between facing the crowd and going ballistic with drummer Jarret Dougherty and bassist King Mike. Screams and powerhouse vocal were raw – it was loud and awesome.

The bill as a whole flowed together and made for a good mid-week mental break. 

Screaming Females

Show Preview: Screaming Females w/ Waxahatchee & Tenement

Screaming Females will be performing with Waxahatchee
and Tenement at Kings Barcade tonight, Sept. 18

As we’re all still coming down from the Hopscotch high, perusing through post-festival blogs and reliving the weekend through Flickr photo albums, Hopscotch has teamed up with Kings Barcade to present Screaming Females with label mates Waxahatchee and Tenement.

Three-piece Wisconsin rockers Tenement will open the night with what should be a high-energy set that veers from their recorded music. Known for improvisation at live shows, Tenement has played a strong role in the punk and hardcore scene in Wisconsin since their formation in 2006.  The band has a knack for balancing occasional harmonies with fuzzy punk, making it damn near impossible to get through their show standing still.

Singer-songwriter Katie Crutchfield, under the name Waxahatchee, has been involved in the music world since her early teens, rooted in punk. Waxahatchee has had a busy year, going on a lengthy tour with Katie’s twin sister’s band, Swearin’, as well as playing festivals including Hopscotch, SXSW and FYF Festival. Her sophomore album, Cerulean Salt, was released in March of this year on Don Giovanni Records in the US and Wichita Recordings for the UK release.

Screaming Females stems from the New Jersey punk scene and is constantly cranking out more guitar-driven rock, releasing five full lengths since their start in 2005. Lead guitarist Marissa Paternoster’s vibrato vocals range from whaling over mesmerizing guitar riffs to screaming alongside noisy feedback-ridden power chords. When paired with bassist King Mike’s vocals, it creates an almost eerie balance that works perfectly with the music as a whole.  The band released a 7” split with Tenement in early September and has plans to come out with another full-length next year.

 

Tickets are available in advance or at the door, both $10. This is an all ages show and doors are at 8:30 PM.

Show Preview: Reptar w/ Casual Curious & The Brand New Life

Reptar will headline at Kings Barcade in Raleigh
on June 18 w/ Casual Curious & The Brand New Life
opening. Tickets are $10 in advance

Ah, summertime shows. The perfect escape from the sweltering blanket of humidity known as a North Carolia summer. It feels a bit like the end of a hibernation, bands are touring like crazy and shows range from a cool welcome oasis to a tightly packed sweatfest in an overcrowded room (hey at least you're in it together). Either way, summer shows are quite simply delightful--especially when they're filled with as many talented bands as this one. On June 18 Kings Barcade will house some of the most exciting live acts in the Southeast.

Reptar's name may throw you off, especially if you're not fond of the early 90's cartoon from which it's inspired. Quite frankly the first time I saw it I was expecting a shitty screamo act, but I was more than pleasantly surprised when I heard the dancy psych-pop that emanated from my speakers. I was immediately enthralled with their unique blend of countless musical stylings, you can hear the group dabbling into Afro-pop rhythms, exploring their sonic depths with expansive synths and evoking passionate emotion with pseudo-shouting vocals. Reptar is the type of band that you simply have to experience live, their energy is practically pouring out of the stereo. Closing your eyes you can envision the band bouncing around on stage with droves of adoring fans and you simply WANT to be there. The band commands your attention by combining entrancing polyrhythms with robust vocal melodies, making for an astounding listening experience.