TICKETS AVAILABLE HERE ON OUR FACEBOOK AND TREESDALLAS.COM
CANDLEBOX:
https://www.facebook.com/candlebox/
https://www.youtube.com/watch?v=eu3EuWg2qNI
In a storied rock ‘n’ roll career of mul4-pla4num albums and 4meless, ubiquitous radio smashes, Candlebox’s sixth studio album, Disappearing In Airports, finds the renowned lineup infused with a new energy and openness. “I want to take Candlebox into a new world, and this record is very different, very diverse for us,” says band founde...
TICKETS AVAILABLE HERE ON OUR FACEBOOK AND TREESDALLAS.COM
CANDLEBOX:
https://www.facebook.com/candlebox/
https://www.youtube.com/watch?v=eu3EuWg2qNI
In a storied rock ‘n’ roll career of mul4-pla4num albums and 4meless, ubiquitous radio smashes, Candlebox’s sixth studio album, Disappearing In Airports, finds the renowned lineup infused with a new energy and openness. “I want to take Candlebox into a new world, and this record is very different, very diverse for us,” says band founder and frontman Kevin Mar4n. “It’s about growth and pushing the band in the direc4on for a new audience.” With songs ranging from the pissed and urgent “God’s GiJ” to the edgy unease of “I’ve Got a Gun” to the amorous romp of “Supernova,” Disappearing In Airports is a bold musical statement from a revitalized band.
The amicable departure of original members ScoN Mercado and Peter KleN allowed Candlebox the opportunity to shake things up, and that newfound energy and impetus is evident in the dozen tracks on Disappearing In Airports. Guitarists Mike Leslie and Brian Quinn bring freshness to the band’s mega hits like “Far Behind” and “You,” as well as different angles to the new material. “They have a ‘Wow, I’m playing this song that I grew up on and I love this tune!’ kind of puppy dog love to it,” laughs Mar4n. “Mike’s got so much B.B. King in his style, of blues it’s insane, and spontaneity to his playing and songwri4ng that’s enriching to me.” While Brian has a metal and classic rock side, he also boasts a big blues influence “and is an incredible slide player. Mike and Brian play en4rely differently but it fits so well.”

The band formed in 1991, went quadruple pla4num with their 1993 self-4tled debut on Madonna’s Maverick Records, and released two more acclaimed and top-selling albums (1995’s Lucy and 1998’s Happy Pills) before going on a hiatus in 2000. Candlebox regrouped with a 2006 tour, then put out Into the Sun in 2008, followed by 2012’s Love Stories & Other Musings. For Disappearing in Airports, the band worked with producers Carson Slovak and Grant McFarland (August Burns Red, Everclear, Rivers of Nihl), cufng the record at Think Loud Studios in York, Pennsylvania.
Post-Love Stories, Mar4n worked up about seven songs, but a split with their record label postponed recording. So with a new deal with Pavement Entertainment in place and renewed crea4vity, Candlebox completed and finished four songs in a day, wrote a couple more in the studio, then revisited and reworked previously unfinished songs that fit into the direc4on Disappearing in Airports was heading. “The great thing is that they all really became songs when we were a band in the studio, because it’s a very collabora4ve record, which I’m very happy about,” Mar4n says. “It was very together and crea4ve, and again that’s what Mike and Brian were able to bring to the record--that spontaneity and that young, excited energy.”
For Mar4n, the songs flowed easily: “I don’t labor at all, it’s not in me; not that there aren’t great bands that work intensively over brilliant songs, but I find for me that ini4ally what pops out is what I’m looking for. If it’s not opening itself up to me and allowing it to be seen by me, I just won’t bother to beat it up.”
Songs like the first track to radio, the leJ-of-center “Vexa4ous” (a Mar4n-created word) hooks you in immediate with the drums and irresis4ble chorus. It is Mar4n at his editorial best – poignant, lyrical driving the message of the perils of a digitally-connected yet emo4onally disconnected world in a powerful rock song.
“Vexa4ous” is about this emo4onally des4tute, social networking-obsessed society we live in. People come off as insecure, yet s4ll so en4tled with unlimited bragging rights,” says Mar4n. “Whether it’s a pop star feuding senselessly with another pop star, or the girls and boys who can’t help but to take 50 different selfies in under a minute and miss everything that’s happening around them, we can’t escape it. It’s everywhere and it’s destroying us. Da4ng apps, bitching apps, secret sharing apps, apps apps apps—they all operate outside of any real or authen4c human connec4on. No one cares what anyone else thinks or feels. It’s all me, me, me and, if you ask me, it’s fucking sad.”
Speaking celebrity feuding, there is one song where Mar4n takes a public figure to task. “God’s GiJ” was inspired by Kanye West. “It’s a total slap at him. When does someone say ‘You actually aren’t that good?’ Somehow the world just seems to keep blowing smoke up his ass.” Another controversial subject is “I’ve Got A Gun,” “inspired by the constant small mindedness of people who think you’re trying to take their guns away from them. If you know anything about me as a person, you know that I’m highly poli4cal; you know that I’m a firm believer in people’s rights 100% and I don’t believe that anyone should take your guns from you. I’m saying is gun control is an issue and these mass shoo4ngs need to stop and that’s the approach of the song.”
Musically, Disappearing in Airports is as heady as it is lyrically. And visually: the album cover is by an ar4st-friend of Mar4n’s, ScoN Fisher, who passed away during the album process. “I had asked him paint the artwork for the album, and the pain4ng he did for us is 4tled “Disappearing In Airports,” hence the album 4tle. The pain4ng represented the songs that he’d hear from our album, so it’s really about what his emo4ons were how the songs had affected him, so that’s how it represents the record.”
“Supernova” is a love (sex!) song for Mar4n’s wife and it’s contrasted with “Alive at Last,” which “is about that last breath, about the people who are struggling, whether it’s with terminal cancer or something that’s destroying them. It’s a liNle bit existen4al.”
Mar4n found the crea4ve process very therapeu4c this go-round; without two original members, he says, “there was more freedom for me to express myself.” That said, it wasn’t always easy, but that’s what gives Disappearing in Airports so much of its power. “I’m saying a lot of things that I’ve never said before, and that’s liNle bit of a challenge for me. I remember telling Carson that I wasn’t comfortable singing some things, but he said, ‘That’s good, be uncomfortable.’”
Ul4mately, while Disappearing In Airports is clearly Candlebox, Mar4n observes that the record, compared to its predecessor is “banked right turn; I don’t think it’s 90 degrees but we are taking chances. You’ve got to push yourself outside of that comfort zone. You have to do that as a musician, or in any crea4ve element of your life,” Mar4n believes. “That’s what we did with this record, and I knew these guys would go with me and would take me where I wanted to go musically. We can reach as far as we want.”
LULLWATER
https://www.facebook.com/lullwatermusic
http://www.lullwatermusic.com
There are a million bands in the universe of popular music who yearn for a career that becomes the foundation for an emergence of a community. They speak with the conviction of passion, honesty, drive, and perseverance. Most exhibit behavior that defines hard work to their core. Yet, the vast majority come and go leaving small localized followings in their wake. Some broaden their reach establishing regional footholds. And then there are those that through integrity, diligence and what is nothing more than a pure connection with those they encounter, that reach the heights of developing a national
presence. With Lullwater, the band’s raw, thought provoking rock has placed them on that cusp of garnering that elusive coast to coast notoriety.
In 2007, John Strickland (Lead Vocals / Rhythm Guitar), Brett Strickland (Lead Guitar), Roy “Ray” Beatty (Bass) and Joe Wilson (Drums) met through mutual friends in the fertile Athens, GA music scene. They emerged with a shared conviction in their quest from sweaty jam sessions in a dark, grungy, damp basement on Lullwater Street, and from there began to build
an audience one fan at a time. It took years of working through repertoire, and fine tuning a vision. Culling audience reaction at hundreds of shows and personal instinct, they threw their rich, diverse musical roots in a blender, and from the mix came a combined musical discovery. The missing link was
capturing their live energy on to tape.
With clear vision, they committed their resources, and literally uprooted their entire lives. The band relocated to the Northwestern U.S. in December, 2011. After getting their feet on the ground, they entered London Bridge Studios. Brett Strickland shares, “They’re adamant about recording on tape,
which was perfect for us. We wanted the music to be as raw and natural as possible. It was all us. You hear every nuance of the performances because we were playing live together.” The historical rooms where Pearl Jam’s Ten and Soundgarden’s Louder Than Love were created delivered a creative
revelation for the band. With Producer Jonathan Plum at the helm, everything they sought to achieve became a realized vision. Singer John Strickland reminisces, “My whole childhood was Nineties rock. For me growing up in Georgia, the Seattle scene was like a mythological place where all of these amazing musicians came out of. I told the guys we needed to go there to
record. We aimed to bring Athens to Seattle, and being there definitely changed us. It brought us a lot closer together, and we found the sound we’d always wanted.”
The hypnotic, heavy melodies of the godfathers of grunge who immortalized the Pacific Northwestern scene left an indelible mark on music. The influence continues to impact recordings today, and with Lullwater that influence is clear. It is the convergence of this inspiration, with a healthy helping of bluesy
Southern swagger, that delivers an individual sound. The band strives to create a movement of change and originality with the fans in an effort to bring sense of community back to music lovers that are dispirited with the state of what is deemed popular in Rock music today. With LULLWATER, they might just provide that lightning rod that inspires wide congregations of disparate tastes to unite for the simple love of inspired music.
Lullwater has released “Tug of War” and “Blind” from the self-titled offering thus far, and the fan base spoke loudly with love for the first taste of what’s to come. Their personable, approachable and outgoing personalities are the backbone of this strong bond that is deep with the audience. With a realized vision in hand, and the abundance of musicianship, creativity and artistic expression, they just might yield that arrival in to the national spotlight they’ve persevered for. Inevitably, as lead guitarist Brett Strickland shares, “We want people to relate to the songs and connect to them. If they get something emotional from the music, we succeeded.” John Strickland adds, “I simply want all we encounter to feel something. I hope the album rocks people’s faces off, and it makes them feel more alive in the process. We are in this for the long haul, and with every passing month’s experiences I know that we are connecting. That my friends is simply inspiring.”
PETER RG
https://www.facebook.com/PeteRGmusic
http://pete-rg.com
pete-rg(SoundCloud)
Pete RG is an American indie, singer-songwriter and producer from Los Angeles, CA. The name, RG, is taken from his childhood moniker, Argy, an abbreviation of his lengthy, Greek last name, Argyropoulos. His band includes his co-producer Brina Kabler (Keyboards), Adam Kury (Bass), Dave Krusen (Drums) and Kevin Haaland (Lead Guitar).
CARBON
https://www.facebook.com/CarbonRockBand
www.carbonrockband.co.uk
www.youtube.com/carbonrockband
In December 2010 from the remains of “The Unforgiven” one band which included all of the guys but a diffrent vocalist. Joe then took over the main vocals and with a few extra tweaks Carbon was born. They guys all met in Amman Valley School in South Wales at the age of 14 years old where they all discovered that they shared a passion for doing one thing. That thing was playing music. They played there first gig in an open mic night on the 23rd of December in the Half Moon in Garnant and from then have played more and more gigs every weekend.
Already Carbon have played with numerous big acts such as The Last Republic, Twenty Twenty, The Bon Jovi Experience and The Rookz and from this have a gained an impressive fanbase in the time they have been together. Carbon have also recorded a demo E.P which features 4 of their own tracks. One of the tracks on the demo, “Stand up”, was releaesed on iTunes in July 2011. They also recorded a music video for the track with BAFTA Wales cameraman Mike Harrison that was released on youtube on the 9th of November 2011 and in under a month gained over 1,000 views!
Carbon continue to write original material, gig like crazy, build their fanbase and balance school work all at once!