Thursday August 31st | Doors at 8pm
plus very special guest Broncho
Via Costa Mesa and down into the belly of Echo Park, The Growlers are the party band that grew into a traveling circus of psychedelia that influenced Burger and Lolipop Records and even spawned their own festival, Beach Goth. It’s a zonked-out, uniquely Californian vision of bleached blond hair and drunkard culture that many bands have imitated but none have managed to reproduce. Lead singer Brooks Nielsen draws the kind of devotion among Growlers fans that Jim Morrison once did. And they’ve built their cult following without a single album review in Pitchfork.Get Tickets
Wednesday August 2nd | Doors at 8pm
w/ Phantom Lake
Tobin Sprout, former guitarist / songwriter of indie-rock icons Guided By Voices, has a new album (his first in 7 years), The Universe And Me (Burger Records), out on January 27. The Universe and Me takes a deliberately primitive approach that focuses on feeling, as opposed to production. The result is a vague bridge between the ballads of psych-era Beatles, and the haunting vulnerability of Daniel Johnston’s Hi, How Are You?.
Sprout penned and sang GBV classics including 14 Cheerleader Coldfront, It’s Like Soul Man, Awful Bliss, Ester’s Day, To Remake The Young Flier and Islands (She Talks In Rainbows). Burger Records will also be reissuing Sprout’s out-of-print 1990s Matador solo albums, Carnival Boy and Moonflower Plastic. In 2017, Sprout will be performing throughout the US with his 4-piece band.Get Tickets
Elf Power formed in 1994 and over the last 23 years have released thirteen albums, two eps, and a handful of singles, while touring North America, Europe, and Japan many times. Albums such as 1998’s Dave Fridmann-produced “A Dream In Sound” and 2008’s collaboration with the late Vic Chesnutt, “Dark Developments” have cemented the bands’ reputation as the finest purveyors of modern melodic psychedelic folk rock around. Their tour in support of their last album , 2013’s “Sunlight on the Moon” , took them on an extensive tour in support of Neutral Milk Hotel’s much acclaimed reunion tour, as well as dates with Broken Bells and headlining dates.
Their latest album “Twitching in Time” combines experimental arrangements and sublime songwriting with their powerful live bombast, into their strangest, most cohesive, and most exciting sounding album yet. Opening track “Halloween Out Walking” combines minimal and beautiful folk rock arrangements with otherworldy Moog synthesizer gurglings to awe-inspiring effect. Other highlights include “Watery Shreds”, a piano ballad that transforms itself into an explosive an unexpected distorted guitar drone freakout, sounding like an unlikely marriage of avant-garde keyboardist Laurie Anderson and drone metallers Sunn 0)) . Songs like the title track and “Cycling Aimlessly” are classic fuzzed out melodic rock songs the likes of which the band has become known for , while songs like “Gorging on the Feast” explore a jazzy, melancholy terrain before descending into a shredding heavy rock assault. The constant shifting of sounds and styles makes for one of the band’s most diverse and satisfying albums yet. On this album, singer/songwriter Andrew Rieger and longtime collaborator multi-instrumentalist Laura Carter are joined by Matthew Garrison on bass, Peter Alvanos on drums, and Davey Wrathgabar on guitar.
The album is released on May 12, 2017 on the band’s own Orange Twin Records, that has released almost 50 albums since 2001, including releases by Neutral Milk Hotel, Vic Chesnutt, Jeff Mangum, Jack Logan, Nana Grizol, Gerbils and many more.Orange Twin Records works in conjunction with The Orange Twin Conservation Community, 155 acres of beautiful land on the outskirts of Athens, GA that has initiated the development of a highly progressive, self-sustainable and ecologically-minded cluster village and nature preserve.
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
Saturday July 26th | Doors at 8pm
Strictly Business 30 Year Anniversary
Raashan Ahmad of Crown City Rockers
Hailing from Long Island, NY, EPMD’s first album, Strictly Business, appeared in 1988 and featured the underground hit “Strictly Business,” which sampled Eric Clapton’s version of Bob Marley’s “I Shot the Sheriff.” Many critics cite this first album as the group’s most influential. The group’s brand of funk-fueled sample-heavy hip-hop proved to be a major force in the genre. Unlike old school hip hop, which was originally based on disco hits but eventually became more electronic, EPMD based its music mainly on lifting funk and rock breaks for samples and helped to popularize their usage, along with Marley Marl and Public Enemy. “You’re a Customer” combined snippets of Steve Miller’s “Fly Like an Eagle,” Kool & the Gang’s “Jungle Boogie, the bass line from ZZ Top’s “Cheap Sunglasses” and drum beat (Roger Linn LM-2 machine). “Jane,” about a romantic rendezvous gone bad, would be revisited on no less than five sequels; a first for hip-hop, and, perhaps, rock and roll as well. “You Gots to Chill” used 1980s funk band Zapp’s “More Bounce to the Ounce,” which has become one of the most enduring sample sources for hip-hop. EPMD later appeared on the single “Everybody (Get Up)” by Zapp frontman Roger Troutman on his last solo album, Bridging The Gap, in 1991. “I’m Housin'” was covered some 12 years later by Rage Against the Machine. Managed early on by Russell Simmons’ RUSH Management, the group toured with such hip-hop luminaries as Run-DMC, Public Enemy, and DJ Jazzy Jeff & the Fresh Prince.