Wednesday April 5th | Doors at 8pm
w/ Steve and Dad
The Dick Dale Phenomenon. His style is something different and unique. Since his first appearances Balboa, Ca. at the famed Rendezvous Ballroom, he has set and broken attendance records everywhere he’s performed. His appearances at the Rendezvous Ballroom broke every existing record for the Ballroom by drawing capacity crowds of over four thousand screaming dancing fans every weekend each night down on the Balboa peninsula.Get Tickets
Dick Dale invented surf music in the 1950’s. Not the ’60’s as is commonly believed. He was given the title “King of the Surf Guitar” by his fellow surfers with whom he surfed with from sun-up to sun-down. He met Leo Fender the guitar and amplifier Guru and Leo asked Dale to play his newly creation, the Fender Stratocaster Electric Guitar. The minute Dale picked up the guitar, Leo Fender broke into uncontrolled laughter and disbelief, he was watching Dale play a right handed guitar upside down and backwards, Dale was playing a right handed guitar left handed and changing the chords in his head then transposing the chords to his hands to create a sound never heard before.
Leo Fender gave the Fender Stratocaster along with a Fender Amp to Dale and told him to beat it to death and tell him what he thought of it. Dale took the guitar and started to beat it to death, and he blew up Leo Fender’s amp and blew out the speaker. Dale proceeded to blow up forty nine amps and speakers; they would actually catch on fire. Leo would say, ‘Dick, why do you have to play so loud?’ Dale would explain that he wanted to create the sound of Gene Krupa the famous jazz drummer that created the sounds of the native dancers in the jungles along with the roar of mother nature’s creature’s and the roar of the ocean.
Leo Fender kept giving Dale amps and Dale kept blowing them up! Till one night Leo and his right hand man Freddy T. went down to the Rendezvous Ballroom on the Balboa Peninsula in Balboa, California and stood in the middle of Four Thousand screaming dancing Dick Dale fans and said to Freddy, I now know what Dick Dale is trying to tell me. Back to the drawing board. A special 85 watt output transformer was made that peaked 100 watts when dale would pump up the volume of his amp, this transformer would create the sounds along with Dale’s style of playing, the kind of sounds that Dale dreamed of. BUT! they now needed a speaker that would handle the power and not burn up from the volume that would come from Dale’s guitar.
Leo, Freddy and Dale went to the James B. Lansing speaker company, and they explained that they wanted a fifteen inch speaker built to their specifications. That speaker would soon be known as the 15” JBL -D130 speaker. It made the complete package for Dale to play through and was named the Single Showman Amp. When Dale plugged his Fender Stratocaster guitar into the new Showman Amp and speaker cabinet, Dale became the first creature on earth to jump from the volume scale of a modest quiet guitar player on a scale of 4 to blasting up through the volume scale to TEN! That is when Dale became the “Father of Heavy Metal” as quoted from Guitar Player Magazine. Dale broke through the electronic barrier limitations of that era!
Friday March 3rd | Doors at 8pm
w/ The Flash Hits & Holy Glories
Dead Meadow formed in 1998 with Jason Simon on vocals and guitar, Steve Kille on bass, and Mark Laughlin on drums. They began to combine 70s hard rock and 60s psychedelic rock with far out and sometimes mystically minded lyrical themes occasionally even hinting at the obscure genius H. P. Lovecraft and other far out writers of the bizarre and weird. The first album, Dead Meadow, was released in 2000 on Tolotta Records, a label run by Fugazi bassist Joe Lally. The LP version was released by Planaria Records. This was quickly followed by 2001’s Howls from the Hills, also released on Tolotta Records. At the completion of “Howls from the Hills” John Peel asked Dead Meadow to record a Peel Session which was recorded in Fugazi’s home studio, the first time a Peel Session was recorded outside the BBC studios.Get Tickets
In Spring 2002, Laughlin parted ways with the band in order to pursue a career as a lawyer. He was replaced by long-time friend Stephen McCarty ). A live album, Got Live If You Want It, was released in mid-2002, which documented one of the last shows with drummer Mark and was produced by Anton Newcombe of Brian Jonestown Massacre. In early 2003 the band signed with Matador Records and released Shivering King and Others. Along with the heavy song and blues-influenced songs as on the previous two records, the band continued in their psychedelic style, with acoustic elements and ballads. With the addition of second guitarist Cory Shane, Feathers was released in 2005. Simon’s guitar virtuosity is influenced by the droning modal character of Eastern music as by classic rock riffs.
Jason Simon is the nephew of The Wire creator David Simon. Dead Meadow’s music was used briefly in the episode React Quotes in season five of The Wire.
In 2007 the band has reverted back to a three piece, made an appearance at the 5th annual Green Man Festival in Crickhowell, Wales and relocated from Washington, D.C. to Los Angeles, California.
In the beginning of 2008, Dead Meadow released Old Growth on Matador Records. A collection of songs that brought the band back initially to the same farm that their second release Howls from the Hills was created and eventually finished up at the legendary Sunset Sound studio in Los Angeles. As with the last three albums Old Growth was produced by bassist Steve Kille.
Later in that same year a brief session with Andrew Stockdale of Wolfmother led to the reinterpretation of the Dead Meadow song “Everything’s Goin’ On” as a new song “Pilgrim” landing on the second release for Wolfmother, “Cosmic Egg”.
In March 2010 the band released a feature length live film and soundtrack, “Three Kings”, that spotlights their stage show along with psychedelic dream scenarios. The live footage and audio was captured at the bombastic final show of the five month “Old Growth” tour. The film premiered at the Hollywood Forever Cemetery in Los Angeles, California and was released on the NYC label Xemu Records, co-run by Kille.
Jason Simon also announced his September release of his first solo “self-titled” acoustic album on TeePee Records.
The song “Sleepy Silver Door” and “Greensky Greenlake” were featured in the skate video “Emerica, Stay Gold.”
Tuesday February 28th | Doors at 8pm
w/ This Will Destroy You & Emma Ruth Rundle
Deafheaven is a California-based act that has garnered acclaim for their signature hybrid sound of black metal, shoegaze, and post-rock. On October 2 the band will release their next album New Bermuda on ANTI-.Get Tickets
George Clarke (vocals), Kerry McCoy (guitar), Dan Tracy (drums), Stephen Lee Clark (bass), and Shiv Mehra (guitar) recorded New Bermuda live to tape at 25th Street Recording in Oakland, CA and Atomic Garden Recording in East Palo Alto, CA in April 2015. It was produced, engineered, mixed, and mastered by Jack Shirley who has worked with the band on their previous releases. Clarke says that he came up with the idea of “New Bermuda” to describe a new destination in life, a nebulous point of arrival, and an unknown future where things get swallowed up and dragged into darkness. The album artwork for New Bermuda is an oil painting, dense in brush strokes of darker tones and deep blues, by Allison Schulnik. The layout was designed by art director Nick Steinhardt.
Formed in 2010 in San Francisco, California, the band has released two studio albums on Deathwish; Roads to Judah in 2011 and their lauded Sunbather in 2013. Sunbather received accolades from NPR on their Favorite Albums of 2013 list, a coveted Best New Music at Pitchfork, the Best Metal Album of 2013 per Rolling Stone, a 9/10 star review from Decibel Magazine, and it was the highest rated album of 2013 according to Metacritic. Deafheaven have spent the last two years touring extensively nationally and around the world with shows in Australia, Japan, Asia, Europe, Russia, the UK, and Canada with festival appearances at Pitchfork, Bonnaroo, Primavera, Roskilde, Fun Fun Fun, FYF Fest, SXSW, Basilica Sound Scape 14, Corona Capital, ATP Iceland, amongst others. Deafheaven will perform August 8 at Heavy Montreal in Canada. Details on a forthcoming North American tour are soon to be announced.
Thursday February 23rd | Doors at 8pm
w/ Lindy Vision, Tear Pressure, Eph Sharpe
The trio of Sean Galloway, Angelica Tavella, and Vince Gutierrez came together in Los Angeles after more than a decade in and around the Bay Area working on musical collaborations in various bands, on tour, over the Internet, teaching at youth music schools, and performing in drag musicals. The band has since added Los Angeles-based drummer Jessica Lankford, who joined them on the road for their recent West Coast tour supporting the release of “Total Fucker”.
In the making of “Total Fucker”, producer Jeff Saltzman (Department of Eagles, The Killers, Blondie), worked closely with the band to a achieve a balance between the sadistic twisting of oscillator knobs, overdriven vintage amplifiers, and plastic bagged microphones. The band finds it’s sound in the collective experiences of the trio; arching guitar lines, gritty synths, and raw drums and bass. Galloway and Tavella mix their distinctive voices together to create lush vocal harmonies that launch into wild choruses, a’la a Jeff Buckley and Annie Clark fronted Smashing Pumpkins.
Friday February 17th | Doors at 8pm
w/ Mikey Fisher & Selektah Philos
Come follow we into the depths of underground bass music with the first annual BENEATH BABYLON.. This edition brings you AMIT(uk) credited with creating his own sub genre within bass music now known as “half step” or “half time” drum and bass, one of the most innovative styles to come from within underground bass music for the past decade.
AMIT is a UK based live Music Artist, Composer and Producer. He has released two critically acclaimed albums Neverending (2006) and 9 Times (2011) and over thirty slates of vinyl including ‘Killer Driller’, ‘Roots’ and ‘Acid Trip’.
AMIT has been hailed as one of the most distinctive and original voices within the electronic music industry. He is credited with creating a new and innovative sub genre within electronic music, influencing a generation of new music artists. He was the first music artist within Electronica to begin creating music at his signature ‘half-step’ at 174bpm. A whole range of fellow artists quickly followed suit but AMIT is widely acknowledged as having been the pioneer. His work has been placed in the top 5 ‘Best Single’ and ‘Best Producer’ categories on the BBC Radio listener polls.
His music is very much influenced by Dub and in particularly artists such as King Tubby and Lee ‘Scratch’ Perry. His music is also heavily influenced by Asian and Middle Eastern sounds, as well as Reggae, Dub, Electro, and Techno. AMIT has performed extensively at clubs and festivals across all continents.
In 2007 AMIT worked with legendary bass producer Bill Laswell on a project entitled ‘Inamorata’ that involved musicians across the globe including Iggy Pop, Mike Patton and Toshinori Kondo (released on the Sony Red label). AMIT has also composed music for several award winning film and theatre projects including Rent and Stain (London Film Festival official selection) and The Woods (Mill Valley Film Festival California Official Selection). AMIT has also supported bands such as Sonic Youth (State X Festival in Holland).
In 2009 while a participant in the Powerlab Scheme run by B3 Media in association with Film4 and the National Theatre, AMIT developed Electronic Orchestra, a ground breaking concept which saw AMIT musically ‘translate’ one of his tracks (with the help of Massive Attack’s Neil Davidge) entitled ‘MK Ultra’ from its previous existence as a piece of electronic music into a conventional score which can be played by an orchestra. ‘MK Ultra’ appeared on AMIT’s album ‘9 Times’ and is the first in a series of ‘translations’. ‘Electronic Orchestra’ is indicative of AMIT’s continuing desire to experiment with the boundaries of musical genres.
In April 2012, AMIT released an EP on EXIT Records including the widely acclaimed ‘Stay With Me’, ‘You Look Better Dead’, ‘Manic Minor’ and ‘Kritical’. The project saw AMIT reuniting with Irish/Indian vocalist RANI who previously featured on several tracks on ‘9 Times’. This fruitful collaborative relationship was further cemented by new releases for Metalheadz in October 2012 featuring ‘Killer Driller’ and ‘Colour Blind’ and for the pioneering electronic label Tempa, which featured ‘Acid Trip’ and ‘Don’t Forget Your Roots’ and were released in March 2013
AMIT (UK, AMAR, Tempa, Exit, Metalheadz, Ninja Tune)
Mikey Fisher (Denver)
Selektah Philos (Burque)
Live artists and vendors announced soon…
Brought to you by the likes of RudeBehavior
$5 before 11p
Friday February 10th | Doors at 8pm
w/ The Body & Creepers
Alcest was founded in the year 2000 by songwriter and multi-instrumentalist Neige (aka. Stéphane Paut) and later joined by drummer Winterhalter (Jean Deflandre) in 2009. Labeled as post metal/shoegaze or “blackgaze”, Alcest were the pioneers within this genre, crafting a unique sound based on musical opposites from their very first EP “Le Secret” (2005), and thru their full length releases “Souvenirs D’Un Autre Monde” (2007), “Écailles De Lune” (2010) and “Les Voyages De L’Ame” (2012). In 2014 their fourth album “Shelter” was released, marking the band’s departure from the more metal sound, in favor of dream-pop aesthetics, surprising and somewhat challenging their fan base. In retrospective, the album opened new doors for Alcest, bringing them an audience from different horizons and a positive sense of unpredictability as musicians.
Over the years, Alcest influenced a lot of other artists and gained a significant popularity around the world, leading them to do several tours all over Europe, North America, South America, Asia and Australia.
“Kodama” (2016), the upcoming fifth album by Alcest marks the French duo’s ferocious return to the epic and contrasted style of its early works while continuing the band’s relentless pursuit for fresh ideas. Combining poetic elements with darker ones, that were not present in Alcest’s earlier works, “Kodama” manifests as an intense album, featuring a more organic, punchy sound and showcasing impulses from an array of different places.
Originally triggered by Hayao Miyazaki’s anime film “Princess Mononoke”, “Kodama” picks up on the fate of its protagonist and, at its core, deals with the sensation of not belonging; of living in between worlds, be it city and nature, the physical and spiritual one. By giving the album a cultural, stylistic and compositional narrative, Neige and Winterhalter keep “Kodama” from just being the latest improvement on the Alcest sound and instead make the album a most rare and exciting thing: a vital, relevant record from a front runner that not only upholds the band’s trailblazing legacy, but actually makes you want to see where they go next.
On No One Deserves Happiness, The Body’s Chip King and Lee Buford set out to make “the grossest pop album of all time.” The album themes of despair and isolation are delivered by the unlikely pairing of the Body’s signature heaviness and 80s dance tracks. The Body can emote pain like no other band, and their ability to move between the often strict confines of the metal world and the electronic music sphere is on full display throughout No One Deserves Happiness, an album that eludes categorization. More than any of their genre-defying peers, The Body does it without softening their disparate influences towards a middle ground, but instead through a beautiful combining of extremes. No One Deserves Happiness is an album that defies definition and expectations, standing utterly alone.
Buford and King are outliers at their core, observing the world as if apart from it. They strive for music without a category. They embody many contrasts. They are open and playful as well as thoughtful and disciplined. Live, they deliver punishing volume and scale with their spare duo set up, expanding their sound through a complex set of effects on both guitar and drums. For records, they approach things entirely differently and expand their group in the studio to include Seth Manchester and Keith Souza from Machines with Magnets (their long-time studio), as well as Chrissy Wolpert of The Assembly of Light Choir. The list of instruments used on No One Deserves Happiness is an unexpected collection that includes 808 drum machine, a cello and a trombone. The band employs instruments in their unprocessed state for the simple beauty of the sound, and then in equal measure push them to their most extreme (for example, the sounds at the end of “The Fall and the Guilt” are created by a guitar and a cello). Because they create an entirely singular sound, The Body is in high demand for collaborations with artists across the musical spectrum, from The Bug to Full of Hell to The Haxan Cloak and beyond. They build albums that are as lush and dense as a rain forest and as unforgiving.
Creepers is a band from the San Francisco Bay Area that formed in 2010. Originally consisting of Shiv Mehra (Deafheaven) on guitar and vocals and Daniel Tracy (Deafheaven) on drums, the duo performed around the Bay playing their own brand of surreal psychedelic rock. Eventually, they recruited guitarist Chris Natividad (Golden Drugs, Useless Eaters) and bassist Varun Mehra to complete the lineup. Their first LP “Lush” was released on All Black Recording Company in 2014.
In 2016, Andrew Oswald (Recorded Fell Voices, Ash Borer, Black Spiritual, +more) replaced Varun Mehra on bass and Ross Peacock (Mwahaha, Clipd Beaks) was added on synths and electronics. They are currently working on a release slated for 2017.
Saturday Dec. 10th | Doors at 8pm
w/ Steve Hammond and His High Plains Grifters & Moonshine Blind
“Wayne Hancock has more Hank Sr. in him than either I or Hank Williams Jr. He is the real deal.” – Hank III
“Hancock, who tosses out a roots mix of old country, roadhouse blues, western dance swing, boogie bop, and straight-up rockabilly, takes what was once old and makes it seem like it’s always been and always will be.”—allmusic.com
“The country music scene could do with a lot more characters like Wayne, who push the music’s limits while staying truer to its roots than any well-known names associated with the genre today.” – Slug Magazine
Since his stunning debut, Thunderstorms and Neon Signs in 1995, Wayne “The Train” Hancock has been the undisputed king of Juke Joint Swing–that alchemist’s dream of honky-tonk, western swing, blues, Texas rockabilly and big band. Always an anomaly among his country music peers, Wayne’s uncompromising interpretation of the music he loves is in fact what defines him: steeped in traditional but never “retro;” bare bones but bone shaking; hardcore but with a swing. Like the comfortable crackle of a Wurlitzer 45 jukebox, Wayne is the embodiment of genuine, house rocking, hillbilly boogie.
Wayne makes music fit for any road houseanywhere. With his unmistakable voice, The Train’s reckless honky-tonk can move the dead. If you see him live (and he is ALWAYS touring), you’ll surely work up some sweat stains on that snazzy Rayon shirt you’re wearing. If you buy his records, you’ll be rolling up your carpets, spreading sawdust on the hardwood, and dancing until the downstairs neighbors are banging their brooms on the ceiling. Call him a throwback if you want, Wayne just wants to ENTERTAIN you, and what’s wrong with that?
Wayne’s disdain for the slick swill that passes for real deal country is well known. Like he’s fond of saying: “Man, I’m like a stab wound in the fabric of country music in Nashville. See that bloodstain slowly spreading? That’s me.”
Little known fact: Wayne is the only Bloodshot artist to have had their CD taken aboard a space shuttle flight.
“A rare breed of traditionalist, one who imbues his retro obsessions with such high energy and passions that his songs never feel like the museum pieces he’s trying desperately to preserve.” —AllMusic.com
Wednesday November 23rd | 9pm
3 YEAR ANNIVERSARY!
Leftover Soul is a vinyl only soul night happening in Albuquerque! DJ Leftovers spins the best soul records he can get his hands on and you shake your booty in return. This thanksgiving eve, before you stuff your belly full o’ turkey get a big helping of soul!
SOUL TRAIN DANCE OFF AT MIDNIGHT WITH FANTASTIC SOUL PRIZES FOR THE WINNERS! (donated by Slolow Vinyl Records)
Special thanks to James Swagerty for designing the special poster for our 3 yr anniversary and to Slolow Vinyl Records for donating the sweet soul 45s as prizes for our dance competition.
Never a cover, always a good time (for 3 years!)
Monday November 21st | Doors at 7pm
w/ Get Action
Night Beats play pure psychedelic R&B music that spikes the punch and drowns your third eye in sonic waves of colour. Theirs is a bastard blues, contorted and distorted into new shapes for 21st century wastoids — once tasted never forgotten. This is music to melt your sorry little minds.
Make no mistake: their new album Who Sold My Generation sounds like it has been created against a backdrop of burning Stars and Stripes flags and with the whiff of napalm hanging in the air — an alternative universe where ‘Helter Skelter’ is the national anthem and Charlie Manson is still on the loose. Acid-test heaviness is Night Beats’ currency, but this is no out-right nostalgia trip either. Instead of Nixon and Vietnam, Night Beats have their own epoch of God and guns and bombs and drones to rail against…or flee from. Besides, bad vibrations, blues jams and id-shattering explorations are timeless pursuits – why shouldn’t today’s young generation be allowed to take a ride down the slippery spiral that sits within the centre of each of us?
On their third album – and first for Heavenly Recordings — Night Beats perhaps most recall their Texan forefathers and psyche-rock originators 13th Floor Elevators at their ‘69 peak, just before The Man busted young Roky Erickson and dragged him to the psyche ward for barbaric doses of shock treatment. These boys represent the best of the Lone Star State’s flipside – that vast dusty hinterland of the soul where it’s easy to drift off the map and reinvent yourself as part of the long lineage of creative cowboys who prefer psychotropics to rodeo riding, guitars rather than firearms.
“Old cowboy culture is alive and well in Texas,” says frontman Danny Lee Blackwell. “I grew up with Texan mythology all around us, so as a band its instilled in our blood. My Dad didn’t wrangle steers but he did pick cotton when he was young. But then cities like Austin and Dallas, where we spent most of our time growing up, have a real sense of musical history that runs deep, so we feed off legacy that too.”
From the Elevators and The Red Krayola on to pre-ZZ Top band The Moving Sidewalks, Butthole Surfers and The Black Angels – whose record label Reverb Appreciation Society have released Night Beats — and a clutch of other early cult bands besides (Bubble Puppy, Shiva’s Headband and the Golden Dawn, anyone?), Texas has always been a prime breeding ground for such outlaw music. “The Elevators were one of the reasons I decided to become a singer and form the group,” says Blackwell. “I loved their attempt to play R ‘n’ B music, but from a distinctly Texan approach. I’d say they have profoundly influenced the group, but it’s now our job to take it to another level in a new age.”
It took a cross-country relocation to instigate their formation. Night Beats were born when frontman Danny Lee Blackwell upped stick from Dallas to Seattle, Washington and was soon joined by childhood friend James Traeger. “James got me a copy of Ginsberg’s Howl when I was around 15 and it changed everything,” remembers Blackwell of his old friend. “We grew up together and once he moved up to Seattle we did everything together there too. I wanted to try out a different place, a new city, where no one knew my music and there wasn’t anything remotely similar going on. Coming from Dallas, Austin seemed like the obvious choice but I needed something more. Seattle was at one time the home to people we love like Ray Charles, Jimi Hendrix and Quincy Jones so I didn’t feel too disconnected.”
The two existed initially as a guitar and drums duo, named in honour of Sam Cooke’s 1963 album Night Beat, before fellow Jakob Bowden Dallas resident joined on bass after a stint in Austin. Filtering a collective love of pioneering artists as disparate as Buddy Holly, Fela Kuti, Etta James, James Brown and Leonard Cohen, Night Beats dropped a clutch of singles, split-singles, cassette release and two albums – their self-titled debut in 2011 followed by Sonic Bloom in 2013 – as well as featuring on all manner of compilation albums that document the cutting edge of the head-bending, modern counter-cultural US underground.
Night Beats hit the road too, touring extensively with Roky Erickson, The Zombies, The Jesus and Mary Chain, The Strange Boys, Black Lips, The Growlers and The Black Angels in North America, Europe, Israel, South Africa and Australia.
Recorded on old two-inch tape in Echo Park, Los Angeles at the home of producer Nic Jodoin and featuring co-production and guess bass playing from Robert Levon Been of Black Rebel Motorcycle Club, new album Who Sold My Generation goes beyond merely being a retreading of well-worn garage / R&B path. Instead it offers a contemporary take on the psychedelic experience, a heady set of hoodoo voodoo songs. Mordant and corrosive opener ‘Celebration #1’ sets the tone with its wailing guitar jams and Messiah-like monologue, while ‘No Cops’ makes like the imaginary soundtrack to an orgiastic party somewhere in the LA hills as the summer of love gave way to an era of greed and paranoia. ‘Sunday Mourning’ is the sound of blood dripping on the twitching remains of a generation’s super ego and with a rockabilly strut, ‘Egypt Berry’ chases the White Rabbit down into a cosmic underworld while shaking its burning tail feathers
With new Who Sold My Generation, Night Beats have not only painted it black, they’ve torched the fucker and driven it off the cliff, crashing and burning into the arid canyon below.
In its afterglow only the lone howl of a solitary coyote remains.
Wednesday November 9th | Doors at 7pm
w/ Get Action
Always clad in a fuzzy (and mildly psychotic-looking) rabbit mask and often wearing little else, NOBUNNY is a one-man pop-punk onslaught whose simple, infectiously hooky tunes and lusty outlook have earned comparisons to the Ramones,Hasil Adkins, and the Cramps, and whose untamed (and sometimes bottomless) stage shows have led some to call him a cuddly version of G.G. Allin. NOBUNNY is the alter ego of Justin Champlin, who was born and raised in Tucson, Arizona, and relocated to San Francisco, California.Champlin first made a name for himself as the drummer with garage punks the Okmoniks and later co-founded the Sneaky Pinks, a two-man punk-pop party machine.
With NOBUNNY, Champlin streamlined the concept of the Sneaky Pinks by paring the consistent lineup down to just one person (or one mutant; as part of the NOBUNNY myth, Champlin claims to be the product of a liaison between a woman and a jackalope). Sometimes working solo and sometimes backed by a constantly shifting group of musicians, Champlinhas been performing as NOBUNNY since 2001, though it wasn’t until 2008 that he made his recorded debut with the album Love Visions. Primarily recorded at home with Champlin handling most of the instruments, Love Visions was released by the tiny Bubbledum Records label; it earned enthusiastic reviews in the underground music press and was reissued in 2009 by the somewhat larger 1-2-3-4 Go! Records. In 2009, NOBUNNY put out a single through Horizontal Action Records, “Give It to Me” b/w “Motorhead with Me,” and a cassette-only album, Raw Romance, on Burger Records.
NOBUNNY also kept up a busy touring schedule in the wake of Love Visions, telling reporter Eric Allen, “The road is good, because at least I know where my next meal is coming from. I find life much easier on tour. It’s not being on tour that is hard for me.” In September of 2010, NOBUNNY’s second full-length album, First Blood, was released by Goner. After a relatively quiet 2011 with no recordings released, NOBUNNY returned in 2012 with a single for Suicide Squeeze and an EP for Goner. He stuck with Goner for his third full-length blast of garage punk, 2013’s Secret Songs.
GET ACTION is like Radio Birdman and The Undertones having dinner at your mom’s house while The Who practices in the garage.