Soon after Joseph D'Agostino got his band underway, Cymbals Eat Guitars received Indie Rock's most profitable stamp of approval. Pitchfork assigned the 2009 debut 'Why There Are Mountains' album an 8.3 rating and included it on the site's "Best New Music" list. Early acclaim did come with a price.
O'Brother shimmers with a thirst for the epochal, as their material is dominated by textured murmurs of guitar that expand into all-encompassing, woozy swirls. Cursive's Emo-bred Indie Rock makes for another excellent comparison point. Aaron Wamack's addition to O'Brother drew in weightier influences like Converge, Deftones and Meshuggah. Classical music, film scores and Brian Eno's Ambient music also affected the group. They play Bogart's.
When O'Brother was left without a frontman, the band decided to hold an audition for a new lead vocalist/guitarist. Sadly, the experience wasn't anything resembling 'American Idol': There were no TV cameras, no squealing hordes ready to hear about going to Hollywood, no snarky Brits, no spectacle. "I wish it was like that,' says bassist Anton Dang. "It would probably have been less awkward."
The Ataris' 2007 album 'Welcome the Night' was quite the departure, swapping straightforward Pop Punk for drifting, atmospheric Indie Rock, a decision not wholly received well by fans. "I always want to throw a curve ball," says vocalist/guitarist Kris Roe. "If I wrote 'So Long, Astoria Part 2,' I would have been telling the biggest lie," referencing the band's big-selling 2003 LP. So keep an eye out for more curve balls.
Even though The Ataris have gained new sonic colors after being around for more than a decade, Kris Roe believes that the band still handles itself in the same manner it always has. They play The Mad Hatter with Rosemary Device, A Decade to Die For, Pilot Around the Stars and more.
Matt Caughthran's near-death life experiences tie into The Bronx's MO: seek destruction out, let destruction come to you and channel the havoc into Hard Rock-tinged Hardcore Punk. The band's sound is driven by the thrill that comes with spitting in the face of impending doom.
The Bronx's Hard Rock-tinged Hardcore Punk sound is driven by the thrill that comes with spitting in the face of impending doom. But Mariachi El Bronx, who will also be performing, features the members of The Bronx in mariachi band gear, trading standard-issue Rock & Roll instruments for brass, the guitarrón mexicano and the vihuela. They all play the Southgate House on Sunday.
As recent exiles from Panic! at the Disco, Ryan Ross and Jon Walker espouse a take on recording music that stands opposed to the overcooked Pop-Punk they left behind. In Walker's case, that view involves urging fellow artists to exercise a greater sense of in-studio ad-libbing: "They'd all be enjoying themselves a lot more."
“Bigger is better” is a cliché that VNV Nation must hold close to heart. Composed of Ronan Harris (on vocals and synth) and Mark Jackson (manning percussion), VNV produces industrial-inflected Electronica with a thirst for the grandiose. They play The Mad Hatter.