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The Jersey Shore Arts Center is thrilled to announce the
Second Season lineup of Americana singer-songwriters
of the Split Level Concerts music series!
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NEW! Season Tickets are on sale NOW! Tickets for individual shows go on sale Friday, May 9th!​

Three-time Emmy winner Christian Jules Le Blanc (The Young and the Restless) and Matt de Rogatis (Brick in Cat on a Hot Tin Roof) star in Edward Albee’s The Zoo Story—a searing, no-holds-barred one-act produced by the renegade Off-Broadway company Ruth Stage. Set in Central Park, the play detonates themes of isolation, power, and the human need to be seen. Bold. Brutal. Unforgettable.

Thank you to all the artists who have shared their original music and art at Café Artiste! To all the wonderful people who come and enjoy the amazing shows. Thank you for supporting this special listening room giving these talented artists the attention and appreciation they deserve. A heart felt thanks to all those who volunteer their time to make Café Artiste run. It’s truly magical.

The Verdict
Release Date: March 1, 2019
Fact: Queensryche have never been a band to rest on their laurels. In a career set against the new-millennium’s backdrop of cultural chaos, they’ve remained a constant; musically innovative and lyrically thought-provoking. One of rock’s most respected names who have weathered the storm and emerged in 2019 with The Verdict. It’s an album that echoes Queensryche’s three decades of career high-points while pushing ahead with the confidence and urgency of a band just now coming into its own.
With a legacy behind them that’s shifted over 30 million records and built a dedicated legion of fans while touring the globe alongside giants including Metallica, Def Leppard and The Scorpions, Queensryche have exceeded themselves once again. If Queensryche’s 15th studio album sounds like a young, hungry band just hitting its stride, it’s because that is precisely the case. Produced and mixed by Chris “Zeuss” Harris (Hatebreed, Rob Zombie), who helmed 2015’s Condition Human, it’s also Queensryche’s third album with frontman Todd La Torre, who joined the veteran band in 2012, taking the reins from erstwhile voice, Geoff Tate.
“The Verdict is that statement for us – in much the same way that [1984’s] The Warning was,” says founding guitarist Michael Wilton. “This one’s the creative convergence of this lineup. We got together and worked on every song as a band. The spontaneity, the creativity; it came out of all of us, working together as a band should.” From the hypnotic riff and melody of “Light Years” to the moodiness of “Dark Reverie” or the epic rock n’ roll workout of “Propaganda Fashion” , this is a record that stands up to Queensryche’s gold and platinum watersheds including Rage for Order, Empire or Promised Land.
However, The Verdict is very much an album for 2019: both in band’s far-reaching musical grasp, but also from a lyrical point of view. As far back as 1988’s career and commercial breakthrough, Operation: Mindcrime, the Bellevue Washington-born band distinguished themselves for combining powerful and progressive rock with equally evocative lyrics. Queensryche’s latest is no exception to that rule. “It’s very usual for Queensryche to write about geo-political, socio-political, socio-economic, governmental-type things,” says La Torre. “Ideas that push people’s buttons, but in not such a literal way. There’s definitely an abstract aspect to the lyrics that make it open to interpretation.”
Queensryche and its now-seasoned frontman aren’t afraid to be direct in their lyrical ire. “The first track on the record is called ‘Blood of the Levant’,” La Torre explains. “That really is about the Syrian war and how it started with these two kids spray-painting: ‘You’re next, Doctor!’ referring to Assad, because he was an ophthalmologist before he took power. That song has to do with the people becoming rebels against their own Syrian government and the one’s that support it, i.e. Iran, Russia, Hezbollah, and ISIS which took advantage of the war to invade Syria. Then you have the song, ‘Bent’, that isn’t political but has undertones in lines
like: ‘The poisoning of tribes.’ Which is basically referring to how we devastated the Native Americans. “To the lifeline of Flint.” Which is basically about the bad water in Michigan. ‘Now the black snake it crawls deep within sacred grounds, we will never consent.” Talks about the oil pipelines going through Native American land.”
The bond that runs through the current lineup of Queensryche (rounded out by bassist Eddie Jackson and guitarist Parker Lundgren) was tightened and tested during the making of The Verdict. When personal commitments forced drummer Scott Rockenfeld to sit out the recording sessions that spanned between Seattle’s Uberbeatz, Michael Wilton’s Washington State home studio and Zeuss’ Planet-Z Studios in Hadley, Massachusetts, La Torre ably handled the drumming chores with the sort of reverence for Queensryche’s subtleties and nuances he demonstrates behind the mic. “I’ve been drumming for 30 years,” says La Torre, who was recruited from Floridian metal band, Crimson Glory. “I certainly know the nuance and style of Queensryche’s drum parts first hand so it certainly made me a logical choice to record the drums.”
The band credits Zeuss’ return to the producer’s seat as a key part of The Verdict being a record that will take its place amongst their classics. “Zeuss understands us in way that probably no producer we’ve ever worked with has,” says Jackson. “He understands our history, our sounds, what’s in our DNA. He’s willing to push us and vice-versa. We were lucky to work with him again.” When asked where The Verdict sits in Queensryche’s discography, there’s no mistaking the fact that the band’s legacy and connection with their fans is key to their continued success.
“With the first self-titled album (2013’s Queensryche), Todd and I were the new guys and we wanted to “stick to the legacy of Queensryche” and stick to the legacy of the first five classic records,” says Parker, who initially joined the band in 2009. “Then when Condition Human came out, we were able to branch out a little bit, pushing the limits stylistically. This album is really the next step for us.”
“Having Todd and Parker in the lineup does create some new chemistry and new ideas when it comes to the songwriting,” Jackson affirms. “Having new blood in the band certainly gave us some new life for these past three albums. This is something we all have a passion for and having the freedom to write, record and tour without any limits is nothing short of refreshing.”
Queensryche’s impact on other bands and musicians is undeniable. While they dominated rock radio in the 90’s with a string of hits including “Jet City Woman” and “Silent Lucidity”, their influence on rock and progressive bands including the likes Dream Theater or the late, lamented Nevermore has been undeniable. “We grew up during the days when being experimental was a key element,” says Wilton. “Where you could write an album that was completely different than the previous album, put those songs in your set-list and that would completely work! That’s what allowed us to play with Bon Jovi, AC/DC and Iron Maiden! It’s about the musicianship, the songwriting that desire to carry the torch when songs were put together by musicians not machines.”
The Verdict is in and it’s testament to not merely Queensryche’s staying power as a force in rock in a turbulent new world, but a band without boundaries who continue to prove how timeless they truly are.

For as much as Waterparks is a genre-busting collective of three friends who play music, hang out, and constantly flip the script, Waterparks really represents a bigger, dare we say, movement. The Houston trio— Awsten Knight [vocals, guitar], Otto Wood [drums], and Geoff Wigington [guitar]—have unassumingly brought vibrancy back to rock. (The only thing bolder than their melodies is whatever hair dye Awsten opted for this week!) Their strange magnetic pull has attracted a growing cohort of devoted fans who pack sold out shows, stream their songs like crazy, and have even elevated them to multiple Billboard charts as they’ve also headlined the Sad Summer Festival and accompanied My Chemical Romance on a sold out arena tour.
However, the next era begins with the band’s fifth full-length and debut album for Fueled By Ramen, INTELLECTUAL PROPERTY, and even more adventures…
Waterparks might just be the biggest band of tomorrow. To understand why, you have to go back to the beginning. Their 2011 formation cemented the union of three distinct personalities. Raised somewhere in between the iPod generation and the first wave of social media, Awsten, Otto, and Geoff occupied a singular creative crossroads. A glance at Otto’s listening history would span the likes of Every Time I Die and Balance & Composure, while Geoff found inspiration in crossover juggernauts such as Linkin Park. Awsten’s tastes covered the gamut from Donald Glover and One Direction, to Ke$ha (and everything else in between).
Following their launch, the group bubbled up with a famed one-off Houston appearance on 2013’s Warped Tour—which they eventually shined on for its entirety during 2016. It’s fitting they popped off on the same stage that also supported category-defiant disruptors a la Eminem, Deftones, Katy Perry, and more early on. With eye-catching, often meme-able music videos and a sound somewhere between alternative, pop, electronic, and rock spiced up with a little hip-hop attitude and even R&B vocal acrobatics, Waterparks fittingly defied categorization themselves and ushered in a new era of “alternative,” living up to the definition of the word for the 2020’s, speaking to not only music but also total cultural immersion with fashion, unforgettable videos, and a boundary-breaking culture.
They reached unprecedented heights with 2021’s Greatest Hits. Don’t let that title fool you—it didn’t collect their best-performing songs at a discounted price, but it did showcase their best material to date. As such, it cracked the Billboard Top 200 and landed in the Top 10 of the Top Alternative Albums Chart and Top Rock Albums Chart. In the wake of its release, they impressively eclipsed half-a-billion streams thus far. In addition to coverage from Rolling Stone, MTV, Kerrang!, and Alternative Press, they graced the covers of V Magazine and Upset Magazine (who also awarded the record a “five-out-of-five star” perfect score). Along the way, they sold out various headline tours. 2022 saw the band sign to Fueled By Ramen and turn the page on a new chapter in 2023 with INTELLECTUAL PROPERTY.
That brings us to the first single “FUNERAL GREY.” Powered by four different guitars (including a toy guitar for the main riff), the track swings like a wrecking ball from a buoyant verse into a distortion-lifted hyper-hypnotic hook. On its heels, they served up the introspective, infectious, and irresistible single “SELF-SABOTAGE.” Like listening to an internal dialogue, airy verses culminate with a self-effacing query, “What the f*ck is wrong with me?” Meanwhile, snappy guitars and fuzzy electronics underline the manically catchy hook highlighted by Awsten’s wild sky-high register. It’s yet another illustration of the boys’ uncanny knack for the unpredictable. Speaking of “F*CK ABOUT IT” [feat. blackbear] only further showcased their progression with its sticky hooks and artful vibe curation as it initially reeled in over 10 million streams (and counting).
INTELLECTUAL PROPERTY really kicks into high gear with “REAL SUPER DARK.” Its heavy catharsis manifests through jarring electronics, guttural screams, and an unexpectedly catchy chant. Meanwhile, “BRAINWASHED” depicts the ups and downs of infatuation against a soundtrack of handclaps and a sunny guitar riff that wouldn’t be out of place in your favorite turn-of-the-century summer comedy. A rush of hyperpop-style production barely relents long enough for the singer to proclaim, “Now Jesus hates my guts. It’s getting personal,” before one last blast of apocalyptically catchy melody.
There’s something for everyone here. As always, INTELLECTUAL PROPERTY is meant for the people comprising this greater movement—like everything Waterparks do.

Pink Talking Fish is a Hybrid Tribute Fusion Act that takes the music from three of the world’s most beloved bands and creates a special treat for fans of the music.
Pink Floyd, The Talking Heads and Phish are all more than just bands… they are Phenomenons. Their creations have artistically inspired people and their mindblowing live performances have brought people together to form a special sense of community around the love for their favorite band.
Although the music from each act is different, Pink Talking Fish has discovered that fusing the material together creates an amazing story. The epic emotion of Pink Floyd…. The funky, danceable layerings of The Talking Heads…. The multitude of styles, unique compositional structures and pure fun of Phish…. to merge these three into one gives music lovers a special experience.
Pink Talking Fish features Eric Gould on bass, Richard James on keyboards, Zack Burwick on drums and Cal Kehoe on guitar. This is a band created by musicians who love the music of these acts. It’s purpose is to heighten people’s passion for this music by creating something fresh and exciting for fans. Discovering connections is part of the fun: Pink Floyd’s “On The Run” seamlessly fitting in the middle of the composition of Phish’s “You Enjoy Myself”. Perfectly placing Phish’s “Sand” into the groove of The Talking Head’s “Slippery People”. Segued collections from all three acts such as Run Like Hell > Psycho Killer > Run Like An Antelope > Run Like Hell or Mike’s Song > Have A Cigar > Once In A Lifetime > Weekapaug Groove. These ideas are the spirit behind Pink Talking Fish.
The story is ever evolving. The experience is always exciting. Come join Pink Talking Fish for the ultimate fusion tribute and celebrate the love of this music in unique fashion.

Hailed as “an uncompromising, genre-defying artist firing on all cylinders” (Vice/Noisey) and “one of country’s more thoughtful artists” (Billboard), multi-platinum selling singer/songwriter Kip Moore has blazed his own trail and cemented his place as one of music’s most beloved artists. Beginning with his auspicious debut in 2012, Moore has since released five critically acclaimed albums and penned over a dozen chart-topping singles, including the multi-platinum hits “Something’ ‘Bout a Truck,” “Hey Pretty Girl,” “Beer Money,” and “More Girls Like You.” With over 1 billion streams and 2.5 million monthly listeners, he’s performed sold-out headline shows in stadiums around the world including Australia, New Zealand, South Africa, The U.K., Europe, and the U.S., leading to a nomination for CMA’s International Artist Achievement Award. His most recent album Damn Love was praised by Holler as “the best album of Kip Moore’s career” while earning further acclaim from Billboard, Music Row, and American Songwriter. Moore also appeared on Good Morning America to perform the album’s lead single and title track. Moore just wrapped up a stint with Billy Currington, which included a sold-out show in Nashville, and next, he will join HARDY this summer for his QUIT!! Tour. He’ll also undertake an extensive 14-show run in Australia this fall followed by a return to South Africa where he performed to crowds of over 40,000 people last year. For more information and tour dates visit kipmoore.net.

In a small town, you either die where you came from or dream your way out. From Ashes To New understand this choice. As such, the Lancaster, PA band—Matt Brandyberry [rap vocals, keys, synths, programming, guitar], Danny Case [clean & unclean vocals], Lance Dowdle [lead guitar], and Mat Madiro [drums]—churn out an anthemic hybrid of hard rock, hip-hop, electronic, and alternative with enough energy to inspire you to get up, move forward, and maybe even, make a change. Since 2013, the group have risen from humble beginnings to the top of the 21st century rock vanguard with hundreds of millions of streams, sold out shows across the country, and acclaim from LoudWire, Alternative Press, and more.
“Growing up in Elizabethtown, PA felt hopeless in a way,” admits Matt. “You go to college and become part of corporate America, or you’re just “trash”. For the longest time, I fell into the latter category according to other people. My mentality was, ‘Who are these people to fucking tell me what I’m going to do with my life?’ They don’t make my decisions; I make decisions for myself. It took a lot of ups and downs, but it’s paying off. I owe it to the small town blue-collar mentality that made me work harder. Danny grew up in Rochester, but his story is the same. We were the loners picked last. Everyone underestimated us. We fought through it for all of our lives, and we’re going to be picked first now.”
“I was always an outcast who nobody gave a shit about,” agrees Danny. “The only thing I ever dreamt of was music. Like the other guys in From Ashes to New, nobody was going to tell me otherwise or stop me.”
During 2021, the musicians holed up in Lancaster with longtime collaborators and producers Grant McFarland and Carson Slovak to create their upcoming album. This time around, the band made a conscious decision to ignore outside influences and focus on what makes them From Ashes To New.
“We weren’t going to let other people tell us what to do,” affirms Danny. “We went back to the guys who produced us for a long time, because they worked cohesively with us.”
“We got back to the days of creating music to simply create,” adds Matt. “We ended up making the most genuine piece of art we could. At the same time, we applied everything we’ve learned as musicians, producers, and writers. We knew we were capable of doing everything bigger and better.”

Counterparts are a Canadian melodic hardcore band formed in 2007 in Hamilton, Ontario which currently consists of vocalist Brendan Murphy, guitarists Alex Re and Jesse Doreen, bassist Tyler Williams and drummer Kyle Brownlee.

Since 1988, Cannibal Corpse have been at the forefront of death metal, having helped shape and define the genre, and creating a seminal, incomparable body of work in the decades that followed. In 2021 they raised the stakes again with 15th album Violence Unimagined, growing ever more complex and intense, and now they return with its successor, the equally monstrous Chaos Horrific, starting a new chapter in their legacy. Written closely after the conclusion of the Violence Unimagined sessions due to the pandemic preventing them from touring like usual, echoes of that album exist in Chaos Horrific, but this is a whole new beast of its own. “To me this album feels sort of like a continuation of Violence Unimagined. The style is quite similar, but individually none of the songs on Chaos Horrific sound like songs on Violence Unimagined,” says bassist Alex Webster. “It’s a full-on death metal album, Cannibal Corpse style, and a very natural progression from Violence Unimagined.”
While the band have always been noted for their technicality and complex songwriting, this does not define where the writing process takes them. “I believe that our songwriting has progressed in a manner where every song paves its own path whether it be a straightforward song or a technical song, sometimes a mix of both, so there’s no preconceived idea that we want to be more technical. The music just sort of takes its own course,” explains guitarist Rob Barrett. The band also had no specific plan for the record, always approaching each one with an open mind, just intent on writing the best songs that they can. “When we create a new record the writing flows freely and organically,” says guitarist/producer Erik Rutan. “One thing I had hoped for with the writing of Chaos Horrific was that the material would push the envelope a bit in a slightly different direction than Violence Unimagined; expand the dynamics, explore new territory without departing from what Cannibal Corpse is and always shall be. That naturally happened and is exactly what we achieved with this album.” The band also continue to uphold their legacy as they sonically progress and evolve with each and every release, never repeating themselves and working hard to make every song unique. With the intention of making albums on which every song is potentially the standout they have certainly pulled this off on Chaos Horrific’s ten tracks, showcasing a broad range of dynamics that propel the whole thing thrillingly. Kicking off with the aptly titled “Overlords Of Violence” they are in full on attack mode, the track a straight down the line rampant aural assault designed to kill. Then there are the likes of “Frenzied Feeding” and “Blood Blind”, the former alternating between high speed technical aggression and deeply atmospheric mid-tempo ugliness, and the latter a brutal, loping chug-fest that carries so much sonic weight it is quite devastating, but literally any track could be singled out. Likewise, every track stands apart from those alongside them, but together they make so much sense, the record flowing seamlessly.
With the album named by drummer Paul Mazurkiewicz, the members all felt it was a great representation of the band, as is always the intention, and lyrically they linger in typically dark and twisted territory. Subjects covered include resetting the human race through mass mutilations (“Blood Blind”), fighting off hordes of zombies (“Chaos Horrific”), the selection of a random individual to be dismembered and sacrificed (“Summoned For Sacrifice”), and the violent revenge of victims of human trafficking (“Vengeful Invasion”). The album artwork – by longtime collaborator Vince Locke – is also suitably Cannibal Corpse-esque, featuring a chaotic tangle of the living and the undead, which evokes the lyrics of the title track.
Having now produced six Cannibal Corpse albums – starting with 2006’s Kill – this is Rutan’s second release as a full fledged member, having officially joined in 2020, and his contributions have only improved the band. “He already was part of the Cannibal Corpse family so his transition from producer to guitarist/songwriter/producer was seamless,” says Webster. “Erik’s a super hard worker so somehow he’s able to do all of those things at the highest level. We were already very comfortable working with him, and it’s only gotten better. We’re energized and excited about the future, and Erik’s contributions are a big part of that.” Adds Rutan, “I feel like every album we’ve worked on together has progressed forward with a better understanding of each other, allowing us to push each other further even more to get the best out of one another.”
Tracking at Rutan’s studio, Mana Recording in Florida, the band’s home state, was comfortable for all involved, though required everyone to work hard and be at the top of their game. Things went smoothly, and smoother than ever on the guitar front due to Barrett and Rutan having “custom guitars built with longer scale necks to hold the proper intonation necessary for lower tunings, which drastically reduced the hours spent on trying to track guitar that stays in tune throughout the session,” says Barrett. Webster asserts that it was a lot of hard work, and that “there’s a lot of attention to detail in the studio. We try to get the best possible tones from our gear, and capture the best possible performances. This can take a lot of time and effort but the end result is absolutely worth it.” Rutan states that the sessions were a “powerhouse”, with so much effort going into what has emerged as a massive album, further asserting that “everything about recording albums is hard but damn I love doing it! Creating albums, something that will last an eternity beyond our time, is something so very special, and every album we create I feel very grateful to have such an opportunity to do so.”
With the pandemic behind them, Cannibal Corpse were thrilled to hit the road again in 2022, finally able to unleash the Violence Unimagined tracks live. “We’re so grateful to be able to get back out there and play for all of our fans,” says Webster. “We’ve always enjoyed it, but after being forced off of the road for almost two years we appreciate the opportunity to play live that much more, and we are so thankful for all of the fans who’ve come out to the shows since we’ve been back at it. It’s great to see you all again!” They are already looking ahead to the touring in support of Chaos Horrific, every track on there destined to go off like a bomb when played live, and the band are primed and ready to destroy everything in their path. Though they have not given much thought to the fact that 2023 is their 35th anniversary, Rutan sums up how everybody feels about this milestone. “I think it is such an amazing feat. It speaks to the work ethic and dedication that everyone has put into Cannibal Corpse. When you think about how many bands never make it a decade, let alone three plus, it is such a testament to the creativity aspect and determination and loyalty towards what we do.”

Atlas was a pretty big record for us, and chances are if you’re reading this, it’s a pretty big record for you too. Nobody ever said, “I love Real Estate, but I hate their third LP, Atlas.” And if they did say that, they never said it anywhere around us – and we read everything you guys write on the internet; some of it can get pretty weird. And so, on this momentous occasion, we will be bringing A CELEBRATION OF ATLAS to a city near you, to honor its 11 year and 7 month anniversary. We’ll be playing almost the entire album in its entirety (basically) and other lesser known tunes from the Atlas era. We’ll also be playing a selection of our greatest hits, because we know you love those too. Please come and celebrate with us – we can’t wait to see you.

Re-defining Insanity The five members of Finger Eleven collectively wrote/recorded over 100 songs during the process of making their fourth Wind-up release Them vs. You vs. Me. These compositions are of varying styles and colors, ranging from rock to country to dance to funk to old 60’s songs. Many of these were written by exchanging files over the internet wherein one person would track a home recording, send it off into cyber space, and then someone else would build on it and send it on down the line. Many of the final cuts on the album were demo-ed and re-recorded at least four times over a period of one and a half years, undergoing massive changes each time.

Stephen Wilson Jr. is a singer/songwriter from rural Southern Indiana. Wilson was raised by a single father who was a boxer and had him boxing from age seven through adulthood as an Indiana State Golden Gloves finalist. Wilson, a self-taught guitarist moved to Nashville to pursue a degree in Microbiology at MTSU. There, he started indie rock band AutoVaughn after finishing his degree. They toured for over five years and Wilson co-wrote songs as lead guitarist until his creative focus turned more to songwriting and singing. After the band, Wilson relied back on his education where he worked for several years as an R&D scientist at Mars until signing a publishing deal with BMG Nashville in Aug 2016. He is currently building his catalogue and has had songs cut by Caitlyn Smith and Old Dominion, Tim McGraw, Trace Adkins, Chase Bryant, Mackenzie Porter, Kameron Marlow, Sixpence None the Richer and Leigh Nash.
Stephen released his first single “The Devil” and a cinematic video for the song in Sept. 2019 with follow-up, “Year To Be Young 1994” which is currently featured on Spotify’s Next From Nashville editorial playlist, Apple Music’s 5th Gear editorial playlist and is in rotation at Nashville’s Triple A station, Lightning 100.
Wilson almost always plays a late-70’s gut-string acoustic and some of his main influences are Willie Nelson, Kurt Cobain, John Mellencamp, Bruce Springsteen, The National, Glen Campbell and Randy Travis.

What if dreams could be broadcast for the purpose of entertainment? Could you consume the innermost thoughts of another person on screen? If you could, what does that say about an attention-starved audience? More importantly, what would become of the dreamer? Between The Buried and Me pose those questions and more on their two-part eighth full-length and introductory offering for Sumerian Records, Automata. The North Carolina quintet—Tommy Giles Rogers, Jr. [lead vocals, keyboards], Paul Waggoner [lead and rhythm guitar, backing and lead vocals], Dustie Waring [rhythm and lead guitar], Blake Richardson [drums], and Dan Briggs [bass, keyboards]—explore these themes by personally smashing boundaries once again. Automata marks the band’s first proper double LP-spanning concept. Moreover, they continue to expand their ever-evolving style, upholding a tradition of progression in the process.
“We never want to repeat ourselves,” affirms Paul. “We’re always trying to do something different, and this album fell right into that sort of pattern. We push ourselves into new places, while retaining our basic sound. Musically, we go somewhere that’s fun and challenging. We never know how it’s going to turn out. These are uncharted waters for us. We’ve never written an entire piece and presented it in separate parts like this.”
Tommy agrees, “This many years into our career, we want to continue doing things differently.”
This approach cemented the group as progressive music’s most unpredictable outlier since its formation in 2000. Among many milestones, they released 2007’s watershed Colors followed by The Parallax: Hypersleep Dialogues EP in 2011 and The Parallax II: Future Sequence a year later. 2015 saw Coma Ecliptic elevate them to new heights yet again. Not only did it bow at #12 on the Billboard Top 200 (a career high for the band), but it also garnered widespread acclaim from Noisey, Revolver, Alternative Press, and The Guardian who welcomed the album with a rare perfect score. In between, they launched countless sold out headline tours and support runs with the likes of Mastodon. Now, they break more ground with Automata.
“Lyrically, I wanted to write something that I treated as a puzzle until it comes together at the end,” continues Tommy. “For as deep and dark as it is, there’s a positive outcome, which we’ve never had. The story follow a protagonist whose dreams are used as entertainment broadcasted by a company called Voice of Trespass. Most of the record takes place within that dream. The character thinks it’s all real.”
“Even though it takes place in the future, there are a lot of parallels to modern society,” adds Paul. “Oftentimes, we turn athletes, movie stars, and musicians into commodities. We forget that they’re real people with problems and issues. They’re society’s escape from reality as we use them for entertainment. Hence, society plays a role in their downfall, be it drug dependence, isolation, or even suicide. Society perpetuates mental illness with those expectations.”
Automata – Part I unveils the first six songs comprising the entire body of work. Stretching near seven minutes, “Condemned to the Gallows” kicks off this journey. Acoustic guitar builds in epic fashion before sweeping distortion takes hold followed by unpredictable rhythms and a seismic vocal performance which, as Tommy puts it, “sets up the whole story.”
Elsewhere, the trudging eight-minute guitar symphony of “Yellow Eyes” spirals into the melodic bliss of “Millions.”
“There are a lot of moments where we totally venture away from the traditional formula of what a progressive metal band can do,” states Dan. “There are all these little moments where we’ve done something we never did before. ‘Millions’ is the perfect example. It’s four-minutes of straight melody—another first.”
With Automata Part I, Part II, and the myriad of visuals on the horizon, Between The Buried And Me realize their potential to its fullest—and go one step further.
“All of our music should build up to the newest record,” Tommy leaves off. “That’s what happens with Automata. You can take little snippets from our past throughout this album. It sounds like Between The Buried And Me, but it’s still new. We hope to keep the music industry on its toes. This is part of doing that.”

Struggle spurs strength. Trials and tribulations mold and fortify character. Embodying these truths, Kublai Khan turn hardships into hypnotic and heavy metalcore upheld by nimble metallic fury and pitsplitting spirit on their fourth full-length offering, Absolute [Rise Records]. “A lot of the record is about our struggle with what we do and the fact we’ve been doing this for over a decade, hit a lot of roadblocks, ate a lot of shit, and still kept going,” exclaims frontman Matt Honeycutt. “We’ve done far more than we ever expected, so it’s always about picking yourself up, dusting yourself off, and letting nothing get you down. You have the opportunity to take responsibility for what you do wrong and right. We’re spinning the negative into a positive.” The Sherman, TX quartet—Matt [vocals], Nolan Ashley [guitar, vocals], Eric English [bass], and Isaac Lamb [drums]—quietly emerged as a fiery force since their 2008 formation straight out of high school. They built a devout following through airtight consistency on Balancing Survival and Happiness [2014], New Strength [2015], and Nomad [2017]. The latter impressively tallied over 6 million cumulative streams with “The Hammer” surpassing 2.6 million on Spotify and “Antpile” exceeding 1.1 million. Meanwhile, acclaim came from Metal Hammer, Alternative Press, New Noise, and more as the boys toured relentlessly. In early 2019, they retreated to New Jersey and hit the studio with longtime collaborator, engineer, and producer Randy LaBoeuf to record what would become Absolute. Taking advantage of a full month to create, they changed up the process, recording the drums last for the first time. Additionally, Randy provided space for Matt to hone his voice. These techniques enriched the sonic punch. “Everything could be folded around the drums, and it made for a better vision, to be honest,” continues Matt. “That’s how Randy records bands now. It allowed us to have more space to think. We were able to shape everything into exactly what we wanted. It was a game changer. The best thing about this record was the learning curve we experienced.” The first single “Self-Destruct” showcases their evolution. Underpinned by airtight riffing, the track steamrolls through eerie samples and guttural growls before subsiding on a bashing reprieve of lone bass and drums. “The polarization between everyday citizens in our country is unlike anything I’ve ever experienced,” he sighs. “In person, we can have discussions and logical conversations as friends. On social media, it’s incredibly toxic. They’re going for each other’s necks 24/7. If we keep going, we’re going to self-destruct. Everyone is a ticking time bomb. You can’t do or say anything without somebody taking offence. We need to calm down, back off, listen to each other, come together, and understand it’s okay for us to be different. That makes our country beautiful. Canceling conversation is dangerous.” Elsewhere, “Boomslang” tosses and turns between a distorted chug, searing scream, and pensive lyrics about “touring in general, how difficult it can be on your nerves, and the internal warfare of what we do.” Then, there’s “The Truest Love.” It urges for preservation of the family unit as Matt barks, “You call yourself a man, but you just leave…just protect your young!” “It concerns my qualms with the current state of male responsibility,” he states. “You see so many guys run out on their kids. They don’t stop to realize they helped create another life. You can’t say you’re a man and just abandon your family. It’s my irritation with how normal it’s becoming for the breakdown of the family unit to occur. Everything comes down to responsibility, self-love, and love of your family.” In the end, Kublai Khan’s music siphons power from pain on Absolute. “We put a lot into the record,” Matt leaves off. “There are so many different tones and lyrical aspects. It really shows how far we’ve come. I hope people connect and get something good from it. We’ll keep going no matter what.”

New York’s crossover legends LIFE OF AGONY spawned in the summer of 1989, tearing through the underground scene with an undeterred aggression, obtaining a loyal and devoted cult audience in the process. The outfit caught Roadrunner Record’s eye and the band quickly signed to the independent label. The band recruited longtime friend and producer Josh Silver (of the platinum-selling goth/metal act Type O Negative) to guide them, creating the now classic, debut album, 1993’s “River Runs Red.” The band toured relentlessly for years building a die-hard fanbase. With each following record, 1995’s “Ugly” and 1997’s “Soul Searching Sun” the group seemed to morph and evolve, using different approaches and textures while never losing sight of the distinct elements that made them who they were. LOA toured with the likes of Ozzy Osbourne, Korn, Limp Bizkit, System of a Down and Incubus with great success in support of their 3 studio efforts.

When Malcolm Todd graduated high school in 2022, he told his parents he would be taking a gap year to pursue music. They, unsurprisingly, were less than thrilled by the proclamation, but gave him a year to see if it could work. They learned what the rest of the music industry quickly realized: never bet against Malcolm Todd. “Every single day since I told my mom I wanted to do this, I have actively worked to grow my fanbase, to get better at music, to build this world,” he explains. By the time he shared Sweet Boy in 2024, his day job at Cold Stone was in the rearview. Tracks like “Roommates” were racking up millions of streams daily. Fast forward a year, and Todd is more motivated than ever on his self-titled album, a declaration that he isn’t a hype machine or a flash in the pan, but a generation-defining voice.
That ambition is immediate on “Bleed,” the first single from Malcolm Todd. It features Omar Apollo, who serves as the lone guest on the album. Buoyed by a bouncy bassline, crisp drums, and an intoxicating synth melody, Malcolm and his frequent collaborators Jonah Cochran and Charlie Ziman, tried to make something as poppy as they possibly could. With most of the album already locked when they began messing around with “Bleed,” the trio pushed the envelope of what they were comfortable recording to tape, focused on crafting something sugary sweet but with the depth and subtlety that informs the rest of the album. “We had nothing to lose because we had so much of the album done,” Todd explains. It ended up being one of his favorite songs on the project. This idea of having nothing to lose defines Malcolm Todd.
As a restless, endlessly curious songwriter, Malcolm viewed his second album—and growing notoriety—as an opportunity to push himself, to bring his boldest ideas to the forefront. “I definitely wanted to challenge myself. When you’re making your first project and you’re just working at an ice cream shop and you have nothing to lose, it’s so pure. It’s not as easy the second time around,” Todd explains. It was a tightrope walk that took some time to master, but once able to scurry across without falling, he started writing his best songs to date.
“You want to be better than you were the last time,” Todd states matter of factly. “You have people who are investing money in you. You want to make them proud. I want to make my family proud. You have fans that want certain sounds and you want to do that. You want to make them happy, too.” Malcolm had to figure out where his own interests fit in this increasingly complex puzzle. “With this album, I learned to find a space where I’m completely me, writing music without any fear, knowing that there are no bad consequences for doing exactly what I want.”
WIth Malcolm Todd, the Los Angeles-born songwriter has accomplished something rare: He’s created something deeply aligned with the sound his core audience fell in love with, while relentlessly pushing the boundaries on what his music can be. He’s done all this while making a project that is a front-to-back blast, a listen that is funny, anxious, proud, and unsettled all at once. In short, it’s the platonic Malcolm Todd record. “I just love making music so much,” he gushes, before adding: “I just want my fans to feel the care in it. That’s all that matters.”

SAVE FERRIS is a ska-punk band formed circa 1995 in Orange County, Southern California. Their name is a reference to the 1986 filmFerris Bueller’s Day Off.The band formed after the dissolution of a number of Southern California bands. With Monique Powell as manager, front person, and co-songwriter, the band began to book shows around Southern California to a great underground response.Financed by Powell’s sister, the band released their debut EP “Introducing SAVE FERRIS” on Powell’s label,Starpool Records, in 1996. They ended up selling close to 20,000 copies of their EP out of the trunks of their cars, with huge support from Orange County independent record shops and fans. That year, Powellprovided vocals on theReel Big Fishsong “She Has A Girlfriend Now” on their album “Turn the Radio Off” (Mojo).With Powell as manager and lead, and as favorites of KROQ radio’s legendaryRodney on the Rock, SAVE FERRIS created a presence on LA’s KROQ radio, possibly being the first unsigned band to do this in LA alternative radio history. Later that year, the National Academy of Recording Arts and Sciences gave the band a Grammy showcase award for best unsigned band, earning them a recording contract withEpic Records(SONY).The band released their debut full-length album for Epic in 1997. “It Means Everything” featured several re-recorded tracks from the EP, several new songs, and, on Powell’s urging, a cover of Dexy’s Midnight Runners’ “Come on Eileen,” which the band released as their first official single, and what was to become their most successful single. The band also released “The World is New” as a single which was featured in the film “The Big Hit” starring Mark Wahlburg. Olympic medal winnerTara Lipinski used “The World is New” in her debut program as a professional skater in the nationally telecast 1998 Skate TV Championships.
The band toured extensively in support of “It Means Everything”, opening for bands such as Sugar Ray, The Offspring, and Reel Big Fish. In April 1998, they made their television debut on HBO’s music series “REVERB” and made an on-screen appearance in the cult classic teen film, “10 Things I Hate About You”. The album sold over 400,000 copies, and spawned three Top Ten hits in both Japan and Mexico. With two singles in the Billboard top 100 and full rotation on alternative radio all over the world, SAVE FERRIS has managed to go Platinum internationally.Winter 1998 saw the departure of their drummer. After a thunderously successful main stage tour with the Vans Warped Tour, the band began writing their follow-up to “It Means Everything”. The appropriately-titled “Modified” was released in October 1999. The album saw the band moving away from their ska-punk roots and into pop-punk territory. The band toured nationally with the band “Lit”, of hit single “My Own Worst Enemy” fame. SAVE FERRIS continued to tour in support of “Modified” throughout 2000 and 2001. In August and September 2001 the band did a short tourof the UK. Winter 2002, SAVE FERRIS had the rare opportunity to play front and center at the nationally broadcast Winter Olympics Snowboarding Championships in Salt Lake City, Utah.Still fronted by their original lead singer, SAVE FERRIS has been through a number of changes in their musical lineup through the years…Powell self-financed whatshe called the “For the Fans” SAVE FERRIS US tour in 2003. On March 29, 2003 at Ska Summit 2003 in Las Vegas, SAVE FERRIS played on the main stage to a thunderously positive response.Other appearances of note Ms. Powell has made: “Mayor of the Sunset Strip” film, “Roswell” network television show, “The Conan O’Brien Show”, “Politically Incorrect with Bill Maher”, MTV’s Loveline with Dr. Drew, the “Keenan Ivory Wayans” show, and the “Late Show with Craig Kilbourne”.
The sold out Pacific Amphitheater at theOrange County Fair 7/27/13 marked the first appearance of SAVE FERRIS in ten years. Keep an eye out for Save Ferris’ return to a town near you soon, as well as a new EP, due out Summer of 2016…

Through balancing even the most extreme dynamics, The Plot In You consistently overturn and upend expectations. On any given track, it might seem like they’re about to go one way, but the band will turn on a dime and shift course before the crowd can even catch a breath. This uncanny element of surprise has entrenched the gold-selling Ohio quartet—Landon Tewers [vocals], Josh Childress [guitar], Ethan Yoder [bass], and Michael Cooper [drums] — on the cutting edge of rock music. Whether it be threads of alternative, electronic, pop, or R&B, nothing is off limits, and everything is fair game for their creative process. That process has continued to morph. Following a series of fan-favorite releases, the band made major waves with DISPOSE [2018]. “FEEL NOTHING” surged on social media as a viral phenomenon, generating hundreds of millions of streams and picking up a gold certification in the U.S., Canada and Australia. The musicians only maintained this momentum with Swan Song in 2021. Hysteria rated it “9-out-of-10”. Simultaneously, they sold out shows coast-to-coast.
During 2023, the band kickstarted another era with Vol. 1. “Divide” having generated 16 million Spotify streams and counting followed by “Left Behind”, exploding to the tune of 31 million Spotify streams with no signs of slowing down. Upon the arrival of “Forgotten”, Revolver praised it among the “6 Best New Songs Right Now.” The Plot In You’s Vol. 2 EP is a powerful showcase of the band’s evolution, blending raw emotion with polished musicality and stands as a testament to The Plot In You’s growth and artistic maturity, captivating listeners with its intense yet introspective narratives with tracks “Closure”, “Don’t Look Away”, and “All That I Can Give” further solidifying their place as one of the genre’s most compelling acts.
Now with the impending arrival of their new EP, Vol. 3, the band is set to captivate fans once again. Featuring three compelling tracks, the lead single “Been Here Before” explores the emotional turbulence of relationships, weaving a narrative of enduring the highs and lows. “Spare Me” delves into the heavy burden of societal pressures and the palpable guilt that comes from feeling helpless in the face of overwhelming news. “Pretend” offers a raw look at the world’s current state, channeling a sense of disillusionment and examining the disengagement of looking away from the tragedies that are happening daily. Vol. 3 promises to be a powerful addition to the band’s discography, reflecting their knack for tackling profound themes with sincerity and intensity.

With lyrical skill matched only by his raucous live shows, Prof has arrived on the national stage. Coming out of Minneapolis, Minnesota, Prof has perfected the art of combining blue collar hard work and unimpeachable content with never taking himself too seriously. His seventh studio album, Horse, due out on his own Stophouse Music Group label April 14, 2023, is set to let the world at large in on a secret that music fans already know, Prof is a force to be reckoned with.
His most recent album, Powderhorn Suites, shocked pundits and industry alike with an amazing run through the charts and streaming platforms. Released in November, 2020, Powderhorn Suites reached a career-high #3 on the Billboard Current Rap Albums charts, #5 Top New Artists Albums, #15 Independent Album, and #36 Billboard Top Albums. What followed has been a masterclass in making it as an independent artist; Prof leaned into the fantastical tales and dynamic persona that have cultivated his rabid fan base. He reclaimed his outlets, going from zero Youtube followers to over 160,000 subscribers in under two years. Following the Powderhorn Suites album, Prof notched his biggest year to date in 2022, racking up over 140 Million streams of his catalog and performing 30 sold out shows across the country.
Horse is the culmination of his personal Rocky training montage, but you can’t call it a comeback, because Prof’s numbers have only ever gone up. Horse is a powerful record, showcasing his singular drive and the weirdness of real life that has propelled Prof to the pinnacle of the independent rap music world, bringing his legions of “Gampos”, as his fans are affectionately known, alongside him. Horse’s 14 tracks include a heavyweight cast of features, from Method Man on “Subpar”, to Kevin Gates’ big sound gracing “Devils Gate”, and a brilliant appearance from Redman on “Pack a Lunch”. Prof’s contemporaries have clearly noticed the ever growing Gampo movement bursting out of the Twin Cities. Cozz and Mac Irv also appear on the album, which was produced by Prof alongside a small cadre of close collaborators.
Prof will follow up the release of Horse with a XX city headline tour, hitting marquee live music venues like YY and ZZ, along with some key festival appearances. Riding life sized carpets over his massive crowds and leaving it all on the stage, Prof’s live shows have always been more than a concert, they are an experience. As the audiences grow and his production evolves, Prof has moved from survival mode to takeover mode, and one thing is for sure, Prof thrives on the biggest stage.

DHX Media, a key player internationally in the creation of content for families and children, announced today that Yo Gabba Gabba! will take the stage this Fall with Yo Gabba Gabba! LIVE! Music is Awesome!. The new live stage show marks the 5th anniversary of the live tour. Yo Gabba Gabba! LIVE! Music is Awesome! will be directed by Yo Gabba Gabba! creators Christian Jacobs (The Aquabats) and Scott Schultz (Majestic). DJ Lance Rock, (Lance Robertson, St. Louis native and founding member of psychedelic electronic pop band The Ray Makers), the colorful cast of Yo Gabba Gabba! characters, fan favorite Leslie Hall and beat boxing legend Biz Markie will return to the road together to perform for more than 200,000 enthusiastic fans on a 30-city tour that will begin on Tuesday, October 14 and will run through Sunday, December 7. The Yo Gabba Gabba! LIVE! Music is Awesome! tour is produced by S2BN Entertainment in association with DHX Media.
Christian Jacobs and Scott Schultz, co-creators of Yo Gabba Gabba! said: “Our goal for Yo Gabba Gabba! is to inspire the next generation of music lovers. Taking your kids to see Yo Gabba Gabba! LIVE! is like taking them to see their first rock concert. We feel very lucky to be able to create something that parents and their kids genuinely enjoy together. Because of that, we have a very special bond with our fans. Yo Gabba Gabba! LIVE! Music is Awesome! is something for kids and the kid in all of us to get excited about. It really is magic.” Steven DeNure, President & COO of DHX Media, commented: “Yo Gabba Gabba! Is one of the most enduring, innovative and imaginative kids’ brands ever created. This new live tour is sure to delight fans who’ve loved the show for years, as well as the younger generation of kids who are new to the magic of Yo Gabba Gabba!”
Yo Gabba Gabba! is an award-winning, live-action television series and live stage show that revolves around the adventures of DJ Lance Rock and five colorful characters who come to life when they hear the magic words, “Yo Gabba Gabba!” The series launched in 2007 and its unconventional formula has since created a quadruple-stacked fan base, making it a popular entertainment property among preschoolers, their parents, indie-music lovers and celebrities alike. Film star Brad Pitt once dressed up as DJ Lance Rock for Halloween. Celebrities Fred Armisen, Jason Bateman, Jack Black, Anthony Bourdain, Tony Hawk, Metta World Peace, Andy Samberg, Sarah Silverman, Elijah Wood and others have appeared on the television series. Numerous musical guest stars have also appeared, singing original songs composed by Yo Gabba Gabba! musicians. These include MGMT with their paint-spattered performance of the psychedelic pop tune “Art Is Everywhere”; The Flaming Lips, who perform their own hit “I Can Be a Frog”; The Killers, who take us on a “Spaceship Adventure”; The Roots, whose Questlove and company perform “Lovely Love My Family”; The Shins, who remind us “It’s OK, Try Again”; The Ting Tings, the British duo who cover Altered Images 1981 new-wave classic “Happy Birthday” and Weezer who dress in bug costumes and sing a kind-hearted, insect-loving tune called “All My Friends Are Insects.” Demonstrating the brand’s pop culture appeal, Yo Gabba Gabba’s one-eyed Muno has been seen hawking cars to the over-16 set in a national KIA Sorento commercial that debuted nationally when it was televised during the Super Bowl. Brobee, the little green one, was featured in the nationally televised pistachios campaign commercials. Cupcake bakers on an episode of the hit series “Cupcake Wars” even competed for a place at a Yo Gabba Gabba! LIVE! VIP party during a Yo Gabba Gabba! themed episode.
Yo Gabba Gabba! launched their first live stage performance tour with a float in the 2009 Macy’s Thanksgiving Day Parade and they have performed live for President Obama’s daughters at The White House. Their first live tour had multiple sold-out gigs and the colorful on-stage extravaganza attracted surprise guests including Arrested Development, Dinosaur Jr., Snoop Dogg, Dave Grohl, Jon Heder, The Aquabats and more, while Christina Aguilera, Halle Berry and Gwen Stefani enjoyed the live stage show with their families. Yo Gabba Gabba! LIVE! has also become a fan favorite at major music festivals such as Coachella in the U.S., where DJ Lance Rock and fans, both big and small, were heard chanting “everybody wash your hands.” Yo Gabba Gabba! LIVE! also appeared at the popular Dark MoFo Festival in Australia in June 2014.
The state-of-the-art live show production features music, singing, dancing and animation. Fan favorite Leslie Hall will join the cast on stage along with hip-hop legend Biz Markie who will teach kids how to beat box with “Biz’s Beat of the Day.” Special guests are invited to join the party on stage in each city for the “Dancey Dance” and “Super Music Friends Show” segments. All new performances of show favorites including the veggie friendly “Party in My Tummy,” along with collaborations and medleys that will instantly remind us to jump and dance but “Don’t Bite Your Friends!” will be a fun family experience for all. Champions on the stage and in the community, the Gabba gang will participate in various service projects in the cities they visit during their 55-day journey with REVERB, the non-profit environmental organization dedicated to educating and engaging musicians and their fans to take action toward a more sustainable future. $1 from every ticket sold goes to support environmental efforts and education.
Exclusive pre-sale tickets are available through Groupon.com from Wednesday, September 3 through Saturday, September 6. Public on sale for most cities begins on Monday, September 8. VIP packages with premium tickets and meet and greets with the characters are available for purchase. For complete tour updates, ticket, and VIP package information, visit www.yogabbagabbalive.com.