Lushfarm is a somewhat obscure Baltimore band amongst the art and hardcore scenes, but is also a band that is completely solid in their sense of self according to their upcoming third full length album. Lushfarm brings back everything we love about alternative 90’s bands such as The Smashing Pumpkins and Bush, focusing on intense emotional vocals with a flourishing arrangement of drum beats and electric guitar riffs to accompany.
The upcoming third album by Lushfarm, The Sushi Was A Waste Of Night Time certainly proclaims Lushfarm’s zen in an alternative 90’s rock filtered post punkness. The band’s first album, Dead At 30 is light and a bit theatrical. The second album, Lushfarm (self entitled) is the deep end of the Lushfarm pool with plenty of serious brooding and heavy musical arrangements. The Sushi Was A Waste of Nighttime (TSWAWON) to be released on August 13th, 2013 falls happily right into the sweet spot between the first and second albums and features some impeccably cohesive song writing.
Interestingly, the title of the album comes from a dream that lead singer Craig Taylor had about his brother’s unborn son. You can read the full story on lushfarm.com.
I don’t know how much unborn sons, oceans, and drowning brothers have to do with this album, but never the less it makes for interesting background and an interesting light in which to view this album. Not Just Anybody is the lead track and single on the album. It picks up pretty close to where the self entitled album left off, but holds true to a tighter pop format with a hooky sing-a-long chorus.
Home is a smooth little number with a bouncy bass line and plenty of bold choruses. Lately I is a bit meek and mild in comparison to the other tracks on TSWAWON, but very loveable with it’s stripped down vocals and guitar between angrier more robust segments. Only Son is a personal favorite and a song I swear you could have heard on HFS in 1996 and not found it out of place. Deep rhythmic drum sections change into noisy full on rock assaults with searing vocal accents that deliver abstractly concrete emotion.
Stories and The Giver are transitional songs on the album between Only Son, an archetypical Lushfarm arrangement and Potomico, a softer lo fi college rock exploration. I like the Potomico sonic exploration on this album, but I doubt this song signifies a new direction for Lushfarm because Shelter finishes strong with non stop crackling shouts, sound effects, and edgy tension filled guitar riffs iconic to Lushfarm.
Check out Lushfarm live at their CD Release Party on August 10th with The New Media and Goat at Metro Galley, Baltimore!
It would seem to be a lazy summer for Bucket Of Rock since we’ve taken a bit of a respite from hosting the Bucket Of Rock local band parties that kept us busy all spring. Actually, it hasn’t been a lazy summer at all! We’ve been doing lots of great things like catching up on our writing, attending and photographing the best events around town, and also planning music nights for this year’s Artomatic@Frederick. Yes! Artomatic is happening again in September 2013 and with all the attention to detail in music planning this year, it’s bound to be the absolute best way to spend your Friday and Saturday nights in Frederick through the month of September. The planning team and I just might have a few surprises up our sleeves also, so mark your calendars and stay tuned.
With everything else happening, BORO does have ONE amazing Local Live Night at Bushwallers show coming up July 31st and you definitely do not want to miss it. The lineup features Frederick’s hottest bedroom pop band, Ghost Hotel along with the Silent Old MTNS boys and Blind Man Leading (Pop Indie from Baltimore). Check out this great review of Ghost Hotel’s current album, Do You Feel IT on FNP’s For The Record. Ghost Hotel has a charming stage presence complete with complementary guy and gal vocal leads to delivery those xoxo starry eyed hooks and while your head is floating in the clouds it’s simply intuitive to forget your anxieties and dance along with the bass line. It will be an easy conversation and cold beer kind of melatonin manufacturing midsummer night, so please join us. If you want to see for yourself, you can preview Ghost Hotel at Café Nola this Saturday, July 13th!
It’s no secret that Flying Dog brewery in Frederick, MD keeps getting better and better as the company continues to dream big! I particularly appreciate their growing investment in local cultural activities, carefully mixing local artist with big names and affluent citizens of the community just like they craft their killer brews. This past Saturday’s Sumer Sessions concert series with Deer Tick and Old Indian was a brilliant example of “what’s on tap” for modern music lovers in Frederick.
Deer Tick, a little band who started in the little state of Rhode Island in 2004, quickly became know for their big stage personalities and now have 75k Facebook fans and international success. Their country tinged gritty rock and roll is a modern American pop culture staple.
Deer Tick took stage right about 7:15pm, opening with the rowdy Lets All Go To The Bar and delivering a lengthy 1:30hr +encore set full of energy, beer, and goofing around that fans have come to expect. Check out the photo’s [here on Facebook] to get a peak at the smile educing array of stage jumps, dirty dancing, geek out band moments, and more. The set included favorites from the most recent album, Divine such as the afore mentioned Let’s All Go To The Bar, The Bump, and Miss K as well as classics such as Baltimore Blues and covers of Merle Haggard’s Today I Started Loving You Again and Warren Zevon’s Lawyers, Guns, and Money. The weather was spectacular and Deer Tick proved to be nothing less than the great performers they are known to be, but the coolest part of this event was getting the opportunity to listen to local favorites, Old Indian rock on the big stage.
Old Indian’s been riding a wave of current milestones for the band having just released their first EP, being featured on an upcoming Flying Dog compilation, and playing an endless string of progressively bigger shows leading up to this awesome opportunity at Flying Dog to turn their amps up to 11 and rock an entire square block of outdoor space filled with new ears. Old Indian kept momentum through out their lengthy set, doing a good job of pleasing die hard and potential new fans. The set included some new and rarely heard songs and also super tight versions of everyone’s favorite jams that were sure to win them some new friends.
I wanted Old Indian to have the chance to tell you in their own words about their experience at this show, so the guys were kind enough to do a written correspondence with yours truly. Below is the short interview.
Bucket Blogger: Tell me about setting up for a big stage like the one at Flying Dog. Was your set up a lot different than normal local shows? What was your favorite part about the big stage set up? Did you bring any extra special gear to show just for the occasion?
Old Indian: Well we got there late because I (Cory) read the email wrong, luckily we don't take that long to set up but we definitely had to play catch up before the gates opened. The big stage production is nice because you can do a sound check and ask for more of bass, vocals, and so on in the monitors. For a louder band like us it just makes everything easier to hear. Nothing really special for this show except changed strings on one guitar and bought a tuner. Mark got a sweet new bass, no more baby blue.
BB: I'm sure playing on the big stage was a great opportunity, what personally did you learn or take away from the whole experience?
OI: Green rooms are cool.
BB: For those who haven't asked, I'm sure they are dying to know if you got to meet the Deer Tick members. So did you get to chat with the band?
OI: Yeah we met all the guys from deer tick. We small talked a little. Real nice guys. They were heading back home after that show.
BB: What was your favorite beer and/or food truck at the event?
OI: We tried a little bit of everything. Flying dog treated us, great big thanks to them. All the food trucks were great. I think everybody in the band got something different. There was a diverse selection of food rather than all deep fried food.
BB: With this great wave of mile stones lately for the band, is touring or possibly playing some other festivals in your near future?
OI: Your too kind to call it a great wave of mile stones...hopefully the wave just gets bigger until we can ride it into space. We actually are going on a 5 day tour next month, ending in Detroit at a skateboard vert contest called party at the ponds. Should be awesome!!
ALL IN ALL HAD A GREAT TIME, HOPEFULLY MORE EVENTS LIKE THIS IN THE FUTURE!
One of the things I love most about this blogging thing is the increased random chance of stumbling across great bands. I love the random PR company emails I get on a daily basis, most are junk, but on rare occasion you’ll get turned on to something really good.
That’s how I came across Graveyard Lovers and had the chance to check out their upcoming debut album, Dreamers. The album as a whole is way more polished and mainstream oriented than I usually prefer, but impulsively I can’t help but like it. It’s got the emotional pull and abstractness characteristic of all great albums that frees it from the details of genre, mainstream knowledge, or artist.
Graveyard Lovers coin themselves typically as a “blues-based indie rock trio comprised of guitarist/singer Zach Reynolds, drummer Tricia Purvis and bassist Orion Wainer”. Lead singer Zach Reynolds hails from Louisiana and his southern blues charm is definitely tangible on the album. However, Reynolds’ background is highly, maybe perfectly, balanced with Tricia Purvis’s New York City rock repertoire of influence.
Dreamers doesn’t feel old school bluesy and it doesn’t sound like a Black Keys album either with a lot of extended “bow-bow-bow” boogie bass line [or drum lines, in the Black Keys case] heavy instrumental interludes. Bluesy elements are constrained to guitar riff hooks and lyrics presented in short form mainstream arrangements. Reynolds has a savory voice, a rough indie sort like Conner Oberst in the early Bright Eyes days with gravel in his throat or an indie version of Tom Petty [which ties in the southern rock thing a little better].
Dreamers floats between power rock and melancholy ballads. The album opener Manifesto, splits the dice as noisy hard rocking ballad about sticking up for your personal independence. Love and Hunger is a pure power rock song on the theme of the iconic two lost and lowly soles in love fighting to make a life in a hard world. See if you can’t help but chant the “Love and Hunger” vocal hook by the end of the song.
The title track of the album, Dreamers [which sadly doesn’t have a preview anywhere online] wraps up the diversity on this album that together, the first three songs present. Reynolds looses much of the gravel in this song and delivers a smooth modern rock song with a harmonica melody that adds that bit of southern warmth and charm. The album hits one of two of it’s softest points on From My Window, a song about disparity in the world. Gone Too Far delightfully brings back that harmonica to add a bit of extra drama to the story line of a drifting mess up.
Blessed Are The Ties That Bind most reflects Reynolds bluesy background with searing guitar riffs and hard drum breaks in a sexy romp. The album quickly transitions back to a modern rock format however, keeping only a bluesy guitar riff hook in When I Get Mine. Piedmont Blues is an airy grandiose song with a worldly feel that takes the liberty to include some solo guitar jams. It also keeps a steady driving rhythm that maintains the draw through out its entire 6 minutes, making it by far the longest song on the album.
After all this excitement, we reset back to the second soft ballad on the album, The Island that uniquely features a simple keys based melody. Nameless is another power rock song that harkens the style of Love and Hunger is faster punk rock based rhythm. You And Me, a well composed love song, consistently floats by in the slower ballad style found on this album and dumps us out into the closing song Working For The Company that also quells us rather than stirs us up again.
I get the haunting feeling Graveyard Lovers might be another band produced by the industry or at least adopted by it and not created from the “struggle” necessarily, but maybe that doesn’t always matter. A good album is a good album and this one is definitely solid rock that doesn’t sound much like anything else in the mainstream right now. Keep an eye out for when this finally hits the shelves, a date that is annoyingly TBA at the moment.
The first 2 minutes sound like what you might expect of a sophomore release from an edgy modern indie rock surf band that made their debut three years ago in 2010.
The sophomore album, Pythons from Surfer Blood is polished, has a ton of pop hooks, and intelligible lyrics. However, you know something is off the minute the hardcore-esque growl vocals come into play in Demon Dance.
Growls these days are reserved solely for the hard core and the wanna be hard core [you can draw your own line in that sandbox].
It's like our cute Shih Tzu had a sudden lapse and snapped at us while we were trying to prevent it from eating that chicken bone in the KFC box dangling out of the trashcan. The waters quickly return back to pop calmness however, and we try to forget about that whole growling incident.
It's pretty easy to do as Gravity bounces along and spits a cutesy love metaphor based on orbiting planets.
Oh, but don't get too comfortable Weird Shapes adds some just noticeable rip tide to our calm seas with a chorus that consistently brings back those growls in more of a shout form.
So now we know it's not a fluke, we can't ignore it, it's a fact of life in Pythons.
I Was Wrong is a well enough Morrissey meets 90's alternative rock song with benign electric guitars and rhythmic bass lines.
Squeezing Blood is the most innovative and edgy song on Pythons that fan's of Astro Coast will most likely connect to positively. However, now we have this Morrissey likeness to reconcile.
Fan's of Astro Coast undeniably enjoyed the minimalistic lyrics and reverbed out power vocals burst versus actual singing in the album.
In fact, vocals are treated more like another instrument than actually something to focus on in Astro Coast.
The lyrics were simple, catchy, and minimalistic which was perfect to allow the listener bliss out to the feel good surf rock electric guitar melodies.
Python's is a much different album where the vocals are meant to hold their own space; unfortunately this doesn't play to the albums advantage.
The better part of the lyrical onslaught is cheesy and generic and hard to ignore because admittedly the Morrissey sound grabs your ear. Say Yes To Me and Blair Witch are both rambling love songs, although the power chorus in Blair Witch is more in vein with a polished version of a chorus you would have found on Astro Coast. Needles and Pins is very likable with more of a dreamy airy feel where the vocals fade back into the instrumentals and includes a bit of fun guitar choruses. After, excepting Pythons for what it is, the album finishes strong with Prom Song, a strong cohesive manifestation of this Morrissey meet 90's alternative sound. So if Surfer Blood isn't hard core, are they therefore trying to be hardcore?
Is our Shih Tzu cooler now that it growls, but presents itself as even more docile and cute? Pythons seems a little bit reserved in all the wrong ways and also a little bit aggressive in all the wrong ways.
An elaboration on the EP Tarot Classics would have made a better second album and a more palatable transition into a new uber pop direction. Lastly, I simply miss the surf vibe so prevalent on Astro Coast and so unique in the mainstream indie scene. Overall, few of the lyrics and or melodies stick with you beyond the listening session regardless of what everyone else is saying. I think there is a tendency to like this album beyond it’s actual merit, beings that Astro Coast gained Surfer Blood a lot of street cred.
The “Aussie beat” is hot right now and I’m not joking. Musicians from the “down under” seem to be on top of the game in recent indie rock trends.
Tame Impala was the first Australian band last year to turn heads and now we have Jagwar Ma starting to receive mass press coverage on the verge of their new album release (scheduled for 06/11/13). Most like to describe them as a modern incarnation of The Stone Roses, but really Jagwar Ma is much more upbeat and electronic centric.
Howlin’, the second release from Jagwar Ma is a mix of tame impala like psych effects with 90’s electronic dance beats complete with mod siren sounds and a tweaked industrial undertone. The first track, What Love set’s the tone nicely bringing on the cheap, but irresistible head-bobbing grooves.
I should mention at this point, that I feel like modern dub step tribal trance dance listeners will hate this album because Howlin’ basically ignores the existence of the genre and pretends like the computer world really did end in the year 2000. I suspect modern electronic aficionado’s will chalk it up as some weak pop market bubble gum junk, but that’s kind of exactly why I like it.
The whole album is about combining the fun elements of psych and 90’s electronic in an incredibly tasty and digestible way, there is nothing about the artistry here that get overly technical and in fact a few times during the album you’ll notice it’s just simple loops and no one is hiding that fact.
The second song, Uncertainty is a great melodic track with great hooky lyrics and one of my favorite jams on the album. The Throw is a very digital Primal Scream reminiscent track coming it at almost 7mins that takes melodic jungle beat excursions around every hooky corner. The Loneliness, breaks the electronic sweat with a more Brit 90’s alternative sounding pop rock vibe. Come Save Me, starts out with a chorus you might find in 1950’s pop rock song. Simple lyrics such as “I don’t think you want me like I want you” repeating and then “I don’t want a love like this” building in crescendo and then breaking into psych electronic melodies. The song continues with the doowop pop vocals and modulates a variety of instrumentation and effects underneath on the same rhythm.
Four is the half way point of the album and returns to a highly modular and tight electronic beat, another 6+ min song that gives you the chance to get in zone and get your groove on. Let Her Go harkens the Brit Pop explosion of the 90’s once again in a short 3min rock song format. Man I Need is a balanced track of psych rock, pop hooks, and electronic overtones with the most appeal for a single in my opinion.
Winding down, Exercise pushes the psych rock electronic balance further taking a few more opportunities to indulge in electronic beats and melodies. Did You Have To is a slow psych jam full of soft choruses and a bit of a contrast to the rest of the album. Backwards Berlin is the final song on the album and Jagwar Ma take one more opportunity to deliver an extended groove clocking in at almost 6 min. It’s a song that starts off very ambient and abstract in nature, but builds in dreamy solidarity.
Overall, the album is fantastically diverse in nostalgia and a good one to get you moving in one way or another.
Writing about SXSW 2013 now after the fact feels like trying to recall your dreams after a night of doping up on melatonin and sleep aids.
I sit here contemplating what in particular I should report and wonder if any of the flash moments of greatness and the wash of day to day survival aspects would really make any sense. Living out of a brown corduroy Jansport for an entire week. Sleeping on multiple couches. Jumping straight off the Mega Bus and meeting friends at my first SXSW show. Grabbing front row and shooting photo’s at the wildest Black Lips show I’ve ever been too (see Photo’s). Taking the bus, catching cabs, walking, walking, walking uptown, downtown, cross town, all over town. Getting VIP photo access with a little luck and charm. Avoiding lines without badges or wristbands. Letting the random chaotic fun of SXSW take over when you have no plan or your plan goes bust (because it will). All I have as proof that this really happened is a 16GB memory card full of photo’s (see Bucket of Rock’s Best Photo’s from SXSW) and this undeniable sense that I just experienced a life changing good time. I guess that will do. As I roughly recall my state of mind going into my first SXSW, I think that’s exactly what I had hoped to accomplish.
SXSW, the giant multi-venue music festival that takes over Austin, TX for an entire week is a mass organized event full of lunacy. SXSW is exciting and often overwhelming. SXSW is full of human comradery while the density of crowds and lines challenges your attitude toward fellow man. A lot of people (in the ballpark of 20,000 musicians, industry professionals, and music fans) go to SXSW’s music week for a lot of different reasons (to be heard, to listen, to buy, to sell, to party). Why did I go to SXSW 2013? Mostly, I wanted to see what kind of unauthorized (no wristband/ no badge) trouble I could get into with my new Nikon D700. Secondly, for the same reason I do everything Bucket Of Rock blog related. I wanted to share a music experience with many of my not so fortunate or not so well informed fellow music enthusiast right here in Frederick. Lastly, why not! It sounded like an epically good adventure full of the thing I love the most, music.
There was plenty of luck to be had at SXSW 2013. Unless you like standing in large crowds and paying a pretty penny, skip the badges and wristband and events that require them. The growing number of jaded big industry professionals would agree with me. Go see Usher in Philly next time he comes around, don’t waist your SXSW magic on the official generic big stage show you could see anytime anywhere. The best things in SXSW life are FREE. Somewhere along the line SXSW started becoming more known for the spectacle of odd ball music mash up on the official stages which tend to deter attendance at the up and coming band showcases. I heard some regulars complaining that SXSW 2013 was lame in comparison to the past few years. I couldn’t have imagined it being better. I was there to discover the undiscovered and there were more opportunities to do that than I could possibly take advantage of. Go to the free record label day parties if you can at all possible get your whit’s together by noonish. If you get the itch to see some bigger names, check out the band on twitter and facebook daily, get their entire SXSW schedule, do some research, and go to the show with the smallest stage and most free or discounted libations. It’s a bit of up front work, but it pays off big. Free admission (or even $10) + Free/ Cheap food and drink + crowd intimacy is the perfect recipe for FUN. These are also the events all of you unofficial music industry professional are most likely to score VIP access and/ or a word with an important new contact. At the Shooter Jenning’s Day Party at Threadgill’s I was standing around with my camera in hand and managed to convince the security guy to hook me up with a stage pass so I could shoot with all the other professionals. Many times at Club De Ville with camera in hand, I was able to waltz right up to the side stage landing and shoot till my hearts content. I caught some photo’s of The Walkmen this way and there was tons of FREE beer! Once more, I was standing in the crowded Mohawk Van’s Stage area and spotted the steps as the perfect photo op regardless of the big “No Standing” signs. I walked over and wiggled my camera at the security guy, got the ok, and got some great shots. One of my favorite days was a FREE completely open house party on the very last day of SXSW 2013. There was FREE donated tofu, shared BYOB beer, plenty of conversation and good music in the most welcoming of pale sea blue painted wooden floor living rooms. It was like the SXSW fever had broken and we were all reveling in our survival. This might all seem a bit trivial I know, but SXSW has a funny way of affording you the opportunity that YOU need if you let it. No, I didn’t meet Jim James, although I did see him and the Flaming Lips in concert for FREE at Auditorium Shores. But who am I, in a vast hierarchical sea of music and industry professionals? What I needed was to put some miles on my camera, pass out a few business cards, and to have the most easy going fun time I possibly could. I was lucky. I got that. I wasn’t the only one, I like this legally blind guys report (Blind South By) on his last minute unofficial emersion into SXSW 2013.
While lady luck can kiss you at any moment no matter who you are, SXSW isn’t as romantic of an experience for all. As a music industry professional (bloggers, photographers, record label recruiters) SXSW is a fully worthwhile venture and you can do it for next to nothing besides your plane tix and cost of living. For musicians the equation gets much more complicated. The most important part is often the most exploited part. I doubt I’m the first to point this out and maybe it’s common knowledge for you touring musicians, but for the record… There is certainly an exponential curve between hours of free play time and mainstream popularity. Undiscovered, unsigned, truly independent artist will bust tail playing something like 5 – 10 shows in seven days for pennies (usually free) in an attempt to reach new audiences and offset the chance that Jim James is playing at the same time. If you’re a local independent band, don’t even bother going to SXSW if you’re not going to milk every hour you’re there for opportunities to play. This is a party about you, not for you. You are required to exhaust your self and you will not make any money. Keep your eyes on the prize and network at the artist tent, with other showcase artists, and who ever else might be floating around. This is your payoff. Big business comes from knowing the right people or at the very least as many people as possible. Here in lies the dichotomy of SXSW greatness.
Foxygen is an upstate New York based indie rock band that follows in the foot steps of classic greats such as David Bowie, The Beatles, and The Rolling Stones with a heavy top coat wash of new psychedelics. With their second album having just been released a year after the first and produced by major recording engineer Richard Swift , the band has basically gone viral with kids gobbling up their albums and show tickets left and right. Sadly, however the sweet life might turn sour real soon for the newly successful Foxygen.
Bucket of Rocks been on top of our game enough (‘cause we’re awesome. Wink. Wink.) to have caught two local live Foxygen shows and it wasn’t until after the second show at the Metro Gallery (Baltimore) that I felt compelled to write a little sumptin sumptin. I was following some discussions on the facebook event from the Baltimore show and everyone was really disappointed with their performance. Admittedly, the first time I saw Foxygen at the 9:30 Club (DC) opening for MGMT, I too thought “what a train wreck”. It wasn’t at all what I was expecting based on listening to Take The Kids Off Broadway (the only album available at that time), in fact they only played maybe one or half of one song from that album. What bothers people is the amount of dissonance and often chaos that occurs on stage at a Foxygen show. Where art thou hooky beats? Where art thou sweet psych melodies? Where art thou polished stage persona… The kids cry.
All of these questions and concerns are completely justifiable for such a hyped band, but here’s some food for thought. Was the Sex Pistol’s any less of a band because of Syd Vicious and their sloppy performances? Maybe part of the chaos is intentional, a stage act, just not the stage act you were expecting. Probably a lot of it is not however. I like the recent Foxygen interview on NPR World Café. It gives insight into the immaturity of a band that started out creating somewhat dissonant and psychedelic sampling mixes with over dubs and that is now, within the last year expected to be a seasoned stage band that tours the US constantly reproducing intricately layered recordings.
So have we been purposefully hoodwinked or are we all just mad that our great expectations were way off base? Here’s some tips… don’t go into a Foxygen show expecting Take The Kids Off Broadway or We Are the 21st Century Ambassadors of Peace & Magic or any other preconceived concept. Every show is for better or worse, a unique uncontrolled reincarnation of the controlled environments on both albums. The reason you are going to see Foxygen is to see a band that will some day back up this majestic sound they’ve created on record and sell out stadiums or fall into death or rehab and never perform live again leaving us with what could have been. Anyway, what’s wrong with a little chaos, a little freak show. This is America, don’t we thrive on that stuff? The best quote from the NPR interview is that Foxygen is “literally psychedelic”. No truer words have been spoken because Foxygen’s live performances are a dizzying trip between stage mess ups, eccentric personality, and the most fluid and happiness evoking melodic moments.
Don't forget to check out Bucket Of Rock on Facebook for daily happenings and weekly local show updates.
You're not going to want to miss this most excellent opportunity to indulge in your rock genre geekiness. BORO's got THREE killer bands lined up, each having their own distinctive rock style and hailing from three different states. Were hosting this monster party at Bentz Street Bar giving us twice the space and twice the rocking ability than any other previous BORO show!
The lineup includes Old Indian (Frederick), The Demon Beat (Shepherdstown), and special guests Sleeping Bag (Indiana). This will be Old Indians first show in over a month and they will be bringing copies of their EP for sale. Additionally, The Demon Beat hasn’t played Frederick since before the release of their new LP, Less is Less and they’ve never quite had the opportunity to turn the amps up in our hometown until now! Even crazier, our currently on tour friends from Indiana, Sleeping Bag have decided to join us for the night and I’m sure they will have copies of their new LP, Women of Your Life .
As always, BORO will be squawking on the mic occasionally and giving away door prizes! Check out the details below and join the facebook event for the latest updates.