Dear People,

This week, instead of running a record store, we are just going to ride around and tell jokes. We will record it and then set it up as a podcast. You will see how funny we are as we never fall victim to blacktop boredom. Actually it would be funny to know that we put out a podcast that involves us driving because the Relative staff probably spends a collective of 10 hrs a week in the car. That is everybody. Josh, Jamie, and I probably spend about $50 in gas a month between the 3 of us. We are currently thinking of jumping into the world of fixed gear bikes. It has been of interest to us for about 2 years now and only recently have we decided to pursue other interests outside the record store. Does anyone know anything about 16mm film. I bought a Bolex about 4 yrs ago with an underwater housing and have only filmed 2 rolls with it and never developed them. Talk about a waste. Right after this heatwave ends I will get up and get out into the world. Hopefully this Fall we will have unlimited sources for inspiration. Working on several live events for the Fall as we will be bringing Tom Brosseau, Neptune, Yellow Swans, Headlights, Plot to Blow Up The Eifel Tower, The Black Swans, Lewis & Clark, Decibully, Califone, and a bunch more. Working hard never felt so good. Only movie we scored this time around was Scoop at the Naro. It was classic Woody Allen style only it was in London instead of New York. I have missed his last 3 films and I hear he has been splashing in different waters. Anyhow Scoop was excellent - fun for the whole family - just kidding it's rated PG-13. Also if you weren't at the Breakroom 2 yr anniversary this past Saturday then you missed the ultimate rooftop party. We weren't on a rooftop but we had the soul.

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Ayatollah
Listen

Release Date: 08/08/06
Label: Nomadic Wax
CD: $12.98 Sale $9.98

Heard for years with rap's most talented MC's, Ayatollah continues to shine on his own as his souls samples, cracking drums and melodic keyboards create musical masterpieces, over the years, he's produced many highly-respected underground hits, as well as gold selling records, for artists such as Mos Def, Talib Kweli, Ghostface Killah, and more. "Listen" features instrumentals used by Talib Kweli, Large Professor as well as brand new creations never head before.

The follow-up to Blue Cathedral is an earthy, more accessible, and downright beautiful album. Avatar veers from swinging, bluesy explorations to piano-laced, progressive power balladry to pure tribalism, evoking everyone from the Allmans to Quicksilver to Procol Harem to some insane Fela/Sun Ra/Crazy Horse hybrid, yet remains wholly Comets On Fire. Though they play cleaner and clearer, their firepower is evident and abundant.

If you're not familiar with Providence, RIs Daughters, ask yourself this: where the hell have you been? Theyve basically injected grind and all manners of extreme heaviness with a much-needed dose of lube, style, and danger. This is their second album, following 2003s Canada Songs. Spaz-core aficionados Daughters are always on the road, cramming peoples eye holes and ear holes with blasts of high-density noise.

Debut album by ex-Libertine Carl Barat's band is an album of gin-fueled laments, uprisings and battered beauty.

The sophomore album, Salt, by Forget Cassettes features the addition of bass player Jay Phillips and a new drummer, Aaron Ford, the newly reformed trio tracked these songs at the legendary Alex The Great in Nashville

Matt Friedberger is one half of the brother and sister duo The Fiery Furnaces. This is Matt’s first solo release and the first release from the newly formed label 859 Recordings.

The first disc, Winter Women, clocking in at one hour, showcases his strength as a songwriter and features some of the most accessible and infectious pop songs he's ever written. Winter Women is a summer record, full of catchy and un-ironic pop songs.

The second disc Holy Ghost Language School is the more 'experimental' of the two and is about Xenolalia, the act of spontaneously speaking in foreign languages. Matt turns the concept into a 46 minute combustible sonic novel of original songs in wholly subjective arrangements of clattering guitars and scattered lyrics.

Matt wrote and arranged all the music, played all the instruments (except for some drumming from John McEntire from Tortoise) and is the only vocalist throughout. The record was co-produced by Bill Skibbe at Key Club Recording at Benton Harbor, Michigan in March of this year.

One of my favorite songs of 2005 was the Heartless Bastards’ “My Maker,” which was on their debut, Stairs and Elevators. That song was bluesy but it rocked. Lead singer Erika Wennerstrom’s voice didn’t sound like other blues singers. It’s “soulful, tough and flecked with blues,” as critic Jennifer Kelly wrote, and it has a quality that at times reminds me vaguely of Patti Smith. “My Maker” was intense, and I must have played it 50 times.

I just got an advance of the group’s follow-up, All This Time, and I can say what you can’t always say about a sophomore release: it’s really, really good, better than the debut. This group, which in addition to Ms. Wennerstrom includes bassist Mike Lamping and drummer Kevin Vaughn, is clearly not content to make the same album again and again. All This Time is a huge leap. It finds the group rocking hard at times, but also getting mellow and experimental in a good way. “No Pointing Arrows” is an amazing hard-assed rocker. And I’m way into the album’s final track, “Came A Long Way,” which pairs Wennerstrom’s voice to angular guitar for the first few verses before bass and drums join in.

Michael Goldberg -MOG

SUPER LIMITED! Oh my. Dilla's first posthumous release is almost upon us, and BBE's rolling out the music in style. A 12-inch picture disc includes three of the standout tracks from the album, with guest vocals from Common, D'Angelo, Madlib, Pharoahe Monch, and Guilty Simpson...

On this Irish quartets debut, acclaimed producer Tony Hoffer manned the boards, helping create an album that immediately sounds classic yet innovative. Pop melodies, frantic guitars, and clever keyboard lines provide a foundation for the introspective lyrics, evoking a band born of late night jam sessions, Irish beer, and brotherhood, whose songs youll likely be singing twenty years from now.

It's a bit unexpected, but Masta Killa is now one of the most anticipated members of the Wu-Tang Clan. His debut "No Said Date" was a worldwide smash, and the follow-up "Made in Brooklyn" is more of the same. Guest vocals from the entire Wu-Tang Clan, with beats from MF Doom, PF Cuttin, Pete Rock, Bronze Nazareth, Dev 1, and others...

"Grown Folk Hip Hop" is a term that has been used to describe Myka Nyne's new full length record the "Citrus Sessions Vol.1" Myka Nyne is well known throughout the world for his role as a founding member of the legendary LA Hip Hop group Freestyle Fellowship. As a trained jazz trumpeter, Myka Nyne incorporates soulful melodies interwoven with his often imitated but never duplicated hardcore "chop" style lyricism. While Myka Nyne's musical career started as a ghostwriter on the first N.W.A. record in the late 80's, now a day's Myka Nyne has perfected his style and coined it "Soul Rap" Having frequently traveled the world playing shows, and paying his dues, Myka Nyne is poised and ready to rise from the underground and make the cross over into the mainstream. Critics and fans alike agree that "Citrus Sessions Vol.1" is the most well produced and musically creative album to come from Myka Nyne. While collaborating with the Citrus Production team, the concept for the album was born from an imaginary place in the mind where the Citrus Sound takes on attributes of its own. With the "Citrus Sessions All-Stars Band", consisting of members from Macy Gray, Raphael Saadiq, and Anthony Hamilton's bands, Myka Nyne's live performances and tours are breaking through the barriers of Hip Hop and setting a new bar for artist worldwide.

This New Jersey band's debut of flawless electro-pop consonance delivers gushing melodies fused with terse and somber samples to create an aural blueprint of lustrous distinction.

Imagine a jukebox stacked with the hits of ELO, Super Furry Animals, Pepper-era Beatles, The Beta Band, The Beach Boys, early Pink Floyd, and Supertramp. Now imagine blowing that jukebox up and making a record from the exploded fragments. Thats what this debut sounds like. Over the past year, Noir has emerged as one of the most promising new talents on the UK scene. He released a string of brilliant EPs from his Manchester home since late 2004, which are compiled here along with a couple new tunes exclusive to this release.

The hip-hop world can now witness Oh No’s musical vision with Exodus Into Unheard Rhythms, a unique concept album made of beats derived solely from Galt MacDermot samples. Known primarily as the composer of the late-’60s smash musical HAIR, Galt MacDermot distilled the essence of R&B rhythms and Broadway melodies into a unique and potent groove for the Age of Aquarius. After his breakthrough hits from HAIR, MacDermot perfected his sound throughout the following decades on his own imprint, Kilmarnock Records, backed by longtime collaborators, jazz/funk drumming legends Bernard Purdie and Idris Muhammad. MacDermot offered Oh No access to his huge (and still growing) catalog of music for his work on Exodus.

Saeglour, the first EP to be released from Sigur Ros's fourth album Takk, has a genuine oh-my-God!-ness about it, guaranteed to floor even the most seasoned Sigur Ros watcher. An immense song from the band's most rewarding and accomplished album to date, Saeglour is harder than heavy metal and more beautiful than the most mellifluous modern classical; it is the record to make everyone believe Sigur Ros really are as special as we'd all hoped they might turn out to be. Turning this release into a must have purchase for all discerning fans and new converts alike are 3 brand new tracks from the wondrous minds of the Icelandic quartet; `Refur', `O Fridu'r and `Kakari' back `Saeglour' to create a simply magical EP. These new songs, exclusive to this release, follow in the musical path set by their earlier "untitled" and their Ba Ba Ti Ki Di Do EPs. In addition, a separate DVD disc is included which features the three beautiful and thought provoking videos the made has made in the past year. This release marks what? The world premier of the Saeglopur video.

The fastest, heaviest and darkest band on earth retakes its unholy throne with Slayer's first studio album in six years.

"O'Shenandoah, Mighty Death Will Find Me" marks the beginning of Sparrow's Swarm and Sing's output for their new home at Magic Bullet Records. Spanning over an hour in total playing time, "O'Shenandoah..." puts forth a dynamic piece of aural devastation spanning three epic movements. Dual drum kits, violins, cellos, xylophones, and haunted guitars serve merely as a foundation for an other-worldly sound and an evocative human emotional experience that begs obsessive listening. In the spring of 2006, the band set the stage by performing/previewing selections from the album before a shocked and stunned capacity crowd at MacRock, completely stealing the entire conference by all accounts. With the release of "O'Shenandoah..." one season later, Sparrow's Swarm and Sing sends notice that there's truly a new sheriff in town.

When you call your band Under the Influence of Giants, you're expected to somehow be the sum of your roots, but this L.A. outfit defies easy categorization. As their self-titled debut Island Records album bears out, the Giants' funk-inflected, hook-saturated pop-soul is a combination of the Talking Heads' African poly-rhythmic groove, the ethereal falsettos of Michael Jackson and Prince, the blue-eyed R&B of Hall & Oates and George Michael , the insinuating melodic pop of Rubber Soul, Earth, Wind & Fire's horn-driven, noirish funk, McCartney's winsome balladry and even the throbbing beat of post-hip-hop by way of Madonna.

Windmills By The Ocean is the title of a recently unearthed recording from August 2003, the sole output of Boston natives Mike Davis, Dave Dunbar, Brooke Gillespie, Bryant Clifford Meyer and Thos Niles. Since the project’s beginning and end, the creators have moved on to form such bands as 27, ANODYNE, ISIS, and RED SPAROWES, but the relevancy of this intense recording can be most appreciated now, three years after it’s conception. The variety and depth to this (mostly) instrumental music documentation reaches far beyond those of any mere side-project, and the heavy-music genres are in dire need of something refreshing. These rock-based songs incorporate so many elements of “drone” the group could almost reside next to their celestial forefathers SUNN and EARTH, except with more melody… and drums. However, the usage of keyboard and electronic elements alongside several guitars make the album more comparable to Sigur Ros than Black Sabbath, but without compromising any of the heavy metal elements the members have become most-known for. The additional usage of improvisation and mild repetition allows the listener to relax into a slow headbang across five songs that each surpass the six-minute mark. But what makes this album most impressive is the triumphant, anthemic feel to it, especially considering the group never even made it to the live setting. An important period of musical evolution is captured here, and Robotic Empire is proud to present it to you.

From Los Angeles, Wires On Fire deliver their anticipated debut album after their first EP garnered them a notable amount of critical praise, and Alternative Press named them one of the "New Bands To Watch" last year. 12 songs produced by Alain Johannes and Natasha Shneider (Eleven / Queens of The Stone Age / Mark Lanegan) that confirm the notion that Wires On Fire are one of the few new young bands you need to keep your eyes and ears on. WOF is included on the soundtrack for the new Wes Craven movie "The Hills Have Eyes". The album was produced by Alain Johannes and Natasha Shneider (Eleven / Queens of The Stone Age / Mark Lanegan) who have also previously recorded such artists as Eagles of Death Metal, Chris Cornell, No Doubt, and The Distillers just to name a few. The band has shared the stage with the likes of Yeah Yeah Yeahs, Death From Above 1979, Dillinger Escape Plan, The Fall, and clusky. The band is about to embark on a tour with The Bronx and The Riverboat Gamblers in support of the album. They will continue to tour the remainder of the year in support of the album. The band has already had their music video for the song "Million Dollar Maybes" appear on samplers for Vice Magazine and The Cornerstone Player.

Elektra is continuing expanding and remastering The Cure's back catalog, this time around it's Head On Door, The Top, and Kiss Me, Kiss Me, Kiss Me. All three titles will be released in their entirety with demo tracks, outtakes, and live performances tacked on to them.

Long out-of-print landmark album! Contains a bonus disc of rare tracks from singles, remixes and demos. A must have.

The latest from this superior pop group led by Spencer Krug, the driving force behind Wolf Parade. Rough and expansive like a thunderstorm or the whole of a canyon, the album rollicks and rages in broad sweeping gestures and tiny messages.

First and foremost, any band named after a narcoleptic band mate is ok in my book. Although that drummer is no longer with them, The Sleepy Jackson are still breaking new ground with their latest effort Personality: One Was a Spider, One Was a Bird.

Personality marks the bands second major label release, following 2003’s Lovers, which received praise from critics and radio stations alike. In between the two full lengths was a re-mix album, which I have not yet heard but David, the boss man at relative theory says they are better than the album itself, therefore I have full confidence in recommending the remix album as well. Over the years the band has changed in size and members, now being a phenomenal 5 piece band out of a very remote city in Australia they bring an incredible mix of vocal range and melodic upbeat music.

Vocally I think is where the new record really stands out to me. This comparison might not make sense but stick with me, Billy Corgan lead vocals (but cleaned up) with Beach Boys style harmonies on top. Yeah, its like that. Some might hear the vocal acrobatics that take the center stage of this record and think it may be too much, while I firmly believe it is just perfect. Sometimes its ok to show off when the music is just that good. Following about 6 vocally powerful songs right at the open of the album is the tune Miles away, that informs listeners of just how versatile this band is. The ability to keep a listeners interest in an all acoustic song after half a dozen crowd pleasers is a talent that few musicians will master.

A few of the songs are accented by orchestral arrangements that really display the beautiful production that this epic of an album has to offer. Most notably the string arrangements in the slightly darker song You Wont Bring People Down In My Town. As if all of these reasons are not enough to take a listen, maybe you are the poetic type? Personality bleeds out with beautiful lyrics, deep, but not cliché or over the top. A sense of realism and personal struggle exists through the lines of each song.

Personality closes with the song How Was I Supposed To Know, a perfect example of the lyrical depth I spoke of earlier. This melodic ballad also reminds the listener of the ambidextrous nature of this band, at times you will think you are listening to a musical from the 60’s other times a modern indie-folk band that you cant help but sing along with. Either approach is equally beautiful and enthralling. -- Brandon Franze

Good songs are hard to write, hard to find, and are unrelated to fashion. As The Long Winters’ guitarist/bandleader John Roderick says, “I like chairs that don't creak and songs that don't suck.” There's a lot of music being made as an accessory now, but there will always be a need for actual songs. The Long Winters have worked at making plenty of those over the course of two very well-received previous albums and an EP, and with Putting The Days To Bed they have delivered the album that should make them a household name.

In November of 2001, my band Figurine went on a short tour of Germany with Lali Puna. Our label there, Monika, set us up with a driver to get from show to show. She only brought three or four tapes to listen to on the drives, mostly techno. I’d never paid much attention to dancefloor-oriented electronic music, but listening to the same tapes over and over again (especially Kompakt’s pop-leaning Total 3 and some 7”s on Parfum) while driving through Germany made a giant impression on me.

So this record was supposed to be an extra melodic, minimal techno record with some sparse vocals. Instead, my technopop tendencies got the best of me, the songs slowly filled up, and this is what I ended up with. It’s called Mistake Mistake Mistake Mistake, because that’s what I kept chanting to the beat while I worked on the tracks.

John Tejada (Palette Recordings) assisted me along the way, adding sounds to some of the songs, helping write and arrange a few, and then mixing everything in the end. Sonya Westcott (Arthur and Yu) sang with me on “55566688833,” Morgan Nagler (Whispertown 2000) contributed some lyrics and vocals to “Pretend It’s A Race And I’m On Your Side,” Erlend Øye (Kings of Convenience, Whitest Boy Alive) sang some words written by designer/animator/poet Geoff McFetridge on ”All The Way To China,” and Jenny Lewis (Rilo Kiley, The Postal Service) sang with me on “You Again.”

I think that’s all you need to know before you listen to the record, hope you like it!

With Love, James Figurine

The latest from this pop combo Love of Everything. Led by Bobby Burg (Make Believe, Joan Of Arc, Record Label boss), the group delivers eleven tracks of acoustic folk and looped and layered pop soundscapes. LP includes three bonus non-CD tracks.

The mighty Daedelus returns with his new Mush full-length, the fifteen track dancefoor masterpiece, Daedelus Denies the Day's Demise. With a slight tweak to the formula, Daedelus' magic music box has cranked out a project of techno inspried programming infused with Brazilian Bossa Nova, complete with shakers, hand claps, congas, and other mysterious percussion. Of course the multilayered melding of disparate sounds from far-off times that Daedelus has built a career on remain the focus of each mix. Whether the music reaches you through sweaty club speakers or the refreshing cool of headphones, it will become clear on first listen that this album could only be the production work of Daedelus.

On first glance The Mutts may appear the archetypal swaggering four piece rock band, with a frontman whose performance is the physical manifestation of their dirty rock’n’roll - but in actuality there’s more going on than simply re-treading traditional rock values. “If I’m not going to be excited by it then who the fuck else is? I wasn’t born with the attitude that I needed to be seen by people, and frankly by my teens I was seen by everyone because I was a foot taller than everyone else. It’s not some Reverse Napoleon thing, the music just gets to me, and getting someone else so excited by your tunes that it makes their head sore is just a beautiful thing.” The Mutts are stylised but refreshingly unpretentious; four personalities drawn together looking for excitement and release, and wanting to take the audience with them. They embrace everything from 50's rock n’ roll, to blues, glam, rock, soul and beyond. Ask what it means to be a Mutt you’ll get a series of tongue in cheek answers, the band preferring to let the music speak for itself.

Informed by a wide range of influences, Our Brother The Native’s music is a thrilling, beautifully jumbled rush and gush of ideas and emotions. With their campfire clap-alongs and skewed vocals, and the use of circuit bent children’s toys, Our Brother might at times come on like the kid brothers of Animal Collective or CocoRosie, yet this is far from being a derivative or imitative record. The band’s fusion of disparate sounds, influences and approaches forms a unique whole that is very much their own. Rather than being based around regular verse / chorus structuring, songs instead sprawl out and unfurl with their own particular logic, with sounds sometimes drifting and cutting across one another; sometimes locked down in focused rhythms that come over almost like a cracked electronics jug band; or sometimes just in straightforwardly simple but beautiful harmonised ballads. They also utilise the ability to shift gear and turn on a dime - from a delicate kind of stacked chaos to sudden bursts of nagging coherence. Meshing picked acoustic guitars, piano, banjo, with percussion, cracked electronics, bird noise, radio static, children’s toys, they perform a neat balancing act between the prettiness of their songs / melodies and the self-inflicted damage of the noise threatening to spew out from its seams or peel back / melt its edges. ‘Tooth & Claw’ is a very free and loose-sounding album, with a wealth of detail for the listener to explore and get lost amongst.

Cast a Half Shadow is the long awaited second recording by the Instruments. This record evokes a tone that is both lush and atmospheric, with delicately orchestrated folk melodies. Refining her sense of arrangement and use of ambience, Heather McIntosh, the band's songwriter, along with fellow members of The Instruments, has developed a sophisticated song cycle with her sophomore record. McIntosh has been a staple of the Athens music scene for the past decade. She is currently a member of the Athens bands Circulatory System, Elf Power, and Japancakes and has also played or recorded with bands such as Superchunk, Of Montreal, The Gerbils, and Kevin Ayres.

I’m a hater, straight up. And right now #1, #2, and #3 on my hate list (in no particular order) are Kon, Amir, and DJ Muro because by way of The Kings of Diggin’ they just reminded me of what a lil’ guppy I really am in the sea of record diggin’.

That being said, The Kings of Diggin’ also just made my day because the content of its 140+ minutes meets the two requirements of a good “digging” mix: 1) rarity and 2) good music. For diggers and DJs, rarity adds to the listening experience; there’s a kind of intellectual and emotional engagement with the music when one can only guess how rare that record really is and knows the feeling of coming up on such a record. In fact, sometimes this alone can make the music “good” regardless of what it sounds like. For listeners who don’t spend their spare time with fingers in dusty record bins, or, ripping out the “R” section of phone books, the music simply has to be good. Both are true on this double disk; everyone’s happy.

Disc 1 by Kon & Amir is a mix of rarities that progress from soulful and funky that, in essence, are necessary preparation for DJ Muro’s breakbeat bonanza that is to follow (more on that in a minute). The more soulful cuts such as Tyrone & Carr’s “Take Me With You” with warm bass and honest vocals could fit within a downtempo or rare groove set. Spinna at APT comes to mind. The tracks on the second half of the cd are more uptempo with horn blasts and congas that make the dance floor quite attractive. Since it is a mix by DJs (not just a compilation of tracks), there are some slick and minimal cuts to transition between tracks. This really is a beautiful presentation of powerful music unknown and unavailable to many.

Disc 2 mixed by Japan’s self-proclaimed King of Records, DJ Muro, is an onslaught of breakbeats from heavy funk, latin, and disco cuts that make cats like be burn with envy and dance with delight. Like most diggers, he’s concerned with only the heaviest hitting snippets of the tracks, which is why he seamlessly mixes only about a minute or a minute and a half of each (44 tracks total) before hitting you over the head with another break sledgehammer. Doubles rocked when necessary. It’s really more of a straight through mixtape for a bboy session than a cd for skipping to particular tracks. To those who don’t feel heavy breaks in the gut, the sound and fury could become overwhelming half way through. For diggers or bboys, it’s straight destruction.

Hating aside, thanks fellas for funking up my life. -- ill lit

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TUES AUGUST 08, 2006

Trainwreck Riders | site & sound
Abiyoyos | site & sound
Tulsa | site & sound

Time: 8pm
Tickets: $5 adv / $7 day of show
Relative Card: 50 points

my pita was not split .

this is our once a month krust punk fest. I spell krust this way because Krusty the clown in the ultimate punk mascot. These guys all have worthy names that belong in your 7 inch collection so do yourself a favor and come out to gain an exquisite look at the future of our country. We will shout DIY til we die and we have not won til civilization comes crashing down. And yes they all have myspace so be sure to check them out so you know which bands to step outside and smoke a cig to.

WED AUGUST 09, 2006

Devon Williams | site & sound
Tremaine | site & sound
The Abe Lincoln Brigade | site & sound

Time: 8pm
Tickets: $5 adv / $7 day of show

barking like bluejays .

Coming from 3319 miles away Devon Williams is here to blast shit and then when it is all blasted The Abe Lincoln Brigrade is on rehab duty to build it back together. Actually Devon Williams will not blast anything with his warm fuzzy pop and cursing vocals. His old project is called Fingers Cut Megamachine and it is ten times more pleasant than the name. Abe Lincoln Brigade is an experimental jazz act that falls in line with William Parker. The myspace quote says "Radiohead without the saxophones" I'll give him that. It's wierd but at times you are left wrapped and tied by how mesmerizing it can be. Tremaine is the one you know. Passionate vocals over his industrial synth pop - this man is patient to make sure everything is perfect.

FRI AUGUST 11, 2006

The Championship | site & sound
Palace Green | site & sound
Fecal Food | site & sound

Time: 8pm
Tickets: $5 adv | $7 day of show
Relative Card: 50 points

sparklers on the moon  .

So I came across the Championship and I immediately thought Okkervil River. Their artwork is very similar, which actually is the artwork of William Schaff. I do not know who does the artwork for The Championship but the music is more about the closing credits to your feel good movie of the year. You walk out of theater in slow motion and toss your empty cup in the trash. Yeah I am such a bad ass that I am going to steal the Borat cardboard cutout and no one is going to stop me. Palace Green and Fecal Food are just two reasons that this local music scene is thriving. People are talking - we can hear them.

SAT AUGUST 12, 2006

Kamikaze Shake | site & sound
Brainwhack | site & sound
Pain Train | site & sound
Beautiful Uncertainty | site & sound
Dandy Lions | site & sound

Time: 8pm
Tickets: $5
Relative Card: 50 points

hypnotized and circumcized .

This is the local music brainwashing event of the century. Seriously we are going on a trip to the monolith and taking off the top of our heads. Scrub a dub! Kamikaze Shake are the fast and the furious. Brain Whack - let the whack attack! I have never heard of Pain Train but if it has anything to do with Steven Segal I'm for it! I hope their first 7 inch is called Ice Cream Cones and Broken Bones. Dandy Lions are the area's premiere experimentic frenetic punk band. It remind me of McLusky on fast foward. And Beautiful Uncertainty - not sure how they fit but we all know every night needs a ray of bright shining hope.

SUN AUGUST 13, 2006

Great White Jenkins | site & sound
Portable Folk Band | site & sound
Ilad | site & sound
Beautiful Uncertainty | site & sound

Time: 8 pm
Tickets: $5 adv | $7 day of show
Relative Card: 50 points

my bonnie lies .

Your favorite sea faring jam hams are back in action. The Great White Jenkins will be performing selections from their upcoming concept album "Rocking Chairs and Rolling Pears" It tells the story of a migrant worker in the late 21st century - ancient values in modern day times, similar to that movie A Knight's Tale. C'mon you saw it! I am kidding they have no such record, but this will still be a fantastic night! Portable Folk Band is fresh like lemonade. Beautiful Uncertainty is just that. Ilad are the psychedelic experimenters from the biggest graduate lab in Richmond - really! you love music!

MON AUGUST 14, 2006

Cars Can Be Blue | site & sound
Brian Boz | site & sound
Patience Please | site & sound
The Could Eyes | site & sound
Pablo | site & sound


Time: 8 pm
Tickets: $5 adv / $7 door
Relative Card: 50 points

ballon animal is my chakra .

This show is going pushed in pulled in a million directions all at once. Cars Can Be Blue is the naughty pop best compared to the songs of Sarah Silverman. Locals The Could Eyes will be sprinkling their hawaiian folk diva esque pop on us. Brian Bonz from Brooklyn is like a Yo La Tengo dream but Say Hi To Your Mom drifting around. Patience Please is that 90s college sound similar to REM but maybe more keyboards. Pablo is also on this motherload of a bill and his hifi bliss pop will have Shins comparisons floating through your head. Come out or get out!

TUES AUGUST 15, 2006

Fata Morgana | site & sound
Lucy the Valiant | site & sound
Closer | site & sound
So Many Dynaomos | site & sound

Time: 8 pm
Tickets: $5 adv / $7 day of show
Relative Card: 50 points

juevos are my ninos .

Touring all day and all night is So Many Dynamos - they have played the store like 3 times and if you still have yet to see their raucous Q and Not U style then you need to come out. They are the only touring band this evening as this is the night to spotlight some incredible locals. Seriously check out Lucy The Valiant. I think they are from Newport News. Fata Morgana and Closer both bringing sound inspired by the Manchester scene. Tidewater lacks a good brit rock, shoegazing, post punk scene. Only 2 or 3 bands come to mind and these guys here are trying to spark the torch. Bring out the charm boys!

AUG 5 thru AUG 22 | 2006

Coming Later in August

AUG 22 thru AUG 30 | 2006