The blog has been AWOL for a few days, but it's a new week and we have new shows for you!
If this past weekend wasn't enough to sate your Halloween thirst, take a peak at some of the shows that will be going down around town this Wednesday. Hit me up to get other shows added!
The Mill - 1026 E. Montague Ave., phone: 225.2650
The Rocking Dead Halloween throwdown with Eddie and the Stranglers and The Corpses. "Bring a friend, bring a victim, bring your own casket", just throw on your bloody best and bring your ass to The Mill!
Doors - 8p
Cover - FREE
Tin Roof - 1117 Magnolia Rd., phone: 571.0775
Megan Jean's 4th Annual Tin Roof DEAD DISNEY show. Dress up and get down with some washboard lovin', upright pluckin', gypsy circus Americana!
Doors - 8p
Cover - $8 w costume, $10 w/o costume
Home Team BBQ (Sullivan's Island) - 2209 Middle St., phone: 883.3131
Guilt Ridden Troubadours are set to light up some tunes from their upcoming album, plus Dylan's "Nashville Skyline" and creepy covers. Fairy God Muthas to open.
Doors - 8p
Cover - $5
The Pour House - 1977 Maybank Hwy., phone: 571.4343
Rock your best costume with the funkiest bunch in the southeast, Yo Mama's Big Fat Booty Band (and get a free download of their album, courtesy of BandCamp).
Doors - 9p
Cover - $11 adv., $13 dos
Southern Bar & Grill - 730 Coleman Blvd., phone: 849.0396
Acousticmuffin, the stripped down and unplugged alter ego to local fav's Dangermuffin, will be tickling eardrums at Coleman Blvd.'s newest bar with some tasty nuggest of bluegrass roots rock.
Doors - 8:30p
Cover - FREE
Pure Theatre - 477 King St., phone: 723.4444
Dead of the Night Rock Opera. Ok, so this isn't exactly a local act, but it is rock, it's opera, and it's going down on Wednesday night. Enjoy.
Doors - 8p
Cover - $25
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Tuesday, October 30, 2012
Thursday, October 25, 2012
Autumn + Colour Records - It's All About Community
For years, people have lamented the record label's proclivity for taking advantage of eager and often starry-eyed musicians, owning their record royalties, publishing rights and even their likeness. But like most things in life, few people have done anything to change things - until now.
Allow me to introduce Todd Richard Stevens and Travis Groo, both veterans of the music industry who met through Stevens' Atlanta-based multi-media company, Stage Underground. Groo, a former booking agent, was managing singer/songwriter Austin Archer at the time, whom Stevens wanted to sign to his new label. During the signing process, Stevens approached Groo about forming a partnership and in December of 2011, the two founded Autumn + Colour Records, a grassroots label with an innovative approach to the artist/label relationship.
"We both felt that the relationship between the artist and the record label has always been a business war," Groo says. "We brainstormed for months and decided the fairest way to operate a label is to become equal partners."
Traditionally, the record label's dominant role has been in the development, promotion and subsequent sale of the actual recorded work; the terms of the contract were limited to a certain percentage of the total music sales, or direct album revenue.
But since the turn of the 21st century, the music industry has seen a surge in what is commonly referred to as a "360 deal", or Multiple Rights Deal. When a record label signs a new band under a 360 deal, they provide the financial backing for the development, promotion and sale of the recorded work - along with merchandise, book sales and any and all other means of income otherwise generated by the band. Under the general terms of a typical 360 deal, the record label takes money every time the band makes money, even when it has nothing to do with the direct sale of the studio-recorded work.
"Sure, everything is paid for by the label...but it's all recoupable before the artist sees any money," Groo explains. "Smart artists can get a better rate at their bank, and keep control of their music."
"We just really don't like the industry standard," he continues, "and we feel that an artist will take their career more seriously if they're equally vested."
Operating on a debt-free business model and swiftly approaching their 1-year anniversary, Autumn + Colour Records now has a handful of local bands that steadily tour, not only throughout the southeast but into New England and out West. When asked what criteria Autumn + Colour looks for in a potential band partnership, Groo answers without hesitation.
"The word is passion. We learned so much in a short period of time," he says. "A great sounding album is not enough anymore. An artist must have an undeniable drive for success, which means touring."
Groo and Stevens advise their bands to tour for no less than four months when promoting a new album, to help cement its proper introduction. They also stress the importance of the true, die hard fans and music lovers - not just the network of supportive family and friends.
"When artists put their hard work, blood, sweat and tears into an album, they will work extremely hard to make sure it's successful," says Groo.
In addition to partnering with their bands, Autumn + Colour Records also partners with its local communities. Ten percent from all streams of income are donated to regional charities such as the Center for Independent Living (Orlando, FL) and Soles4Souls (Nashville, TN).
"People have told us this is a terrible time in history to start a new label," Groo says. "We believe it's the very best time. We offer a fair solution in an industry that can't figure out what it's doing."
Website: www.autumnandcolour.com
Facebook: www.facebook.com/Autumn-Colour-Records
Follow on Twitter: @autumnandcolour
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Allow me to introduce Todd Richard Stevens and Travis Groo, both veterans of the music industry who met through Stevens' Atlanta-based multi-media company, Stage Underground. Groo, a former booking agent, was managing singer/songwriter Austin Archer at the time, whom Stevens wanted to sign to his new label. During the signing process, Stevens approached Groo about forming a partnership and in December of 2011, the two founded Autumn + Colour Records, a grassroots label with an innovative approach to the artist/label relationship.
"We both felt that the relationship between the artist and the record label has always been a business war," Groo says. "We brainstormed for months and decided the fairest way to operate a label is to become equal partners."
Traditionally, the record label's dominant role has been in the development, promotion and subsequent sale of the actual recorded work; the terms of the contract were limited to a certain percentage of the total music sales, or direct album revenue.
But since the turn of the 21st century, the music industry has seen a surge in what is commonly referred to as a "360 deal", or Multiple Rights Deal. When a record label signs a new band under a 360 deal, they provide the financial backing for the development, promotion and sale of the recorded work - along with merchandise, book sales and any and all other means of income otherwise generated by the band. Under the general terms of a typical 360 deal, the record label takes money every time the band makes money, even when it has nothing to do with the direct sale of the studio-recorded work.
"Sure, everything is paid for by the label...but it's all recoupable before the artist sees any money," Groo explains. "Smart artists can get a better rate at their bank, and keep control of their music."
"We just really don't like the industry standard," he continues, "and we feel that an artist will take their career more seriously if they're equally vested."
Operating on a debt-free business model and swiftly approaching their 1-year anniversary, Autumn + Colour Records now has a handful of local bands that steadily tour, not only throughout the southeast but into New England and out West. When asked what criteria Autumn + Colour looks for in a potential band partnership, Groo answers without hesitation.
"The word is passion. We learned so much in a short period of time," he says. "A great sounding album is not enough anymore. An artist must have an undeniable drive for success, which means touring."
Groo and Stevens advise their bands to tour for no less than four months when promoting a new album, to help cement its proper introduction. They also stress the importance of the true, die hard fans and music lovers - not just the network of supportive family and friends.
"When artists put their hard work, blood, sweat and tears into an album, they will work extremely hard to make sure it's successful," says Groo.
In addition to partnering with their bands, Autumn + Colour Records also partners with its local communities. Ten percent from all streams of income are donated to regional charities such as the Center for Independent Living (Orlando, FL) and Soles4Souls (Nashville, TN).
"People have told us this is a terrible time in history to start a new label," Groo says. "We believe it's the very best time. We offer a fair solution in an industry that can't figure out what it's doing."
Website: www.autumnandcolour.com
Facebook: www.facebook.com/Autumn-Colour-Records
Follow on Twitter: @autumnandcolour
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Monday, October 22, 2012
The Local Honeys - Punk Rock Patsy Cline
Charleston-based "cowgirl punk" quarter The Local Honeys kicked off a local musicians showcase at The Mill last week, playing to a moderate crowd at Park Circle's favorite rock spot.
Opening with the 1940s Gene Autry classic "I'm an Old Cowhand", it quickly becomes clear that The Local Honeys are unlike any other band that you are going to find around town. Ukelele player Sarah Bandy is acccompanied by Brad Edmandson on the upright bass (a dying art, in intself) and Camela Guevara behind the drum kit. Completing the lineup is guitarist and singer Rachel Kate Gillon, formerly with local royalty and Metal/Punk Band of the Year (2011, Charleston City Paper), The Shaniqua Brown.
This new venture is a clear departure from Gillon's previous band, yet she approaches this project with the same tenacity and devotion that she has always given. Her throaty, torch song voice lends well to tunes like "Hell is Your Home", and is a daring compliment to the thinner, less controlled - yet heartfelt and honest - vocal stylings of Bandy. Using objects like serving ramekins and a rain stick filled with spent shotgun shells, The Local Honeys do a bang up job using Bandy's twangy ukelele as the lead instrument, delivering a charming characteristic to the band's modest wallflower presence.
Cutting through The Mill's infamous smoke and above the din of muffled bar talk, Gillon and Bandy giggle between songs and talk with the crowd. Discussing everything from what makes the rain stick work as a shaker to the discovery of watermelon seeds in King Tut's tomb, The Local Honeys clearly enjoy one another's company, as well as what they are capable of as a musical collective. Songs like the impassioned murder ballad "Caleb Meyer" lushly embrace the days of the Dust Bowl era and show off Gillon's bold voice. Playing a bright mash up of original tunes sprinkled with old country staples, theirs is a sound that combines the best of Patsy Cline's forlorn hopefulness with the brashness of Johnny Cash's "At Folsom Prison", sugarcoated with a hefty dose of Charleston punk rock.
The band played for a solid hour before taking a break, during which Gillon took to the mic with her acoustic guitar for a few solo tunes. "I wished I was smarter, I wished I was stronger, I wished I loved Jesus,*" she sang, aching like a relationship that's been dragged through hell but still holds out for better days. Bandy soon rejoined Gillon for a spot-on rendition of "Dream a Little Dream of Me" that would have made even Cass Elliot blush, followed by the harmonic and country retro original, "Honeysuckle Rose".
With the softly plucked upright providing an air of authenticity and Gillon's voice sliding from harmonic swooning to low down and dirty growls, The Local Honeys are a solid and sweet addition to the Charleston music community.
Facebook: The Local Honeys
* Patty Griffin, "Top of the World"
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Opening with the 1940s Gene Autry classic "I'm an Old Cowhand", it quickly becomes clear that The Local Honeys are unlike any other band that you are going to find around town. Ukelele player Sarah Bandy is acccompanied by Brad Edmandson on the upright bass (a dying art, in intself) and Camela Guevara behind the drum kit. Completing the lineup is guitarist and singer Rachel Kate Gillon, formerly with local royalty and Metal/Punk Band of the Year (2011, Charleston City Paper), The Shaniqua Brown.
This new venture is a clear departure from Gillon's previous band, yet she approaches this project with the same tenacity and devotion that she has always given. Her throaty, torch song voice lends well to tunes like "Hell is Your Home", and is a daring compliment to the thinner, less controlled - yet heartfelt and honest - vocal stylings of Bandy. Using objects like serving ramekins and a rain stick filled with spent shotgun shells, The Local Honeys do a bang up job using Bandy's twangy ukelele as the lead instrument, delivering a charming characteristic to the band's modest wallflower presence.
Cutting through The Mill's infamous smoke and above the din of muffled bar talk, Gillon and Bandy giggle between songs and talk with the crowd. Discussing everything from what makes the rain stick work as a shaker to the discovery of watermelon seeds in King Tut's tomb, The Local Honeys clearly enjoy one another's company, as well as what they are capable of as a musical collective. Songs like the impassioned murder ballad "Caleb Meyer" lushly embrace the days of the Dust Bowl era and show off Gillon's bold voice. Playing a bright mash up of original tunes sprinkled with old country staples, theirs is a sound that combines the best of Patsy Cline's forlorn hopefulness with the brashness of Johnny Cash's "At Folsom Prison", sugarcoated with a hefty dose of Charleston punk rock.
The band played for a solid hour before taking a break, during which Gillon took to the mic with her acoustic guitar for a few solo tunes. "I wished I was smarter, I wished I was stronger, I wished I loved Jesus,*" she sang, aching like a relationship that's been dragged through hell but still holds out for better days. Bandy soon rejoined Gillon for a spot-on rendition of "Dream a Little Dream of Me" that would have made even Cass Elliot blush, followed by the harmonic and country retro original, "Honeysuckle Rose".
With the softly plucked upright providing an air of authenticity and Gillon's voice sliding from harmonic swooning to low down and dirty growls, The Local Honeys are a solid and sweet addition to the Charleston music community.
Facebook: The Local Honeys
* Patty Griffin, "Top of the World"
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Wednesday, October 17, 2012
Tin Roof - Good Tunes, Good Times
Tin Roof is a great local bar that lives for great local music. Tucked away along Magnolia Road in the West Ashley part of town (see also - not quite Avondale), Lesley Carroll and her fellow bartenders are always mixing up new drinks and cooking tasty treats - lunch pail martinis + curry dishes are staples at this joint.
Check out the show dates below, and click the links to hear tunes from the upcoming acts. Support your local music!
Oct 18 @ 8:00p: Laura Marling / Lily Slay
Oct 19 @ 8:00p: Rachel Kate Gillon / The Specs
Oct 20 @ 8:00p: Sandinistas! - Rock 'n' Roll High School
Oct 22 @ 8:00p: Eyes Lips Eyes / Sans Jose
Oct 23 @ 8:00p: Kepi Ghoulie / Kevin Seconds
Oct 25 @ 8:00p: Wooden Wand / Mv and ee / Mechanical River
Oct 26 @ 8:00p: David Liebe Hart / Boring Portals
Oct 27 @ 8:00p: Dante's Camaro
Oct 31 @ 8:00p: Megan Jean + The KFB / BOBBY STARDUST
Novv 2 @ 8:00p: shirlette ammons / Southern Femisphere
Nov 3 @ 8:00p: Tyler Boone / Loners Society / Harrison Ray / Dallas Corbett
Nov 5 @ 8:00p: Pile / Bones
Nov 8 @ 8:00p: Thunderlip / BULLY PULPIT
Tin Roof
1117 Magnolia Road
Charleston, SC 29407
843.571.0775
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Check out the show dates below, and click the links to hear tunes from the upcoming acts. Support your local music!
Oct 18 @ 8:00p: Laura Marling / Lily Slay
Oct 19 @ 8:00p: Rachel Kate Gillon / The Specs
Oct 20 @ 8:00p: Sandinistas! - Rock 'n' Roll High School
Oct 22 @ 8:00p: Eyes Lips Eyes / Sans Jose
Oct 23 @ 8:00p: Kepi Ghoulie / Kevin Seconds
Oct 25 @ 8:00p: Wooden Wand / Mv and ee / Mechanical River
Oct 26 @ 8:00p: David Liebe Hart / Boring Portals
Oct 27 @ 8:00p: Dante's Camaro
Oct 31 @ 8:00p: Megan Jean + The KFB / BOBBY STARDUST
Novv 2 @ 8:00p: shirlette ammons / Southern Femisphere
Nov 3 @ 8:00p: Tyler Boone / Loners Society / Harrison Ray / Dallas Corbett
Nov 5 @ 8:00p: Pile / Bones
Nov 8 @ 8:00p: Thunderlip / BULLY PULPIT
Tin Roof
1117 Magnolia Road
Charleston, SC 29407
843.571.0775
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Sick/Sea - Tour Dates + MP3 Downloads
In support of their new album, "Moral Compass" (Autumn + Colour Records), Atlanta-based indie rock pop trio Sick/Sea is going on tour with The Skies Revolt (Grand Rapids). Check out the dates below for a venue near you, and download some music from both bands' latest albums!
Oct 22 @ Buzzbin Super Stage: Canton, OH
Oct 24 @ Lit Lounge: NYC, NY
Oct 25 @ Dock Street: Staten Island, NY
Oct 26 @ Downtown Quarterback: Endicott, NY
Oct 27 @ Studio Luloo: Oaklyn, NJ
Oct 28 @ Deep South: Raleigh, NC
Oct 29 @ The Saloon: Charlotte, NC
Oct 30 @ The Warehouse: Cleveland, TN
Oct 31 @ The Drunken Unicorn: Atlanta, GA
Nov 1 @ Atlantic Station: Atlanta, GA
Nov 2 @ Gallery 13: Columbus, GA
Nov 3 @ Cafe Coco: Nashville, TN
Nov 4 @ Murphey’s: Memphis, TN
Nov 6 @ Roxy’s: Columbia, MO
Nov 7 @ Plush: St. Louis, MO
Nov 8 @ Hannibal-LaGrange University: Hannibal, MO
Nov 9 @ Blackthorn Pub: Joplin, MO
Nov 10 @ Barleycorn’s Bar: Wichita, KS
Nov 11 @ Hero’s: Fort Smith, AR
Nov 13 @ Maxine’s: Hot Springs, AR
Nov 14 @ Bear’s: Shreveport, LA
Nov 15 @ HeadHunters: Austin, TX
Nov 16 @ The Ten Eleven: San Antonio, TX
Nov 17 @ Fall Back Records: McAllen, TX (CD RELEASE)
Download the Sick/Sea tune "Robot" for FREE from RCRD LBL here.
Get The Skies Revolt latest record, "Some Kind of Cosmonaut", here.
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Oct 22 @ Buzzbin Super Stage: Canton, OH
Oct 24 @ Lit Lounge: NYC, NY
Oct 25 @ Dock Street: Staten Island, NY
Oct 26 @ Downtown Quarterback: Endicott, NY
Oct 27 @ Studio Luloo: Oaklyn, NJ
Oct 28 @ Deep South: Raleigh, NC
Oct 29 @ The Saloon: Charlotte, NC
Oct 30 @ The Warehouse: Cleveland, TN
Oct 31 @ The Drunken Unicorn: Atlanta, GA
Nov 1 @ Atlantic Station: Atlanta, GA
Nov 2 @ Gallery 13: Columbus, GA
Nov 3 @ Cafe Coco: Nashville, TN
Nov 4 @ Murphey’s: Memphis, TN
Nov 6 @ Roxy’s: Columbia, MO
Nov 7 @ Plush: St. Louis, MO
Nov 8 @ Hannibal-LaGrange University: Hannibal, MO
Nov 9 @ Blackthorn Pub: Joplin, MO
Nov 10 @ Barleycorn’s Bar: Wichita, KS
Nov 11 @ Hero’s: Fort Smith, AR
Nov 13 @ Maxine’s: Hot Springs, AR
Nov 14 @ Bear’s: Shreveport, LA
Nov 15 @ HeadHunters: Austin, TX
Nov 16 @ The Ten Eleven: San Antonio, TX
Nov 17 @ Fall Back Records: McAllen, TX (CD RELEASE)
Download the Sick/Sea tune "Robot" for FREE from RCRD LBL here.
Get The Skies Revolt latest record, "Some Kind of Cosmonaut", here.
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Monday, October 15, 2012
The Power of Ponderosa
Ponderosa (Atlanta) triumphantly returned to Greenville this weekend, owning the Main Stage at the Fall for Greenville street festival. Their first time back to G-Vegas since their stunning sophomore album, "Pool Party" (New West Records), was released earlier this summer, the band used the opportunity to pound out many of the new tunes, sweeping across the crowd with all of the thick, rolling power that I have come to expect from these guys.
The self-described "neo-psychedelic indie rock band" is unapologetic and unconventional in its style (i.e., a breath of fresh air), kicking aside the tired verse-chorus-verse format for a blended scope of ethereal soundscapes, reverb musings and musical ruminations. As a whole, "Pool Party" is on par with anything that Brian Wilson has ever written (ever) and, for me, no one track exemplifies this more than "Black Hill Smoke". With its rolling, triplet cadence and nostalgic longing, the song reaches its emotional fever pitch as guitarist Kris Sampson dives deeply into a lo fi, reverb-soaked solo, coming up for air a half minute later to rejoin the chorus about a dark haired girl. The harmonies crafted between Kalen Nash (vox + guitar) and Jonathan Hall (vox + bass) melt together in such a way that it becomes impossible to tell where one voice ends and the next begins, providing a distinctly wistful and haunting aura to the record.
"Navajo", the first officially released single from "Pool Party", is more upbeat but no less serious in its innovative mission to compile a variety of textures and layers, reducing Phil Spector's esteemed Wall of Sound to a tinny afterthought.
But don't let all of the expansive and dreamlike tracks on this album fool you. Ponderosa is, at its heart, a rock n roll band, and the strongest tie between "Pool Party" and the band's 2011 debut album "Midnight Revival" - which is nothing short of an Allman Brothers-meets-The Doors roadhouse classic - would have to be the new track "Get A Gun". With a throbbing, hypnotic bass line that evokes images from a Leonard Cohen novel, the song is a heavy, melodic grind, in stark yet complimentary contrast to the hopeful "On Your Time" and the bewitchingly desolate "Cold Hearted Man".
When a Greenville festival goer bellowed out a request for "Devil On My Shoulder" from the 2011 release, Ponderosa quickly obliged and tore into a whiskey-rocking, sweat-inducing rendition of the tune. Complete with guitar shredding and an emphatic thrashing of the drum kit, Ponderosa proved that beautiful music doesn't have to take a back seat to ballsy rock n roll.
Ponderosa's website: www.ponderosamusic.com
Follow the band on twitter @Ponderosa_music
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The self-described "neo-psychedelic indie rock band" is unapologetic and unconventional in its style (i.e., a breath of fresh air), kicking aside the tired verse-chorus-verse format for a blended scope of ethereal soundscapes, reverb musings and musical ruminations. As a whole, "Pool Party" is on par with anything that Brian Wilson has ever written (ever) and, for me, no one track exemplifies this more than "Black Hill Smoke". With its rolling, triplet cadence and nostalgic longing, the song reaches its emotional fever pitch as guitarist Kris Sampson dives deeply into a lo fi, reverb-soaked solo, coming up for air a half minute later to rejoin the chorus about a dark haired girl. The harmonies crafted between Kalen Nash (vox + guitar) and Jonathan Hall (vox + bass) melt together in such a way that it becomes impossible to tell where one voice ends and the next begins, providing a distinctly wistful and haunting aura to the record.
"Navajo", the first officially released single from "Pool Party", is more upbeat but no less serious in its innovative mission to compile a variety of textures and layers, reducing Phil Spector's esteemed Wall of Sound to a tinny afterthought.
But don't let all of the expansive and dreamlike tracks on this album fool you. Ponderosa is, at its heart, a rock n roll band, and the strongest tie between "Pool Party" and the band's 2011 debut album "Midnight Revival" - which is nothing short of an Allman Brothers-meets-The Doors roadhouse classic - would have to be the new track "Get A Gun". With a throbbing, hypnotic bass line that evokes images from a Leonard Cohen novel, the song is a heavy, melodic grind, in stark yet complimentary contrast to the hopeful "On Your Time" and the bewitchingly desolate "Cold Hearted Man".
When a Greenville festival goer bellowed out a request for "Devil On My Shoulder" from the 2011 release, Ponderosa quickly obliged and tore into a whiskey-rocking, sweat-inducing rendition of the tune. Complete with guitar shredding and an emphatic thrashing of the drum kit, Ponderosa proved that beautiful music doesn't have to take a back seat to ballsy rock n roll.
Ponderosa's website: www.ponderosamusic.com
Follow the band on twitter @Ponderosa_music
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"A Beautiful Change" ~ Free Indie Download
Atlanta-based Autumn + Colour Records recently released a 12-song compilation album featuring a variety of their rising indie bands from around the greater Southeast area. And you can get it for free through NoiseTrade!
"These artists are creating the sounds that are breaking through the white noise of a replicated scene," the announcement read. "They are cutting through the clutter."
"A Beautiful Change: Volume One" showcases Autumn + Colour's predilection for representing an eclectic collection of homegrown artists, and includes many Atlanta and Athens bands such as Sick/Sea, Sleepy Turtles, Jungol, Cloudeater, Austin Archer, Sleepy Dance and Threadbare, Brother.
Check back soon for a full write-up about Autumn + Colour Records, and how they are changing the rules of the industry to help bands and artists get the most rewarding experience out of their careers.
Get "A Beautiful Change" as a free download here.
Learn more about Autumn + Colour Records here.
.pr.
"These artists are creating the sounds that are breaking through the white noise of a replicated scene," the announcement read. "They are cutting through the clutter."
"A Beautiful Change: Volume One" showcases Autumn + Colour's predilection for representing an eclectic collection of homegrown artists, and includes many Atlanta and Athens bands such as Sick/Sea, Sleepy Turtles, Jungol, Cloudeater, Austin Archer, Sleepy Dance and Threadbare, Brother.
Check back soon for a full write-up about Autumn + Colour Records, and how they are changing the rules of the industry to help bands and artists get the most rewarding experience out of their careers.
Get "A Beautiful Change" as a free download here.
Learn more about Autumn + Colour Records here.
.pr.
Sunday, October 14, 2012
~ Rock n Roll Feedback ~
"What would rock n roll be without feedback?"
When David Gilmour said this in 1971, he was of course talking about audio feedback, but sometimes a band also needs an honest write-up. Charleston's music community is teeming with talent of all styles, synergy and cadence, creating a patchwork of sound across our old city. Add to this all of the great bands currently pouring out of neighboring areas like Atlanta, Savannah and Asheville, and the potential to catch a good show on any given night is pretty fantastic. The landscape of music in the Southeast is changing, and you can be a part of it, if you know where to look.
Bookmark 'Rock n Roll Feedback' to get show recaps, album reviews, tour dates and news about the artists and organizations whose calloused hands and road weary souls are driving the Southeast music community to be an undeniably integral facet of rock n roll's rebirth.
.pr.
When David Gilmour said this in 1971, he was of course talking about audio feedback, but sometimes a band also needs an honest write-up. Charleston's music community is teeming with talent of all styles, synergy and cadence, creating a patchwork of sound across our old city. Add to this all of the great bands currently pouring out of neighboring areas like Atlanta, Savannah and Asheville, and the potential to catch a good show on any given night is pretty fantastic. The landscape of music in the Southeast is changing, and you can be a part of it, if you know where to look.
Bookmark 'Rock n Roll Feedback' to get show recaps, album reviews, tour dates and news about the artists and organizations whose calloused hands and road weary souls are driving the Southeast music community to be an undeniably integral facet of rock n roll's rebirth.
.pr.
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