You’ve probably heard this song all over TikTok and if not, you’ve probably seen the memes! This song was originally posted on the internet in July 2019 by Jedwill and then the Peter Kuli remix was posted on Soundcloud in October of 2019. Since then the official music video has reached over 340K views and has even sparked controversy that NBC News and The New York Times wrote an article on it.
Although many take the term “OK Boomer” as a joke, many other people have considered it to be slander towards the Boomer generation. The Music video opens up with short clips of the “Boomer” Generation such as Seniors walking down the street to vintage footage of the Boomer generation when they were younger. The way the video is set up it almost seems to be a response to what Boomers have been saying about the Millennials and Gen Z, while also giving a bit of an inside look at what that Boomer generation achieved and created. One of the clips touches the subject of consumerism and war. This isn’t your typical music video and although some say its satirical, it may also just be hitting the nail on the head with everything that is going on today.
Written by Elsie Hernandez
Born in Los Angeles, California, the Industrial Metal project, Static-X, led by the incomparable, Wayne Static, became the forefront of the Nu-Metal boom during the late 90’s. Due to the mainstream success of their debut album, Wisconsin Death Trip, the band quickly emerged as a bridge for other crossover metal acts to follow. With six studio albums to their credit, Wayne Static eventually became the one consistent driving force for the band. In 2014, his life was tragically cut short, causing a wave of sympathy throughout the Metalsphere. With the aim of celebrating the legacy of their friend on the 20 year anniversary of the band’s debut, Static-X’s original line-up reunited. Armed with a new vocalist/guitarist, known only as Xer0, who donned the appearance of the late singer, they performed a series of anniversary shows across North America with Horror-inspired theatrical rock act, Wednesday 13, Portland’s own, Davey Suicide, and Society 1 in support.
Unfortunately, Society 1, the industrial metal act out of Los Angeles, who were first to start the night, began their set at the same time the doors were due to open, confusing not only the audience but the venue staff as well. They sounded great, but I never got a chance to really dig into their set or capture photos under the circumstances presented. In contrast, Davey Suicide, the eccentric Metal ensemble out of Portland, had quite a show of support from the local scene, while creating an eccentric stage show with musical chops to match.
Wednesday 13 was like a schizophrenic soundtrack to a carnival gone terribly wrong. The band’s mastermind, of the same name, morphed into a physical manifestation of psychosis; knife-wielding and devilish, his eyes staring through the small holes through a mask that could have been created in a madman’s house of horrors. They churned out monstrous and savage songs from their latest album, Necrophaze and a few others from their history.
There was no escaping the media controversy surrounding the reformation of Static-X and the identity of their new mask-wearing, guitarist/vocalist, Xer0. As a loyal fan of the original line-up, I was also torn, having experienced the phenomenon of Static-X in the past and even shaking Wayne Static’s hand in Hawaii over two decades ago. As the dissonant atmosphere of “December” began to emanate throughout the venue and images of Wayne’s face glowed from massive screens above the band, it was clear that this was a celebration of Wayne Static’s louder-than-life personality and the legacy he left behind.
Bassist, Tony Campos, guitarist, Koichi Fukuda and drummer, Ken Jay, played their acclaimed album, Wisconsin Death Trip in its entirety while sprinkling in their most industrious fan-favorites from Machine, “Get to the Gone,” “Black and White” and “This is Not.” Before introducing their next song, Xer0 explained how grateful he was to be onstage paying tribute to his friend and asked the audience to raise their arms in the air during their heartfelt performance of “Cold” for the late Wayne Static. They ended the night with the two tracks that started it all for them, the floor-bouncing, “I’m With Stupid” and their most-applauded crowd favorite, “Push It.”
Remember that music has the ability to transform lives, not only for those who create it but those touched by it as well. Static-X is not just a legacy act trying to relive their glory days, they’re forging a future by celebrating the path they’ve walked. So, forget the naysayers and live life how Wayne Static intended: by keeping disco evil and partying like it’s 1999 all over again.
Living in Southern California, there is never a shortage of things to do on a Friday night. Given the chaos of the "silly season," I decided to take a break from it all and slide on down to The Observatory in Santa Ana to check out one of the most intriguing acts on the road today, The World's First and Only Heavy Metal Mariachi Band, Metalachi. Opening the festivities was Las Vegas's favorite son, Elviss Simmons and The Memphis Strutters. Given the reputation of these two bands, the utter entertainment value should surely be off the charts tonight.
Parking was scarce as I approached the theater, signaling a packed house with fans inching along in their vehicles and on foot to get inside. After being greeted by the familiar and friendly staff at the Observatory, I waded through the antsy fans and made my way upfront. After a brief delay, the curtain finally dropped, and there he was. The imposing and commanding figure of Elviss Simmons stood before us. He and his band's calling card are mashups of Elvis Presley and KISS tunes. The rockers reinterpreted into big-band creations, and the Elvis classics were, in swing style. One of the smartest and engaging things I've ever seen. Imagine Elvis with Gene Simmons makeup, demon boots, and iconic axe guitar, (with backup singers each with their KISS makeup as well). Also, a full horn section, all belting out their unique take on these classics, and you find yourself fully engaged. What an absolute kick-in-the-pants good time they were.
Next up was the reason everyone was clamoring to get in; Metalachi. The all-ages crowd was brimming with anticipation, and tension was filling the air. I witnessed toddlers clamoring for position and on one occasion, and rampant little one crashing into a patron with a walker! Accidentally, of course. I was convinced this band is for everyone before they even played a note. When the group finally made its way onstage, The crowd responded with a loud, sustained roar of approval. They wasted no time satisfying each and everyone in attendance. Their covers range from Black Sabbath to Guns n Roses to Metallica and everything in between. The neat thing is you do not only hear music when you see Metalachi, but you're getting a complete show. The band, Vega de la Rockha (vocals), El Cucuy (trumpet), Paco Halen (guitars), Kiko Cane (guitarrón), and fan-favorite Queen Kyla Vera (violin), were on point from note #1.
Vega, in between songs, injected some comedic banter with the crowd and with El Cucuy (when he was not tossing around his trademark codpiece) and was wildly entertaining. Even with Paco throwing his hair around on guitar, and Kiko banging away on the guitarrón keeping the back end secure, everyone's attention seemed to center around the dynamic Queen Kyla. The violinist extraordinaire who bounced between the classic guitar melodies and solos for all the famous songs. She had the crowd eating from her hand all evening, and indeed her mastery of the violin knows no bounds. I caught myself multiple times, looking for a traditional guitar hiding somewhere during some of the solos. Surely those sounds weren't coming from a violin, were they?
Towards the end of the show, they surprised all of us by unveiling a drum set. Surprise special guest Art Cruz from Lamb of God would be joining them on drums for their rendition of Motorhead's "Ace of Spades". What a great way to end the night. Having had such a great time at this show, I realized that it wouldn't matter if you were a Heavy Metal fan introduced to Mariachi music or a mariachi fan introduced to Heavy Metal, the entertainment level would be the same. As the fans were spilling out to the parking lot on the way out, I tried to figure out which category each smiling face fell into. In the end, though it didn't matter, the one thing they did have in common was everyone had a blast!
Happy Holidays everyone, and have an excellent 2020! Be well and rock on!
I’ve never been a huge Hellyeah fan, but walked away from Tuesday’s show at the House of Blues loving this band more than ever. Chad Gray and company crushed their 14-song set in celebration of the late great Vinnie Paul and failed to disappoint even the pickiest of fans. Cover to cover, this show kicked some serious ass!
With Christmas quickly approaching, I took it upon myself to take a drive down to San Diego to see a rock and roll show. It was not just ANY show, but a Celebration of Life Tour featuring Hellyeah, Nonpoint, and Deepfall. On the surface one might expect this to be like any other metal gig including crazed fans, headbanging, and super loud music. However, it was different in the sense that it truly was a celebration celebrating the life and legacy of drummer Vinnie Paul. Friends and family from all over Southern California made their way down to the gas lamp district in San Diego for what turned out to be a show to end all shows.
First up were Michigan natives, Deepfall. I’m definitely NOT a Wolverine fan but can unequivocally tell you that I am a fan of this band and will be following much more closely down the road. This 6-piece juggernaut fronted by Rich Hopkins killed and set the tone for the remainder of the celebration that followed. My favorite of the evening was “Wasted” off of their recent release, Broken. This song is wicked in the truest sense of the word and one I have already added to my workout playlist going forward. I can’t get those insane guitar riffs out of my head!
Next up was Nonpoint. I first tripped into this band when the opened for Disturbed back in 2016 and have been a diehard fan ever since. Pound for pound this band just continues to get better and their live shows are like no other. Frontman Elias Soriano took control of the madness on Tuesday night with a brilliant 13-song set that had fans running for cover at the House of Blues. Fans were treated to a full set of classics including “Breaking Skin” and “That Day” along with their famous cover of Phil Collins, “In the Air Tonight”. Best song of the night for me was “Chaos and Earthquakes” off of their 2018 album X. Dreads were spinning, fans were screaming, and mosh pits were in full effect as these Florida natives killed it from start to finish. One of the best live bands I have ever seen and even greater guys. Incredible.
And now for the grand finale of the evening’s celebration, Hellyeah! I’d never seen this band live and was not the biggest fan of their work going in (just wasn’t my cup of tea so it seemed). But live music has the tendency to bring out differing opinions and this was just such a case. As lights dimmed into a ghoulish red haze, front man Chad Grey took center stage and immediately launched himself into the crowd during opening song, “X”. My first thought was, ‘WTF?” It’s like he was using the crowd’s energy to build upon his own and the show literally erupted from that point forward. Bad-fucking ass.
Highlights of Hellyeah’ s set included “Moth” and “Cross to Bier (Cradle of Bones)” along with Pantera classics “Broken” and “Walk” (with Elias Soriano of Nonpoint). The show came crashing to a close with “Waging War” and “HELLYEAH” off of their 2007 self-titled album and their renditions were straight FIRE. Holy shit this set was tight! Again, I wasn’t the biggest fan going in but walking away I was definitely hooked. Better yet, I appreciated the energy and love that the band had for Vinnie Paul and it poured out throughout their entire set and into the fans who came out in droves. Music is life, life is music, and this band epitomized what that meant on Tuesday night at the House of Blues. Definitely a fan for life!
To simply call Khemmis Doom Metal would be a severe understatement. The quartet from Denver, Colorado have carved a special home for themselves within Extreme Metal with technical virtuosity, groove-heavy riffs and extremely catchy melodic vocal delivery. Their critically acclaimed 2016 release, Hunted, was as ground-breaking as it was masterful, and was one of the few albums I’ve given multiple listens to in succession while discovering something entirely new every time. Their latest offering, Desolation, finds the band doubling-down on their unique ability to strap their fans into an emotional upheaval while weaving cavernous riffs into infectious vocal peaks, meanwhile never losing grasp of their unrivaled musicianship.
As a band with a multitude of educational accomplishments off-the-stage, Khemmis have kept their alter-egos, painstakingly intact. With both band founders, guitarists/vocalists, Phil Pendergast and Ben Hutcherson creating the band while rigorously working on their PhD’s, drummer, Zach Coleman heading a microbrewery, while bassist, Daniel Beiers running small businesses while also skilled as a structural engineer. Taking time out of their busy lives to create a life of music is no easy feat and even more challenging to hit the road.
Khemmis’ West Coast Desolation tour took place in Portland’s Doug Fir Lounge, which for the most part, rarely hosts Metal music. By the time Portland’s own black metal act, Drouth, took the stage, the crowd stood stunned and captivated by the abrasive onslaught, barely moving a muscle in the thick cloud of smoke that swallowed all light. Abrasive and violent, the Black Metal quartet were out promoting their latest release, Knives, Laybrinths, Mirrors. As time went on, the walls seemed to expand and contract as UN, the menacing Aetherical Doom act out of Seattle, WA, forged an impenetrable wall of anguish that seemed to emanate from the shadows itself. In the darkness, every body was unmoving, not for lack of enthusiasm, but rather a place of collective catharsis. Their newfound disciples swayed side-to-side in a trance to the ominous crucible from the Porlandian’s latest release, Sentiment.
With their logo on a banner overhead, the only identifying factor that a metal show was even going down at the humble downstairs venue, the prolific Doom-inspired quartet, Khemmis, sliced through the silence with the first of many momentous riffs with the intro to “Above the Water,” the first track off their celebrated album, Hunted. Pendergast stalked the stage like an unchained animal occasionally roaring right into the face of his closest prey while guitarist/vocalist, Hutcherson added a layer of aggression and fire to his counterpart’s melodies. The dual guitarists created a fusion of impressive melodies with technical dexterity on epics “Bloodletting” and “Isolation,” from their latest release, Desolation, with both bassist, Daniel Beiers and drummer, Zach Coleman laying the foundation for the captivating groundwork throughout the night.
Khemmis’ short but monumental West Coast Desolation Tour may have come to rest but their music and tenacity will keep them ablaze even on the darkest nights. Desolation is an exploration of emotion made sound, a masterfully crafted epic worthy of more than a single journey.
Trudging through a muddy trail in Washington Park in Northwest Portland, the rain, a consistent and depressive downpour, soaked through my second-hand jacket and onto the layers beneath. The surrounding trees only a skeleton of their once-colorful foliage from the coming winter. Their vein-like branches, swallowing what light was left of the gray sky overhead. Recently relocating to Portland via Honolulu, Hawaii, I’ve only just begun to comprehend the true essence of Doom Metal and the environment that it is firmly rooted in. A genre which has always evaded my grasp from those sunny days with the warm sand under my toes.
The first time I stumbled on American Doom Metal titans, YOB, was in a small, dimly lit venue in West Hollywood. Even in that cramped room, the band seemed to expand and collapse the walls of the space at will. Vocalist, guitarist, and mastermind, Mike Scheidt had a unworldly aura about him; and the music he and his band created transcended reality and all convention. Their 2014 release, Clearing the Path to Ascend, was a monumental leap in production and songwriting, and playing that album quickly became a daily meditation for myself on long drives and even longer work days.
Now the band was coming home. Hailing from Eugene, Oregon, it would seem the entire local music scene came out for support. The concert sold out almost immediately and a cluster of fans stood long-faced but hopeful at the entrance to the Bossanova Ballroom praying that there would be a spare ticket to fight for amongst themselves.
Portland-based, Blackwater Holylight, the female-driven, Stoner Doom-inspired, Rock quintet started off the night by transporting the crowd into a dream-like trance of ominous riffs and angelic vocal harmony. Their atmospheric fusion of Doom and Psychedelic Rock, led by bassist and vocalist, Alison “Sunny” Faris, were on tour promoting their latest offering, Veils of Winter. Their haunting delivery and hypnotic soundscapes were only matched by the empowering sisterhood binding them together. As witness to this, guitarist, Laura Hopkins and synth player, Sarah McKenna, shared a unique bond on stage, leaned head-to-head swaying together during their performance. In a genre known to be predominantly male, it was inspiring to witness these five women band together as one and transcend gender stereotypes while playing the music they love with no remorse.
Before the instrumental, Psych-Rock powerhouse, Earthless, took the stage, an older gentleman, wide-eyed and clearly a child of the 60’s, grabbed me by the arm and gave me a warning about the night to come: “These guys don’t stop, so pace yourself!” Equally influenced by Krautrock and the six-string virtuosity of Page and Iommi; guitarist, Isaiah Mitchell, bassist, Mike Eginton, and drummer, Mario Rubalcaba have been creating an instrumental wall of sound for nearly two decades. With all of their songs clocking in anywhere from 5-20 minutes, the band created a tapestry of sound waves from their latest album, Black Heaven and beyond. Refusing to stop the train once it got rolling, their tenacious drummer, even kept the beat going with one hand while grabbing a drink of water and wiping off the sweat that ran down his face before flowing seamlessly into the next rock opus.
The lights went down on the venue and three solitary figures spread themselves out equally across the stage. With eyes closed and heads gazed downward, their fans stood shoulder-to-shoulder ready to immerse themselves in the thunderous soundscapes of their Oregonian Doom Metal heroes, YOB. A triumphant and monstrous riff from their song, “Ablaze” decimated the silence and the sheer vehement energy that radiated from Scheidt’s vocals shattered any possibility of thought. Like a pulverizing heartbeat, the band continued with “The Screen,” the second track off their latest album, Raw Heart. A divine spotlight from above broke the darkness as Scheidt joined his fists like an all-seeing eye above his head while drummer, Travis Foster, violently pounded his kit into submission with every crescendo in their tortured repertoire. Meanwhile, bassist, Aaron Rieseberg, closed his eyes, becoming nothing more than a vehicle for which their music flowed through.
Experiencing the crisp, chill in the air and the change of seasons for the first time in Portland has been both challenging and trans-formative. After witnessing the homecoming of the mighty Doom Metal phenomenon, I’ve finally grown to understand the Beauty in Falling Leaves within the thunderous, transcendental qualities of their music, and have come to the conclusion that above all else, YOB is love.
With their steel drawn and warpaint on full display, Ensiferum, the Melodic Folk Metal heroes from Helsinki, Finland took the stage at Bossanova Ballroom in Portland, Oregon ready to conquer. Their seventh full-length album, Two Paths, has been widely accepted as the epitome of modern Folk Metal while also being hailed as a return to a more organic sound for the band. With their Finnish Melodic Folk Metal brethren, Kalmah in support, their Path to Victory is paved in gold as well as the bones of all that stand in their path.
The Progressive, Extreme metal quartet, Aenimus, started off the night to a brutal start. Promoting their latest album Dreamcatcher, the Californian metal act played a crushing set that surely brought more than a few dedicated followers into their circle. And with their dynamic vocalist, Alex Green riling up the audience to their metallic onslaught at every turn, Aenimus are sure to be a band that will be bringing new blood into their inner circle for years to come.
Like walking through a forgotten cemetery on a dreary night, a haunting fog swallowed the stage. A hooded silhouette broke through the haze and lifted its bass in the air. Over time the extreme metal band, Abigail Williams, has gradually stripped themselves of their symphonic complexity during their live show and embraced their raw, bone grinding, black metal roots. Their latest album, Walk Beyond the Dark, is an amalgamation of 15 years of hard work and perseverance. Ken Sorceron, bandleader and songwriter, has been carving out his place in the foreboding corners of the metal spectrum. They were a brilliant contrast to the sunlit pastures of the coming Finnish Folk Metal storm.
The mood quickly steered towards the light as the fog cleared and Finnish Swamplords, Kalmah, stood proudly in front of their leather-clad, kilt wearing followers. The surprisingly, upbeat Finnish leader of Kalmah, Pekka Kokko, smiled at the audience, surprised at how full the venue was on a Tuesday night. Along with his brother, lead guitarist, Antti Kokko, they raised their guitars and launched through their single, “The Evil Kin,” off their latest release, Palo. They continued their trek through their soggy, moss-laden past with the introspective, “The Third, The Magical” and “Seventh Swamphony,” off their most-celebrated album, Swampsong. They ended the night with an epic journey into the everlasting dark with their song, “Hades” from their first studio-album, Swamplord.
The triumphant and battle-clad, Finnish Folk Metal masters, Ensiferum have been storming stages all across the world since their 2001 debut, the self-titled, Ensiferum, and have been sharpening their steel-laden brand of Folk Metal ever since. As the show began, lead vocalist and guitarist, Petri Lindroos, addressed the elephant in the room, thanking everyone in attendance for choosing to see them over King Diamond who was booked to play the same night in Portland. Ensiferum sang uplifting chants of victory and unsheathed a barrage of their favorite battle cries, “Blood is the Price of Glory,” “Way of the Warrior,” and “In My Sword I Trust,” as well as invoking their inner Manowar with their latest single, “For Those About to Fight for Metal.” The night ultimately led to the triumphant, “Victory Song” off their third studio album, Victory Songs. And with a fist brandishing the sign of metal raised to the gods, guitarist and sole remaining founder of the band, Markus Toivonen smiled in glory over his dedicated following.
Ensiferum’s tour may be coming to a close but their Path to Glory is anything but. Their latest album, Two Path’s sets a new precedent in the evolution of Melodic Folk Metal, and with their brothers-in-arms, Kalmah riding closely beside them, there’s no telling what surprises these two have in-store over the horizon.
Join the Hunnypot Crew and Hot Tub Johnnie for our New Year's Eve celebration at the Mint.
SUGARAY RAYFORD Performing Live! 2020 Grammy nominee + 2019 Blues Foundation Award-Winner for Best Soul Blues Male Artist. New album ‘Somebody Save Me’ out now!
Texas born Caron “Sugaray” Rayford began his musical career at the age of 7 singing & playing drums in church. His gospel influence can be heard and felt in his music today. Rayford’s phrasing is intimate and conversational and the soulful gravel in his voice hints at his firsthand experience with hardship during his childhood marked by poverty and loss. He remembers a sad game he played with his brothers, a competition that determined who was skinniest by counting the number of belt holes left unused on his belt. His mother struggled to raise three boys alone while battling cancer. When she died, it was a kind of a relief. “She suffered and we suffered,” Rayford said. “Then, we moved in with my grandmother and our lives were a lot better. We ate every day and we were in church every day, which I loved. I grew up in gospel and soul.”
When Sugaray belts out a song, you not only hear it, you feel it. The excitement in the room is palpable when he takes the stage. His dynamic voice is as large as the man himself. With his old school vocal style, Echoes of Muddy Waters, Otis Redding and Teddy Pendergrass can be heard. At 6’5” he is a big man, but he moves with grace and energy and his dance steps will remind you of the Legendary James Brown.
In 2000 Hot Tub Johnnie removed a taped apple off the wall at a gallery in West Hollywood and ate it. Some say that's the day Hunnypot was born. Last night's Hunnypot Live was a holiday hit. Thomas Golubic' skated in just in time to talk with DJ Spectrum and Hot Tub and sleighed the decks with a killer playlist. Jacob Reese Thorton hit us with snowballs of rock n roll. INDICA gave us the gift of RETROMODERN Hip Hop. The Lunar Rays "mooned" us with that sweet American sound and the Joker got away. Can1Live drove the Krampus away with beautiful sounds that DJ Spectrum likes to call "Roger Dean Music" and Hot Tub dropped a closing dance party to all a good night.12/09/2019
THOMAS GOLUBIC´ is a Los Angeles-based music supervisor, DJ and record producer. His music supervision credits include the AMC series Breaking Bad, Better Call Saul, Halt and Catch Fire and The Walking Dead, the Netflix series Grace and Frankie and Love, the Amazon series Sneaky Pete, the Showtime series Ray Donovan, and the HBO series Six Feet Under among many other film & television projects.
In 2017 Thomas became the president of the Guild of Music Supervisors, the same year he was nominated for the first Outstanding Music Supervisor Emmy Award for his work on
Better Call Saul. The Guild twice awarded Thomas with Best Music Supervision in a Television Drama for his work on Breaking Bad.
Thomas was twice nominated for Grammy awards for producing volumes 1 and 2 of the Six Feet Under soundtrack album, and with former partner Gary Calamar was responsible for the use of Sia’s “Breathe Me” in the final scene of the series. It is considered one of the most memorable uses of music in television, and launched Sia’s music career in America. Thomas is also responsible for producing four soundtrack albums for The Walking Dead, the Breaking Bad and Better Call Saul soundtracks, and has assembled various remix projects for EMI-Capitol Records and MGM, including
reinterpretations of Peggy Lee, The Beach Boys, Henry Mancini’s Pink Panther theme and EMI’s Christmas Classics remix compilation ‘Merry Mixmas’.
Thomas’ formative years, musically speaking, were spent as a DJ, music programmer and on-air host for tastemaker LA radio station KCRW 89.9 FM. After ending his 10- year residency at KCRW, he turned his attention to music production and live audio/video DJ work. He formed The Arbiters, a music collective creating mash-up music and video productions, free-released two EPs, and created audio and video mash-up productions for clients including Google, YouTube, Microsoft and Levi’s. Thomas has also become known as an innovative club DJ spinning broadly eclectic music sets, often with live synchronized visuals. His SYNCHRONIZE re-score project, featuring live DJ re-scores of classic films has been featured at the Sundance Film Festival, Bonnaroo Music & Arts Festival, Luminato Festival in Toronto, Dubrovnik Film Festival, U.S. Comedy Arts Festival, various residencies in Los Angeles, and has been profiled on Turner Classic Movies.
You can find more information about Thomas, and the SuperMusicVision team, at:
Jacob continues writing and recording and will release additional new material in 2019.
Website Facebook Twitter Instagram Spotify AppleMusic
INDICA is an American Musician. The 22-year-old is based In California, born and raised in the Washington D.C. area.
He is creating an unparalleled buzz with his infectious style and sound. There is no doubt that this gifted Twenty-something, is shaking up the industry while creating his own sound with melodic flows, electronic synths, and big drums. Fusing all the sonics together creates the INDICA sound that has gained him an ever expanding fanbase. Along with his music, authentic aesthetic flair and vintage-styled visuals shape a creative cohesive package that further elevates his ‘Iit’ factor.
Recently signing with Tommy Boy Records, the super talent and his imprint have wasted no time cooking up dynamic music in the lab. INDICA plans to release his next project titled, RETROMODERN on March 29, 2019. Momentum is building with the recently released singles INTOXICATED and REMEDY
The highly anticipated effort, RETROMODERN produced and mixed by Andrew Luce, is inspired by 80's movies like the cult classic ‘Scarface’ and millennial fav, ‘Tron’. RETROMODERN gives fans and newcomers a glimpse inside the mind of one the industry most multi-faceted, multi-talented, rising artist.
The catalogue the musician has put together is outstanding -- being able to cross between genres with projects like INDICA (self-titled), and now RETROMODERN. From Electronic to R&B; from Hip-hop to Pop, INDICA’s knows no boundaries! The rising star has solidified his roles as a musician, song writer, influencer and fashion mogul. In an effort to continue to build and expand his brand beyond music, INDICA has joined forces with esteemed entertainment industry veteran Kevin Evans of 7th Agency.
Do yourself a favor...plugin your earbuds or headphones to feel the vibe of Indica's masterpiece, RETROMODERN.
Twitter Instagram Apple Music Spotify
The Lunar Rays are a band that explores the twangy edges of alternative rock and vocal harmonies. They’re a new group on the LA scene but come to the stage with years of individual experience and music exploration. Kevin Houlihan (Guitar/Vocals), Chris Jacks (Guitar/Vocals), Sean “Sheriff” Caffey (Pedal Steel), Adam Kootman (Bass) and Blake Oswald (Drums).
The Lunar Rays sparkle and shine while telling heartfelt tales of love, loss and hope. Pack up your car and drive deep into the canyons for a moonlit night of soulful guitar rock performed by a band inspired by the likes of Ryan Adams, Neil Young, Pete Yorn and The Jayhawks.
An enormous, black mass of rabid fans congregated outside Spokane Arena in Washington. The chill in the air couldn’t cool the blood that flowed through the veins of the legion of metalheads eagerly counting down the minutes till the doors opened to the massive arena. After nearly 4 decades of live aggression, Thrash metal giants, Slayer were ready to step down from their thrown. As one of the so-called “Big 4” in thrash metal, Slayer’s influence on extreme music is without question. Their timeless metal anthems are legendary, and from the stories I heard from throughout the arena, their dedicated fan-base traveled from all over North America to witness the onslaught of their Final Campaign.
As a start to the night, Phil Anselmo, the acclaimed and controversial former frontman for the legendary Groove Metal band, Pantera, pointed a finger to the sky and dedicated the night to his departed bandmates. One of Anselmo’s countless side-projects christened, Philip H. Anselmo & The Illegals, performed A Vulgar Display of PANTERA, a tribute to the glory days of his band, long-since past. With a raised fist, he and his group of renegade outlaws revisited classics from their ground-breaking album, Far Beyond Driven, Vulgar Display of Power as well as a few other hits from the band’s timeless catalog. Hearing Anselmo sing with such reverence and brute force transported me back to a special time in my formative metalhead years when I would play Vulgar Display of Power on repeat while clutching the lyrics close to my heart. With his arms in the air, Anselmo ended their time on the stage with the anti-establishment anthem, “The Great Southern Trendkill” and with a deafening cry, thousands of devoted fans became one, screaming in unison, “The Trend is Dead!”
A massive glowing cross appeared in the darkness of the stage and Al Jourgensen, the dreaded, brainchild of industrial metal gods, Ministry, stood with his arms spread wide over his head. And like a hammer pounding relentlessly on steel beam, the opening riff of “The Missing” one of the many venerable hits from the 1988 album, The Land of Rape and Honey, reverberated through the skulls of every living thing in Spokane Arena. The industrial metal progenitors didn’t stray away too far from their older defining albums. With a ding-a-ding-dang and a dang-a-long-ling-ling, Jourgensen cranked the engine on “Jesus Built My Hotrod” from KE*A*H** (Psalm 69) and continued down the highway of their past to the delight of their long devoted fans with their most anticipated favorites, “Just One Fix” and “N.W.O.”
On the surface, Primus seems like an odd choice to have on Slayer’s Final Campaign but in actuality, their classic albums, Pork Soda and Sailing the Sea of Cheese have almost always unapologetically shared the same space on the album shelf with Reign in Blood and Seasons of the Abyss. With Les Claypool’s virtuosity, thumping bass riffs and outlandish humor, they were met with bobbing heads and skanking metalheads all throughout the Arena. Deranged, bicycle-riding, monkey-people hybrids rode through suburbia on a massive backdrop to the hypnotic thump of, “Here Come The Bastards” and all normalcy went right out the window. Claypool reached for his stand-up bass and dawned his infamous pig mask becoming the eccentric Mr. Krinkle. Defying the laws of tradition of any metal concert that has come before, Primus was the perfect contrast to the brutality to come.
The brooding curtains that draped in front of the stage fell to the floor and the countdown to the final farewell began. Surrounded by the flames of the violent firestorm behind them, Slayer stood indomitable before thousands of their most loyal fans in the massive arena. The ferocious intensity of their opening track, “Repentless”, a song off their latest album of the same name, seemed to shrink the stage. With four decades and twelve studio albums, their setlist was carefully assembled to showcase the entirety of their long and defiant career. Despite the toll of decades of touring, bassist and frontman, Tom Araya’s voice carried over the audience with the same fire it did in Slayer’s defining years. Kerry King, the band’s unmistakable lead guitarist, violently banged his head along with guitarist, Gary Holt, through a dizzying maelstrom of notes while leading the band through their timeless anthems from Seasons of the Abyss, Reign in Blood and even their 1983 debut, Show No Mercy.
Slayer’s Final Campaign was a milestone that their legion of followers will carry with them for the rest of their lives; be it on their sleeves, their hearts and for some, even carved on their forearms. Having Slayer’s sharp-edged logo worn on your chest is a sign of allegiance, a silent nod to a long and celebrated legacy of aggression and brutality. And with that priceless bit of history worn like precious battle armor, you can point to the date on the back of that shirt and proudly state, yes, I was there and I still have that ringing in my ears.