LE BUTCHERETTES
Teri Gender Bender – Voz, guitarra & piano
Normandi Heuxdaflo – Batería

Le Butcherettes nace en la mente de Teri Gender Bender hace poco más de 2 años a modo de catarsis de la intensa vida que ha tenido la joven de 21 años. La historia de Gender Bender parecería un guión cinematográfico envuelto de muerte, dolor, fortaleza y genialidad. Originaria de Denver Colorado Teresa Suárez es alimentada de arte desde que tiene memoria, su madre de origen mexicano fue actriz de teatro y su padre fue un ferviente amante de la música quién le inculcó el amor por la música y su admiración por The Beatles. Desde muy pequeña Teri comenzó a tocar la guitarra, escribir canciones, grabar y hacer de la música su más grande refugio. Después de la muerte de su padre Teri llega a Guadalajara Jalisco para comenzar un nuevo capítulo en su vida. Es ahí dónde comienza la historia de Le Butcherettes.

La historia de Le Butcherettes comienza en 2008 con: KISS & KILL, EP concebido de manera casera el cuál atrajo rápidamente la mirada de los medios de comunicación y de cientos de personas que se convirtieron en fervientes seguidores de la agrupación. Un año mas tarde la industria independiente/underground de México reconoció el trabajo de la banda otorgándoles el premio a “Mejor disco punk” & “Mejor nuevo artista”.

A finales del 2008 Teri Gender Bender, Normandi y Omar Rodríguez López se conocen y desde ese momento la historia del proyecto cambiaría…. Durante los siguientes meses Teri Gender Bender decide hacer ajustes en el proyecto para lograr dar el siguiente paso; así es cómo Normandi se incorpora a Le Butcherettes dejando atrás la era Kiss & Kill y comenzando un nuevo capítulo.

En Octubre del 2009 la música de Le Butcherettes llegó a oídos de Jack White quién decide invitar a la banda como teloneros en los 2 shows que ofreció The Dead Weather en México. Le Butcherettes sorprendió al público que asistió a los shows de The Dead Weather reafirmando que el proyecto encabezado por Teri Gender Bender es el acto más impredecible que existe en la escena musical en México.

En enero del 2010 Teri Gender Bender & Normandi se instalan 1 semana en Zapopan, Jalisco para comenzar la grabación del álbum SIN SIN SIN bajo la producción de Omar Rodríguez López. La magia y pasión fluyó en el estudio arrojando 13 canciones que conformarán el álbum debut de la banda y que fueron grabadas en 9 días de intensas y divertidas sesiones comandadas por el productor puertorriqueño quien además de producir grabó el bajo en 12 de las canciones del álbum.

Las buenas noticias para Le Butcherettes seguían… durante el último día de grabación del álbum SIN SIN SIN la banda neoyorquina: Yeah Yeah Yeahs invita a Le Butcherettes a participar en la gira que realizarían por México abriendo las 3 fechas (Arena Monterrey/MTY + Teatro Diana/Guadalajara + Palacio de los Deportes/Ciudad de México) culminando la gira IT’S BLITZ. 
Le Butcherettes abrió exitosamente los 3 shows sorprendiendo a los medios de comunicación, más de 25 mil seguidores que asistieron a los shows y a los mismos integrantes de Yeah Yeah Yeahs quienes manifestaron su admiración hacia la banda mexicana.

La gira Sin Sin Sin comenzó bajo el marco del festival de música más importante en Latinoamérica: Vive Latino, en dónde Le Butcherettes presentó ante el público mexicano algunas de las canciones del álbum SIN SIN SIN despertando en los miles de asistentes un gran respuesta. Durante los siguientes meses del 2010 Le Butcherettes visitó diferentes ciudades de México presentando su nuevo material y haciendo cómplice a cada una de las personas que asisten a los shows.

En Junio del 2009 Le Butcherettes viajó a Europa para formar parte del festival SONAR 2010 que se llevó a cabo en la ciudad de Barcelona,España. Gratamente sorprendidos por la expectativa previa a su presentación Teri & Normandi conquistaron a la multicultural audiencia que fue testigo de su actuación.
El 2010 es el año en que le Butcherettes debutará en los escenarios de Norteamérica…..
Bienvenidos a la era: SIN SIN SIN

U.S TOUR DATES

July 17 – Convergence Fest - Tres Agaves Plaza - San Francisco, CA
July 20 – Spaceland – Los Angeles, CA w/ Vato Negro & Biceratops

July 23 – Soda Bar – San Diego, CA 
Sept 14 – TBA w/ Omar Rodriguez Lopez Group

Sep 17 – Highline Ballroom – New York, NY w/ Omar Rodriguez Lopez Group

Sep 18 – Congress Theatre – Chicago, IL w/ Omar Rodriguez Lopez Group San Francisco, CA

REPO! ROAD TOUR 3 TICKETS ON SALE NOW!

Step Right Up! Step Right Up! And buy your tickets for the third and FINAL leg of the REPO! Road Tour.

Kicking off on January 13, 2009 at the Tower Theatre in Salt Lake City, Utah; this eleven city tour is hitting even more locations than ever before. Director Darren Bousman and actor/writer Terrance Zdunich trek the nation to promote their film, REPO! The Genetic Opera. January 20th marks the highly anticipated dual release of the extended Soundtrack CD and the DVD. Bousman and Zdunich are bound for independent theaters coast to coast where the duo will be screening the film for fans in-person. The REPO! Road Tour has proven so successful that the original tour spawned RRT2 and in conclusion RRT3. REPO! Road Tour is for fans to come out and be a part of the event together. Every city brings its own spirit to the event, masses arrive costumed as characters large and small inciting theater-wide sing-a-longs, and more!

Terrance explains, “Every stop on Repo Road Tours 1 & 2 surprised me; each night I saw new and elaborate fan-made REPO! costumes—and not just of the main characters! Each night I witnessed different and hysterical audience stunts. Each night I met and bonded with unique and eccentric individuals. With the momentum we’ve gained from the first 2 tours, I know that Repo Road Tour 3 will be even more outrageous. It really is like a party every night. I can’t wait!”

Tickets are $15 available for the individual show stops Tuesday, December 30, at www.reporoadtour.com and through the respective theatres. Gauging the last two SOLD OUT tours it is proof that the events WILL sell-out, so make sure to buy your tickets early!

Several cast members have made special appearances on the tours in select cities including Paul Sorvino, Alexa Vega and Bill Moseley, as well as co-writer and band leader Darren Smith, so to all REPO! Fans; be prepared for special guests! Information on cast members appearances will be announced prior to the City the members will be attending.

For the fans: REPO! Road Tour includes an introduction to the film by Bousman and Zdunich, a screening of REPO! The Genetic Opera, as well as a post-film Q&A session and autograph session with the filmmakers and Actors, and a chance to purchase exclusive REPO! Road Tour merchandise.

Follow links on www.reporoadtour.com to buy tix for these REPO ROAD TOUR dates:

1/13 -TUESDAY -SALT LAKE CITY UTAH -The Tower Theatre
1/14 -WEDNESDAY- INDIANAPOLIS, IN -Indy Keystone
1/15 -THURSDAY- FOXBORO, MA -The Orpheum
1/16 -FRIDAY – NJ – The Williams Center For The Arts
1/17 -SATURDAY -GREENBELT, MD -The Greenbelt Theatre
1/18 -SUNDAY -CINCINNATI, OH -The Esquire Theatre
1/20 -TUESDAY- ST.LOUIS, MO- The Landmark Tivoli
1/21 -WEDNESDAY- DENVER, CO- The Landmark Mayan
1/22 -THURSDAY- JACKSON, MI- The Michigan Theatre
1/23 -FRIDAY – PHOENIX, AZ- The Chandler Cinema
1/24 -SATURDAY – LOS ANGELES, CA- Laemmle’s Royal Theatre

REPO! The Genetic Opera: In the no-so-distant future, a worldwide epidemic of organ failures devastates the planet. Out of the tragedy, a savior emerges: GENECO, a biotech company that offers organ transplants…for a price. Those who miss their payments are scheduled for repossession and hunted by THE REPO MAN. By fusing ROCKY HORROR PICTURE SHOW and BLADE RUNNER, this futuristic tale of horror modernizes the “rock opera” genre with original music and rich, dark production design. This rock opera boasts an entirely original soundtrack that blends equal parts goth and punk rock to form an eerie and powerful musical narrative and features vocal performances by an amazing cast; Paris Hilton, Bill Moseley, Sarah Brightman, Anthony Stewart Head, Alexa Vega, Paul Sorvino, Ohgr and more. Instrumentals and score provided by an all-star lineup that features performances from Joan Jett( who cameos in the film), Richard Patrick (Filter), Stephen Perkins (Jane’s Addiction), Clown (Slipknot), Ray Luzier (Army of Anyone), Brian Young (David Lee Roth’s band), Sonny Moore (From First to Last), Richard Fortus (Guns & Roses), David J (Bauhaus/Love & Rockets), Daniel Ash (Love & Rockets), Blasko (Ozzy Osbourne), Tommy Clefetus (Rob Zombie’s band), Melora Creager (Rasputina). Also lending her voice to the soundtrack is the edgy pop star Poe.

www.reporoadtour.com

www.repo-opera.com

With an unpredicatble spectacle that’s equally eye-candy and ear-charming, this great audio-visual band makes all stereotypes to fail. Re-defining the old-school labels of synth-pop, Gram Rabbit Rocks!. An intense hybrid of sounds a la Devo and NIN with a little darky twist that still is fresh, upbeat and sticks to you. A show not to be missed!

Twisted synth-pop quartet GRAM RABBIT announce upcoming dates in California, Utah and Idaho this summer, with more to be added. The first date will be this week’s special Independence Day show at the band’s hometown club Pappy and Harriet’s, presented by Los Angeles radio station KCRW. From the unlikely haven of Joshua Tree, California, GRAM RABBIT synthesizes an original blend of rock, country and techno, featuring socio-politically charged lyrics with a playful edge.

Drawing comparisons to Frank Zappa, Captain Beefheart and the Queens of the Stone Age in an early feature written by Los Angeles Times’ Richard Cromelin, GRAM RABBIT have been critical darlings and concert favorites for years since their first appearances. They have received significant airplay on INDIE 103.1 Los Angeles, and have been championed by nationally-renowned station KCRW. The band has mesmerized crowds at Coachella – where their CDs sold out at the event’s Virgin Megastore stand – as well as San Diego’s Street Spirit festival, and London’s Wireless festival.

The LA Weekly declares, “Gram Rabbit offer up in spectacle exactly what they do in sound: music that reminds you of everything from eerie desert twilights to Carter-family country and then again sounds like nothing you’ve ever heard.” In a special blog, suicidegirls.com editor Helen Jupiter writes, “Gram Rabbit is the music I’d been looking for, even though I didn’t realize I was looking.”

Live performances find lead singer Jessica Von Rabbit decked out in dishy stage costumes and bunny ears – if not a full rabbit mask – alongside guitarist/vocalist Todd Rutherford, also dressed to the nines; the two appear as if the evil descendants of folk couple Ian & Sylvia. The founding members are joined on stage by Ethan Allen on guitar and Hillary Hack on electronics. Shows have been known to include audience participation, scantily clad dancers, and a rotating lineup of backup musicians. The band reports that the upcoming shows will include “ear candy, eye candy, and a pot of strange brew.”

Gram Rabbit will be playing material from their latest release, Radio Angel & The RobotBeat, produced by guitarist Allen (Kristin Hersh, 50 Foot Wave, Luscious Jackson). The album features the appropriately titled “I Wear The Ears,” a call-to-arms track with a slowly sinister electronic beat augmented by clock tower bells, string samples and Rabbit’s devilish command to “Activate your frontal lobe/disengage your anal probe.”

In regards to the new shows, Jessica offers up a couplet, “We’re hot and weird with that desert soul/but in the end we’re still rock and roll.”

TOUR DATES:

Friday, July 4: Performance – 9:00PM

KCRW Presents

Pappy & Harriets
Pioneer Town, CA
Tickets – $10.00

Sunday, August, 24: Performance – 2.30PM

Indie 103.1 FM Presents

Sunset Junction
Los Angeles, CA
Tickets – $15.00

Tuesday, September 2: Performance – 10:00PM

Burt’s Tiki Lounge
Salt Lake City, UT
Tickets – $8.00

Wednesday, September 3: Performance – 6:00PM

Alive After 5 – The Grove Plaza
Boise, ID
Tickets – Free

www.gramrabbit.com
www.myspace.com/gramrabbit

Nacido el 6 de septiembre de 1943 en un pueblo llamado Great Bookman a unas 20 millas de Londres, Inglaterra, George Roger Waters es la piedra filosofal junto a Syd Barret para conjurar Pink Floyd en 1966. Apenas con veintitantos años de edad, ya habia una propuesta original de corte melancólico y de sentimientos profundos, influenciada por una infancia tristre y sórdida al haber perdido a su padre en la segunda guerra mundial magistralmente representada en la pelicula ¨Pink Floyd The Wall¨ que genialmente dirigida por Alan Parker.

A mas de 40 años de un recorrido incansable, Waters interviene en proyectos nunca antes vistos. Precisamente meses antes de participar en Coachella, unos de los festivales musicales mas esperados en el sur de California, a traves de un buen amigo recibe la oferta de tocar en Buenos Aires, Argentina para participar durante un congreso de música que pretende inspirar a niños de escazos recursos. Paralelamente interviene con una sinfónica juvenil en la ciudad de Venezuela, trayendo esperanza a cientos de jovenes y niños que aspiran a ser músicos. ¨Hay mucho talento y también mucha necesidades en Latinomamerica¨ aseguró Roger Waters con un aire de compasión al referirse a estos paises donde proximamente estará presentándose.

Coachella es apenas una muestra de los que Waters esta haciendo actualmente y para sorpresa de muchos está mas activo que nunca ayudando a los que mas lo necesitan y sobre todo derribando muros de incomprensión e indiferencia, haciendo un homenaje póstumo a su obra maestra ¨The Wall¨ donde ya los muros son cosa del pasado.

Doña Migraña

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The ALAS organization announced its plans to hold two large, free concerts in Mexico City and Buenos Aires on May 17th to aid impoverished children in Latin America. Among the artists confirmed to perform are Alejandro Sanz, Shakira, Ricky Martin, Juanes, Los Tigres del Norte, Mana, Miguel Bose, Juan Luis Guerra, Babasonicos, Calle 13, Gustavo Cerati, Jorge Drexler, Roger Waters and more.

http://www.fundacionalas.org

George Roger Waters was born on September 6, 1943. He was born in Great Bookham, in Surrey, which is near a town called Dorking, about twenty miles south of London. Many of his songs are about the Second World War, in which his father, Eric Fletcher Waters (to whom The Final Cut was dedicated) died during the British invasion of Anzio, Italy. Waters describes his childhood in Musician Magazine, 1992.

Roger Waters started playing on “The Abdabs” (1965). The Abdabs mostly played rhythm and blues songs. Juliette later married Wright, and she, Noble, and Metcalf all quit the band. Waters then brought in Bob Close and Syd Barrett for guitars, then later Close left, leaving the original recorded Pink Floyd lineup. In late ‘65, they became “The Pink Floyd Sound,” then just “The Pink Floyd.” The name Pink Floyd came from albums by two blues artists, Pink Anderson and Floyd Council, that were in Syd Barrett’s collection. It had often been said that using the name came to Syd in a vision.

The Floyd began to attract attention in mid-1966, frequently playing such underground hangouts as The UFO Club and The Marquee Club’s Spontaneous Underground. It was during this time that they made the transition from playing psychedelic R&B covers to doing their own songs; almost exclusively Syd Barrett compositions. As Floyd biographer Miles has said about this period, “The Floyd were the loudest band anyone had ever heard at that time. They were also the weirdest. They were the underground band.”

The Floyd’s growing underground popularity led to a single, “Arnold Layne,” released in March of 1967. It entered the British charts at #20, resulting in national media exposure for the band. Their followup single, “See Emily Play,” stayed on the charts for 7 weeks, reaching #6. The Pink Floyd’s first LP, The Piper at the Gates of Dawn, also remained on the charts for 7 weeks, and also reached #6.

The success that followed their first two singles and Piper proved to be too much for Syd, as the vast quantities of drugs he was taking in, the blind worship of his fans, and other factors all made him unpredictable on stage and in the studio. The other members of the group decided to bring in an additional guitarist to cover for Syd, and thus David Gilmour was asked to join the band.

With the addition of Gilmour and Syd’s declining state, it was shortly decided that the band could carry on without him, and so one night they simply didn’t pick him up on the way to a show.

Pink Floyd went on recording, releasing A Saucerful Of Secrets, Ummagumma, Atom Heart Mother, and doing a few sountracks. It was during this time that they began to show the talent that would lead to the creating of DSOTM. Meddle was in a way a precursor to DSOTM and included a full side-long track called ‘Echoes.’ Pink Floyd began playing portions of Dark Side Of The Moon before it’s release in late ‘72 and early ‘73. Dark Side of The Moon, of course, went on to be a phenomenal success and still remains a fairly high selling album (it would still be on the Billboard top 200 if the rules allowed it).

Following the incredible success of Dark Side Of The Moon, Pink Floyd found themselves in a difficult position. They had achieved the goal of every rock group, but now they were left adrift. At this time they began experimenting with everyday objects music. That is, all the music was to be played with everyday objects such as bottles, washing boards, etc… After some experimentation with this, the band scrapped the idea and began work on what was to be Wish You Were Here.

At this time Roger noted that during the sessions, the band didn’t really seem to be there. In a way that is what Wish You Were Here is referring to. There are also some rather obvious jabs at the music industry. Wish You Were Here was released on September 15, 1975, but the band didn’t tour immediately.

When the band did tour in early ‘77 their set consisted of WYWH as well as two constantly evolving songs from what was to be Animals. They released Animals on January 23, 1977. During this tour, Roger Waters received his impetus for the creation of The Wall. The pure greed of doing stadium shows sickened him. The last show of this tour was when Roger actually spat on a fan in contempt.

Following the tour, Roger and the band took a break of sorts. It was during this time that Roger wrote both The Wall and The Pros And Cons Of Hitch Hiking. He brought both to the rest of the band and informed them that he wanted to do one with the band and do the other as a solo project. The band rejected ‘Pros and Cons’ as being too personal and they began work on The Wall.

The Wall was recorded in about a year with Bob Ezrin constantly mediating and creating disputes with Roger Waters. The end result was a masterpiece by most accounts. The following tour of The Wall was found to be too expensive to do in many cities, so several cities were chosen as sites for several shows (the US had shows in New York and Los Angeles). These shows are considered by many Pink Floyd fans who attended to be the best concerts ever put on by Pink Floyd.

Following the tour of The Wall, Waters went to work on his next work, The Final Cut. This album served as a vent for Roger’s anger about the death of his father. The rest of the band wasn’t really involved in its production. It has been stated that the rest of the band considered the album to be a bunch of discards from The Wall. Dave Gilmour only sings on one song (‘Not Now John’). This non-contribution of the other members of Pink Floyd extends to most of the musical background as well. This is probably the reason why TFC doesn’t sound much like any other PF album. During the recording of TFC it became pretty obvious that the band could not produce together anymore.

In 1983, following The Final Cut, Roger Waters unofficially left Pink Floyd in order to pursue a solo career (Incidently David Gilmour attempted a solo career at that time as well). Waters released The Pros and Cons of Hitch Hiking (which had been rejected as a possible Pink Floyd album) on May 8, 1984 and immediately followed it with a tour. This tour didn’t do near as well as Waters had anticipated and so many tour dates were cancelled.

In mid-85, he decided to terminate his personal management deal with Steve O’Rourke, who was pressuring him to make another Floyd album. He left the group officially, thinking it was dead — or at least, that it certainly wouldn’t / couldn’t produce without him. Obviously he was wrong on whether they would/could produce without him. An extremely pro-Roger article was written at the time by Penthouse Magazine. Just about this time, Roger was finishing up his work on the music for the film “When the Wind Blows” and was finishing up his second solo album.

Radio K.A.O.S., released on July 15, 1987, was his next album and dealt with a typically Roger type topic…soap opera politics. This album was a departure from the normal music that Waters usually produced in that it had a lot of synthesizers and sampling. Roger has stated that he made some mistakes on this album and was pushed into things that he would, on hindsight, have stayed away from. The album was again followed by a tour which had troubles selling out gigs.

Although Waters had stated that he wasn’t interested in doing any more stadium shows, he ‘changed’ his mind when the Berlin Wall came down. The Wall – Live in Berlin was to be a celebration of freedom as well as a sort of coming out party for Waters. Many well-known artists decided to work with Waters on the concert and the concert was broadcast live on July 21, 1990. From eye witness accounts as well as from those who were lucky (or unlucky) enough to see the live version, the concert was a jumble of errors. The low-lights being a span of silence early in the show and the infamous Sinead O’Connor rendition of ‘Mother.’ The concert was immediately (directly following the show) gone over by the artists involved in the concert and particularly bad portions were dubbed over or taken from rehersals. Proceeds from the album as well as the video have gone to ‘The Memorial Fund for Disaster Relief.’

Fans had a fairly short wait for the Roger’s next album, Amused to Death. Amused to Death was released on September 1, 1992 and was immediately touted by Roger as being on par with The Wall and Dark Side of the Moon. Although the album didn’t sell as well as anticipated and received mixed reviews, Sony must have agreed with him as they produced the album in a gold format. Waters stated that if the album sold well (3 to 4 million US sales) then he would tour. Unfortunately, only a few stations broadcast his first single ‘What God Wants’ and the second single ‘Three Wishes’ was scrapped by the record company to ‘cut their losses.’ This lack of publicity cut into album sales and so Roger didn’t grace us with his presence. All in all, I find this album to be his best musically and lyrically since leaving Pink Floyd and I would highly recommend its purchase.

http://www.roger-waters.com/

After a Year in Which The Barcelona-Based Electronic Act Received Major Support from KCRW (Los Angeles), the New York Times, and A&E Television Among Others, The Dynamic Duo from Barcelona Follows up the Critically-Acclaimed “Million Colour Revolution” Album With an Intoxicating Remix Set and a U.S. Tour Hitting New York, Los Angeles, San Antonio and Austin.

Among the Acts Remixing The Pinker Tones on “More Colours” are Kinky, The Submarines, Nortec Collective, Zeta Bosio (Soda Stereo), Mexican Institute of Sound, and The Pinker Tones themselves

“Barcelona’s Pinker Tones are just flat-out unbelievably fucking great…they rate as one of the finest exercises in pop confection currently working in the known universe.” -LA WEEKLY

“Global indie pop is here to stay and The Pinker Tones do it very well.” -PITCHFORK

“The Pinker Tones exploit Latintronica’s potential for pure, uncomplicated fun… Unlike Los Amigos Invisibles, who occupy cult status, the Pinker Tones have a respectable chance at mainstream success.” -WASHINGTON POST

“The Pinker Tones thrive on disco, and ably throw in the unexpected: samba; French raps; German vocals that sound like they were revived from a 1920s cylinder recording; Western cowboy rhythms; futuristic space sound effects; and even a lazing Hawaiian guitar. Their songs are bouncy, joyful, at times nutty, but never dull. Listen to “The Million Colour Revolution,” and you might just feel a little bit better about your day.” -ASSOCIATED PRESS

In the wake of this summer’s successful U.S. tour, The Pinker Tones have managed to turn out a brand new album of infectious remixes and collaborations, “More Colours” (Nacional Records) continuing the momentum of last year’s ‘Million Colour Revolution’ and featuring a cooler-than-cool lineup of artists including The Submarines, Kinky, Nortec Collective, Zeta Bosio of Soda Stereo and Mexican Institute of Sound. The Pinker Tones are moving along on their path to global domination, continuing to make a name for themselves in the United States. November will bring the group back sfor shows in New York, Austin, San Antonio and Los Angeles. This will be their last tour before heading back to Barcelona to finalize what will be the next studio album for release in early 2008.

In the past year, the group has been the subject of a NY Times feature, had an A&E television special, performed on KCRW’s “Morning Becomes Eclectic”, had a song featured on the hit ABC sitcom “Ugly Betty,” and saw heavy video play on networks like MTV Tr3s, Mun2, and LATV. The Pinker Tones also made a major splash at this year’s SXSW, where they performed five shows in only 36 hours, including the Vans Warped Tour showcase and also wowed the audience at KCRW’s Sounds Eclectic Evening at the Gibson Amphitheatre in Los Angeles alongside artists like The Shins, Lily Allen, Cold War Kids and Rodrigo and Gabriela. The Pinker Tones single “Karma Hunters” was also selected by national bilingual youth network Mun2 as the theme song for its popular reality show ‘Chicas Project’.

The Pinker Tones are the brainchild of Barcelona natives Mister Furia and Professor Manso. The group’s music is an eclectic and explosive cocktail mixing pop, funk, soul, bossa, break beat, swing, lounge, and psychedelia. From the beginning, The Pinker Tones realized that their new project had fantastic potential; there was very positive energy during their initial recording sessions. They begin to compose and produce like crazy in what has now become their new home: Pinkerland. In this tiny rooftop studio in the center of Barcelona, they put together their first album, ‘Pink Connection’, which was released in 2003.

Professor Manso and Mister Furia have developed a killer live show with the invaluable help of DJ Niño: The Pinker Tones DJ Crew, in which they combine the intensity of a rock band and the excitement of a DJ set. The DJ Crew has taken them from Barcelona to such far away places as London, Caracas, Buenos Aires, Moscow, Beijing and Johannesburg.

The Pinker Tones Upcoming North American Tour Dates:

November 10 – Los Angeles, CA – Echoplex November 13 – Austin, TX – The Beauty Bar
November 14 – San Antonio, TX – Club Rio
November 15 – New York, NY @ SOBs
November 17 – Toronto, Ontario @ El Mocambo

To help commemorate Metal Blade Records 25th Anniversary Cannibal Corpse, The Black Dahlia Murder, The Red Chord, The Absence, and one more guest to be announced have teamed up for a full US tour to begin September 6th in New Orleans, LA at the House of Blues. Metal Blade Records and The Red Chord are also gearing up for the July 24 release of “Prey For Eyes.”

This will be Cannibal’s last run of US tour dates in support of their highly successful release “KILL”, which debuted at No. 170 on The Billboard 200 chart, selling more than 6,000 copies in its first week.

The Metal Blade Records 25th Anniversary Tour marks The Black Dahlia Murder’s first full US tour in support of “Nocturnal”, the highly anticipated follow up to 2005’s “Miasma”, which debuted at No. 119 on The Billboard 200 chart selling just under 10,000 copies in its first week. “Nocturnal” was recorded at Trax East with Eric Rachel (Atreyu, Dillinger Escape Plan, Every Time I Die, and God Forbid just to name a few) with mixing being handled by Jason Suecof (Trivium, Bury Your Dead, DevilDriver and Chimaira) and will be in stores and online everywhere on September 18th .

The tour also marks The Red Chord’s first full US tour in support of their upcoming release “Prey For Eyes.”

The Red Chord vocalist Guy Kozowyk had this to say about the Metal Blade 25th Anniversary Tour: �Metal Blade Records has been the forerunner of releasing heavy music for the past twenty five years. It is an honor and a pleasure to be part of this tour commemorating over a quarter century of their devotion to metal. A big thanks to Cannibal Corpse, The Black Dahlia Murder and everyone at Metal Blade for having us along for this amazing ride.�

A sprawling enigma, the �Prey For Eyes� traverses nightmarish soundscapes with mind-bending time changes, gnashing guitars and schizophrenic vocals. Guitarist Mike �Gunface� McKenzie couples bludgeoning riffs with haunting chord passages. Brad Fickeisen furiously propels the tracks with demonic double bass drumming as Greg Weeks bolts down a rhythmic freight train.

�We feel really great about the writing process for this album. We�re very proud of it. It�s as close to a defining Red Chord record as we�ve ever come,� says Kozowyk.

The Red Chord is also teaming up with Metal Injection TV to bring you an exclusive look into the writing and recording process of their new album “Prey For Eyes.” Every week, leading up to the release of the record, the band will be premiering “making of” webisodes on their exclusive channel on Metal Injection. The pieces are shot and edited by the band members themselves. There are two weeks of clips already online at www.metalinjection.net/tv/redchord.shtml

In addition to the making of footage, Metal Injection has posted a retrospective of all the footage they have acquired of the Red Chord from over the years, including all the band�s videos, interviews with the band, and a behind the scenes look at the making of their videos.

Joining these extreme metal heavyweights on tour is the Tampa, FL melodic death metal outfit The Absence whose new album �Riders of the Plague� will hit stores everywhere on August 7th. One more Metal Blade act will be announced in the coming weeks so be sure to check back in with www.MetalBlade.com for more details. And check out The Red Chord�s �Prey For Eyes�, when it hits streets on July 24th!!!

*Metal Blade 25th Anniversary Tour ft. CANNIBAL CORPSE w/The Black Dahlia Murder, The Red Chord, The Absence, & 1 Guest TBA

9/06 – New Orleans, LA – House Of Blues
9/07 – Houston, TX – Meridian
9/08 – San Antonio, TX – White Rabbit
9/09 – Ft. Worth, TX – The Rockyard
9/11 – Albuquerque, NM – Sunshine Theater
9/12 – Scottsdale, AZ – Venue of Scottsdale
9/13 – Anaheim, CA – House Of Blues
9/14 – West Hollywood, CA – House Of Blues
9/15 – San Diego, CA – House Of Blues
9/16 – San Francisco, CA – Slim’s
9/17 – San Francisco, CA – Slim’s
9/18 – Portland, OR – Roseland Theatre
9/19 – Seattle, WA – El Corazon
9/20 – Vancouver, BC – Croatian Cultural Centre
9/24 – Regina, SK – The Distrikt
9/25 – Winnipeg, MB – The Garrick Centre
9/26 – St. Paul, MN – Station 4
9/28 – Chicago, IL – House Of Blues
9/29 – Detroit, MI – The Majestic Theatre
9/30 – Cleveland, OH – House Of Blues
10/02 – Rochester, NY – Water Street Music Hall
10/03 – Washington, DC – 9:30 Club
10/04 – Philadelphia, PA – The Trocadero
10/05 – Sayreville, NJ – Starland Ballroom
10/06 – Providence, RI – Lupo’s Heartbreak Hotel
10/07 – Clifton Park, NY – Northern Lights
10/09 – Charlotte, NC – Tremont Music Hall
10/10 – Atlanta, GA – The Masquerade
10/11 – Lake Buena Vista, FL – House Of Blues

Next week, two albums by Taiwan�s premier metal act ChthoniC � dubbed the �Black Sabbath of Asia� by their home country�s largest newspaper, and soon to be the first-ever Asian act to take part in Ozzfest � will finally be released in North America. Relentless Recurrence, initially released in 2002, and last year�s A Decade On the Throne live double album/DVD will continue the momentum started by the acclaimed Seediq Bale, the group�s first American release.

The music of ChthoniC (pronounced THON-ick) focuses in part on the history of the Taiwanese people. The band has even christened its upcoming international tour � which will commence in suburban Seattle when the group kicks off the summer�s first Ozzfest � “UNlimited,” in part to protest how the United Nations (UN) limits Taiwan’s full participation as an independent country. (Visit www.myspace.com/ChthoniCtw for more on “UNlimited ChthoniC, UNlimited Taiwan.”)

Set to a riveting soundtrack of symphonic black metal, Relentless Recurrence relays a Taiwanese folk tale about a demonic ghost hell-bent on revenge. Like the group�s other recordings, the album sees ChthoniC use a Hena, a traditional Asian instrument comparable to a violin, to emphasize the legend�s sorrow and grief. Meanwhile, A Decade On the Throne is an engrossing live double album/DVD set recorded before a sold-out crowd in the band�s home country, and features guest performances by the so-called Oriental Orchestra as well as the Taipei Ladies� Choir. It will be released in a lavish digibook with special artwork and a velvet covering.

Though the band�s image is reminiscent of the black metal legends of Scandinavia, ChthoniC�s use of corpse paint is inspired by the history of their own culture. In Taiwanese folklore, deities known as the �Eight Generals� wear corpse paint to become empowered with Taoist spirits that give them the power to judge good and evil. It is this spirit that the band conveys on stage.

ChthoniC has been pushing boundaries throughout their career, and having singlehandedly launched an extreme metal scene in their home country, the group now sets their sights squarely on the rest of the world. The band will continue taking its music abroad in August when it performs at Wacken Open Air, Germany’s largest annual metal festival, and it will embark on its first full European tour this fall. And though ChthoniC — like all rotating second-stage Ozzfest bands — will have just 20 minutes to make its case on tour this summer, the group hopes its message reverberates long after their final notes are played.

ChthoniC “UNlimited” tour dates (more dates TBA):

6/29 The Wall – Taipei, Taiwan
7/12 White River Amphitheatre – Seattle, WA (Ozzfest)
7/13 Studio Seven – Seattle, WA*
7/14 The Gorge – George, WA (Ozzfest)
7/15 Roseland Theater – Portland, OR*
7/17 Sleep Train Amphitheatre – Sacramento, CA (Ozzfest)
7/18 The Boardwalk – Orangevale, CA*
7/19 Shoreline Amphitheatre – San Francisco, CA (Ozzfest)
7/20 Galaxy Theatre – Santa Ana, CA*
7/21 Hyundai Pavilion – Los Angeles, CA (Ozzfest)
7/22 Orpheum Theatre – Flagstaff, AZ*
7/23 House of Blues – Hollywood, CA*
7/24 Cricket Pavilion – Phoenix, AZ (Ozzfest)
7/25 Launch Pad – Albuquerque, NM*
7/26 Journal Pavilion – Albuquerque, NM (Ozzfest)
7/27 Bluebird Theater – Denver, CO*
7/28 Coors Amphitheatre – Denver, CO (Ozzfest)
7/30 Verizon Wireless Amphitheater – Kansas City, MO (Ozzfest)
7/31 Bob’s – Tulsa, OK*
8/02 Smirnoff Music Center – Dallas, TX (Ozzfest)
8/03 Wacken Open Air Festival – Wacken, Germany
8/06 Verizon Wireless Amphitheatre – St. Louis, MO (Ozzfest)
8/07 Pearl Room – Mokena, IL*
8/08 Germain Amphitheatre – Columbus, OH (Ozzfest)
8/09 Peabody’s – Cleveland, OH*
8/10 First Midwest Bank Amphitheatre – Chicago, IL (Ozzfest)
8/11 Station 4 – St. Paul, MN*
8/12 Alpine Valley Music Theatre – Milwaukee, WI (Ozzfest)
8/13 Forest Hills Lodge – Rockford, IL*
8/14 Verizon Wireless Music theatre – Indianapolis, IN (Ozzfest)
8/15 The Silo – Reading, PA*
8/16 PNC Bank Arts Center – Holmdel, NJ (Ozzfest)
8/17 Mark’s Showplace – Bedford, NH*
8/18 New England Dodge Music Theatre – Hartford, CT (Ozzfest)
8/19 The Chance – Poughkeepsie, NY*
8/20 Tweeter Center – Boston, MA (Ozzfest)
8/21 B.B. King’s – New York, NY*
8/22 Tweeter Center – Philadelphia, PA (Ozzfest)
8/23 Huntington Music Hall – Huntington, WV*
8/24 Post Gazette Pavilion – Pittsburgh, PA (Ozzfest)
8/25 Harpos – Detroit, MI*
8/26 DTE Energy Music Theatre – Detroit, MI (Ozzfest)
8/27 Jaxx – West Springfield, VA*
8/28 Verizon Wireless Amphitheatre – Charlotte, NC (Ozzfest)
8/29 The Haven – Winter Park, FL*
8/30 Sound Advice Amphitheatre – West Palm Beach, FL (Ozzfest)
9/01 The Muse – Nashville, TN
9/02 Uncle Pleasant’s – Louisville, KY
9/05 Penny Arcade � Rochester, NY
9/06 B.B. King’s – New York, NY**
9/07 The Funhaus – Toronto, Ont.
9/08 The Embassy – London, Ont.
9/09 Peabody’s – Cleveland, OH
9/16 Jaxx – West Springfield, VA

* with Nile
** with Katatonia

http://www.myspace.com/chthonictw
http://chthonic.org/en/

Hey, This Is Awesome!! Spin.com

‘Weird’ Track from Veruca Salt

Download “So Weird” from Veruca Salt’s new album their first release in six years!

Chicago indie rockers Veruca Salt have just dropped their fourth full-length, appropriately titled Veruca Salt IV, and that album’s “So Weird” hardly takes its moniker to heart. Though it’s been six years since the band have released an album, the track flows with the dynamism of their trademark alt-rock-fueled pop and it boasts the same grungy ethos of their earlier tunes. And though the band’s roster is ever- revolving, their sound still teems with fuzzed-out guitars and aggressive lines like “You don’t know me / You don’t own me / You’re just sucking out my life.”

On the Road With Agent Sparks and The Strays
9/20 – Hollywood, CA – Key Club
9/21 – Santa Ana, CA – Galaxy
9/23 – Denver, CO – The Soiled Dove
9/25 – St. Louis, MO – Pop?s
9/26 – Milwaukee, WI – Miramar Theater
9/27 – Madison, WI – Majestic Theater
9/28/06 – Minneapolis, MN – Triple Rock
9/29/06 – Chicago, IL – Double Door
9/30/06 – Mt. Clemens, MI – Hayloft Liquor Stand
10/2/06 – Cleveland, OH – House of Blues
10/3/06 – Pittsburgh, PA – Rex Theater
10/4/06 – New York, NY – Canal Room
10/5/06 ? Allentown, PA ? Crocodile Rock
10/6/06 – West Springfield, VA – Jaxx
10/7/07 – Spartanburg, SC – Ground Zero
10/9/06 – Atlanta, GA – Smith?s Olde Bar
10/11/06 ? Little Rock, AR – Juanita?s
10/12/06 – New Orleans, LA – The Parish at House of Blues
10/13/06 – Houston, TX – Engine Room
10/14/06 ? San Antonio, TX – Sanctuary
10/15/06 – Dallas, TX – Galaxy Club
10/17/06 – Albuquerque, NM – The Launchpad
10/18/06 – Tempe, AZ – The Clubhouse
10/19/06 – San Diego, CA – Canes
10/22/06 ? Orangevale, CA ? The Boardwalk
10/23/06 ? San Francisco, CA – Caf? Du Nord
10/25/06 ? Seattle, WA ? Studio 7
10/26/06 ? Portland, OR ? Roseland Grill
11/3/06 – Las Vegas, NV – Clark County Amphitheater

verucasalt.com

27 year-old Jos? Gonz?lez is a rising star in Scandinavia, with the world at his feet. Adored by legions of critics and punters alike, Jos?’s full debut single shot straight into the Swedish Top Ten. Now he?s being widely tipped as the ?next big thing? to emerge from Gothenburg in the wake of Soundtrack (Of Our Lives) – though Jos??s music is a starkly intimate contrast to Sweden?s more gregarious rock exports.

Relying simply on his own masterfully eloquent classical guitar and a voice that marries mature assuredness with poignant delicacy, Jos? creates an inimitable sonic world whose allure is all but irresistible. His achingly emotional melodies and thought-provoking lyrics – all sung in perfect, crystalline English – combine in a manner at once familiar (think Nick Drake, Tim Buckley, Will Oldham) and exotic (shades of Brazilian Tropicalia, flamenco, even the odd vestigial trace of Pampas tango). From these disparate sources Jos? has conjured a unique and bewitching signature that is all his own.

Born in 1978, Jos? was brought up in a house that teemed with all kinds of music. His father, is also a singer whose natural taste for Latin American music competed happily with American and UK pop classics; the eclecticism immediately rubbing off on his young son, ?We had a guitar at home that I toyed with?, Jos? recalls. ?One summer dad gave me a thick yellow book filled with Beatles? chords, and another with bossa nova classics. I spent the entire summer picking out songs. That?s how I got the basics?.

After these fledgling dalliances, Jos? followed his own path, initially playing bass in Black Flag inspired punk combo Back Against A Wall, before flirting with hardcore in Gothenburg?s Renascence and dipping into indie rock with the unlikely sounding Only If You Call Me Jonathon? But these rites of passage only led him back to the classical guitar, and, after a series of lessons in flamenco playing, the beginnings of a very personal style. ?I want (the guitar) to be more than an instrument,? he reveals, ?I?ve played classical music for some time, as well as flamenco. The flamenco is special in its touch and rhythm, often with a monotonous feel to it. My guitar playing is a mix of all that: bossanova, Beatles, flamenco and classical.

Vocally, Jos? admits to the influence of some appropriately intimate-toned forebears: Chet Baker, Eliot Smith, Geoff Farina and Songs:Ohia?s Jason Molina among them. He?s also happy to point out the positive effect on his music instilled by listening to such disparate artists as Cat Power, Tortoise and Joy Division.

Although he had a (now highly collectable) limited edition solo single out as long ago as 2001 (and another that year as part of the Gothenburg group Junip) , Jos??s recording career only really began in earnest in 2003 with the aforementioned success of ?Crosses?. That opening gambit is about to be introduced to the UK via the AGENDA label, with a full album to follow in early 2005.

It might sound like hyperbole to say Jos? Gonz?lez stands poised to seduce the ears of the world, but, as we all know, Swedish musical exports have a habit of doing just that?

http://www.myspace.com/josegonzalez

The play about ?those words? is stirring things up across the United States on its 2006-2007 national tour. Los Angeles based Speak Theater Arts thinks the rest of the country is ready for N*GGER WETB*CK CH*NK, a comedy ? yes, a comedy – about race in America.

Blending theater, hip-hop, stand-up comedy, slam poetry, and true-life stories with their own original style, three tour-de-force performers take on racial slurs, stereotypes, and the concept of race itself in this 90-minute stage production.

Winner of ?Best Play? from the American Readers Theater Association, N*GGER WETB*CK CH*NK charges into the dangerous territory of race, but without the predictable anger and angst. Cast/co-writers Miles Gregley, Rafael Agustin, Allan Axibal say, ?The show traces the origins and evolution of three derogatory terms that shaped our lives and took the place of a genuine understanding of our distinct cultures. In doing this show we hope to de-power these words for ourselves and for our audiences.? Co-writers Steven T. Seagle and Liesel Reinhart directed the production.

Since their first sold-out performances in Los Angeles, N*W*C (as they refer to themselves) have built a large following among more diverse and younger audiences than may typically find their way to local performing arts centers. While speaking to a new generation of theater-goers, N*GGER WETB*CK CH*NK has still garnered high praise from critics and traditional theatergoers, as well.

In the first three months of the Fall 2006 leg of the tour, the show is booked at over forty different venues in twenty different states. Regional theaters and college-based performing arts centers ? most east of the Mississippi ? are the presenters. (A detailed listing of fall tour dates and locations appears at the end of this document.)

The title of the play has met with controversy in cities like Cincinnati and Seattle. Some media outlets have refused to advertise the show because of the title. But those who have seen the play understand the choice to use the three derogatory words:

As they chant racial slurs, the actors are greeted not by bricks or rotten tomatoes but by gales of laughter. This audience is in on the joke, and over the next hour and a half, the show saps those slurs of their pejorative power through a succession of group scenes and comedic monologues in which the actors recount personal encounters with racial typecasting. ? Los Angeles Times

A young African American woman mentioned that she came to the event ready to tear the guys apart, because as a political activist she was extremely offended by the show?s title. She had even written a very angry speech that she was going to deliver. However, after listening to and watching the performers, she said that her attitude turned 180 degrees and she couldn?t wait to see the entire show the following evening (and bought a ticket and did just that!). ? Van Ackerman, Director of Marketing/PR, Cincinnati Arts Association

Previous Los Angeles performances of the show include a 2004 extended smash run at the Los Angeles Theatre Center produced by LA?s Latino Theater Company, as well as its premiere at UCLA?s Freud Playhouse. The 2006-2007 tour will also include residency programs with local community members to further address issues raised in the show in even greater depth.

For more information about the tour and the show visit NWClive.com

NOTE: Some venues have selected to present the play under the alternate title: N*W*C: The Race Show

“Jaw-Dropping…Infectious…Explosive…Inspiring!”
Los Angeles Times ? Critic?s Choice

“Wicked Humor and Surprising Heartbreak”
LA Weekly - Recommended

?Muy C?mico, Muy Significativo!?
La Opinion

Fall 2006 Tour Schedule N*W*C (tentative as of August, 2006):

Date(s) Site City, State

18-Aug Grand Performances Los Angeles, CA

20-Aug Morehead State University Morehead, KY

23-Aug Case Western Reserve University Cleveland, OH

25-Aug Chapman University Orange, CA

27-Aug Wilkes University Wilkes, PA

29-Aug Elon College Elon, NC

31-Aug University of Vermont Burlington, VT

5/6 Sep Texas A&M University, Commerce Commerce, TX

11-Sep William Jewell Liberty, MO

12/13-Sep Kansas State University Manhattan, KS

15-Sep North Carolina, A&T State University Greensboro, NC

18-Sep Henderson State University Arkadelphia, AR

20-Sep So. E. Missouri State Cape Girardeau, MO

22-Sep University of North Carolina, Charlotte Charlotte, NC

25-Sep Johnson and Wales, University Charlotte, NC

26-Sep Radford University Radford, VA

28/9 Sep University of South Florida Tampa, FL

2/3 Oct University of Wisconsin, Whitewater Whitewater, WI

4/5 Oct Robertson Memorial, Bradley University Peoria, IL

9-Oct University of South Carolina, Columbia Columbia, SC

10-Oct University of South Carolina, Upstate Spartanburg, SC

18-Oct Newman Center for the Performing Arts Denver, CO

19/20 Oct University of Wyoming Laramie, WY

23-Oct Louisiana State University Baton Rouge, LA

25-Oct Simmons College Boston, MA

26-Oct UMASS Dartmouth N. Dartmouth, MA

27-Oct UMASS Lowell Lowell, MA

30-Oct SUNY Rockland Community College Suffern, NY

1/2-Nov Florida Int’l University-Biscayne Bay Miami, FL

4-Nov Akron Civic Center Akron, OH

7-Nov Slippery Rock University Slippery Rock, PA

9-Nov Wittenburg University Springfield, OH

10/11 Nov Xavier University Cincinnati, OH

13-Nov College of Mt. Saint Joseph Cincinnati, OH

14-Nov North Kentucky University Highland Hts., KY

16-Nov Western Michigan University Kalamazoo, MI

17-Nov University of Detroit, Mercy Detroit, MI

18-Nov Findlay University Findlay, OH

5-Dec Cal State University Sacramento Sacramento, CA

Spring 2007 tour dates will be posted at www.NWClive.com