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Music: Redlight King To Perform In Portland, Maine

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04/14/14 - Buy Redlight Kings' latest album. Ticket Link

ROCK 106.3 PRESENTS REDLIGHT KING on Thursday, May 8, 2014

Tickets On Sale Friday, April 18th at 10AM $10.63 General Admission – 18+ PLUS ANY APPLICABLE FEES DEPENDING ON PURCHASE OUTLET Tickets available via PortlandAsylum.com, TicketWeb.com and the Asylum Box Office

There’s stubborn. And then there’s Kaz stubborn. The singer-songwriter of Redlight King refused to take no for an answer when music business suits denied his request to sample a Neil Young classic, pressing relentlessly until he got a “yes.” More importantly, Kaz held on to vanquish the inner demons that nearly wrecked him several years ago. Now, with “Something for the Pain,” Redlight King’s redemptive Hollywood Records debut album, Kaz relives both his darkest days and the turn-around, when he clawed his way back to the light.

A latticework of rock and hip hop, the album conjures old school sounds, thanks to Kaz and producers Wally Gagel and Xandy Barry, as well as the good vibes at Hollywood’s TGG Studios (now called Wax Studios, whose alums include Jimi Hendrix, the Doors and, yes, Neil Young). “I’m all about mixing in the old sounds,” Kaz says, “and giving it that warm, analog feel. There is sampling, hip hop grooves and beats, but I also wanted good old fashioned meat and potatoes: bass, guitar, drums.”

The sound may be warm, but his songs revisit the cold climate of Kaz’s native Hamilton, Ont., and the even chillier emotional landscape of his lost years. In the astonishing hip-hop flavored debut single, “Old Man,” Kaz offers a reluctant salute to his father, a larger-than-life figure who taught school by day and raced stock cars at night (“The life he demanded/Kept us all in a struggle/When he ruled with his fist/It kept us all out of trouble”). “No father issues here,” says Kaz with a laugh.

Hard-edged rockers like the blustery “Bullet in My Hand,” “The Underground” and the title track take listeners on a vertical drop into an abyss Kaz once knew all too well. “Most of it was written while the feelings were still there,” he recalls. “My songs are written about real issues, real experiences. I like to bring listeners in deep, and give them time to look around.”

Kaz starts “digging six feet up” (as he puts it) on songs like “Comeback,” “Built to Last” and the irresistibly melodic “Driving to Kalifornia.” Collectively, they describe the hard labor of rebuilding a life, then hitting the road, with the wintry east receding in the rear view mirror. The album ends with the acoustic-flavored “Past the Gates” and “When the Dust Settles Down,” the former a hope-filled forward glance, the latter a last look back. He may be whistling past the graveyard, but it’s such a pretty tune.

Kaz grew up in Hamilton, Ont., once a booming steel center on the shores of Lake Ontario, and now struggling in the global economic meltdown. He grew up in middle class home where his parents “struggled to pay the bills.” Like his dad, Kaz loved cars and drag racing (Redlight King is named for the light “tree” that signals the start of a race). As he grew, music also began to take hold. He loved Queen, Springsteen, Dylan and Lennon no less than A Tribe Called Quest, Rakim, Treach and Nas. He started writing early on, recording his first track at age 16. But in his teens, music took a back seat to judo. He was good enough for a shot at Canada’s Olympic training center to prepare for the 2000 Games. But he didn’t make the team -- a blow that would take a toll later.

Meanwhile, Kaz returned to music, landing a deal and releasing an album in Canada. That led to a Juno Award nomination for Best New Artist, but the affirmation wasn’t enough to halt a steep slide. “You know why it’s happening,” he recalls of his struggle with substance abuse. “You don’t know where the end is, you’ve lost all rationality. You’re borderline insane. But in the end, you make a decision to start again, and the only way was to forgive myself for my mistakes.”

It worked. Kaz came back strong, headed to California in a rebuilt ’49 Mercury pick-up and converted his two-year nightmare into the song cycle that became “Something for the Pain.” Says Kaz, “Writing songs when you’re in a dark place is dangerous. The songs I wrote for this album I won’t write again. I won’t have to.”

Just because he lives in Los Angeles now doesn’t mean he’s gone Hollywood. When the mood strikes, he takes his rebuilt 1950 Harley up the PCH, just to clear his head. Hot rodder that he is, Kaz is currently restoring a rare 1937 Lincoln Zephyr coupe, with plans to make “a film capturing the journey and process of bringing the car back to life,” he says. “Hot rod culture runs deep in my roots.”

Music runs even deeper, and with the release of “Something for the Pain,” Kaz will take the show on the road very soon. He knows his music touches a raw nerve, but that’s part of the appeal for him. “I hope people will be able to connect with it and take from it what they need,” he says. “It’s about the human condition. In the end, we’re all the same.”

-Brought to you by Robert Thorn.

Music: Josh Thompson To Perform In Portland, Maine

Josh Thompson maine

04/12/14 - Josh Thompson on Saturday, August 09th, 2014

Tickets On Sale Friday, April 11th at 10AM $19.00 General Admission – 18+ PLUS ANY APPLICABLE FEES DEPENDING ON PURCHASE OUTLET Tickets available via PortlandAsylum.com, TicketWeb.com and the Asylum Box Office

With a growing list of hits to his credit, Show Dog Universal recording artist Josh Thompson has defined his place in country music with the simple formula of being who he is: the embodiment of whatever-it-takes, hard-working, blue-collar grit.

From his songwriting that ran throughout his Top 10 debut album, Way Out Here, to the dynamic live shows that have earned him opening slots for such established headliners as Dierks Bentley and CMA Entertainer of the Year winner Brad Paisley, Josh Thompson's passionate performances and tireless work ethic have made him the epitome of the musical road warrior, playing nearly 250 shows in 2010 alone.

His debut album, Way Out Here, established Josh as a formidable young talent, launching a trio of hits including "Won't Be Lonely Long"; the Top 15 title track "Way Out Here"; and the Top 10 first single, "Beer on the Table."

Josh comes by his music's heartland, blue-collar work & party themes with an everyman's insight of an everyman who's been there. Born in Milwaukee and raised in Cedarburg, Wisconsin, Thompson was working alongside his father in the concrete business at the age of 12, and the trade was often how Josh was paying the bills well into his twenties as his focus shifted to music.

Buy Josh Thompson's latest album.

Ticket Link

-Brought to you by Robert Thorn.

Music: BORGORE To Perform In Portland, Maine


04/12/14 - BORGORE on Thursday, May 22nd, 2014.

Tickets On Sale Friday, April 11th at 10AM $25.00 General Admission – 18+ PLUS ANY APPLICABLE FEES DEPENDING ON PURCHASE OUTLET Tickets available via PortlandAsylum.com, TicketWeb.com and the Asylum Box Office

“My music sounds like commercial American hip-hop and death metal being played through various farm animals.” – Borgore, from an interview with Spinner.com

“Borgore Ruined Dubstep.” So reads the t-shirt that Asaf Borger, better known as bass culture’s enfant terrible Borgore, frequently wears onstage when he’s behind the decks. “I did ruin dubstep,” Borgore himself claims. “Three years ago, it was all mellow – and then I came with my shit!” Or maybe he helped save it. Indeed, the entire Borgore experience – from his speaker-shredding tracks and viral social-media presence to one of the most propulsive, interactive live shows around – has turned him into one of electronic music’s most popular and controversial figures.

The 25-year-old producer/songwriter/DJ has already become a major concert draw: he recently sold out all 1,300 tickets for 2 nights at L.A.’s prestigious Music Box Theater in little over an hour – and that’s one of his smaller shows. Usually he’s playing to tens of thousands, headlining the biggest tents at festivals globally. Taking to the stage alongside his trademark pole dancers, Borgore’s bass-in-your-face frenzy usually ends with a cavalcade of bare breasts onstage and him crowd surfing over furious mosh pits. “Most DJs just sleep behind the decks, checking their email,” Borgore notes. “I try to bring some stage presence: I want to bring something from the live-band culture to the electronic world.”

That outrageousness belies the unexpected sophistication lurking beneath Borgore’s provocative persona. Before he became one of the world’s biggest dubstep DJs, he was best known as the drummer for Shabira, the hardcore metal band he co-founded in his hometown of Tel Aviv after a stint in the Israeli army as a fitness specialist. (“I was an aerobics instructor, pretty much,” he says. “They hated me!”) Heavy music still flows in Borgore’s veins: his first physical release, 2011’s The Filthiest Hits collection, came out on notable metal imprint Sumerian, and he recently completed successful tours with shock-rockers Hollywood Undead and U.K. metalcore maniacs Asking Alexandria. Borgore’s surprising influences actually make sense considering his diverse background. He’s a formally trained jazz musician who studied at Tel Aviv’s prestigious Thelma Yellin music academy – Israel’s equivalent of Berklee and Julliard, where he learned to write big-band charts and became a virtuoso saxophone prodigy. As a result, his influences aren’t typical: Bach, Wayne Shorter and John Coltrane coexist on Borgore’s iPod alongside Deftones, Aphex Twin, and Louie Armstrong. He memorably covered the standard “Cry Me A River” (originally made famous by ‘50s chanteuse Julie London) on his 2010 Borgore Ruined Dubstep Vol. 1 EP, and Ella Fitzgerald remains his favorite vocalist. “There’s no better singer than Ella,” he notes. “She’s it, mate.”

Borgore’s life changed, however, when he stumbled into a Tel Aviv indie club one night four years ago, where he was assaulted by a selection of early U. K. dubstep tracks on the soundsystem. “The DJ was playing all the Croydon guys – Skream, Benga, Mala, Coki,” Borgore explains. “Hearing that was super life-changing; I loved drum and bass, trance, and hip-hop, and dubstep brought all of that together! It made me feel something I’d never experienced before.” He started making dubstep-influenced tracks immediately: when he began putting them with rude, primitive videos on the Internet, they received instant reaction. “I was like an early version of Rebecca Black or Kreayshawn,” Borgore recalls. “I started with MySpace, and then Facebook and YouTube – and I was doing bigger numbers than the big players. It was all viral: I knew I was doing something right.”

Sharing bills with the likes of Tiesto, Hardwell, Skrillex, Calvin Harris, Rusko, and 12th Planet, Borgore came up with the new global scene of producers and DJs that’s transformed dubstep, moving the sound from dank basement clubs to arenas. His debut digital EP Gorestep Vol. 1 appeared in 2009 on Seattle’s influential Shift Recordings: early Borgore hits like “Love” and “Ice Cream” devastated bassheads with skull-pulverizing drum beats, screaming synth arpeggios, and stomach-churning wobble, topped off by his own humorous, X-rated rapping. It proved so radically distinct from then-mainstream dubstep, he considered it his own genre. “It was different,” he explains. “I came out with some heavy as fuck tunes and called it ‘gorestep.’ Now people who hated me are playing full sets of this sound! They dissed me, calling what I did ‘bro step,’ but I proved them wrong. Girls love my music: I had forty girls dancing onstage with me at a recent show.”

At this point, there’s nothing to stop Borgore doing things his way. He recently relocated from Tel Aviv to Los Angeles in order to build his insane worldwide empire “I’m saying the craziest shit, doing the craziest stuff you’re not supposed to do,” he explains. “I never thought it would get to this point. But whenever I accomplish one dream, I want to get the next, bigger one. Right now, what excites me is making the live show even crazier, and creating a legit artist album – and if I want it, I get it.”

Buy Borgore's latest album.

Ticket Link

-Brought to you by Robert Thorn.

Music: Bailiff Premieres "Helicopter"

bailiff music

04/11/14 - When Josh Siegel confided to one of his Berklee professors that he was dropping out to move home and start a band, that professor had one response: "don't procrastinate." A Craigslist ad went up immediately upon Siegel's return to Chicago:

Do you consider Radiohead to be soul music? Do you hear Muddy Waters in between the notes on the White Album?

Drummer Ren Mathew, newly liberated from a dissolving power-pop outfit, answered the ad. The two ambled through Dylan's "It's All Over Now Baby Blue," talked about their shared love of Bernard Purdie, and Bailiff was born.

The band’s earliest musical efforts borrowed heavily from American blues and the British Invasion – snippets of John Lee Hooker and John Bonham swirling in and out of a foreboding rock miasma. The A.V. Club described their debut EP Mm Hmm as "a hybrid of sludge-rock and polished swaggering pop," while also describing the band's live show as "awe inspiring." Almost before they had songs, Bailiff had hardcore fans, including Evan Sult; the ex-Harvey Danger drummer first heard the band rehearsing in an adjoining practice space and was inspired by what he heard to knock on Bailiff's door and introduce himself.

Bailiff's debut full-length, 2011’s Red Balloon, blew the band’s blues-rock-rooted sound wide open. Elements of Indian raga, new wave reggae, art funk, and Native American chant nestled themselves into perfect pop constructions replete with head-nodding grooves and radio-ready hooks. WXRT's Richard Milne described the album's ten tracks as "the strongest collection of songs I've heard out a Chicago band this year." Red Balloon helped Bailiff land their first national tours and begin building a dedicated fan base outside of their hometown. A testament to their diverse musical influences, the band found themselves invited to open for acts as distinct as The Lumineers, Nada Surf, Dinosaur Jr, Dawes, and Jeff the Brotherhood.

After years of collaborating with a rotating cast of supporting sidemen, in 2012 Mathew and Siegel recruited NYC transplant and multi-instrumentalist Owen O'Malley to the official roster. Fast forward through eight months of songwriting boot camp (with mentors Dan Smart and Jon Alvin) and a $16k-raising Kickstarter campaign, Bailiff kicked off production on their second LP – entitled Remise – in April of 2013. Bunkered in a sub-suburban studio with engineering wunderkind Beau Sorenson (Death Cab for Cutie, Superchunk, Bob Mould), the band spent two weeks forging their most eclectic work to date. Remise is imbued with flourishes of West African blues, Celtic folk, and jagged electro-pop, while reaffirming Bailiff's knack for writing a durable hook.

Remise will be released on April 22nd.

Buy Bailiffs' latest album.

-Brought to you by Robert Thorn.

Music: Phox Premieres "Slow Motion"

phox music

04/11/14 -

Buy Phox's latest album.

-Brought to you by Robert Thorn.

Music: Dylan Shearer Premieres "mold in the fold"

Dylan Shearer music

04/11/14 - More From The Publicist: Cut from the cloth of early Soft Machine and Kevin Ayers-isms, “garagearray” is a lofty, loopy flight in a candy floss-clouded sky, with an ever-present darkness just below the surface. It's wonderfully off the cuff, in moments reminiscent of a Syd Barrett session where the band must've just closed their eyes and felt it out in the dark. Coming together in all the right moments, sometimes absolute in its nick-of-timeness. Dylan Shearer is joined on this LP by Petey Dammit on bass (Thee Oh Sees) and Noel von Harmonson on drums (Comets On Fire). Produced by Eric Bauer (Ty Segall, Mikal Cronin...etc) this session maintains a lighter than life vibration, like a breeze weaving through a tree far overhead. The production smacks with that lost in time quality of a BBC session piloted by a natural on the knobs genius. Although I don't know Dylan Shearer all that well, he has a sort of shy quality that seems to fall away when singing these songs live. Sometimes singing is much heavier in truth than speaking small talk, I guess. It's really quite lovely and full of sad and poetic moments and we are VERY proud here at Castleface to be co-releasing this with Empty Cellar Records, with whom we're making two special and limited handprinted jacket + colored vinyl editions, featuring artwork by Michael Sean Coleman. Out on April 15th on CD, LP and digital on April 15th.

Buy Dylan Shearer's latest album.

-Brought to you by Robert Thorn.

Music: Mike Sempert (Of Birds & Batteries) Premieres "Oceans Of Rock n' Roll"

Mike Sempert music

04/11/14 - More From The Publicist: Mike Sempert is best known for his work as the songwriter and frontman of the Bay Area band Birds & Batteries.

After years of recording and touring, Sempert decided to take a break from the band to focus on other aspects of life. He got a dog, moved to Los Angeles, and married his longtime love. Inevitably, a new collection of songs came together, many of them centered around these changes and the questions creative people often face as they stare into the oblivion of adulthood.

And so comes Mid Dream, written and recorded in Oakland and Sacramento in the months leading up to Sempert's move to LA. The album is comprised of deeply personal songs presented in high fidelity on both an intimate and epic scale. While Birds & Batteries' albums were on the synthier end of the spectrum, Sempert's new songs called for a more organic treatment - exposed vocals, live drums, acoustic and electric guitars, wurlitzer and rhodes. Some songs are ornamented with flourishes of orchestration, lush background vocals and achey pedal steel guitar, while others are stripped down to the bare essentials. Unobscured by excessive reverb or distortion, Sempert's unique voice and direct lyrics are laid out for all to see, in a humble and bold offering. The clarity of production and songwriting on Mid Dream was influenced by the classic studio music of the 1970s- albums by Gram Parsons, John Lennon, Fleetwood Mac as well as music by Beck, The Shins, Sparklehorse and Cass McCombs and many more. Sempert's voice has been compared to that of Richard Manuel of the Band and Alan Sparhawk of Low.

Birds & Batteries bandmates Colin Fahrner and Jill Heinke were called on to contribute drums and bass respectively, as well as a cast of tremendous musicians from the Oakland music community. Friends and neighbors Blake Henderson (engineering) and Sonya Cotton (vocals) contributed vast intangibles to the album, fostering an environment of warmth and support around the recording process. The result is honest, gentle and striking; there's plenty of sunshine breaking through the fog and sea spray. Mid Dream is his meditation on love and commitment, on art and growing up (or trying to). Mike will be on the road with his band to support the record, so we hope you get a chance to see him make this music live as well.

Buy Mike Sempert's latest album.

-Brought to you by Robert Thorn.

Music: Colourmusic Premieres "Horse Race" Video

04/09/14 - More From The Publicist: Formed in Oklahoma in 2005 with Ryan Hendrix and British-born Nick Turner, some years after bonding over Aphex Twin during their University days together, Colourmusic expanded to include bassist Colin Fleishacker and drummer Nicholas Ley. With two previous albums under their belts, “F, Monday, Orange, February, Venus, Lunatic, 1 or 13” and “My ___ Is Pink”, the group have gained a justified reputation for marrying hallucinatory textures and experimental rock tropes with an off-kilter take on the world. Anything from writing songs based on Newton’s theory of colour to songs written at the tempo that people have sex have been explored during their nine years together.

May You Marry Rich is a darker affair, though, with its twelve sprawling tracks obsessing over mankind’s seemingly insatiable lust for pure happiness. “It’s about having the option to have anything you want, like a King, and asking whether that would make you happy,” Hendrix explains. “It’s about happiness and a theory that we’re not wired to have contentment as our genetic disposition.”

As such, songs are thematically hard-headed, even as their messages unfurl over more malleable territories that alter between anything from crystalline synth sirens and electronic percussive patterns, to hard rock ballast and more serrated guitar lines. ‘Dreamgirl ’82,’ for instance posits that, even when finding your supposedly perfect match, your relationship is still dictated by how you deal with yourself. Similarly, ‘Silvertape’ deals with getting married and having to lose yourself so that the relationship will work. “The lyric ’I won’t hold you back when I hold you down,’ from ‘Dreamgirl ‘82’ is the definition of a good relationship,” Hendrix says. “It prevents you having total freedom, but it doesn’t mean you don’t love that person.”

Colourmusic haven’t completely closed down their kaleidoscopic perceptions though – far from it. Thoughts wander constantly, as on ‘Horse Race,’ which Hendrix describes as one of several “James Bond” songs on the album, for their panoramic scale, in which the track asks if we will still need Wal-marts in Heaven. Further evidence of May You Marry Rich working as an un-ordered presentation of Hendrix’s mind, comes in the little cultural reference points dropped throughout the album. The hazy, tilt-a-whirl circus ride of ‘Rendezvous With Destiny’ takes its title from a Ronald Reagan book, similarly ‘Satyricon’ comes from Italian Federico Fellini’s film of the same name. The album finishes with the track “Idiot”, which Hendrix proudly describes as a “homage” to Iggy Pop’s 1977 debut solo LP The Idiot, (“It was a profound influence on the album, it’s one of the most unashamedly ugly records ever; it uses synthesizers in a brutal way.”) To that end, ‘Idiot’s’ six minute of debauched industrial electronics jar and clatter with an unhindered malevolence and uncomfortably addictive power.

May You Marry Rich, then, is a powerhouse of a record, a towering inferno of ideas. “But we’re not pounding these themes into people’s heads,” Hendrix says. “They’re more prompts, to give you a sense and the flavours of what we’re exploring.” The message is simple then: attempt to join the dots up yourself; just don’t expect your finished picture to be the same as anyone else’s.

Buy Colourmusic latest album.

-Brought to you by Robert Thorn.

Music: Bad Co. & Lynyrd Skynyrd To Perform In Bangor, Maine

Bad Co. & Lynyrd Skynyrd maine

04/02/14 - Bad Co. & Lynyrd Skynyrd ‘40th Anniversary Tour’ on Thursday, July 10th, 2014 at the Darling’s Waterfront Pavilion in Bangor, ME. Individual Show Tickets On Sale on Friday, April 11th at 10:00AM. General Public Ticket Sale Begins on FRIDAY, APRIL 11th AT 10:00AM.

Tickets prices range from $32.75 to $102.75. Reserved Seating & General Admission - PLUS ANY APPLICABLE FEES DEPENDING ON PURCHASE OUTLET -

Tickets available via waterfrontconcerts.com, all Ticketmaster outlets, charge-by-phone at 1-800-745-3000 or locally at Mark’s Music in Brewer.

Buy Lynyrd Skynyrd's latest album.

Ticket Link

-Brought to you by Robert Thorn.

Music: Queens Of The Stone Age To Perform In Bangor, Maine

Queens of the Stone Age maine

04/09/14 - Queens of the Stone Age on Saturday, July 12th, 2014 at the Cross Insurance Center in Bangor, ME. Individual Show Tickets On Sale Friday, April 11th at 12:00PM

The band - Joshua Homme, Troy Van Leeuwen, Dean Fertita, Michael Shuman and Jon Theodore - will be back on the road to present songs from their criticaly acclaimed new album...Like Clockwork. Described by Queens principal Joshua Homme as "an audio documentary of a manic year," ... Like Clockwork is the band's first full length collection of all new material since 2007's Era Vulgaris, as well as the band's debut release on new label partner Matador. ...Like Clockwork was produced by Joshua Homme and QOTSA, recorded by Mark Rankin with additional engineering by Justin Smith, at Josh's studio, Pink Duck, in Burbank, California.

The album earned them three nominations at this year’s Grammys: Best Rock Album (…Like Clockwork); Best Engineered Album, Non-Classical; and Best Rock Performance ("My God Is The Sun").

Check out the video from Queens of the Stone Age "The Vampyre of Time and Memory'': http://smarturl.it/QOTSAlikeclockwork

This is their first ever visit to Bangor, so make sure to see them LIVE at the Cross Insurance Center on July 12!

For more about Queens of the Stone Age, please visit: http:// www.QOTSA.com

General Public Ticket Sale Begins

FRIDAY, APRIL 11th AT 12:00PM Tickets prices range from $24.00 to $54.00


Tickets available via waterfrontconcerts.com, crossinsurancecenter.com, all Ticketmaster outlets, charge-by-phone at 1-800-745-3000 or the venue box office located at Cross Insurance Center.

Buy The Queens Of The Stone Age's latest album.

Ticket Link

-Brought to you by Robert Thorn.

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