http://www.myspace.com/garotassuecas

Garotas Suecas are from nowhere. Five boys and a girl who are displaced from their place of birth by music. The Rolling Stones are here, Fela Kuti is here, Aretha Franklin is here and Os Mutantes are farther than they appear to be. Free to move in any space or time, Garotas Suecas are not in any season. Jorge Ben is contemporary, Sly & the Family Stone are contemporary. Any future entity is our contemporary and nothing will come out of the past. Garotas Suecas are here and they are now.

AK SLAUGHTER
www.myspace.com/thisisakslaughter

Read an awesome City paper article about the group HERE!

THEE LEXINGTON ARROWS
www.myspace.com/theelexingtonarrows


And Special Guest...
DJ AMANDA OTTO!
Spinning Yeye, Freakbeat, and Fuzz From Across The Globe!!!

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PUBLICIST

"You may recognize Publicist as Sebastian Thomson from other acts such as Trans Am, Weird War, and Dead Kids. He loves making music with his friends but he also loves to make music on his own. As he once said "I love making music with my friends but I also love making music on my own." Publicist exists somewhere between DC, NYC, and London, after Sebastian decided it's better to spend money on plane tickets than on rent.

Publicist has played in, among other cities, Paris, LA, San Francisco, Baltimore, DC, London, Glasgow, and Dublin.

Publicist plays on the floor, not on stage, he is of the people and for the people. If Publicist plays before 12 midnight he magically turns into one of the opening acts."

www.myspace.com/thenameispublicist

with Tax Lo DJs

Simon Phoenix
Cullen Stalin
Chris O

18+ ONLY

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our first installment of CINEMA MONDAYS DOUBLE FEATURE!! Movies displayed with projector onto to large screen, just like an old drive in, except it's in a bar!!


DEATHWISH (1974):

Starring Charles Bronson as ultimate badass Paul Kersey. Also starring a very young Jeff Goldblum as Freak #1, original soundtrack by Herbie Hancock


VIGILANTE (1983)

Starring cult favorites Fred Williamson and Robert Forster

Though the past year has seen Frightened Rabbit finally step into public view, with more extensive touring and some recordings now publicly available, the past few years have largely been about the band quietly, committedly honing their sound, and cultivating their art. Now a three-piece comprising Scott, Billy and Grant, the origins of the band are rooted in 2003, when Scott began playing solo shows under the name Frightened Rabbit, mostly in support of fellow art-schoolers Shitdisco. Recordings were made on a tascam 4-track recorder, with Scott playing all the instruments (some more proficiently than others). Though looser, sparser, and certainly more lo-fi in terms of production values, their early demos still attest to a burgeoning talent with a defined personality, and a now familiar penchant for being able to nail a near perfect pop song.

In 2004 Scott’s brother Grant moved to Glasgow, contributing drums to certain recorded tracks, and playing live. Frightened Rabbit became louder and better. They burnt 50 copies of their subsequent demo, and sent some out to labels, resulting in three tracks being hosted on the FatCat MP3/demo website, and marking the beginning of a wonderful relationship. In 2006, Billy joined the band playing primarily second guitar, making Frightened Rabbit in the band’s own words, a wee bit better and louder still. That February they went into The Diving Bell Lounge studio with Glasgow based producer Marcus Mackay to record some songs over the course of a week. The intention was to record a better quality demo, but the resultant recordings ended up as the bands debut LP ‘Sing The Greys’, of which 1000 copies were pressed and released that May on home grown label Hits The Fan.

An incredibly accomplished live outfit (seemingly without any effort whatsoever), further live dates followed into 2007, including a brief but successful US jaunt, culminating in a sold-out show at The Mercury Lounge in NYC, before the album was even available in the US. After an intense spate of writing, rehearsing, recording, and remixing, and of course playing more live shows, ‘Sings The Greys’ was remastered by Alan Douches, and re-released in significantly revamped form by FatCat in Autumn 2007, along with debut single ‘Be Less Rude’. Rounding off the year with the incredible 'It's Christmas So We'll Stop' single, 2008 has been another busy one for Frightened Rabbit.

The band’s second album, ‘Midnight Organ Fight’, was released in April 2008, and is a progression in terms of songwriting, sonic depth, and as a fully realised entity. Recorded by Peter Katis (Mercury Rev, Interpol), ‘Midnight Organ Fight’ was conceived and realised in a much shorter time span than its predecessor, with the intention of creating a more coherent, ‘pop’ sounding album.

ARC IN ROUND

BABY ASPIRIN

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VINCENT BLACK SHADOW

DEEP SLEEP

SURROUNDINGS

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WOE OF TYRANTS (Metal Blade Records)

ADVERSARY (Trustkill Records)

DESTROY DESTROY DESTROY (Black Market/Metal Blade)

POVEGLIA

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**EARLY SHOW**

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The Gay Blades are a two piece from New York City who play an acerbic brand of Trash Pop. What is Trash Pop, you ask? ... (more) Trash pop is what happens when two keenly observant wanna-be hipsters write and record songs the same pair couldn’t possibly pull off live, and make up for their missing bass player with consistently explosive performances and a heaping spoonful of swagger. Clark Westfield plays the guitar and Puppy Mills plays the drums. They met while volunteering in a traveling sideshow, Clark juggling and Puppy taking tickets. Afterwards, back in NYC, the duo formed The Gay Blades.

With their debut record Ghosts, out on the band’s imprint 4Never Records through Triple Crown, The Gay Blades take their T. Rex/Bill Murray inspired live show and add more texture and color with the inclusion of keys, synths, strings, harmony and even bass (despite their mantra of “BUCK FASS”.) Ten eccentric and trashy pop songs scream for you attention - each one filled with curious wordplay and tireless metaphor. In “Dog Day Afternoon”, our hero, Clark Westfield takes hostages after a bank robbery goes arwy in an attempt to win our affection. In “Why Can’t I Grow A Beard?“ he takes cues from his idol, Brian Wilson, locking himself inside for years, becoming the recluse he knows he never could be. In “Robots Can Fuck Your Shit Up” we learn that robots have feelings too. “O Shot”, the record’s stand out track and first single, is all about drummer Puppy Mills’ glamorous and propulsive drums, which result in sound that‘s more Marc Bolan than Jack White, more Stooges than Eagles of Death Metal, more JSBX than Electric Six.

KISS KISS

SCARY RIVER

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AURAL STATES FEST
Celebrating 1 year of bringing aural pleasure to Bmore, DC and everywhere else!

ARBOURETUM : WYE OAK : LO MODA : SMALL SUR : SRI AUROBINDO : ANDY ABELOW : IMPERIAL CHINA : CAVERNS

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NORTHERNMOST Album Release Party! Free CD with entry!!

CAESTLES

DEEKEE ZJEVOTNEYA

OLD MAN FAMILY BAND

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In a career that spans more than 30 years, Paul Collins manages to bridge the gap between country and rock. Paul Collins has recorded with artists such as Chuck Prohpet, Bruce Botnick (The Doors), Octavio Vinck, Jeff Trott (Sheryl Crow), Peter Case (The Plimsouls), Cyril Jordan (Flamin Groovies), Dave Immergluck (Counting Crows), and the rythm section of Chris Isaak's band, Silvertone. Paul Collins' Beat appeared on the Caddyshack official movie soundtrack. Paul's first band, The Nerves toured with The Ramones and funded their own recordings, despite not having a record deal. The Nerves formed in 1974 and managed to achieved cult status with the help of record collectors and re-issues. Their song "Hanging On The Telephone" was recorded by Deborah Harry and Blondie on the album entitled "Parallel Lines. When The Nerves disbanded, Jack Lee went solo, Peter Case formed The Plimsouls and Paul Collins formed The Beat. In his bands The Nerves and The Beat, Paul Collins has toured with numerous acts, including The Ramones, The Jam, The Police, Stray Cats, Pere Ubu, Ian Gomm, Huey Lewis, Southside Johnny, Eddie Money and countless other names. Paul Collins Beat continues to perform around the world, concentrating primarily on the United States, Europe and Japan.

GENTLEMAN JESSE AND HIS MEN

A few seconds. That's about how long it should take to figure out why it makes so much sense that Gentleman Jesse & His Men's first live outing came as support for the Black Lips. Because just as those knuckleheads have earned stripes pissing and bashing out garage recordings that sound several years older than they are, Atlanta's Gentleman Jesse (neé Jesse Smith) & His Men have found love in the rich, power-pop offerings of the 1970s. By no means innovative, their self-tiled debut succeeds anyway, hitting pleasure centers like Ali tapped chins: quickly, often, and with oh so much care.

Smith has become something of a local fixture in Atlanta over the years plucking bass for the Carbonas, a more abrasive punk outfit than the one he's assembled here. As Gentleman Jesse, Smith moves to the lip of the stage and softens up the approach. With an emphasis on pop more than say, power, Jesse & His Men re-imagine licks as dreamt up by the likes of Nick Lowe, the Modern Lovers, and the Nerves. But they aren't so much an update or study of 70s power-pop as a celebration of those sounds and all their jangling tentacles. While slightly less indebted to the punk kinetics of the Buzzcocks or Damned than the Exploding Hearts were, Smith and his bandmates still follow the same blueprint as the Hearts did so successfully and infectiously before their tragic end.

Nobody has done it so well since. With little or no fat to be found anywhere amid its thirty minutes of slip ‘n slide chord progressions and jukebox mining, it's a thoroughbred pop album that struggles only when trying to slow down. It's almost as though there are too many hooks. In addition to being a buckshot opener, "Highland Crawler" is a worthy kid brother track to "Roadrunner". Also an effective aural compass, that song's drumkit closing links directly to the opening of "Black Hole" without seams. It's a transition that typifies the slick sequencing throughout. From the balloon animal bends of "You Don't Have To (If You Don't Want To)" to the Rickenbacker poetics of "Wrong Time", guitars double as voices for choruses in their own-very hummable-right.

DEEP SLEEP

ACTIVE SAC

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10 reasons why you should forget everything you’ve heard about female singer-songwriters and slap on the new JENNIFER O'CONNOR LP, Here With Me…
by Gail O'Hara

1. THE NEW ALBUM
The brand spanking new Jennifer O’Connor LP, Here With Me, is here. It was produced, recorded and mixed by John Agnello (Sonic Youth, The Hold Steady, Dinosaur Jr.) in 12 very productive days at Headgear in Brooklyn in March 2008. Basic tracks - including vocals - were recorded live. It will be released on Matador Records on August 19, 2008, and it will bring the Brooklyn musician to the mass audience she so completely and utterly deserves.

“I try to make each record better than the one before,” says Jennifer. “I was also going for a more cohesive ‘band’ sound and I think we achieved it. Since we made the record so quickly there's a real sense of urgency and immediacy in the recording.”

2. THE BACK CATALOG
Building upon the fine indie-rock tradition of song of the 1990s (such as Smog, Spinanes and Mark Eitzel), Jennifer released her self-titled debut album (2002), which was pretty great, but the follow-up, The Color and the Light (Red Panda, 2005), was even better. Her Matador debut, Over the Mountain, Across the Valley and Back to the Stars (2006), was – you guessed it – even better, or the best. Until now…

3. THE CRACK TEAM
The players on Here with Me are Jennifer (duh! on vocals,guitars, piano and organ), Jon Langmead (drums), Michael Brodlieb (bass) and Michael Strandberg (guitar). Fabulous guest players include Franz Nicolay from the Hold Steady (piano, organ and accordion on two songs); Darren Jessee from Hotel Lights and Ben Folds Five (back-up vocals on track one); and the dulcet-toned singer Amy Bezunartea (back-up vox and harmonica on a few songs).

4. SHE CAN SING!
Jennifer has a singular voice that at the same time sounds like Everygirl. It draws you into her world, makes you feel like you know her, you can relate to her. She may only be a young thing, but she’s had way more than her share of hard knocks, and you can feel that in every note that comes swooping out of her head. James McNew, her labelmate, sometime collaborator and member of Yo La Tengo, proclaims: “Jennifer has a voice like an angel. And not the fruity kind of angel, the good kind.” The dude from Spoon, Britt Daniel, was so impressed he sang on her last album.

5. SHE CAN WRITE!
Jennifer writes stories about the human condition with simple lyrics and puts them in beautiful melodies. Occasionally she is quiet and alone, other times she’s backed by a razor-sharp band. She writes about death, endurance and continuing -and on Here With Me - love. It sounds heavy but there’s always a feeling of hope and light in her music.

"This album has a lot of the same themes I've always written about, but it's fair to say that this one is made predominantly of love songs. 'Here With Me' refers to my girlfriend, but also to people I've lost - they stay with me in my heart and mind."

6. SHE BREAKS THE MOLD
The phrase “female singer-songwriter” has been tarnished by hordes of over-emoting waifs making premature compact discs and MySpace pages and weaving their interchangeable voices and boring music into their sad tales. That is far too limiting a term for what Jennifer does. If she were singing under a band name instead of her own, people would understand that she darts around from soft, poignant ballads to urgent folk pop and taut trad rock. Is categorization really necessary? No.

7. THE WORLD WILL LISTEN
Her diverse and eclectic sound speaks directly to more than one audience – she counts soccer moms, hipsters, English fops, toddlers, Bushwick lesbians, nu-folk chicks, French new-wavers and indie nerds among her ballooning fan base. It’s easy to imagine her filling stages at Coachella or All Tomorrow’s Parties. Her intimate, matter-of-fact songs sound completely now and completely timeless at the same time.

8. EAST COASTER
All her life Jennifer has road-tripped back and forth from Connecticut & Florida to Atlanta & Brooklyn. She had a band called Violet in Atlanta after college. She moved to NYC in 2000 and her early solo recordings dazzled the local press. She worked at the Knitting Factory & tends bar sometimes. She loves to eBay. A psychic once told her she’d be very famous and rich.

9. REAL GIRL
Jennifer’s not going to melt down on stage, and she doesn’t pout like Jenny Lewis or flaunt velour pantsuits like Feist. There’s no hair and make-up, it’s not her scene. So what? Since when does pop music have to be a freak show car crash fashion show? It’s about the music. In a world of complete fakes, Jennifer is real, raw, honest and way too good for showbiz.

10. MUSIC IS OUR RELIGION
And all Jennifer O’Connor cares about is making it perfect.

www.myspace.com/jenniferoconnor

HOTEL LIGHTS

TIM KAYE

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Parplar is the Young God debut from the fabulous itinerant force of nature Larkin Grimm. She’s got an elemental voice that comes from somewhere under the earth. She alternately moans like a woman-in-full, wails like a banshee, or coos like a crazed little girl, depending on her mood. Parplar was co-produced by Michael Gira (Devendra Banhart, Akron/Family, Angels Of Light, Swans) and Larkin Grimm. It was recorded at Old Soul Studio in Catskill NY, with additional recording at Seizure’s Palace in Brooklyn and mixed at Trout Recording, Brooklyn. Larkin’s risen to the occasion on this one – really found herself as a singer, and it features absolutely stellar vocal performances of songs that are sometimes soulful, whimsical, sensual or bizarre. The production is as varied and unpredictable as Larkin herself. Parplar is released Oct 28, 2008.

Larkin and co-producer Michael Gira have been in email correspondence since early ’04, when Larkin sent him a crude demo of her vocalizing to an inexpertly but nevertheless very musically played double bass and scraping metal sounds. Gira heard something essential in her voice and encouraged her to work on developing her true voice and to master an instrument. Along the way she did that and much, much more. She’s developed a powerful, multi-faceted woman’s voice, is an expert finger-picker and has become a highly individual/eccentric songwriter. In 2007 Larkin and Gira finally met in person for the first time at his house near Woodstock, NY, and commenced honing in on her immense repertoire of accumulated recent songs. After a few months of intense work they chose the 15 songs that comprise this album, culled from a list of about 50.

In addition to singing and writing the songs Larkin plays acoustic guitar, banjo, decrepit casio, Chinese harp, and mountain dulcimer. Most of the recording was done in the living room at Old Soul ­ usually littered with vintage instruments but cleared for the occasion ­ and you can hear the wood of the late 18th century mansion in the sound. Guest musicians include Young God’s new luminaries Fire On Fire (Colleen Kinsella, Caleb Mulkerin, Micah Smalldone and Chriss Sutherland). They played a variety of instruments – dbl bass, banjo, accordion, electric and acoustic guitars, dobro, percussion, and also donated a hefty slather of their patented backwoods vocal harmonies. Additional contributors include Jordan Voelker (viola) and Brian Carpenter (trumpet) of Beat Circus, Eszter Balint (violin), Phil Puleo (hammer dulcimer), Steve Moses (trombone), Gwen Snyder (piano, vibraphone, glockenspiel vocals ), Kenny Siegal electric guitar and other assorted instruments), Siobhan Duffy Gira (vocals) and Jason LaFarge (electric guitar)...

Larkin Grimm was born 26 years ago in Memphis TN to hippie devotees of the religious cult The Holy Order Of MANS - her parents were runaway kids that met in San Francisco in the late 60’s and eventually found their way into the cult, which later moved to Memphis. Larkin spent her early years in this communal environment, raised by several parents at once. When the cult disbanded Larkin was 6, and her nuclear family moved to the Blue Ridge Mountains in Georgia and quickly grew to include 5 siblings. Larkin says she ran wild in the mountains and was “raised by the family dog.” Larkin got the taste of music in her from her fiddler and singer father and her folksinger mother. She dropped out of school at 10 and didn’t return until 12. At 13 she was sent to boarding school (courtesy of Georgia’s Coca Cola, which funds the school with the intent of helping gifted Appalachian children). Larkin excelled, (though her erupting hormones and wild imagination were already roaring) and she won a full scholarship to Yale to study art. She spent a while there then freaked out at the elitism of the place. She left and returned several times, somehow along the way managing to find herself in Thailand, where she studied Thai healing massage and “befriended strippers and watched them being humiliated and abused by sex tourists”, bummed around Guatemala, and also hitchhiked around southern Alaska by herself, until she found a place “so beautiful I couldn’t leave, camped out there in my tent for about 2 months with the plan to starve to death, get eaten, or get enlightened.” Larkin says a Cherokee shaman named Jezebel Crow found her on the mountaintop and lured her to her truck with the promise of maple syrup and sausages. She became her “first great teacher, initiating me into the shamanic practice of using natural hallucinogens to gain spiritual wisdom. On one such trip, I got my first jolt of golden light to the brain and was possessed by a forest spirit who taught me to sing.” Jezebel drove her down to her commune in Olympia, Washington, where she would live off and on for a few years, soon hanging out with “eco-warriors, vagabonds, sexual deviants and various other miscreants.” But Jezebel encouraged Larkin to go back to Yale and when she returned Larkin started incorporating singing into her art practice, which led her finally to decide to become “a real musician”.

Back at Yale for the last time (eventually “graduating” with one credit left to go) Larkin met Dave Longstreth and became a member of Dirty Projectors for a time. When she left that band she joined up with the Providence RI Noise/Art scene, and was active in arranging gigs and festivals there, as well as working on her own music. Larkin soon made 3 self-recorded albums of freeform, improvisational songs (or “acoustic noise” as she calls it), 2 of which were released by Secret Eye (Harpoon, and The Last Tree). She books her own tours, travels constantly, and has by her own force of will, itinerant nature, and sense of reckless adventure managed to build a supportive network of friends and fans around Europe and the US/Canada. Larkin has shared bills with Devendra Banhart, Spires that in the Sunset Rise, Espers, Mi and L'au, Brightblack Morning Light, Entrance, Viking Moses, the Microphones, and Old Time Relijun. She has no permanent address (and doesn’t want one), but in the warm summer months can usually be found living in a tent in the woods.

LEXIE MOUNTAIN

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DEAD MAN (Sweden):

Dead Man was formed in 2003. We live and operate mainly in Örebro- Sweden. Initially Dead Man was a trio with the intention of playing mainly folkrock music. Later that year Joakim joined the band after returning from a visit to africa (where he claims to have found the spirit of pop music, during a drinking frenzie with some voodoo witchdoctors.).

All members write words and music for the groups agenda. But a lot of of the songs are contibuted by members them selves. Still the songs have to finaly be made in acordance with how we as dead man percive them eachother and together. In a dialectic creativety process which goes on and on and on and on, every effort is a means to an end. We try not to be restricted by any genre or convention but often find ourselves inspired by music from the past and different parts of the world. Our artistic idea is to write and play music that feels important and inspirational to us, and hopefully it does for you too.

RADIO MOSCOW (Alive Records):

SPIN Artist of the Day on Spin.com : marrying the bluesy psychedelic fervor of Cream with the big, precise fretwork of Jimi Hendrix, Radio Moscow relish in distortion and grittiness. Prevalent are themes of heartache, heartbreak, and drug intake, sometimes accompanied by instrumental forays into tumbleweeding country ("Lickskillet") and East Indian-influenced soundscapes ("Ordovician Fauna").

THE FLYING EYES



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THE MOSTLY DEAD

PRESS BLACK

THE SCARE

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TRAVELS (ex VICTORY AT SEA, ex METAL HEARTS)

ARI SCHENCK (of Wax and Wane)

OWLS GO

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Deer Tick: A rock, country, blues, grunge, and cosmic experience

Deer Tick began in December of 2004 in the bedroom of Providence native, John McCauley. With a tape recorder and a nylon string guitar, he did what most anybody would do; he made tapes for his friends. Much has changed since then, but the attitude remains the same.

When McCauley, then 18 years old, got his hands on Hank Williams Sr.’s “Gold” collection and locked himself in his room listening to it on repeat until he finished his bottle of brandy, it all became fairly obvious to him – he was on his first tour just a few months later.

After years of being on the road, fully developing his distinct howl of a voice, and honing his guitar skills, McCauley had earned himself a following of devoted fans and supporters.

Throughout all of this touring and selling his songs on CD-R, it became apparent that putting out a real album was the natural next step in McCauley’s musical life.

“War Elephant”, Deer Tick’s first album, was originally released in September of 2007. McCauley knew it was time to solidify Deer Tick and make it a real band, his vision from the start. A rotating cast of characters simply wouldn’t suffice anymore.

In April of 2007, just weeks before a national tour, McCauley turned to Dennis Ryan, a bright young drummer who had just decided to cut his career at college about 3 years short. The two had played together before and their energy while performing was something unmatched for the both of them. It took no convincing Dennis at all that this was a good idea. He said “yes” before McCauley even finished asking him.

Dennis Ryan grew up in neighboring Pawtucket , Rhode Island . His dream had always been to become a famous, and perhaps more importantly, badass drummer. His epiphany occurred at the curious age of 3, while watching Ronnie Tutt play the drums with Elvis Presley in a rerun of the “Aloha From Hawaii” special.

After the national tour it was time for Deer Tick to find a bassist. McCauley had tried to convince Chris Ryan, a bass player in town, to join Deer Tick for quite some time. The two had known each other since high school and had performed together before. Until now, Chris had been busy finishing up his degree in music at Providence College . Chris graduated while Deer Tick had been on the road.

That August, Chris Ryan returned from a trip driving his VW Van from Providence to Costa Rica and back (though he only made it as far as Guatemala and back). Chris came speeding down Empire Street in downtown Providence , where McCauley was sitting at a table outside enjoying a beer. A swarm of people surrounded the van welcoming Chris and his traveling companions home. Before you knew it McCauley was asking the road weary traveler to join Deer Tick again.

The three of them decided Chris would join them on tour in the fall and the rest is history... UNTIL...

Andrew Tobiassen, a funky, young guitarist living in Providence, RI joined up with Deer Tick in August of 2008. He premiers with Deer Tick on the October tour with the Felice Brothers. Andrew can really shred like Chuck Berry. More on Andrew when we actually find out more about him.

MORE TBA

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VERSE THE TEMPEST

EAT IT RAW

ARMED ELEPHANT

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www.myspace.com/therosewoodthieves

JUNE STAR

AMONG WOLVES

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JAMES BLACKSHAW (Young God Records):

Initially inspired by the guitarists of the 60’s Takoma label to teach himself fingerpicking, James Blackshaw writes long-form pieces primarily for solo 12-string guitar and piano that are heavily influenced by minimalist composers and European classical music and which use drones, overtones and repeating patterns alongside a strong inclination for melody to create instrumental music that is both intelligent, hypnotic and emotionally charged.

Born in London in 1981, Blackshaw has so far released six solo studio albums, one live recording and has also appeared on numerous compilations in the last five years. "O True Believers" (2006, Important Records/Bo’weavil Recordings), "The Cloud of Unknowing" (2007, Tompkins Square) and "Litany of Echoes" (2008, Tompkins Square) have received huge critical acclaim from printed and online publications including Pitchfork, Billboard, The Wire, The Observer, The Times, Uncut, The New York Times, Rolling Stone Magazine, The Onion, Magnet and Acoustic Guitar Magazine. "The Cloud of Unknowing" was also listed as one of the 50 best albums of 2007 by The Wire (no. 24) and Pitchfork (no. 34). His latest album, "Litany of Echoes" was listed as Uncut Magazine's 13th Best Album of 2008.

Blackshaw has recently signed to Michael Gira's (Swans/Angels of Light) Young God Records label and is beginning work on his seventh studio album.

Collaborations have included a duo with Dutch lutenist Jozef van Wissem, performing under the name Brethren of The Free Spirit, live work with Andria Degen’s Pantaleimon,, a live improvisation with Japanese co-founder of The Boredoms Seiichi Yamamoto and work on the new Anok Pe Current 93 album.

MEG BAIRD (Espers)

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"This is heavy metal, pure and simple without any unneeded artistic pretense or any unnecessary attempt at presenting '90s "credibility." Perhaps some fans believe that true heavy metal is noting more than a dead remnant of an earlier decade -- just don't try to convince DECEASED of that." -Hit Parader

"This is pure metal in the absolute, and those proclaiming the genre's death have officially been silenced...they just don't make 'em like this anymore." -Metal Maniacs

Nobody wants to fucking thrash and drink beer and headbang and go to shows and get up front anymore. Everybody wants to sit in the back with a beer and tell everybody 'I'm in this band, look at my hair, look, my nipple's pierced, my dick's pierced...' WHO CARES? I wanna see some fucking headbanging and sweat and denim and leather, I wanna see the buttons and the patches!!" -King Fowley / DECEASED

Trends have come and gone, but DECEASED's brand of true-to-the-roots heavy metal has done nothing but mature, distancing them from the throng of half-hearted pretenders, bandwagon jumping retro-metallers, and pseudo-metal shams. Having championed the cause of true metal for fifteen (!) years, Arlington, Virginia's DECEASED are universally recognized as not only pioneers of the true spirit of death metal, but as keepers of the flame of heavy metal's past, present and future.

www.myspace.com/undeadmachines

DEATHAMMER

ATAKKE

MARROW



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