Thursday December 22, 2011 – Devil Killing Moth * Smile For Diamonds * Poetic Mental Aggression

Devil Killing Moth (Houston, TX)

Devil Killing Moth is a two piece acoustic garage band that sets their own sound in accordance to their mood.

Based out of Houston, Texas, Devil Killing Moth is a two piece acoustic band that sets no limits. The sound is original, spacey, and very deep, with a blend of guitar effects and vocal melodies that elicit one to pause and create their own interpretation of the music.

 

 

 

 

Smile For Diamonds (Seattle, WA)

Loud and erratic, Smile for Diamonds delivers a heated show every time. Hailing from Colorado and now Seattle; this 4 piece came together in the summer of 2009. All from different backgrounds with different influences they are determined to bring a complete performance. Smile for Diamonds’ self titled and self released EP was released digitally in February of 2010. Recorded in downtown Seattle at …Orbit Audio and mastered at Tone Proper studios, this EP offers 5 songs based around the effects of losing a loved one and moving on with out them.
Fans of melodic, shoe-gaze indie rock as well as lovers of the heavier and more technical side of music will not be disappointed by the sonic experience this band has to offer. Commited to their music, this quartet brings a passion that is rare in today’s music scene. In 2010 Smile for Diamonds established their presence here in the northwest and took their show on the road. After an amazing tour of the northwest and west coast Smile for Diamonds has returned to Seattle with a new fire to bring their vision to a broader audience in 2011.

Poetic Mental Aggression (Houston, TX)

im just a musician looking to find other musicians create music thatll never be created again go to a club with that ideology and represent it on stage .

 

 

 

Thursday December 22, 2011 – Rogue Improv

Rogue Improv – (Houston, TX )

 

ROUND ONE:

Ladies and Gentlemen, Boys and Girls trapped in Gentlemen and Ladies Bodies! Come all at the same time to….

THE MAIN EVENT

Houston – this is your second main event hosted by The New Movement and we have INCREASED THE AWESOME!

This time, we’ll have four shows – yes FOUR ALL NEW SHOWS for only $5!

This week:
DRESS –
Shyla Hungerford, Adrian Frimpong, Matt Graham, Brady and Kelly Moore
Outside Vladamir –
Jim and Lisa Valentine, Andrea Kawaja, Royal Millen, Lucas Stokesberry
One Up Yours –
Antoine Culbreath, Matt Gawloski, David Toscano, Cris Skelton, Saurabh Pande, Tim Anderson
Jousting Bieber-
A bunch of nancy-boys and tarts from England. (amirite?!) ask Royal Millen, Matt Gawloski, Lucas Stokesberry, David Toscano, Jessica Brown, and Kelly Moore

AUDIENCE!!!! Be there by 8 and stay til 930 to make your vote count! There will be only one team to come out of THIS WEEK to take on NEXT WEEK’S WINNER! And it’s ALL based on your votes!

This is the most fun! Tis the season for Hunger Games/ Thunderdome/ Cage Match/ MAIN EVENT!

 

 

Tuesday December 20, 2011 – Bootown Presents: Grown Up Storytime #42

Bootown – (Houston, TX )

The Grown-up Storytime series is a late-night event that takes place the third Tuesday of every month at Rudyard’s British Pub, a bar and venue located in the heart of Montrose. You send us stories, we pick the best ones, and assign them to a rotating crack-squad of expert story readers who show up the night of and wow our socks and/or pants off. It’s on a Tuesday – what else are you going to do?

Interested in submitting a story or reading someone else’s story?!? Email us at grownupstorytime@bootown.o​rg

Saturday December 17, 2011 – The El Birthday Metalfest (6PM): Project Armageddon * Venomous Maximus * Warbeast * Sactus Bellum * Las Cruces * Mr. Plow

In honor of my brithday, and that of my good friend and bandmate Jan Kimmel, I’m putting together the El Birthday Metal Fest. Co-headlined by local occult-metal kings Venomous Maximus and DFW thrash supergroup Warbeast, The El Birthday Metal Fest features my band, Sanctus Bellum, San Antonio doom legends Las Cruces, a reunion show from local fuzz rock icons Mr. Plow (1st show w. original lineup in 5 years), and local doom mainstays Project Armageddon.

The El Birthday Metal Fest

Project Armageddon 1:10
Venomous Maximus 11:50
Warbeast 10:30
Sanctus Bellum 9:10
Las Cruces 8:00
Mr. Plow REUNION SHOW 7:00
Doors at 5pm
$15

Project Armageddon (Conroe, TX)

DOOM/Metal

Memebers
Alexis “Dok” Marie
Raymond Matthews
Brandon Johnson

 

Venomous Maximus (Houston, TX)

Houston’s Venomous Maximus gurgles with the sounds of proto-metal gods Pentagram and Blue Cheer as well as new-school leaders like High on Fire. The headspace of this band falls somewhere between a Alejandro Jodorowsky film and a New Orleans voodoo den. Hail Satan and pass the chicken feet.

Bands we’ve played with: High on Fire, Mastodon, Pentagram, Eyehategod, Fu Manchu, The Sword, Valiant Thorr, Red Fang, deadhorse, Royal Thunder, Tombs, Early Man, Torche, Honky, Dixie Witch, Black Cobra, Priestess, Black Tusk, Bison BC, Dead Meadow, Green and Wood, Gypsyhawk, Suplecs, Ancient VVisdom

 

Warbeast (Dallas/Ft. Worth, TX)

With the “retro-thrash” trend in full-swing, and hordes of bands trying to re-create “old school metal”, Texas monsters WARBEAST offer the real thing. Their music is not the result of careful study of 80’s thrash or classic metal; it just comes naturally because that is who they are. Krush The Enemy, their debut CD on Philip Anselmo’s Housecore Records, features ten tracks covering a wide range …of metal terrain aimed squarely at the neck-snapping headbanger in the front row. For WARBEAST, “metal” means high speed riffing, thunderous double bass, roaring vocals and plenty of blazing guitar solos.

The roots of WARBEAST are firmly entrenched in the legendary 80’s Texas underground metal scene. Vocalist Bruce Corbitt was the voice of speed metal splatter kings Rigor Mortis, who achieved major label success on Capitol Records in 1988. Guitarists Rick Perry and Scott Shelby were the riff machine behind Gammacide, one of Texas most furious thrash exports. Bassist Alan Bovee joined Gammacide when they re-united in 2006, and drum tornado Joe Gonzalez provided blast beats and mayhem for Dallas death metal band Demonseed.

The band was originally formed in the fall of 2006 under the name Texas Metal Alliance for a one-time performance to play a benefit show for Hammer Witch bassist/vocalist Wayne Abney. Abney had suffered a near-fatal motorcycle accident in August 2006. TMA’s performance for the benefit included special guest members from some of Dallas/Ft. Worth’s original thrash bands… Gammacide, Rigor Mortis, Rotting Corpse and Hammer Witch. After the benefit, some of the core members that made up TMA decided to make it a real band.

TMA initially played songs by the individual member’s previous bands. Now they focused on writing new material, and playing many shows throughout Texas. Two demos were recorded, and Bruce brought them along when Rigor Mortis was doing a tour in which they were supported by one of Philip Anselmo’s side projects, Arson Anthem. Bruce passed the demos on to Philip, who liked what he heard and wanted first shot at signing the band to his new Housecore Record label. After speaking with Philip and hearing his enthusiasm for the project, no other offers were even considered. In Anselmo’s own words: “Bruce is a commanding fucking presence. His performance on Krush The Enemy is the best he’s ever been. Rick and Scott’s use of chugging power riffs, mixed with classic progressions and twisting harmonies are executed flawlessly. Jose Gonzales plays the ever-loving shit out of the drums. Alan Bovee’s playing is as solid as a vice grip.”

In early 2009, the band changed their name to WARBEAST, feeling they had outgrown Texas Metal Alliance. In April they spent 2 weeks in New Orleans recording Krush The Enemy, with Anselmo producing. Engineered by David “The Puma” Troia, who has worked with bands such as Mudvayne, DOWN, OTEP, and Arson Anthem, among others. 100 proof metal has been forged here, and among many standout tracks are the blazing “Scorched Earth Policy”, the menacing “Stalker” and the apocalyptic “We Are The Vultures”. Once again, we’ll let Philip say it best: “every song is its own SONG; riff-delirium, thunderous cadences and classic Thrash vocals delivered in TRUE, classic Thrash style. WARBEAST will prove to be major players in the very near future…you can bet your ass on that.”

 

Sactus Bellum (Houston, TX)

Classic Doom Metal

Ben Yaker – Bass
Jan Kimmel – Guitar
Justin Waggoner – Vocals
Cory Cousins – Drums
Maurice Eggenschwiler – Guitar

Ben first. Soon thereafter, Jan. Then Doug for a little bit. Then Jim for a little bit. Now Justin. Then Derek for a longer bit. Now Cory. And later Maurice. No further changes planned.

 

Las Cruces (San Antonio, TX)

The American doom metal band Las Cruces was formed in San Antonio, Texas, in 1994. After a couple of releases for the Brainticket label and a self-financed EP in 2001 they more or less broke up.

In February 2005 they announced that they were active again and working on their 3rd full-length album to be released in the summer.

 

Mr. Plow (Houston, TX)

Formed in the mid nineties without a name or singer. Greg, Jeremy and Dave got together on Friday nights at Jeremy’s house right behind the original location of the Goode Company BBQ on Kirby. While the patrons at the Goode company were dining on BBQ outside on a picinic table with old country music playing through cheap outdoor speakers, the sound of Mr. Plow was being forged; overbearing the a…tmosphere with a big thick wall of bass and groove. After a few attempts of playing shows with a couple vocalists that never worked out, it was finally suggested that Jeremy’s good friend and law school cohort Justin Waggoner join the band. Soon thereafter the name Mr. Plow was decided upon based on a favorite episode of the Simpsons and a catchy jingle therein. The first album, Head On, was soon recorded and released. Mr. Plow played several gigs around Houston at places like The Mausoleum, The Oven, Mary Jane’s, Fitzgeralds, and Emo’s. Cock Fights and Pony Racing was released a couple years later. This album had a more produced sound albeit very bass heavy and thick by design to mimick the sound of a band favorite album, Kyuss-Blues for the Red Sun. By this time the band was reaching out to places like Austin and Dallas for a gig here and there, as well as playing more venues in Houston such as Rudyards. It was at Rudyards where the band met Joel Omelcheck, sound guy extraordinaire who recorded their most recent album, Asteroid 25399. Asteroid was considered the crowning achievement recording by the band but lacked as much public interest as their previous efforts despite being nominated as Album of the Year by 94.5 The Buzz rock DJ Zakk United who invited the band to play the Scout Bar as a part of the Texas Buzz. Some of the Mr. Plow catalog even saw airplay on the radio at this time slot, especially the stand out track from Asteroid 25399, Dead Eye Dick. Eventually, Greg Green left the band to pursue an out of state education to become a doctor. The band tried to carry on with another bassist but floundered after a couple gigs. Today the band memebers remain good friends and Greg is back in Houston. Justin is playing with a new Band called Sactus Bellum with the bass player, Ben Yaker, who briefly replaced Greg in the Plow. Jeremy and Greg play weekly in a band without a name and no gigs as of yet, playing mostly covers. David has been playing bass with a cover band called Likely Story for the last few years as well. The band is at least open to the possibility of playing again at some point some day.


 

 

 

 

Friday, December 16, 2011 – Black Queen Speaks * Tyburn Jig * Deep Ella

Black Queen Speaks (Houston, TX)

“Off with their heads,” the Black Queen Speaks. Then she courts them all – not separately but simultaneously. The musicians – Mike (vocals), D2 (guitar), Pez (bass), Josh (drums) – meld, they fuse. They are no longer individual talents; they are one . . . protrusions from the hydra head. And as she fuses them with each other, she fuses them with the music of the ages. They are transformed, and so is the music. No longer music from the past or the present, but music that transcends time and space . . . music that stimulates tribal dancing, chanting, swaying . . . pulsating. Taking the listener to the brink . . . bursting forth in a rush of warm, perfumed essence, alternating so rapidly that you collapse, exhausted. But you don’t care. You’re happy, you’re satiated until… in a nanosecond, you want MORE. And the Queen is happy to accommodate one and all. She dances through everyone. You love her. And she loves you. Weep not for this, your destruction. In every ending lies a beginning.

And we are all more pleasant without them, these heads

 

Tyburn Jig (Houston, TX)

Hotter than the Texas badlands and slicker than a Gulf Coast oil spill, The Tyburn Jig is a four piece original band of outlaws. Their music defies categorization but channels a brooding amalgam of demented surf and cow-punk. Perhaps you could call it Western Murder Noir. They are equal parts lust and legend, love and danger. Whatever it is, you can’t stop dancing.

 

 

 

Deep Ella (Houston, TX)

From the emotional well-spring of singer-songwriter Jeff Crowder, came the integral foundation for Houston-based artistic rock band, Deep Ella. With meaningful lyrics and organic melodies as the backbone of the project, the band released the record “Last Year’s New Thing,” in 2002. LYNT was characterized by a mix of diverse songs with a range of styles that embody the wavering passion of a progressive youth. Drawing together the experience of local success, consistent gigs, and a loyal fan base, the band began tinkering in the studio, using a few EPs to mold their sound. Deep Ella spent the better part of 2006 holed up in Helberg House, the band’s home studio, working on their sophomore album “Empty Seas and Memories.” The devotion of a decade paid off. Building on their talents, Deep Ella perfected an intricate mix of lusty vocals, aggressive guitar work and eclectic rhythms. The momentum of the “Empty Seas” release in 2007 allowed the band to explore regionally, supporting national acts like Blue October, Civil Twilight and the Paper Tongues. Deep Ella is set to release their much anticipated third album “You.me.and the Spider,” July 17, 2010. Produced by bassist Matt Noevesky, of Blue October, “You.me.and the Spider” is the culmination of a colorful vision of seasoned artists dedicated to transcending the sphere of modern rock.

 

 

 

 

Thursday December 15, 2011 – Rogue Improv

Rogue Improv – (Houston, TX )

Rogue Improv is a long form improv comedy ensemble performing shows every Thursday (except for the last Thursday each month) beginning at 8:00 p.m. at Rudyard’s British Pub at 2010 Waugh, Houston, TX, 77006. $5 cash admission, great bar, great food.

In each show, Rogue takes a suggestion from the audience, using it as the inspiration to create a completely improvised, unscripted, 25-30 minute theat…rical universe. Rogue concentrates on “grounded” improv that instinctively creates the funny. Come see it to believe it. Rogue also offers classes for new aspiring improvisers and workshops for parties and corporate events.

Saturday, December 10, 2011 – Black Tusk * Kyng * Monstro * Burn The Boats

Black Tusk ( Savannah, GA)

The Savannah scene has produced so many great bands you’d be excused for thinking that sludge is in the water there, but there’s no excuse for overlooking BLACK TUSK. Comparisons of ‘Taste The Sin’ to bands BLACK TUSK considers brothers only tell part of the tale; the band’s sophomore release and first for Relapse Records rips into you with locomotive riffing and powerful percussion, creating a furious display that incorporates the fury of punk and the precision of thrash metal within a familiar Southern-fried landscape. If ‘Taste the Sin’ is wrong, you won’t want to be right!

“The single, substantive frill of Taste the Sin, the excellent Relapse debut album by Savannah, Ga., metal trio Black Tusk, comes as the final track begins. “Well, hell, World War II gave us the ball point pen,” says the actor Charles Tyner in a monologue excerpted from his hilarious role as the militant Uncle Victor in the 1971 film Harold and Maude. With tales of war and murder, and his well-decorated uniform, he brings the lugubrious teen Harold to some uncomfortable intersection of euphoria and orgasm. “I say get the krauts on the other side of the fence where they belong. Let’s get back to the kind of enemy worth killing.”

Black Tusk eventually interrupt Tyner’s talk, massive drums and turbid guitar slashing through the script like lightning bolts. But the passage is significant as a thematic statement and– by then, 34 minutes into these 37– a reminder of just how relentless and economical Taste the Sin has been. Jonathan Athon’s swollen bass tone and the band’s tendency to put it in the middle suggest fellow Southern metallurgists Weedeater, while the serrated vocals and mid-tempo dominance recall fellow Savannah lords Baroness. But Black Tusk’s particular alchemy of metal and hardcore elides the fancy tangents of both bands, swapping Baroness’ acoustic and hyper-technical alleyways and Weedeater’s smoked-skull drones for a deliberate, methodical mix of marches and sprints. Churning like hardcore and viscous like stoner metal, Taste the Sin is the rare crossover record that works to capitalize on the immediacy of its chosen genres and not to bend them into obscurity. It’s a power play.

The Harold and Maude sample provides a fitting cap for the album’s near-maniacal aggression, too. Pardon the binary, but this is primo dude metal– high on might, speed, and aggression, rather low on finesse or grace. The cover by Baroness’ John Baizley depicts a bare-breasted woman who wields snakes as weapons and flowers as amulets. Inside, the grizzly trio peers from behind another nude warrior, this time with battle wounds on her face and black tusks extending rather crudely from her jaw. Oh, and the album is entirely about fighting wars and killing enemies, driving cars and crashing them.

Presented as a conjoined pair of EPs, Taste the Sin comprises two distinct but unequivocally androgenic parts. The first six tracks praise guts and glory, each member passing around tales of epic conquests and last stands. “Way of Horse and Bow”, for instance, opens with a shriek of “Attack!” over drums, guitar and bass that bludgeon a simple rhythm and riff. “Hear my call/ Raise your swords/ Mount your steed/ Lord of lords,” goes the first verse. The back half, a four-track suite called “Double Clutchin'”, opens with a strong-as-steel instrumental, guitars lifting above the dense rhythm section like the hood ornament on a vintage sports car. It ends, of course, with a crash. “Fuck you! This is my final farewell,” goes one perfectly obstinate bit just before the accident. The intervening minutes are worth the disaster: Barreling ahead, pausing only long enough to lean into the curves, Black Tusk don’t reinvent the wheel, nor do they try. They just go hard, fast, and long enough until, at the end of “The Crash”, the wheel explodes. Black Tusk are left with nothing but their own defiance: “Ain’t goin’ slow!” they shout again and again. They’re not lying, either.”

Black Tusk – Taste the Sin – Pitchfork 7.6

 

Kyng (Los Angeles, CA)

KYNG the southern California hard rock trio, originated in January of 2008 in Los Angeles. Singer/songwriter Eddie Veliz bassist, Tony Castaneda and drummer Pepe Clarke Magana, after years of working off and on with each other on various projects, decided to propagate the idea of a band that would closer fulfill their musical desires. Within months of sessioning the three were sold on the chemistry and shortly after that went into the studio to record their debut album. The sound they realized was exactly what they had sought after, a unique and universally appealing combination of heavy and captivating concepts, channeling influences from black Sabbath, Led Zeppelin to the Foo Fighters and Queens of the Stone Age. “We wanted a band that could stand alongside anything in the scene, have the ability to crossover seamlessly and still bridge who we are.” KYNG’s versatile approach of a sweet devastation bleeds from an artistic drive toward a momentum described as “California Heavy”. Their evolution will undoubtedly blaze a trail that redefines what is expected and defines the giants they will become.

Their first album, Trampled Sun, on REALID Records is set to hit the streets of the US and the World Wide Web September 27 while their first two singles, Falling Down and Trails in Veins, both mixed by Mike Watts (Adelita’s Way, Hopesfall, Quicksand, Brand New), are set to take over the airwaves and online channels mid July and will be available at iTunes July 26th. The digital deluxe of Trampled Sun will contain 15 tracks exemplifying the bands great range and how much music KYNG has to offer the planet earth.

The Los Angeles based trio, hailing from LA and parts of Mexico, is as unique in spirit as their sound. Reminiscent at times of the metal and hard rock of the late 1970’s in style and musical collection, with a presentation that is totally heavy, classic and modern-day all at once, they are sure to refresh the Active Rock and Metal landscapes of today and tomorrow. As drummer Pepe Clarke Magaña puts it, “I think we’re doing stuff, or a combination of stuff that has been done before, in a way it’s never been done before.” Their sound on Trampled Sun easily provokes the question, “Is that really just 3 dudes?” The pipes on Eddie Veliz reminiscent of Cornell is his early days, the thunder brought by Pepe Clarke Magaña on the drums and the rolling rhythms brought by bassist Tony Castañeda have KYNG meant for great things.

Completing dates with The Sword, KYNG is currently out with Black Stone Cherry and Pop Evil and plan on touring forever as the road is the life’s blood of any young hard rock band looking to take over the world. In the land of pigs, the butcher is KYNG.

Monstro (Atlanta , Ga)

Their self-titled debut album for Vagrant Records twists and turns through a psychedelic hard rock haze that’s as hypnotic as it is heavy. That heady combination is embodied on “Stallone” which glides from a guttural stomp into a resounding refrain, while “Concertina” rises and falls with a dark elegance, and album closer “April” blasts off on the fumes of a final ethereal hum. Four individual sonic personalities converge to make this music. There’s bassist Kyle Sanders [ex-Bloodsimple], drummer Bevan Davies [ex-Bloodsimple, Danzig], guitarist Juan Montoya [ex-Torche], and vocalist and guitarist Charlie Suarez, and they’re ready to take flight.

MonstrO came to life in early 2009. Post-Bloodsimple, Sanders had been itching to start a new band. He ran into Montoya at Torche’s final gig during The Melvins-hosted All Tomorrow’s Parties, and the two discussed jamming back in Atlanta. They linked up with Davies behind the kit and began playing for three or four hours at a time. The trio immediately started generating song ideas, but it wasn’t until Montoya contacted Suarez in 2010 that Monstro was truly born. The band members shared a desire to start fresh, and their collective fire had been lit.

“Everyone has been through this a few times, and we’re completely focused on leaving all of the bullshit behind,” declares Sanders. “We got straight to business once Charlie came in. It’s a different kind of chemistry than I’ve ever had. We can get into a room, and the ideas flow out. We didn’t waste a moment, and it worked like a band is supposed to work. We were brought together for the right reasons, and we knew where we wanted to end up.”

They wanted to end up with a sound that reminded them of their heroes without blatant imitation. What they arrived at was so much bigger. The quartet conjured a style that draws upon everything from ’60s psychedelica to shoegaze to heavy metal.

“The music has elements of everything we grew up with—Led Zeppelin, Peter Gabriel, Queen, Soundgarden, Jane’s Addiction, and Metallica,” says Montoya. “However, we don’t follow trends.”

Instead, MonstrO set a precedent of their own. Without any regard for the zeitgeist’s whims, the band entered an Atlanta studio with Alice In Chains vocalist William Duvall in the producer’s seat and, over the course of 14 days in 2011, they recorded the entire album. The sessions were split up into five-day periods so the band had ample time to reflect and tinker with each part.

Duvall proved the perfect producer for MonstrO. Sanders exclaims, “I’ve never seen anyone work in the studio with that kind of passion. He was the first one there and the last to leave. He was so involved and passionate, and his feelings spread throughout the band. He had a vision of where the songs should go, and he didn’t expect anything but perfection.”

That perfection caught the attention of Vagrant Records. The label saw the band three times—twice in Los Angeles and once in New York—and knew that there was something very special there. They partnered with MonstrO and set the wheels in motion for the release of this debut.

MonstrO introduces the band on a grand scale. “Stallone” buzzes with an intense thunderous guitar just before exploding into a massive chorus. It packs a serious punch just like its namesake did.

“We didn’t even think we were going to keep that title,” laughs Sanders. “It was based on Rocky at first, but it became more about the struggle of life and coming out on top. It’s something we all go through, and there’s a classic vibe to the song.”

Montoya adds, “It’s balls-to-the-wall and intense, and it just hits you.”
Sonically, the album covers a diverse spectrum. “Anchors Up!” charges at full-speed with an abrasive guitar gallop, while “Concertina” embraces listeners with its lulling and lilting swell. Duvall even adds a backup harmony on “Concertina” that wraps around Suarez’s voice seamlessly.

“I wanted to make something mystical but thumping,” reveals Montoya. “I’m big into movie soundtracks from A Clockwork Orange to Amadeus, and that ambiance is an influence. I’m always listening for something hidden that creates the mood. Charlie and William came up with this awesome harmony, and it gels nicely.”

Everything culminates on “April”, the album’s final dreamscape. Sanders adds, “It’s the most dreamy, psychedelic song. People take their own meaning from it. It’s deep, and it seals up the thoughts and feelings of the album.”

Like all of the great records before it, this one is based on feeling. That feeling will spread as soon as listeners dive into the whole thing. Montoya concludes, “Music is something that’s great for the soul, and it’s the most beautiful thing in the world. You can always find new worlds with music. Hopefully, our songs will create a universe in your head.”

Sanders echoes that sentiment. “This record gets spacey, dreamy, and tripped-out, and then it gets straight-up heavy. We’ve all been through tons of struggles, especially being in this damn business. If this music can help anybody overcome any struggles and get through the day-to-day grind everybody goes through, that’d be incredible. Hopefully, it can be some kind of escape. I want people to walk away from it happy and feeling completed in some way.”

After this trip with MonstrO, you may never be the same.  -Rick Florino, May 2011

Burn The Boats (Houston, TX)

Rising from under the waves…..

The end of February 2008 was the first time that Stevie (vocals), Floyd (bass/backing vox), and Charles (guitar) first got together in a small, dirty room at Francisco Studios that once served as a storage closet. That first meeting would produce a song, and would set the tone for the band as these three would comprise the core of the band that was to become Burn the Boats.

Both Stevie and Floyd were veterans of the local Houston scene, having played in several bands most notably, and respectively, The Scourge, and Morgue City. Stevie and Floyd had met up a couple of times prior to Charles joining, but admittedly, not much progress had been made in those early meetings. Once the three were together, the song ideas came rather easily, with Stevie sitting in on drums until a permanent drummer could be added.

Word of mouth led a friend of a friend named Derek to try out for the open slot in June of 2008, and he nailed all 4 tunes that had been written up to that point. Derek was a multi-instrumentalist that played in several bands, including an AC/DC tribute band named Brian’s Johnson. During Derek’s time in the band, BtB shared the stage with such national acts as DevilDriver, In this Moment, Opeth, High on Fire, and Baroness. However, as a result of Derek’s obligations to the other bands, his time in the Boats was limited and he left in early April 2010.

The drum throne wasn’t empty for long as Brandon came in at the end of April 2010, and put his stamp on all the songs in that first practice. With Brandon in tow, the Boats set about to play shows that helped to showcase their blend of new and old school influences infused with a dose of melody. As BtB played more shows, the consensus was that their sound was unlike the majority of bands playing out regularly. With the emphasis being more on songwriting than just a bunch of complex riffs thrown together, the songs have more of a natural flow that will keep the listener engaged.

The New Year found the Boats opening for The Sword, and winning over a slew of new fans. However that momentum was short lived as the curse of Spinal Tap reared it’s ugly head, and yet another drummer change was to come. Brandon returned to school full time and no longer had the time to devote to playing in a band. A temporary drummer was found to fulfill a previously scheduled obligation in early April of 2011, however, the search continued for a fourth permanent oarsman. That search has now ended at the end of October, as Brandon has rejoined the fold.

BtB is garnering internet radio airplay with the songs Release the Kraken, and Lost at Sea. Both songs are getting rave reviews from listeners, stateside and across Europe. Hoping to ride the waves of momentum that the airplay is stirring, BtB will release a Kraken 7″ single by year’s end, and will hopefully follow that up by releasing a full length album.