CHAT PILE
ALL AGESSTANDING ROOM ONLYCHAT PILE Like the towering mounds of toxic waste from which it gets its namesake, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating, grotesque embodiment of the existential anguish that has defined the 21st Century. Between a dying planet, ever-increasing socio-economic disparity, and a general quality of life in a tailspin, one can’t help but muster a chuckle at this self-destructive dumpster fire of reality. It’s self-parody in its bleakest form and within that nihilism something undeniably alluring that four slacker okies would channel into a sound that has captivated the underground and beyond. From the very get-go, there was an immediate allure to the idea of four otherwise ordinary guys all coming together, smoking copious amounts of weed and recording some of the heaviest, hellish, and harrowing music to ever emerge from the American heartland, if not the world. For as oppressively bleak as its sound is, Chat Pile provides a distillation of the universally relatable modern dread felt by countless people every day. Formed in 2019 and adopting the aliases of Stin (bass), Captain Ron (drums), Luther Manhole (guitar), and Raygun Busch (vocals), Chat Pile generated an immediate stir amid a burgeoning Midwest noise rock renaissance and beyond, releasing two EPs, This Dungeon Earth and Remove Your Skin Please. Its debut full-length record God’s Country, released via The Flenser in 2022, would take the world by storm, receiving universal critical acclaim, numerous accolades including Pitchfork’s Best New Music and countless year-end lists, including Rolling Stone’s Best Metal Albums of the Year and SPIN’s Best Albums of 2022. In a similarly explosive fashion, Chat Pile would enter 2023 with a bang, in just the first six months alone, the band served as support for Lingua Ignota’s final run of shows, released Brothers In Christ, a split EP with fellow “Flyover-Country” noise roc ade its fiery international live performance debut at Roadburn 2023. PORTRAYAL OF GUILT Portrayal of Guilt eschew predictability. While the Austin, Texan outfit have released material at a rapid clip since their formation only six years ago, it has been near-impossible to predict what each ensuing release might sound like. The only window into what to expect has been those releases’ titles, wallowing in themes of affliction, isolation, and just plain underworld allusion. Naturally, this leads to…Devil Music. After shifting their sound over several immediate releases (most recent, 2021’s widely acclaimed CHRISTFUCKER), Portrayal of Guilt has transformed from masters of the traditional ‘90s screamo template, to fit a more blackened and sludgy metal intensity. Citing a wide spectrum of influences, Devil Music, tracked in two different sessions in early 2022, is an experimental approach to writing heavy music. It offers five new original songs on Side A; and then a reimagining of those same five songs on Side B, replacing much of the traditional guitars and bass setup with an orchestral string section, acoustic bass, and brass. NIGHTOSPHERE
Sgt. Splendor ft Kate Vargas & Eric McFadden with Jeff Sipe
– ALL AGES- SEATED SHOW- LIMITED NUMBER OF PREMIUM SEATING TICKETS AVAILABLE SGT. SPLENDOR(Kate Vargas & Eric McFadden with Jeff Sipe) Before joining forces, the duo behind Sgt. Splendor were already formidable solo artists, Kate Vargas chalking up acclaim at outlets like NPR, SPIN, and Vice (including praise from the “Dean of American Rock Critics” Robert Christgau); and Eric McFadden amassing an impressive resume including stints on guitar with George Clinton & the P-Funk All Stars, Fishbone’s Angelo Moore, and Eric Burdon & The Animals, plus a slew of solo albums, and session work with everyone from Jackson Browne to The Clash’s Joe Strummer. Sgt. Splendor’s intoxicating chemistry has its roots not just in enduring friendships, but also in the love and connection of its creative partners, Vargas and McFadden. After circling each other’s orbits for a time, they finally met at a songwriting retreat hosted by Pat MacDonald (of Timbuk 3 / “Future’s So Bright I Gotta Wear Shades” fame) in Sturgeon Bay, WI, initially bonding over yet another parallel, a New Mexico upbringing. Their Southwestern roots come through with Sgt. Splendor—combining mysterioso desert and carnivalesque Waits-ian vibe
OUTPOST: Caged Affair
– ALL AGES- STANDING ROOM ONLY- RAIN OR SHINE Caged Affair is an alternative rock band based out of Asheville NC. Their neo-grunge punk hybrid sound has drawn parallels to bands like Queens of the Stone Age, Nirvana and Royal Blood. Led by guitarist/vocalist Tyler Kemmerling, whose music has been heavily influenced by the Foo Fighters, Nirvana, My Bloody Valentine and Smashing Pumpkins, Caged Affair delivers music written with a sense of both despair and whit, a counterculture look at modern day society. “Falling into Madness,” a recently released single, vividly illustrates youths’ disillusionment with the fading American dream. The Appalachian RenegadesA rock band that fuses classic sounds and modern tones, The Appalachian Renegades call upon guitar heavy riffs mixed with soaring saxophone melodies and clean vocals to form their core sound. Having spent 7 years playing shows across WNC, the renegades are currently writing music for their 4th studio release. Devil’s Wish, the third of their career, had two #1 singles in the summer of 2022 on Buzz Radio Asheville. The guys produce a sound reminiscent of rock bands like Greta Van Fleet, Clutch, Volbeat, Government Mule, Jack White, Black Stone Cherry, and My Morning Jacket among many other influential contemporary and classic rock artists.
PATIO: The Squealers
ALL AGESLIMITED PATIO SEATING IS FIRST COME FIRST SERVETHE SQUEALERSThe Squealers is a 4 piece Blues Punk band that draws inspiration from rockabilly, country, bluegrass. Known for their erratic live performances, (namely the spontaneous antics of leader Jesse Harman and his dirty harmonica) The Squealers have been leaving audiences scratching their heads and excited to come back for another show. The tight yet fun timey rhythm of Taylor Olin (drums) and Johnny Caucasian (bass) juxtaposed against the lightning fast ferocity of Matt Daniels on the telecaster is a forced to be reckoned with.
PATIO: Bluestreak
ALL AGESLIMITED PATIO SEATING IS FIRST COME FIRST SERVEBLUESTREAK Bluestreak is a 5 piece rock ensemble who started their musical journey together working through the classic and southern rock staples, throwing in blues and funk jams, and entertaining fans from many generations with their amazing sound. As they are currently working on their debut album of original songs, their music only continues to broaden and stretch to reach new horizons. Their music is an homage to the classics they love, an expression of their evolving views on the world, and a dive into the pure joy they are obviously having as they create music together. Bluestreak draws from the classic sounds of Grateful Dead, Lynyrd Skynyrd, Allman Brothers Band, ZZ Top, REO Speedwagon, Johnny Cash, Charlie Daniels and more, and will be sure to delight with some old favorites at their shows as well as introduce you to their new work. When not performing live at various local venues, these teens from Western North Carolina can be seen around the Asheville area volunteering with kids, working jobs, running track, playing ultimate frisbee, marching with the band, rock climbing, and oh yeah- going to high school.
PATIO: The Discs
ALL AGES LIMITED PATIO SEATING IS FIRST COME FIRST SERVETHE DISCS Conceived years before their debut album was finally released in October 2020, The Discs officially formed in summer of 2021in Asheville, NC. The power trio is Allan Day (guitar, vocals), Mike Comparetto (bass, vocals), and Greg Radz (drums, vocals). All members are veterans of their respective music scenes. The Discs fuse the best elements of power pop and late 70’s new wave with the urgency and socially-conscious themes of early punk for a concise, compelling live experience. Having released their second collection “Bitter, Sweeter” in June 2023, the band is currently configuring brand new material to their set – more angular and melodic in their musical evolution – for a 2024 full-length release, and will be premiering some of these exciting new songs at this special performance.
Twin Tribes
ALL AGESSTANDING ROOM ONLYTWIN TRIBES Hailing from Texas, Twin Tribes is an emerging force in the darkwave scene, turning heads in 2018 with the release of their debut album “Shadows” that featured dark melodic sounds, synthesizers, lyrics about the undead, and the occult and parallel universes. They returned in 2020 with the ten-track album “Ceremony” with an evolved sound that explored love and loss while showcasing their progression as a band. With songs that are both dynamic and introspective, they balance the darker shades of the emotional spectrum with an energy and momentum that gifts their music a powerful sense of urgency and drama. Their lyrics dig deep into the personal turmoil of love, life and loss, and have forged a new aesthetic that fuses the gothic with the romantic, viewing emotional themes through a darker lens. As their second LP gains increasing critical and commercial attention, these pillars of the independent music scene continue to re-define what genres such as darkwave and post-punk mean in 2023. URBAN HEAT Urban Heat is poised to break nationally in 2023. In March Urban Heat joined TikTok darlings Vision Video for a 3-week tour, taking them to the East Coast and Canada. The success of the tour led them to extend the joint run to the West Coast in August, where many shows sold out. Their official SXSW performances had them playing to packed crowds at Stubb’s Outdoor Ampitheater, the Austin Chronicle’s day party, and a SPIN party, who of frontman Jonathan Horstmann wrote “The star power is there, more so than any Austin musician in recent history.” In May Urban Heat delivered a powerful set at Cruel World Fest in Pasadena California, joining a lineup that included Siouxsie, Iggy Pop, Gary Numan, and other genre icons. They are following up with a national headline tour in November, beginning with a performance at Darker Waves in Huntington Beach. After winning an Austin Music Award for “Song of the Year” for “Have You Ever”, they graced the coveted cover of the Austin Chronicle and topped Austin Monthly’s list of “8 Austin Acts Poised to Break Out at SXSW 2023”.2022 was already a year of exponential growth for the band. Before winning “Song of the Year”, their single “Have You Ever” had a viral moment on TikTok. This propelled them into their first national headline tour after playing at the Austin City Limits Festival. They were selected as Sonic Guild grant recipients and featured as KUTX 98.9’s Artist of the Month in July.”A lightning rod of dark electro/proto-punk/new wave/synth wave/part goth/part industrial sound that is all the things but… simultaneously transcending them into something fresher.” – Laurie Gallardo, KUTX 98.9DANCING PLAGUE
Fat Tuesday Fiesta ft Tuxedo Junction
-ALL AGES-MIXED SEATED and STANDING SHOW with DANCE FLOORTUXEDO JUNCTIONCalling all music lovers, dancers, and supporters of a worthy cause! Celebrate Mardi Gras during a singular evening benefitting the Asheville Breakfast Rotary Foundation! Tuxedo Junction covers a HUGE variety of danceable hits from Swing Jazz to Classic Rock, Pop, Funk, Motown, Beach, Country, and Rockabilly! All proceeds go back into the community for charitable organizations and scholarships.
Allah-Las
ALL AGES STANDING ROOM ONLY ALLAH-LAS Are you tired of that same old song? Tune into any alt-rock robo-jock frequency on the FM dial and you’ll know what I mean. Somewhere along the way, nostalgia curdled, and it feels like we’re doomed to hear the same boring souls for eternity. But don’t ask California sons Allah-Las—they wouldn’t know a thing about it. “The Stuff,” which opens the band’s fifth LP, Zuma 85, lays it out: “I don’t listen to the radio/They keep playing that song again/And the deejay’s a computer.” As the glammy, electronic strut of the song indicates, Zuma 85 signals the start of a new era for Allah-Las, and finds the band reinventing itself in defiance of the algorithmic categorization and robotic sterility. Recorded in the midst of the shift from the Old World to whatever branch of reality we’re on now, it’s a return, too: The album will be released via their own label, Calico Discos, in partnership with Innovative Leisure, which released early defining statements like Allah-Las (2012) and Worship The Sun (2014). For the last 15 years, Allah-Las have alchemically melded surf rock washes with folk rock jangle and rock, building up their lauded music podcast, Reverberation Radio, and record label, Calico Discos, in the process. But a lot has changed since Matthew Correia (drums/vocals), Spencer Dunham (bass, guitar, vocals), Miles Michaud (guitar, organ, vocals), and Pedrum Siadatian (guitar, synth, vocals) first bonded over psych rock vinyl in the back room at Amoeba Records in the late aughts. Zuma 85 finds the quartet facing a new world with a wealth of new sounds, drawing from an eclectic mix of progressive rock, prog, kosmische, and Eno-esque art rock, scuzzy Royal Trux riffs, and detouring into tones and textures that call to mind ‘90s and 2000s pop. The album was born, like so much else these days, out of the downtime of 2020-2022. For most of the band’s existence, Allah-Las adhered to a year to album year/tour year schedule, logging serious hours on the road. When the shutdown of 2020 put everything on hold, it opened up space for each member to focus on their own lives and interests, and time to re-envision what creative processes could look like. When it came time to reconvene, that sense of looseness proved pivotal. Instead of bringing finished songs to the studio, they entered the picturesque Panoramic House recording in Stinson Beach (a space co-owned by John Baccigaluppi of Tape Op magazine) with sketches, ideas, and riffs. Working with co-producer Jeremy Harris (White Fence, Devendra Banhart, Sam Gendel) they shaped and crafted the new songs in real time over three sessions, which were then mixed in Los Angeles by frequent collaborator Jarvis Taveniere. Sharing a name with that song is a photo of an abandoned house by California photographer John Divola. Selected by Correia, the band’s resident photography head and album art designer, it juxtaposes a visage of man-made chaos against the natural beauty of the West Coast. It served as an unspoken reference point for the album, a symbolic totem indicative of a new era. A decade and a half into their run as Allah-Las, Correia, Dunham, Michaud, and Siadatian continue on an evolutionary path. Are you tired of the same old songs? So are they. So blow it up and let it rip. MASTON REVERBERATION RADIO
Bendigo Fletcher
ALL AGESSTANDING ROOM ONLYBENDIGO FLETCHERFREE RANGE Sofia Jensen make considered folk rock under the name Free Range. The Chicago-based artist is releasing their debut album Practice on February 17 via Mick Music, and it’s sure to be one of the early highlights of 2023. Today, they’ve shared the album’s third single “Growing Away” and a music video for it directed by Robert Salazar. Free Range’s music makes mature confessionals feel as simple as flicking on a light switch when the sun starts to set. Jensen’s delivery is gentle, even when their lyrics are untangling stormy thoughts. It’s a kind of openness and ease heard in Jeff Tweedy’s or Ben Gibbard’s writing, unveiling comfort in dark truths. Here, Jensen discusses memory loss as a consequence of self-destruction rather than lack of attentiveness. “I let you think that it was accidental,” they sing in the first verse. “When I stopped caring about being careful.” Loss of time and events indicate a loss of something much more—a sense of self. “‘Growing Away’ was written a few months before I ultimately did get sober, and it deals with the realization that I was losing track of who I was,” Jensen says of the new single. “The things I was doing were all controlled by the lack of compassion I had for myself. I felt really disoriented in this haze of memory loss that was becoming a huge part of my life, and I was still at a point where I had no idea how to talk about it with anyone. It was really important for me to write this song I think, because it served as an exercise in acceptance for me for the things I needed to do to finally take care of myself.”
