Sister Bar Live Music

Alex Cameron

Tuesday Sept. 19th | Doors at 8pm | FREE!!!
w/ Jack Ladder and Euth Group

Entertainer. Showman. Shaman. Cameron and his business partner / saxophonist, Roy Molloy, hit the road with a live show full of celebration, jubilance and industry know how. Described by Clash Magazine as ‘Sydney’s most literate song writer’, Cameron knows what he is doing, and the creative juggernauts of the international music industry are taking notice. So much so that Jonathan Rado of Foxygen described the first Cameron performance he saw as ‘one of the most memorable, moving concerts I have or will ever witness’, and music icon Henry Rollins described Cameron as being ‘right out of a David Lynch hell dream!’ This will be a free show. Come one, come all; and experience the jubilance. Support from Jack Ladder & The Dreamlanders http://www.jackladderandthedreamlanders.com/ and locals Euth Group Presented in conjunction with Townie Productions.

FREE SHOW

Iska Dhaaf

Wednesday September 13th | Doors at 8pm
with special guest Sam Miller

Iska Dhaaf (taken from Somali, translated roughly to “let it go”)

In 2011 Nathan Quiroga (Mad Rad, Buffalo Madonna) and Benjamin Verdoes (Mt. St. Helens Vietnam Band) left their respective Seattle-based projects behind and began collaboration on Iska Dhaaf. The band was quickly embraced for their engaging live shows, and for creating the sound of a full band by way of two people. Together as songwriters they have steadily explored production, instrumentation, and an ever-expanding narrative voice.

After the release of their debut, Even the Sun Will Burn, they toured across North America, Western Europe, relocated to New York, and most recently wrote and performed in Paris and Berlin. Their upcoming album, The Wanting Creature, sees the duo emerging as producers, experimenters and genre-bending artists. The new songs show an ongoing devotion to lyrical depth and composition, and the album more fully utilizes their diverse musical backgrounds. Nearly five years in, they will surprise with their innovations-taking risks one would hope to see in a sophomore album.

“You’re the wanting creature you’re the soul that’s never satisfied”

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El Ten Eleven

Wednesday September 6th | Doors at 8pm
with Sego

El Ten Eleven started as a duo in 2002 in Silverlake and have released six solely instrumental LPs to date using unique gear such as guitar/bass doublenecks, fretless bass, looping pedals and both electronic and acoustic drums. “It’s almost like our looping pedals themselves are instruments we’ve had to master,” bass player/composer Kristian Dunn explains. “I’ll loop Tim’s electronic drums with one of my pedals while looping my own bassline, then switch to my six string bass mid-song while he moves to playing acoustic drums, layering up the sonics and shaping the song as it all grows.” By refusing to use anything pre-recorded live they’ve pushed themselves into new territory, now able to deftly recreate their complex compositions nightly.

After 15 years together they’ve attained hard-won virtuosity with the devices and can now concentrate on songwriting itself rather than logistics. “Almost nothing we do is improvised live,” says Dunn. “When we first started playing shows we’d sometimes run into trouble with the loops and have to stop mid-song and try again!”

El Ten Eleven released their sixth full length album Fast Forward in 2015, and will release their first-ever vocal collaboration EP titled Unusable Love featuring Emile Mosseri on August 18.

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Thee Oh Sees

Saturday September 2nd | Doors at 8pm

Thee Oh Sees are the latest incarnation of songwriter, singer, guitarist (and Castle Face fearless leader) John Dwyer’s ever-evolving pop-folk psychedelic group. Dwyer, who hails from Providence, RI, has been active on the San Francisco indie scene since the late ’90s, working with several bands, including the Coachwhips, Pink & Brown, Yikes, Up Its Alive, and Swords & Sandals, among others, and he formed OCS (which is an acronym for Orinoka Crash Suite, Orange County Sound, or whatever Dwyer decided it was on any given day) initially as a vehicle for the experimental instrumentals he was producing in his home studio.

In time OCS morphed into an actual band, and worked under the usual flurry of names, most notably as the Oh Sees or the Ohsees, and eventually as Thee Oh Sees, featuring Dwyer on guitar and vocals, Brigid Dawson on vocals and tambourine, Petey Dammit (sometimes listed as Petey Dammit!) on guitar, and Mike Shoun on drums. Along with a relocation to Los Angeles in 2014 the band has re-spawned a few times into their current incarnation of Tim Hellman on bass, Dan Rincon and Paul Quattrone on drums.

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The Growlers

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.

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Negative Approach

Thursday August 10th | Doors at 8pm
w/ Phantom Lake

Negative Approach is an American hardcore punk band, formed in Detroit, Michigan in 1981. The band is considered among the pioneers of hardcore punk, particularly in the Midwest region. Like most hardcore bands, Negative Approach was little known in its day outside of its hometown. It is now idolized in the Detroit rock underground and the punk subculture, considered to be one of the elite bands of the “old school” era, and continues to be influential.

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Tobin Sprout & Elf Power

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.

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Elf Power
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.

Thor & Friends

Monday July 17th | Doors at 8pm
with Heather Trost / James Whiton

Having spent five years as the touring percussionist for Swans, Thor Harris has launched a new, very different project called Thor & Friends. Heavily influenced by minimalist composers, the rhythmic instrumental songs are built around such instruments as marimba and xylophone. Other instruments and sounds come into play, often bringing an experimental edge to the music, but the compositions are never allowed to get too cluttered. The result is a catchy, whimsical sound that would appeal equally to those seeking out avant-garde music and those who are afraid of it. Thor & Friends recently released a self-titled debut album and are currently out on tour.

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Stream the album on Stereogum:
http://www.stereogum.com/1902407/stream-thor-friends-self-titled-debut-album/mp3s/

Heather Trost
https://www.tinymixtapes.com/news/heather-trost-release-solo-album-agistri-premieres-new-track

James Whiton

Nicola Cruz

Saturday May 27th | Doors at 8pm
w/ Dylan Stevens and 1960sfe

Nicola Cruz’s music invokes the landscapes and rituals of his homeland, Ecuador, a country that is both home to the Andes mountains and the Amazon jungle. His music is an exploration of folkloric traditions and ancestral mythologies in a modern setting. Nicola was born in Limoges, France, to Ecuadorian parents. His upbringing was surrounded by a musical education rich in both indigenous traditions and occidental theories and from a young age he took to percussion.

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From this musical connection between past and present, traditional and modern, an ongoing South American movement has arisen, exploring local indigenous and Afro-cosmologies through a carefully crafted analogue sound.

In 2012 Nicola collaborated with Nicolas Jaar’s now defunct label, Clown & Sunset. Prender el Alma, Nicola’s debut album, will be released later this year on ZZK Records.

Colibria is the feminine name in Spanish of a colibri, an artisanal instrument used in the recording of this song. The song speaks of primitive origins, water, survival, the basic elements that make up who we are. Huaira, the singer and eternal companion and collaborator of Nicola says “Colibria was born when I was living at the foothills of an active volcano where daily we watched it bleed, this track signifies an inward search and the journey of being reborn.” The track was recorded in an old warehouse in Quito, Ecuador with high ceilings that vibrated throughout the recording, giving the sound of water flowing throughout the song.

The King Khan & BBQ Show

Sunday November 6th | Doors at 8pm
w/ Paint Fumes

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screen-shot-2016-10-10-at-11-36-15-amThe King Khan & BBQ Show are two guys in a band, both writing, performing and singing: Arish ‘King’ Khan: guitar, vocals. His voice is the snotty one. His guitar is the lead one. Mark ‘BBQ’ Sultan: drums, guitar, vocals. His voice is the smooth one. His guitar is the rhythmic one. The drums are played live with his feet.

Bad News Boys is the band’s fourth studio album, their latest since 2009’s acclaimed Invisible Girl. The boys had previously broken up in 2010 after a taxing stretch, culminating in an invite by Lou Reed to play the Sydney Opera House. There was a public (internet) break-up and freak-out, which carried over into the week after in Asia. Words were said; brothers fought like brothers. It was the end of a stretch that had taken the band all over North America, playing festivals like Coachella, starting side projects like Almighty Defenders (with brothers Black Lips), touring the likes of Europe, Israel, Brazil, gaining legions of devoted fans internationally, and kickstarting that whole ‘doo-wop punk’ bullshit movement that still goes on today.

This is rock’n’roll. This is punk. This is early r&b. This is psych. This is doo-wop. This is garage. It’s all this and more, without trying to be anything.

A misconception of the band is that they play a bunch of instruments, which are then overdubbed to get a particular sound in the studio. The truth is that they record live. Their ‘studio’ is usually an apartment or – in the case of Bad News Boys – a basement, and they’re armed a 4-track cassette recorder and not much else. Their ethos is punk. Their mission is to revere rock’n’roll – the real stuff – enough, so that they are permitted to invoke its spirits and ghosts using magick, using their raw soul – for good or for bad – to evoke the smells and feelings that confuse and delight.

The King Khan & BBQ Show is a real band. Sure, their sense of humor is dirty, often surreal and potentially subversive, but the seriousness of their passion for real rock’n’roll should never be taken lightly. They live a lifestyle of pure love for the genre, respecting and understanding its basic tenets, living as lifers, representatives of tradition they feel is important. They cut their teeth together in The Spaceshits, a lightning fast rock’n’roll band formed in 1995 (dead by 1998) and have toured and paid their dues since, sacrificing their mind, bodies, souls, friends, family – all for love.

King Khan went on to underground hero status in many projects, shocking and impressing tastemakers in need of tangible image-icons, worldwide. Mark Sultan is heralded for his incredible voice and top-tier songwriting – rarities, today. Quite simply: they need one another, like yin and yang, to make it all happen. The band has managed to continue to release top-grade material for over ten years, without bowing to business or succumbing to what’s ‘hip’, without changing. They do what they want, take it or leave it. Love ‘em or hate ‘em, but never say they can’t write a great rock’n’roll song – and back it up with one of the best, most magickal, energetic, crass and nonsensical free-form live shows going.

They care so much that they don’t give a fuck.


PAINT FUMES drew first blood together in the year 2011, sharing a mutual love of garage scuzz and brain-chain reaction, and the connection was immediate and fierce. Sounds congealed via weekly seances at the Sewercide Mansion in Charlotte, NC and relentless touring which brought their unhinged reverberations to points all across the USA. Like the lovechild of Link Wray and Cheetah Chrome, raised by Lemmy on the streets of Venus, they sweated out the fever every night in ecstatic style. By the time Slovenly Recs got around to spitting out a couple classic 45s and their debut platter Uck Life, most true heads and even those way out of the know alike had gotten the message. Deep within a blitzkrieg of treble and feedback, there were real live tunes to sink your teeth into – the stuff that’s stuck in your head when you wake up in another dimension.

In the year of the horse, the ‘Fumes swelled in ranks with Ian Rose and Ben Carr of NC synthtopian punks Natural Causes, starting twelve thrash bands and surviving on nothing but hallucinations of vegetarian chimichangas. Together this crew ruined the beaches of Europe with Los Vigilantes, converted hundreds on the all-night diesel-powered festival circuit and in the midst of it all took a vacation down to Puerto Rico and committed to tape a new full-length entitled If it ain’t Paint Fumes it ain’t worth a huff!