*SOLD OUT - Thanks, Philly!*
This is an All Ages event.

Hockey Dad (Windang, Australia)
https://hockeydad.bandcamp.com/

Cold Fronts (PHILLY)
https://soundcloud.com/cold-fronts

MT. EDDY (Oakland, Cali)
https://mteddy.bandcamp.com/

Doors 8pm, Show at 9
ALL AGES
at Everybody Hits Philadelphia


Like this jawn...
Flash Mob Productions

Sundressed:

?We?re all in this weird world together? is a perfectly suited mantra to describe Phoenix, Arizona?s Sundressed. The quote, from vocalist and songwriter Trevor Hedges? description of the message behind his own lyrics, is hopeful and unifying ? and thoroughly summarizes the band.

Sundressed was initially created, in part, to help vocalist & songwriter Trevor Hedges maintain sobriety. Years later, the calm of a sober life has allowed Hedges to take his struggles and successes and refocus them to a broader scope. What?s truly remarkable is that he?s managed to achieve this without straying away from his signature mixture of self-deprecation and eager determination. What?s left is an uplifting take on the heavier aspects of life, inspiring hope without treading into trite or conceived territory.

The past two years have been monumentally prolific for Sundressed, releasing two EPs and a split with Nashville?s Secret Stuff in rapid succession between April 2015 and July 2016. Now, the five-piece outfit has readied their first full-length record, ?A Little Less Put Together.? The LP, full of syrupy, yet poignant pop-punk songs wrought with massive hooks and stark lyrical honesty, is a must-listen for fans of Saves the Day, The Starting Line, & Transit. The uptempo bounciness and complex vocal melodies of ?Mill Ave and Broadway? call back to mid-era Relient K, while the melancholy, synth-tinged ?A Little Less Put Together? shows the band taking influence from Motion City Soundtrack. Ultimately, ?A Little Less Put Together? is a perfect windows-down-on-a-warm-spring-day kind of record ? capable of tugging at heart strings, but also demanding singalong after singalong with its huge, addictive choruses.

?A Little Less Put Together? was engineered, produced, mixed, and mastered by Curtis Douglas (The Maine), and will be out in March 2017 via Animal Style Records.

Sundressed is:
Trevor Hedges- Vocals/ Songwriiter
Garrett Tretta- Drums
Forest Walldorf- Guitars
Justin Portillo - Bass
Jordan Leal - Guitar

Northbound:

Jonathon Fraser, also known as NORTHBOUND, comes from a different world than most of his peers. After years of DIY touring in the punk and hardcore scenes, Fraser has a very hands-on approach to everything he does, and this has allowed him to be impressively prolific since he began releasing music under the NORTHBOUND moniker in 2012.

Though it started out as an acoustic solo project, NORTHBOUND quickly evolved to its current hybrid state between acoustic and full band. This dynamic allows Fraser the flexibility to be the primary songwriter, as well as play shows as a solo act if touring bandmates are unable to join him.


at Voltage Lounge
Thursday Jun 14, 2018
Doors: 7:00 PM
Show: 8:00 PM
All Ages
$10 - $12

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Eternal Summers
The critically acclaimed anthemic dream pop and post punk band, Eternal Summers are thrilled to announce their new studio album Every Day It Feels I?m Dying?, to be released on May 4th on Nevado Music.

Nicole Yun, from the band says, ?The combination of straightforward love lyrics and synth based sugary pop is a new realm for the band. This was the last song to come together on the album, and proved to be a really enjoyable experiment into new sounds and styles. It was so fun and pressure free to record a song like this that we all almost wrote it off like a joke or a song we could keep for our own amusement. I'm glad it made it to the record. People need some joy and fun these days.?

With a tempered song writing process that has spanned over two years, the group finds themselves documenting the many ways that one can cope with disappointment, fear, loss of control, loneliness and depression. The result is 2018?s Every Day It Feels Like I?m Dying?

Though the topics range from emotional numbness to tragedy, to calling out the ugly complacency within one?s self, the musical influences are hopeful, breezy, and even rollicking. Taking influence from Japanese, French and Swedish pop, bossa nova and jazz, the trio still finds a way to meld these new influences into their specific breed of melodic fuzz pop.

Having formed in 2009, Eternal Summers has now been operating as the trio of Nicole Yun, Daniel Cundiff and Jonathan Woods longer then they did as a duo without Jonathan. Long gone are the days of the Roanoke based collective known as the Magic Twig Community that saw the handful of like-minded indie artists working together; but what has grown in place is a band that stands on its own, in the words of All Music, ?The kind that other bands will look to for inspiration 20 years later.?

With several previous releases, there has already been a lot said about Eternal Summers music. From the crafty minimalism on their debut Silver, to the dream punk sheen on 2012?s breakout Correct Behavior, to the guitar driven power on The Drop Beneath, the evolution of Eternal Summers marks a band that embraces both anthemic rock and bittersweet ballads - a band that is grounded in jangle pop but with an added depth that rewards on repeated listens.

Eternal Summers never ending tour cycle has seen them play with The Pains of Being Pure at Heart, Surfer Blood, The Presidents of the United States of America, Cheatahs, We are Scientists, Nada Surf, amongst others.

Overlake
Overlake is a three-piece band from Jersey City, comprised of Tom Barrett (voice, guitar), Lysa Opfer (Bass, voice), and Nick D?Amore (drums).

When they?re not incessantly waxing philosophical about the musical merits of both MBV and GBV, or working to contribute new innovations to vegan cuisine, or proofreading poorly-written articles in pharmaceutical catalogs on their own time, Overlake is busy honing their own unique brand of noisy dreampop, drawing from such stalwart influences as Dinosaur Jr, Slowdive, and Hoboken?s own Yo La Tengo, a Bar/None alumnus!

They formed in the winter of 2012 while Tom and Lysa were playing in local five-piece hard-rock outfit, WJ and the Sweet Sacrifice. During practices, while the rest of the band would take smoke breaks (neither Tom or Lysa smoke), they would stay behind and play on whatever various instruments were set up and lying around, all the while discovering a musical kinship together. Serendipity struck when they met drummer Nick D?Amore at a mutual friend?s birthday party in Downtown JC in early 2015, only after enduring a seemingly endless Spinal Tap-like run of both hopeful permanents and fill-ins.

Overlake?s sound can only be described as massive, with Barrett?s delay-drenched guitar and whispery, laconic voice backed by the solid coupling of Opfer?s driving basslines and angelic backing vocals, along with D?Amore?s propulsive drum work. They?ve spent the last few years touring throughout the U.S., delighting audiences with their all-enveloping wall of sound, most of the time with their amplifiers draped in netted Christmas lights.

Their new record, Fall, was recorded and co-produced by Cheap Trick-obsessive Tom Beaujour (Nada Surf, Jennifer O?Connor). Unlike previous recordings, where Barrett would play all the drums, they went into the studio a well-oiled apparatus. What they left with was a more expansive collection of songs, their trademark sonics augmented by appearances of sparse piano and elegiac, mournful violin, courtesy of the incomparable Claudia Chopek.

Notes bend, shimmer, and boomerang all throughout the course of Fall, as do the lyrical sentiments. Loving glances turn into sources of pain, which mutate into some form of cautious optimism. Intimacy is fraught, its beauty fleeting. A period makes way for a question mark, which becomes an ellipsis. What Fall greatly captures is how these supposed stages don?t always occur in any logical order, and can make reoccurring appearances.

After all, an ellipsis is comprised of three periods?

VENUE INFORMATION:
Boot & Saddle
1131 S. Broad Street
Philadelphia, PA, 19147
http://www.bootandsaddlephilly.com

Jackiem Joyner at South Jazz Parlor

Jackiem Joyner at South Jazz Parlor

Cold Cave / Black Marble / Choir Boy at Union Transfer

UT Newsletter: http://ticketf.ly/1RqX4bJ
Event Feed: http://on.fb.me/1Xjri0B

COLD CAVE

Cold Cave is the electronic music of acclaimed musician, writer and artist Wesley Eisold. Beginning in 2007, Cold Cave has become a name synonymous with the contemporary resurgence of Darkwave and Synth Pop sub-genres, propelling Cold Cave to perform at world class museums The Getty and the Guggenheim, as well as performances with legends Sonic Youth, The Jesus and Mary Chain, among others. The sound has spanned from experimental industrial noise to rock?n?roll influenced electronic music.

According to the Guardian, ?Wesley Eisold is an absolutely new, young god of nihilism and despair ? he brilliantly captures Cold Cave?s aesthetic: the Morrissey of How Soon Is Now wailing over Nitzer Ebb beats and New Order melodies.?

According to Eisold, if anything, his music reflects what it feels like to live in the present. Eisold, whose baritone is as rich and resonating as that of Phil Oakey, Nick Cave or Iggy Pop, says ?Of course we love the lineage of the genre, early experiments with machines to convey human emotion; the marriage between pop and industrial music. At the time it was documenting the early stages of a new world, and we are recording what it feels like to be alive in that world.?

Black Marble

On September 30, 2016 Black Marble will release their second full-length, It?s Immaterial. Their first for Ghostly, It?s Immaterial follows up their EP Weight Against the Door (Hardly Art) and highly acclaimed debut full-length A Different Arrangement (Hardly Art). Still featuring Chris Stewart at the helm along with select collaborators as supplementation, the project's recent shift in locale from East Coast to West Coast lends a great deal to the overall feel of the new album: the light and dark elements of shadows, the salt and sting of evening?s high tide sea spray, a beautiful thing left on a shelf too high to maintain. The general mood is that of creating something new, but going back in time to do it. Like attempting to flesh out a song that you woke up humming but can?t find because it doesn?t exist yet.

With the end of the East Coast chapter of Stewart?s life on the horizon, It?s Immaterial was recorded in a period of mental and physical transition, trapped between spaces and unable to move on until the snow globe flurry of ideas floating around him settled just right. It?s Immaterial is soaring and muted all at once. It's a collection of songs pieced together from perfect seeming snippets heard while passing open doors. It's a framework in which your imagination creates its own version of what you need to hear but didn?t have a way to describe - like a favorite song heard on an unlabeled mixtape by a band you can?t uncover.

With both early releases the band followed a familiar path stomped down in the late 70's and early 80's by a kindred assemblage of synth acts whose gauzy tape sounds and DIY ethics paved the way for other likeminded artists. Pulling from the handmade approach of late 70's synth wave pioneers like Silicon Teens, Iron Curtain, Lives of Angels, and Solid Space, Black Marble dialed in on a clear understanding of its own specific sound, which has since evolved. Channeling Robert Palmer's early Island years, vocals have been pushed forward - their delivery more desperate. The result is a feeling more immediate yet claustrophobic.

?It's a lot of psychic turmoil about time, place, and the dissatisfaction that comes with being young and not having control over place, or being old and not having control over time,? Stewart says about the album. ?The record is filled with characters trying to convince themselves, and others, to change or to see things differently or to come along with them somewhere. It?s that moment of wanting between knowing and doing but frozen in time.?

It?s Immaterial is a further evolution in Black Marble's sound. Where the songs featured on their debut full-length seemed to hiss from a vent in the floor, the new tracks seem to be coming from the next room. Written, recorded, mixed, and performed entirely by Stewart, the new songs are a unified vision - one person?s attempt to patchwork together bits of vapor and the most subtle gleanings of preference to make something wholly new. It's an endless drive in the passenger seat of a car while listening to everything you?ve ever loved, but lasting only 40 minutes.

Choir Boy

?Choir Boy? was what the kids called singer/songwriter Adam Klopp in his early teens when he fronted punk cover bands in Cleveland, Ohio. An intended insult, the label seemed fair and fitting in a way, given Klopp?s religious upbringing and angelic voice. After high school, Adam left Ohio for college in Utah. While his career as a student would prove short-lived, he integrated into Provo and SLC?s underground music and art scene, left religion behind, and called his new band ?Choir Boy?.

?It seemed funny to me as sort of a comical reclamation of the mocking title I received from ?punk? peers as a teen. While serving as a weird reflection of my childhood and musical heritage.?

Since Choir Boy?s gorgeous debut LP on Team Love Records in 2016, the dream-pop outfit has gained a cult following online and in underground circles. Adam?s stunning vocal range, layered compositions, and heartbreaking melodies are backed by musical partner Chaz Costello on bass (Fossil Arms, Sculpture Club, Human Leather) - and along with a rotating cast of players, create the perfect blend of nostalgia-laced romantic pop music we?ve been waiting years to hear.

Dais is proud to announce the new single ?Sunday Light? b/w ?Madeline?. The new songs are a continuation of the strong compositions and songwriting evident on last year?s album, and a showcase of Choir Boy?s musical talent.

?Sunday Light? is a coming of age story, and touches on the frightening aspects of religion, ritual, and secrecy through the eyes of someone discovering the truth behind the door for the first time. Strong vocals soar throughout the composition, reaching dizzying heights and diving into low and commanding tones, backed with strings and reverbed keys ? it makes for majestic, but haunted nostalgia.

?Madeline? is the quintessential B-side heartbreaker ? ??a pessimistic commentary to an accumulative experience with love and romance. Ranging from memories of young love to hopelessness in adult relationships?, this ballad impresses with beautiful and delicate arrangements, the slow motion soundtrack for a hopeless young romance.

VENUE INFORMATION:
Union Transfer
1026 Spring Garden St.
Philadelphia, PA, 19123

No Such Noise: 10 Year Anniversary

TICKETS ON SALE MONDAY 03/19 AT 1PM

Ft.
No Such Noise

Behind Deadlines

The Holophonics

Eastern Function

All Ages
$10 Early Bird | $20 Door
Friday June 15th
Times: 7pm-10:30pm

Coda Newsletter - http://bit.ly/CodaSignUp
Upcoming Events - http://bit.ly/CodaEvents

Coda
1712 Walnut Street, Philadelphia
Phone: (267) 639-4630
www.codaphilly.com

Upheaval - heavy as hell sludge death from Boston
https://upheavalboston.bandcamp.com/

Ritual Blade - hard and heavy hardcore from Massachusetts
https://ritualblade.bandcamp.com/

Acolytes - doom from around the way
https://acolytesdoom.bandcamp.com

Necrosexual - go one on one with the grim one
https://necrosexual.bandcamp.com

Yuckmouf. - psychedelic hate sludge

looking for a few locals for this so holla at me (CK)

Friday June 15th
at Century
(29th & Reed)
8pm
$5

Mike Love
Friday, June 15th 2018
at MilkBoy

7:30pm Doors
8:30pm Show
21+

$14 Advance / $17 Day of Show
Tickets on sale now: http://bit.ly/MikeLoveMB

Jackiem Joyner at South Jazz Parlor

Our maiden voyage on this pro-stage. A great place to hear live music. We are looking forward to this one!

Newsletter Sign Up URL: http://ticketf.ly/1nZHwj8
Facebook Events Feed: http://on.fb.me/1PO9Ob2

Colouring
Fifties painter Mark Rothko, known for his large solid swaths of color, once claimed to have no real interest in the color itself or whatever form it took, only in expressing simple human emotions. In a similar sense, Colouring is the culmination of several sonic hues -- instrumental and electronic, pop and underground, heart and body -- but the aim is all feeling. London's Jack Kenworthy imbues his work with a wide-eyed relatability, whether he's exploring elation, obsession, or even melancholy over a swirl of lush house rhythm, post-dubstep atmosphere, art rock eclecticism, and sticky hooks. And as for form, the singer/pianist/producer isn't alone. Colouring is rounded out by bassist Dom Potts, guitarist Sean Reilly, and drummer Alex Johnson -- a lithe, powerful team for this mercurial but driven music.

It all goes back to Melton Mowbry, a small British town known more for churning out pork pies than gifted musicians. Jack's mom and dad were a psychologist and a professor, but both played as well. There was always music on the turntable -- her Joni Mitchell, his Cannonball Adderley -- plus guitars lying around and a piano in the corner. When he was about 4, just tall enough to reach the keys, Jack would use two hands to hit the bass notes for his brother's 12-bar blues. But he really wanted to play football or teach himself Beatles songs on guitar, so after a year of lessons on the ivories, age 6, he let it go. Then he heard Oscar Peterson, and his tiny mind was blown. By 14 he was collecting records, reading liners, and learning scales -- the littlest jazz fiend in the English countryside, or so he thought.

Enter Dom, 9, who ripped bass despite its being nearly bigger than his frame. He and Jack played rock and blues covers in various bands until they got serious about writing, added a member, and called it Kenworthy. But though Jack was of age, Dom was a 50-year-old bassist trapped in the braces-having, baggy-panted body of a tween. So they lied and played local pubs anyway. It was at Goldsmiths, University of London, that Jack met Sean and Alex and relaunched the band, in 2014, as OSCA, named for the jazz giant who set him on this path. He found other influences there too -- Caribou, Jamie xx, Atoms for Peace, and recent grad James Blake. Plus, Rothko and his Color Fields were eliciting unpredictable emotions from Jack. He was making beats in his bedroom, and his bandmates liked them: Why not just start over?

Colouring would be the name, of course, as the quartet forged their sound using all that old-school ability and new-school tech. They joined Interscope in 2015, as Jack was wrapping finals. Nowadays a song might begin on Jack's laptop or piano, or in a production mindmeld with the likes of Luca Buccellati (Yellerkin, Tei Shi) or Rhye's Robin Hannibal, and come to life with the band on the road. We could explain how, exactly, all that fits together, but the form isn't the point. What matters is the immediate undeniable feel of Colouring's richly layered, often joyous, yet still intimate music -- that, and Jack's crystal-clear voice, which gives the whole thing an extra layer of inexplicable magic. After all, it was Rothko who said, "Music must be miraculous." Actually, he said "pictures," but what's the difference, really?

VENUE INFORMATION:
Boot & Saddle
1131 S. Broad Street
Philadelphia, PA, 19147
http://www.bootandsaddlephilly.com

From the bombastic and epic, to the folksy and mystical, Get The Led Out has captured the essence of the recorded music of Led Zeppelin and brought it to the concert stage. The Philadelphia-based group consists of six veteran musicians intent on delivering Led Zeppelin live, like you've never heard before... or rather, EXACTLY as you've heard before! Utilizing the multi-instrumentalists at their disposal, GTLO recreate the songs in all their depth and glory with the studio overdubs that Zeppelin themselves were never able to perform. No wigs or fake English accents; GTLO brings what the audience wants - a high-energy Zeppelin concert with an honest, heart-thumping intensity.

Jackiem Joyner at South Jazz Parlor

Bone Thugs-N-Harmony
w/ Chill Moody, Mic Stew, and Shawn Smith
house music by: Death By Bong
Hosted by Lady B
Saturday, June 16th 2018
The Ardmore Music Hall

7pm Seated Doors
7:30pm General Admission Doors
8pm Show
$39 Advance / $45 Day of Show / $54 Seated

Tickets are on sale now: http://bit.ly/BoneThugsAMH
ALL TICKETS PURCHASED FOR 2/22 WILL BE HONORED

**Bone Thugs-N-Harmony**
Bone Thugs-n-Harmony is an American hip hop group from the Glenville section of Cleveland, Ohio. They are best known for their fast-paced rapping style and harmonizing vocals. In 1997, the group was awarded the Grammy Award for Best Rap Performance with their song "Tha Crossroads". Since its conception in the early 1990s the group has been honored with numerous other awards. Bone Thugs are also the only artist to do acts with Eazy-E, 2Pac, Notorious B.I.G., and Big Pun. Bone Thugs-N-Harmony are also recognized as one of the most successful hip-hop groups selling 50 million records.

The Dickies, The Queers
w/ The Jasons

Voltage Lounge
$17 Adv / $20 dos
7:30 doors / 8:30 show
18+

This is an All Ages event

Sale Dates and Times:

Public Onsale : Fri, 9 Feb 2018 at 10:00 AM

Live Nation Presale : Thu, 8 Feb 2018 at 10:00 AM

Live Nation Mobile App Presale : Thu, 8 Feb 2018 at 10:00 AM

The Black Dahlia Murder, Whitechapel at Trocadero Theatre

The World Is A Beautiful Place & I Am No Longer Afraid To Die / Pianos Become The Teeth / Teenage Wrist at Union Transfer

UT Newsletter: http://ticketf.ly/1RqX4bJ
Event Feed: http://on.fb.me/1Xjri0B

The World is a Beautiful Place & I am No Longer Afraid to Die

The World is a Beautiful Place & I am No Longer Afraid To Die have announced the forthcoming release of their third full-length, Always Foreign. Due out September 29 on Epitaph, Always Foreign follows the Connecticut-bred collective?s acclaimed 2015 album Harmlessness.

Produced by TWIABP guitarist Christopher Teti, Always Foreign confronts everything from the opioid epidemic to xenophobia to emotional abuse in relationships. Throughout the album, TWIABP match their sprawling arrangements and layered lyricism with a raw emotionality.

?When we started writing we were fresh off Trump being elected, so there?s an anger to the album that?s different from what we?ve done in the past,? says TWIABP vocalist David F Bello. ?There?s a lot more resistance thinking throughout the songs?not in a way that?s strictly anti-Trump, but also addressing things like white supremacy and controlling elements of the state.?

Along with Bello, Cyr, and Teti, the TWIABP lineup includes Tyler Bussey (guitar, banjo, synth, vocals), Dylan Balliett (guitar, vocals), Katie Dvorak (synth, vocals), and Steven K Buttery (percussion, vocals). Formed in Connecticut in 2009, TWIABP made their full-length debut with Whenever, If Ever (a 2013 release hailed as ?revolutionary? by Pitchfork) and later delivered Harmlessness (praised as ?bold and complex and dazzling? by Noisey and ?grandiose and dramatic? by NPR).

Pianos Become The Teeth

Pianos Become The Teeth have never been the kind of band who are easy to distill into a simple soundbite and that?s more evident than ever on the band's fourth full-length Wait For Love, an album that sees the Baltimore-based act reconciling their aggressive past with the atmospheric turns of 2014's Keep You. The result is a collection of songs that eschews stylistic traps in order to focus on songwriting and feels like a full-realization of what the band have only hinted at in the past. The players?vocalist Kyle Durfey, guitarists Mike York and Chad McDonald, bassist Zac Sewell and drummer David Haik?may be the same this time around but their lives have continued to unravel and that journey lies at the emotional core of Wait For Love, which is a creative collaboration in the truest sense of the term.

?For Wait For Love my goal was just to write really interesting songs that pushed us forward as a band and allowed us to do something different than we had ever done in the past,? York explains. In order to get out of their comfort zone, the group isolated themselves in a cabin on the Eastern Shore of Maryland for extended writing excursions and ended up with a windfall of 30 songs by the time they entered the studio. Although Durfey?whose wife had recently had a child?was absent at some of these sessions, ultimately that event allowed the vocalist to approach Wait For Love from a different perspective. ?I had so much more time to sit and ponder these songs and how I wanted to approach them,? he recalls. ?I think that changed by approach to vocals because it wasn't this immediate thing, it was more thought out.?

In order to capture their vision the group once again joined forces with Keep You's producer Will Yip (Title Fight, Circa Survive) who acted like a sixth member when it came to shaping these songs. ?Working with Will made us a better band as a whole because I think it helped us refine who we are and think about how to approach this record in a different way than we would have on our own,? York explains. That isn't to say that Wait For Love didn't have its share of setbacks?mainly the fact that Haik experienced a mysterious back injury a few days into the recording session?but even those unexpected events ultimately contributed to the overall sound of the album. ?I think a goal of both of us and Will was to write solid songs and not be afraid of being catchy while still sounding like Pianos Become The Teeth,? Durfey explains.

Correspondingly the album opens with ?Fake Lightning,? a transcendent musical meditation that pairs ambient guitars with impassioned vocals and Haik's driving drumming. Seamlessly that song gives way to ?Charisma,? which features fuzzed-out bass and melodies that hang in the air long after the moment has passed. ?I really wanted this to be an album where things weren't neatly defined and there were moments where you couldn't tell what was a guitar and what was a keyboard or sample,? York explains. This is exemplified on ?Bitter Red? a song that's cinematic in scope yet nuanced enough to fit perfectly in the band?s catalog. In a similar spirit, Durfey's lyrics are still just as poetic but see him shifting his perspective from the loss of his father to what it feels like to be one himself.

?This album all ties into the idea of love and how love comes to you during different times in life in good and bad ways,? Durfey explains, adding that it was refreshing to further stretch out stylistically on this record after he transitioned from screaming to singing on Keep You. ?To me this everything on this record is incredibly personal and as specific as it has been on every record but it's not solely based on one specific figure the way it has been in the past and I'm happy about that,? Durfey explains. That said, those familiar concepts of loss are present on the album's closing song ?Blue,? which approaches the topic from a more hopeful perspective as a new father imagines the endless ways his own son's life will play out.

Pianos Become The Teeth could have easily remade a screamo-inspired album reminiscent of 2009's Old Pride or 2011's The Lack Long After and no one would fault them for it. But Wait For Love is a rare example of a band still discovering their sound over a decade into their career, a fact that?s present in every note of this expansive album. From the haunting ?Dry Spells? to the experimentally minded ?Bay Of Dreams,? there are moments on Wait For Love that are so dreamy they?re otherworldly, whether the catalyst is a sample or a single note. ?This album has some of our most interesting guitar work but also some of the most pulled back ideas of what the record should be,? York adds.

?I think we all made an effort to be open to things and see what came out especially in the studio with this album, ?Durfey summarizes when asked about the ambitious nature of Wait For Love. ?When you've been playing music together for as long as we have it's easy to get in a rut,? he continues. ?Wait For Love still sounds like us but there are different kinds of songs here and I don't think that would have happened if it weren't for making records like Keep You and being open to pushing forward into that uncharted territory. I?m just really excited for people to have their own experience with the album.?

Teenage Wrist

Teenage Wrist's debut album Chrome Neon Jesus is available now. Signed to Epitaph Records last fall, the L.A.-based garage-rock trio molds elements of shoegaze, punk, and alt-rock into a timeless yet modern-edged sound.

Recorded with Grammy Award-winning producer/engineer Carlos De La Garza (Paramore, Jimmy Eat World), Chrome Neon Jesus combines dreamy vocals with distorted guitars and massive dynamics. Throughout the album, bassist/vocalist Kamtin Mohager, guitarist/vocalist Marshall Gallagher, and drummer Anthony Salazar explore emotional terrain that Gallagher describes as ?realiz[ing] the world is bigger, brighter and more terrifying then you ever imagined.?

VENUE INFORMATION:
Union Transfer
1026 Spring Garden St.
Philadelphia, PA, 19123

IT'S GOING TO BE A REAL LOUD & NOISY NIGHT IN PHILADELPHIA! Come out and support some GRIND and CELEBRATE my birthday!

7 BANDS / GUARANTEED CHAOS

*SET TIMES TBD

The official lineup is:

DRIVE-BY BUKKAKE (from Boston, MA)
https://m.facebook.com/dbbthrash/

GROSS (from Philadelphia, PA - new project from members of Corpse Hoarder)
https://www.facebook.com/grossbandpa/

PHLEGM (from Lancaster, PA)
https://www.facebook.com/Phlegm717/

TRIPLE CRIPPLE (from NY/NJ)
https://www.facebook.com/Triple-Cripple-150295378401735/

THE HUMAN RACE IS FILTH (THRIF) (from York, PA)
https://www.facebook.com/thehumanraceisfilth/

CADAVERIC SPASM (from Clifton Heights, PA)
https://www.facebook.com/cadavericspasm/

GROUND (from South NJ)
https://www.facebook.com/groundnj/

Super shout out to HORROR PAIN GORE DEATH Productions that produced a split featuring Triple Cripple and Ground, + more! Check it out:
https://www.facebook.com/horrorpaingoredeath/

I?ll be having 100 cupcakes and munchies for y?all. Get cupcake-wasted with me. And pick your poison at the bar with the lovely CENTURY bartenders!

Merch will be sold. Bring ya cash $$$

Saturday 6.16.18
7:00 p.m.
21+ / $8
Century
1350 S. 29th St.
Philadelphia

Supersuckers
w/ Speedealer
Riverside Odds
Saturday, June 16th 2018
at MilkBoy

7:30pm Doors
8:30pm Show
21+

$15 Advance / $18 Day of Show
Tickets on sale now: http://bit.ly/SupersuckersMB

Comfy
https://comfy.bandcamp.com/

STRANGEPRIDE
https://strangepridemusic.bandcamp.com/

FBGM
http://fbgmtheband.com/

Everywhen

All Ages | $10

Live at Ortlieb's
Saturday June 16th

St. James & The Apostles
Philly's own family trio of soul-stirring psychonauts. Cousins Jamie Mahon (guitar), Mike Kiker (organ/bass), Jeff Castner (drums) are going on their 8th year of killing stages all over with holy hellfire! You will not hear a trio with a sound this big in this century.

The End Men
Annihilating stages from Bushwick to Berlin since 2010. A captivating combination of monster riffs, utterly unique drumming and sideshow abandon. Led by husband-and-wife duo Matthew Hendershot (guitar) & Livia Ranalli (drums).

RunHideFight
Raucous rock fueled by motherhood & Marshall angst, featuring Jon Kois (drums), Christine Weiser (bass), Geeta Simons (guitar and custom-built double-neck 12-string sitar!) and the acid Buddha himself Brother JT!

Stacked lineup from start-to-finish. Start your summer off right!

Doors at 8pm
Show starts at 8:30
$10 - 21+

Cloud District (New York) joined by Birthday Boy (Philly) and Rob Tomlinson (Nashville + Philly), formerly of Post War Dream, will be dropping by Bourbon & Branch Saturday, June 16th 2018 to play some jams from their newly released records. 21+ with ID, tickets are $8 in advance/$10 at door. Show starts at 8:30pm. There will be drink specials, as well as, a delicious menu available from B&B?s kitchen. Come support local artists and talented musicians. For more information about this show and other great events going on at B&B, please visit www.bourbonandbranchphilly.com

Our first rehearsals were in a local park; something of singing outside, in summertime, for no one in particular, that speaks to the natural ease of our collective relationship with music? ? remarks The Jayplayers, of their formation in 2013 in Hershey, Pennsylvania. Their songwriting is unassumingly authentic, derived from a shared, somewhat unconscious viewpoint. It seems their process was one in the same ? to not really have a process; to write without intention, merely recording song ideas as they overcame their minds. ?Our songs are most simply commenting on the human condition; words and music in harmony, made to strike a chord in the hearts of many.?

This Americana act, based around the songwriting of Keeley McCue and Chris Weidensaul, has developed from an acoustic duo into a full electric band set up as well. The inclusion of bassist Michael Broda and drummer Tyler Kollinok into the fold, has resulted in their debut LP Glitter & Wine (2016) and upcoming EP, The Jayplayers: Little Bit Country. This sophomore project, recorded in the renowned MilkBoy Studios in Philadelphia, is set for worldwide release in February, 2018 across all digital platforms (iTunes, Spotify etc.).

Over the past four years, not only has their collection of songs grown into a multiple records, but they have also gained great notoriety for their hundreds of live performances. They have moved from playing local eateries and area listening rooms, to nationally recognized venues such as Rockwood Music Hall and World Cafe Live. With their highly anticipated EP on the way and expanded band format, you will surely be hearing even more from The Jayplayers - so stay tuned!

Saturday, June 16, 2018 ? 8pm
Doors open at 7pm

Bruce Hornsby?s commercial stock soared early on, when ?The Way It Is? ? the title track of his 1986 debut album ? became one of the most popular songs on American radio. In the two-and-a-half decades since, he?s had collaborations with the Grateful Dead, Spike Lee, Ricky Skaggs, Don Henley, Ornette Coleman, Bob Dylan, Bela Fleck, Bonnie Raitt, Pat Metheny, and more. Hornsby?s performance will offer a glimpse of a restless spirit who continues to push forward into exciting new musical terrain. Catch him LIVE at the #1 casino in Pennsylvania on Saturday, June 16!

By purchasing these tickets, you agree to our Box Office Terms of parxcasino.com/privacy/boxoffice. Tickets and ticket rates available while supplies last. Tickets valid for the show date and time purchased only. Tax and gratuity not included. Must bring printed copy of ticket and present at door or use e-ticket. Tickets do not include alcoholic beverages. Management reserves the right to change or cancel promotions and events at any time. Cannot be on the Pennsylvania Gaming Control Board Self-exclusion or State Exclusion lists to attend the show, visit Parx Casino® or dine at any of our food & beverage outlets. Visit Xclub or Xcite Center for more details. Must be 21 or older to gamble, enter Xcite Center or dine at any of our food & beverage outlets. Gambling Problem? Call 1-800-Gambler.

Following a recent string of sold out shows in NYC, PhilaMOCA presents the Philadelphia Premiere of HANDMAID'S TALE: THE MUSICAL, a comical and cathartic parody of the Margaret Atwood novel and Hulu original series. Set in 2028 Brooklyn, the show depicts modern millennials in a dystopian near future and the phoneless perils they endure.

Book & Lyrics by Marcia Belsky and Melissa Stokoski
Arranged and Accompanied by Fernanda Douglas

Cast:
Marcia Belsky (Offred)
Melissa Stokoski (Rory Gilmore)
Eudora Peterson (Aunt Betsy DeVos)
Drew Anderson (Extremely Hot Nick)
Farah Brook (Serena Joy)
Tim Platt (Commander Fred)
Karolena Theresa (Jax/OfJax)
Arti Gollapudi (Janine the One Eyed Bitch)
Isabel Martin Jr. (Gavroche)

Doors 7:00 PM / $15 advance / $18 day-of

PhilaMOCA
531 N. 12th Street
http://www.philamoca.org

Jordan Raybould presents a night of stand-up comedy from their best and funniest friends from the NYC comedy scene in the showroom of the Raven Lounge. This monthly showcase features professional comedians and will undoubtably be a night to remember!
What: LIVE STAND UP COMEDY
Where: THE RAVEN LOUNGE
When: SATURDAY MARCH 17. DOORS - 7:00. SHOWTIME - 7:30.
Who: JORDAN RAYBOULD (New York Comedy Festival, Anxiety Now Podcast, The Raybould Brothers)
BRET RAYBOULD (Bridgetown Comedy Festival, San Francisco SketchFest, College Humor)
+MORE
Tickets are $10 online, $15 at the door

https://www.eventbrite.com/e/nyc-comedy-invades-philly-tickets-42196772683