“Gorgeous… just gorgeous!” – – John Mayer
“This voice won’t stay small long. Straight from Berklee College of Music, singer-songwriter Liz Longley traffics in the type of sweet, heartbreak-ready tones and guitar strummed melodies that seem destined to a bigger audience.” – – The Washington Post Express
“A rare find with phenomenal vocal ability, tone and performance. Longley’s lyrics have the spark and spunk of Patty Griffin, her voice has the eloquence and mastery of Alison Krauss. – – Taxi.com
“Longley delivers songs that stand out for their emotional honesty”. – – Morning Call
Julian Casablancas will be doing a special meet & greet DJ session! Buy his new album “Tyranny” and get a wristband for priority line placement. Hang with him before his House of Blues Houston show going on later that night.
For their fifth album, the Athens-bred/Nashville-based power trio The Whigs wanted to find the exact midpoint between raw and rehearsed. After more than a decade together—during which they’ve released four critically lauded studio albums and toured constantly as either headliners or openers for the likes of the Drive-By Truckers, Kings of Leon, and MGMT—the three members all agreed that they wanted to flex their muscles a bit: write some good songs, get them down as tight as possible, hit
PETER CASE & DAVID ENSMINGER PRESENT “SUBTERRANEAN HUM” BY LEFT OF THE DIAL PRESS – MONDAY, 11/10 @ 5:30PM
Subterranean Hum is a modern, vivid, and eclectic collaborative poetry book by writer, folklorist, drummer, and educator David Ensminger and Grammy nominated singer-songwriter Peter Case. As a core member of the indelible indie rock icons Nerves and Plimsouls, Case describes this collection as such: “The days pile up like snow drifts in Atlanta, & here we are—recombining & reclaiming the world from psychic & somnambulistic free-fall, one post-human block at a time: commuting on Interstate 10—winding through Exxon-lands Satanic Mills—learning to speak & see in the dark—driving with the lights on at noon in a Gulf Coast storm—writing in difficult circumstances—moments snatched ballpoint on three by five cards—seen from trains—planes—van windows & waiting room benches—throughout America, Australia & the U.K.—shared with each other & you for inspiration & to keep the words flowing—situations with friends & lovers—troubles & actions on the streets—who keeps the roads open if we’re shut down? who keeps the language alive if we go silent? Subterranean Hum proclaims pockets of resistance—coming up from under—scattered lights seen from the sky in the small hours—& nevertheless, was composed for KICKS!”
I was born in Houston and I went to college in Denton. I “grew up” in Dallas, and learned invaluable life lessons while living in Nashville, Austin, and Wimberley. Since 1999, I’ve lived in 31 different residences; I understand the plight of the Gypsy.
People and places are my greatest sources of inspiration.
I’ve seen the rain come down in Northern Ireland. I’ve ridden a motorcycle across the Sacred Valley in Peru. I spent entire summer drinking sangria in Spain under the guise of college credit. I’ve slept on the roof of a shanty in Hidalgo, Mexico and saw more stars than three lifetimes of a hundred people could count. I rode a bike 100 miles around Lake Tahoe in a single day, in the name of charity.
I prefer Whataburger to In and Out Burger.
I can usually blend quite well, but I rarely feel like I fit in. I have mixed feelings about this.
I’ve mowed lawns, I’ve delivered pizzas, and I’ve made lattes. I spent half a decade working in the corporate world. I’ve worked retail. I’ve hated working retail. I’ve waited tables, bartended, and pretended to be a freelance writer. I’ve been a day-laborer, worked a call center, and sold houses. I once ran a small event staffing company. I’ve even been paid to sing songs in all kinds of places.
I believe I can do almost anything for 6 months.
I taught myself how to play guitar. Some would say that explains a lot.
I have a certain affinity for college football and refer to any professional sports team in Houston as my own. I carry an abnormally large chip on my shoulder thanks to the 1993 Houston Oilers.
I’m afraid of heights, except when it comes to mountains. I’m also prone to paradox.
I have absolutely no interest in running a marathon. But I’ll cheer you on if that’s your thing.
I’ve loved more than I’ve lost.
I’ve lost as much as I’ve left.
I’m genuinely overwhelmed by the splendor of sunsets and the sheer size of the ocean. Conversely, I’m not impressed by reality stars.
I like good wine, good whiskey, and good food. And I believe good company makes all of them better.
I love to write.
I’m not cool. In my head, saying that makes me sound like maybe I am.
I’m better today than I was yesterday. And I’ll be better-still tomorrow.
I have the best friends and family anyone could ever ask for. Most of the time, I remember that. When I don’t, they remind me.
In a short amount of time I’ve been fortunate to play a lot of great rooms. One day maybe I’ll feel deserving.
More than anything, I’m thankful.
Rap game Bette Midler. Carol Burnette of hip hop. English major rap. Rap cabaret. Boyfriend has garnered a collection of buzzy descriptors that attempt to summarize her particular brand of performance. But her music is a sonic smorgasbord; at times abrasive, at times effervescent. And her video content is extensive and varied, an aesthetic range of compositions and costumes. Her live show is an intellectual strip tease, a visit to the club with your college professor. And perhaps, like the Grand Canyon, Boyfriend is best witnessed in the flesh. But amid the variety one thing is certain; whether self-serious or “high class silly,” well-lit or DIY, commentary is Boyfriend’s cohesive agent.
“If you don’t know K Phillips, you should start now. ”Kyla Fairchild, Publisher – No Depression
Phillips is quickly drawing attention to his Texas spin on southern soul that backs lyrics that range from dark to humorous to plaintive. Though there are some desperate characters, as a writer he doesn’t want to take himself too seriously. “I get a kick out of out of the ridiculous and the lighthearted, and I don’t want to be afraid to be a little weird, a little fragile or a little dirty,” he says. “I got that from Warren Zevon. I always loved how his songs and characters could be absurd or sardonic but at the same time achingly beautiful.”
The Burning of Rome began modestly as Adam Traub’s recording project in a laundry room in Oceanside, CA. It rapidly outgrew the four-track tape recorder on which it was born and demanded his complete devotion, as well as some talented extra musical hands, to bring it to life.
Enter the Romans: Oft barefoot axe wielder Joe Aguilar, whose specialties include scratchy guitar licks and spastic dancing. French bass man Keveen Baudouin, whose metronomic mind produces calculated bass lines with intelligence and fury. Slacker-era siren Aimee Jacobs who belts with operatic force while hammering on her glockenspiel and synthesizers. Zen guru Danny King, shredder behind the kit, who is, quite obviously, the terrestrial answer to the octopus. And Traub, manipulator of keyboard, guitar, light system—the proverbial kitchen sink through an amplifier—all while demonstrating a vocal gradation as yet undocumented elsewhere in nature.
Mix this all together and you have space rockers The Burning of Rome blasting their phonic waves at unsuspecting humanoids in Southern California for the past few years. The quintet has conjured a sonic palate replete with everything from death pop bliss, galactic rock, gypsy punk cabaret, to indie spaghetti western, and are now poised to harken the masses with the release of their forthcoming effort, Year of The Ox.
“We have assimilated,” Traub says of the unit. “We share an unbridled passion to revere music as life rather than hobby.”
The Burning of Rome was welcomed into the sun-kissed arms of San Diego’s independent Surfdog Records who released the group’s strange and sprawling debut With Us in 2012. A regional favorite, which the San Diego Reader described as sounding as “if the Misfits took psychedelics and performed an ABBA tribute,” With Us won the title of “Album of the Year” from the San Diego Music Awards.
Surfdog introduced the band to famed Butthole Surfer and producer Paul Leary (U2, Melvins, Sublime and Meat Puppets), who fell in love with the band, leading him to captain the production duties for Year Of The Ox, alongside co-producer Traub.
The brunt of the thirteen-song collection was tracked at the El Paso, TX pecan orchard and auditory oasis known as Sonic Ranch, which Traub calls a “veritable museum of rock and roll artifacts with some of the rarest recording gear on the planet.” The rest of the album was completed back in Leary’s hometown of Austin, where several guest drummers—Josh Freese (A Perfect Circle/NIN), Dale Crover (Melvins/Nirvana) and Matt Chamberlain (Pearl Jam/Of Montreal) dropped by to beat sticks and blow minds.
Year of the Ox weaves the three concepts of art, rebellion and life into a cascading aural braid. Each song, disguised by infectious pop hooks and provocative allusions to historical lore, elicits an intensely moving account of Traub’s interpretation of the human experience. (RIYL: Mr. Bungle as heard through whatever space-fangled stereo system is installed in the Starship Enterprise’s holodeck.)
The Burning of Rome’s live show is a different beast entirely. It fuses the brashness of punk with the orchestrated drama of a theatrical production, personified by front man Traub stomping carelessly on a crooked timeline between GG Allin and David Bowie. The group is oft (and rightly) regaled as one of the best live bands in Southern California, much to the chagrin of band members’ body parts which are regularly sacrificed to serve their mechanical purposes as mere extensions of their instruments. “It’s inherent,” Traub says. “Our blood beats to perform, travel and create. And damn the torpedoes, we’ll continue to do so as long as this world’s still spinning.”
2013 was a year in motion for the Burning of Rome—opening for the Yeah Yeah Yeahs at Milwaukee’s Summerfest, a string of east coast dates with alt-supergroup Volto!, tracing the Pacific coast with the iconic Psychedelic Furs, and a jaunt across the pond for an acoustic tour of London.
2014 is poised to supernova with a Mexican tour—including the Mexico City Vive Latino Festival alongside NIN and Arcade Fire, worldwide tour dates, and a brilliant new album.
Whether the Burning of Rome leaves you mesmerized, bloodied, confused, ecstatic or bewildered, or whether you can’t figure out if you’re witnessing a punk show, carnival, dance party or performance art piece, one thing is certain—the Year of the Ox is upon us
“The perfect mix of goth and dance influences to accompany an Edwardian Ball, with enough organs and dark vocals to satisfy Castlevania fans.”
– San Diego City Beat Magazine
“Their musical horizons stretch far beyond the threshold of modern rock. The Burning of Rome is a post-apocolypitic mash-up of meticulous orchestration, electronic manipulation and eccentric experimentation. If Danzig constructed a carnival ride, it’d look something like this.”
– 944 Magazine
“The kind of songs that Danny Elfman would assemble as a soundtrack for the Technicolor birth of the spawn of Satan”
– San Diego City Beat Magazine
“The Burning of Rome’s style can not be forced into any known genre without taking shortcuts and over looking its originality. Its dark tones and circus like melodies intermingle into one spontaneous, yet entertaining work of musicianship.”
As a 20 year veteran of the Austin music scene, Kevin Sekhani has done it all. From blazing rock-n-roll to Holy Ghost Honkytonk, for years Sekhani has entertained crowds with heartfelt enthusiasm and poignant lyrics. In Austin, Sekhani spent his time working with Michael Ramos (John Mellencamp, Patty Griffin), Andrew Duplantis (Son Volt), and Austin Chronicle’s three-time String Player of the Year winner Warren Hood. In 2010, Sekhani moved back to his home town of Lafayette, Louisiana to front The Mercy Brothers, a Gospel group walking the fine line of sinners and saints. Since the prodigal son’s return home, he has won over the hearts of Jazz Fest and Festival International audiences, landed a top 10 spot on the Americana charts in Europe, toured Sweden, and signed his Gospel group to Louisiana Red Hot Records.
Kevin Sekhani’s veracious songwriting extends beyond Gospel into secular territory with his debut solo album Sumner Street. No Depression praises the album saying, “With a voice slightly reminiscent of a young Steve Earle, solid songwriting, and musicians that include a member of Son Volt and veterans of the backing bands of Patty Griffin and John Mellencamp, Kevin Sekhani’s Sumner Street is one of the best debut albums I have heard in years”. Sumner Street is layered with Americana staple instrumentation, taking the earthy tones of violin, mandolin, banjo and acoustic guitars to give the feel of a back porch jam on a Louisiana Saturday night. The album’s track “Oilfield Tan” has found its way into regular rotation on local Louisiana and Texas radio stations, resonating amongst an area all too familiar with the demanding industry of oilfield work.
Kevin Sekhani celebrates his Louisiana roots bringing in a rotating cast of local musicians from Gary Newman, Andrew Duplantis, Will Payne Harrison, Fawn Larson, Jim McGee, Jonathan Herron and even the occasional Mercy Brother. With stops at 2014’s South by Southwest music festival, Sekhani has already began to garner an excitement for his solo career. You may catch Kevin Sekhani at a large festival or even on a small front porch, but wherever it is, it is guaranteed to be one hell of a performance.