School of Rock Chapel Hill’s Mid-Season Preview Show
Free Show / $5 Suggested DonationShow Times:12:00 – Best of R.E.M.12:30 – Yacht Rock1:00 – Rock 1011:30 – House Band – The Who’s “Who’s Next”2:15 – Best of Reggae2:30 – 90’s Alt Ladies3:00 – Rock 2013:30 – Allman Brothers Band vs The Grateful DeadLinks: Website | Instagram | Twitter | Facebook
Chloe Moriondo
On her new album SUCKERPUNCH, singer/songwriter Chloe Moriondo inhabits an entire cast of unruly characters: a larger-than-life vigilante who collects ill-behaved boys like figurines, a champagne-popping Barbie doll with its hair chopped off, a champion boxer stepping into the ring in a satin pink Hello Kitty robe. Expanding on the untamed imagination and volcanic emotionality of 2021’s Blood Bunny—a critically acclaimed album that landed on best-of-the-year lists from the likes of The New York Times—the 19-year-old Michigan native uses that whirlwind storytelling as a vessel for self-exploration, uncovering potent truths about self-image and obsession and the complexities of power. At turns campy and confessional, tender and explosive, SUCKERPUNCH is heralded by the sticky-sweet anthem “Fruity” and marks a bold leap forward from the understated indie-pop and jittery pop-punk of Blood Bunny, often echoing the sheer unpredictability suggested in its title. But despite that seismic shift in sonic direction, Moriondo continues to imbue each track with the diary-like honesty that’s earned her a global fanbase of millions, slowly revealing the immense depth of her sensitivity and creating the most gloriously uninhibited work yet from a truly one-of-a-kind artist.Links: Website
Madison Cunningham
Two-time Grammy nominated artist Madison Cunningham is set to release her highly anticipated new album, Revealer, September 9 on Verve Forecast. The Los Angeles-based singer-songwriter-guitarist recently received her second Grammy nomination for Wednesday (Extended Edition) in the “Best Folk Album” category, previously having her debut album Who Are You Now nominated for “Best Americana Album” in 2020. Cunningham is fresh off the heels of a successful 2021, having opened for Harry Styles at his sold-out Madison Square Garden shows, toured with the likes of Andrew Bird, Bahamas and My Morning Jacket, and joined the touring band for “Live from Here.” She performed on “The Late Late Show with James Corden” and “The Late Show with Stephen Colbert” (alongside Courtney Marie Andrews) and penned an original song “Broken Harvest” for the NPR “Morning Edition” Song Project. Her forthcoming album Revealer finds Cunningham working once again with longtime producer and collaborator Tyler Chester, as well as Mike Elizondo (Fiona Apple, Regina Spektor, Mastodon) and Tucker Martine (Neko Case, Sufjan Stevens). The album is full of confessions, intimations, and hard truths — a self-portrait of a young artist who is full of doubt and uncertainty, yet bursting with exciting ideas about music and life. “There’s a sense of conflict about revealing anything about yourself; not just what to reveal, but whether you should reveal anything at all,” Cunningham explains. “This record is a product of me trying to find myself and my interests again. I felt like somewhere along the way I had lost the big picture of my own life.” Links: Website | Spotify | Facebook | Twitter | Instagram | YouTube
King Buffalo
King Buffalo is the trio of vocalist/guitarist Sean McVay, bassist Dan Reynolds, and drummer Scott Donaldson. Since forming in 2013, the self-proclaimed “heavy psych” band has made its name via 4 Full-lengths, 4EPs, and tours with Clutch, Uncle Acid and the Deadbeats, All Them Witches, The Sword, and Elder. King Buffalo will issue their fifth full-length, Regenerator, on Sept. 2, 2022, as a self-release in North America and through Stickman Records in Europe. Preorders will be available on June 10th via http://kingbuffalo.bigcartel.com. Written and recorded by the band with mixing and engineering by Sean McVay and mastering by Bernie Matthews, the seven-song outing is the third in King Buffalo’s stated ‘pandemic trilogy,’ following Two of 2021’s Best Albums in The Burden of Restlessness and Acheron. Both of those albums – like 2018’s Longing to Be the Mountain, 2016’s debut, Orion, and the various EPs and other offerings they’ve made over the last eight years – made bold declarations about who King Buffalo are as a band, and Regenerator is no different. As McVay, Reynolds and Donaldson continue to explore the outer reaches of modern psychedelic songcraft, melding progressive rhythms, drifting atmospheres and accompanying surges of electricity, the new collection only further establishes them as one of the brightest lights shining in underground rock today. As the third of three, Regenerator seems inherently to tie together the two LPs most immediately before it, and as King Buffalo unfold the leadoff title-track across nine and half minutes, it becomes clear just how truly they have marked out their own sonic presence. The later melodic highlight “Mammoth” – with McVay’s most confident vocal yet – shimmers with hope that somehow doesn’t come across as desperate, and as “Hours” engages classic space rock and the closing “Firmament” summarizes the first, second and third series installments, the final chapter of this trilogy becomes the essential cornerstone of King Buffalo’s work to-date. The band returned to live activity late last year, touring alongside Clutch and more recently a full North American spring tour with Uncle Acid and the Deadbeats. By the time Regenerator arrives, they will have completed a UK and European headlining tour with festival appearances in Germany, the Netherlands, Austria, Switzerland, Portugal, Belgium and Denmark. Links: Website | Bandcamp | Instagram | Twitter | Facebook
Mellow Swells
Links: Bandcamp | Instagram | Facebook
Tinariwen
Due to visa issues, Tinariwen is forced to cancel their forthcoming North American tour.The best Tinariwen album hasn’t been recorded yet. Perhaps it never will be. Because the best Tinariwen music isn’t the music they perform in front of microphones. It’s the music they play at night around the fire, back in their own country, amongst themselves and at their own pace. Having eaten, and drunk their tea, the men bring out their guitars, chat, remember old songs and let the music come. In those moments, the music can become like the fire, free, magical and impossible to stuff into a box. It rises up like a shower of sparks or a state of grace, without premeditation; the momentary manifestation of a friendship, a community, an environment, a history; the revelatory connection with something that belongs only to them, and goes beyond them. Their discography stretching out over the last 17 years, all the tours and the international recognition have changed nothing: Tinariwen are still a desert band, only certain aspects of which the western music industry can ever hope to capture and present. Tinariwen existed long before any of their albums were recorded, and they still exist quite distinct from their discographic dimension. So, the best Tinariwen album doesn’t exist. But it’s still worth trying to go and find it.The story of Amadjar, the ninth Tinariwen album, begins at the end of October 2018, at the Taragalte Festival of nomadic cultures in the Moroccan Sahara. After a concert and a sandstorm, Tinariwen hit the road and head for Mauritania, via southern Morocco, Western Sahara and the Atlantic coast. The destination is important (the band have to set up and record their album there, and hook up with the singer Noura Mint Seymali), but no more so than the journey itself. Tinariwen are joined by their French production team, who arrive in old camper van that’s been converted into a makeshift studio. The journey to Nouakchott, capital of Mauritania, takes a dozen days or so. Every evening, the caravan stops to set up camp and the members of Tinariwen get to work under the stars – a whole lot better than being in a studio after all – to prepare for the recording, talking things through, letting their guitar motifs, thoughts and long buried songs come. Then, during a final camp in the desert around Nouakchott that lasts about fifteen days, to an audience of scorpions, the band record their songs under large tent. In a few live takes, without headphones or effects. The Mauritanian griotte Noura Mint Seymali and her guitarist husband, Jeiche Ould Chigaly, come to throw their musical tradition on the embers lit by Tinariwen – the curling vocals of Noura Mint Seymali on the song ‘Amalouna’ will become a highlight.This nomadic album, recorded in a natural setting, is as close as you can get to Tinariwen. And also, therefore, to the idea that things can evolve: bassist Eyadou plays a lot of acoustic guitar; percussionist Said tries his hand at new instruments; Abdallah exhumes songs that he’s never played on stage with Tinariwen. And that violin that appears on several songs and reminds you of the traditional imzad? It’s actually played by Warren Ellis. The violinist in Nick Cave’s band is one of several western guests on the album. We also hear the mandolin and charango of Micah Nelson (son of the country music giant Willie Nelson, and Neil Young’s guitarist), and the guitars of Stephen O’Malley (Sunn O)))), Cass McCombs and Rodolphe Burger. The album is mixed by Jack White’s buddy Joshua Vance Smith.Website | Facebook | Instagram | Twitter | YouTube
Death Valley Girls
Rock n’ roll has always served as a means to elevate the fringe of society, though it’s accentuated the plights of the outcasts and misfits in different ways throughout the years. In its infancy, rock was a playful rebuttal against segregation and Puritanism. In the ‘60s, it became a vehicle for an elevated consciousness. In the years following the Summer of Love and the clampdown on Flower Power, that countercultural spirit adopted the aggravated and occasionally nihilistic edge of bands like The Stooges, Black Sabbath, MC5, and The New York Dolls. And then as the ‘80s approached, popular rock n’ roll turned into a relatively benign celebration of hedonism and decadence, but that contingent of dark mystics from the ‘70s who lifted the veil and used music as a means of rallying people to altered planes had left their mark. It was an undercurrent in rock that would never die, but would percolate in corners of the underground. Today we can see it manifest in LA’s Death Valley Girls.The group feels less like a band and more like a travelling caravan. At their core, vocalist/multi-instrumentalist Bonnie Bloomgarden and guitarist Larry Schemel channel Death Valley Girls’ modern spin on Fun House’s sonic exorcisms, early ZZ Top’s desert-blasted riffage, and Sabbath’s occult menace. Their relentless touring schedule means that the remainder of the group is rounded out by whichever like-minded compatriots can get in the van. On their third album Darkness Rains, bassist Alana Amram, drummer Laura Harris, and a rotating cast of guests like Shannon Lay, The Kid (Laura Kelsey) and members of The Make Up, The Shivas, and Moaning help elevate the band from their rogue beginnings to a communal ritualistic musical force. On the surface level, Death Valley Girls churn out the hypercharged, in the red, scuzzy rock every generation yearns for, but there is a more subversive force percolating beneath the surface that imbues the band with an exhilarating cosmic energy.Death Valley Girls’ sophomore album Glow In The Dark was based on the concept that many of us are trying to become more enlightened, and you can tell by the way they ‘glow in the dark.’ Darkness Rains goes a step further, attempting to shift the consciousness of those that have not yet considered how we are all connected and how that relates to the way we view life beyond death. Those that ‘glow’ can use the songs on Darkness Rains as new chants—or they can be used for pure entertainment. “Songs come from beyond and other worlds, you just have to tune into the right radio wave signal to dial them in. Our signal happens to be in a 1970 Dodge Charger Spaceship,” says Schemel.Album opener “More Dead” is a rousing wake up call, with a hypnotic pentatonic guitar riff and an intoxicating blown-out fuzz-wah solo underscoring Bloomgarden’s consciousness-rattling proclamation that you’re “more dead than alive.” The pace builds with “(One Less Thing) Before I Die”, a minute-and-a-half distillate of Detroit’s classic proto-punk sound. But at track three, Death Valley Girls hit their stride with “Disaster (Is What We’re After)”, a gritty, swaggering rager that takes the most boisterous moments off Exile On Main Street and beefs it up with Zeppelin’s devil’s-note blues. Darkness Rains retains its intoxicating convocations across ten tracks, climaxing on an astral plane with the hypnotic guitar drones and cult-like chants of “TV In Jail On Mars.”Links: Bandcamp Facebook
L.A. Witch
L.A. Witch’s self-titled debut album unfurled like hazy memories of late night revelries in the city center creeping back in on a hungover Sunday morning. Guitarist/vocalist Sade Sanchez purred and crooned over jangling guitar chords, painting pictures of urban exploits, old American haunts, and private escapades with a master’s austerity. Bassist Irita Pai and drummer Ellie English polished the patina of the band’s vintage sound, adding a full-bodied thump and intoxicating swing to the album’s dusty ballads, ominous invitations, and sultry rock songs. The album had an air of effortlessness, like these songs were written into the fabric of the Western landscape by some past generation and conjured into our modern world by three powerful conduits. The band readily admits that L.A. Witch was a casual affair and that the songs came together over the course of several years. That natural flow hit a snag when the band’s popularity grew and they began touring regularly, so a new strategy became necessary for their sophomore album, the swaggering and beguiling Play With Fire. Where L.A. Witch oozed with vibe and atmosphere, with the whole mix draped in reverb, sonically placing the band in some distant realm, broadcast across some unknown chasm of time, Play With Fire comes crashing out of the gate with a bold, brash, in-your-face rocker “Fire Starter.” The authoritative opener is a deliberate mission statement. “Play With Fire is a suggestion to make things happen,” says Sanchez. “Don’t fear mistakes or the future. Take a chance. Say and do what you really feel, even if nobody agrees with your ideas. These are feelings that have stopped me in the past. I want to inspire others to be freethinkers even if it causes a little burn.” And by that line of reasoning, “Fire Starter” becomes a call to action, an anthem against apathy. From there the album segues into the similarly bodacious rocker “Motorcycle Boy”—a feisty love song inspired by classic cinema outlaws like Mickey Rourke, Marlon Brando, and Steve McQueen. At track three we hear L.A. Witch expand into new territories as “Dark Horse” unfurls a mixture of dustbowl folk, psychedelic breakdowns, and fire-and-brimstone organ lines. And from there the band only gets more adventurous. Between their touring schedule, studio availability, and the timeline for releasing records, L.A. Witch found themselves with only two months to do the bulk of writing for Play With Fire. They holed up for January and February, essentially self-quarantining for the writing process before March’s mandatory COVID shutdown. “As far the creative process goes, this record is a result of sheer willingness to write,” says Sanchez. “When you sit down and make things happen, they will happen, rather than waiting to be inspired.” The time constraints and focused writing sessions ultimately forced the band into new territories. “I’ve definitely learned that having restrictions forces you to think outside the box,” says Pai. “That structure really brings about creativity in an unexpected and abundant way.” While L.A. Witch isn’t looking for a total transformation, they’ve stridden boldly forward with the amped up riffs and slashing fuzz lines of “I Wanna Lose.” Even the song’s message, a celebration of defeat as a starting point for rebirth and redemption, wields a kind of gravity that feels new for the band. Links: Bandcamp | Instagram | Twitter | Facebook
The Spill Canvas
This is a seated show.Grab a glass of wine and join us for a unique concert experience featuring reimagined versions of songs from our catalog.The Spill Canvas is an American alternative rock band from Sioux Falls, South Dakota. Known for their hits “All Over You” “Our Song” and “Staplegunned”, as well as several emo classics like “All Hail the Heartbreaker” “The Tide” and “Polygraph, Right Now!”Links: Website | Instagram | Twitter | FacebookMichael Flynn is an Americana-adjacent singer/songwriter based in western NC. His songs have been featured on shows like Grey’s Anatomy and Shameless, and on commercials for useful products like cars and shampoo. He’s also won a few awards for songwriting, most recently the 2021 Newsong Music Grand Prize. His band Slow Runner has released 5 full length albums, an EP, and several singles. They spent some time on one of SonyBMG’s labels and have toured internationally with acts like The Avett Brothers, Josh Ritter, Built to Spill, William Fitzsimmons, and many others.Michael has released three solo albums, including the most recent ‘Survive With Me’ in 2020. 2022 has seen the release of a new EP called ‘endlings,’ an unvarnished collection of songs that at various points evoke the following emotions: sadness, happiness, regret, romance, optimism, pessimism, you get the idea. He consistently threatens to someday write a self-help book called ‘Stop Trying to Look Like What You Used To Look Like And Just Look Like What You Look Like!’ but none of his friends actually think he’ll follow through.Links: Website | Instagram | Twitter | Facebook
of Montreal
When creators f<ck with how we experience time and space, great fictions emerge: H.G. Wells’ The Time Machine, the Terminator franchise, Avengers: Endgame. But what happens to artists when the flow of time gets f^cked up IRL? When an hour stretches into eternity, and the voices in your head begin to echo through empty rooms?If you’re Kevin Barnes, the creative visionary behind of Montreal, Freewave Lucifer f<ck f^ck f>ck happens.Isolation and uncertainty loomed throughout the genesis of the band’s latest studio album. “The experience of just trying to keep my head above water and navigate through the last couple years played a huge role in this record,” says Barnes.These expansive selections contrast markedly with the focused pop of 2020’s UR FUN, which was crafted for visceral thrills and the concert stage. As it was for countless musicians around the world, the inability to tour eliminated one of the linchpins of Barnes’ creative process. “I didn’t know if we’d ever tour again, so I didn’t consider that side of things.” Denied social interaction and diverse experiences, Barnes delved inward.Barnes contemplated how time functions in music and experimented accordingly. These new songs, dense with ideas but short on repetition, feel epic in scope despite reasonable running times. Like the staircases of M.C. Escher’s Relativity, the discrete sections of “Marijuana’s A Working Woman” and “Blab Sabbath Lathe of Maiden” crisscross and pivot, confounding the senses yet commanding attention.The imagery and sentiments that bubble forth from Barnes’ lyrical wordplay prove equally disorienting. “Is it important to say black chrome rodents?,” asks Barnes on “Après The Déclassé.” Phrases borne of free association took on new meaning when introduced into a song. “It’s like collaborating with my subconscious in a way. It feels deeply personal, even though I don’t necessarily understand it at that moment.”“Marijuana’s A Working Woman” juxtaposes oddball funk a la Zapp or Rick James with nods to Alice Anne Baily’s 19th century spiritualism. “Modern Art Bewilders” zigzags between baroque psychedelic idyll and synthpop tantrum, equal parts Sgt. Pepper’s and Gary Numan. Other influences woven throughout include realist painter Edward Hopper, fantasy author Ursula K. Le Guin, cinéaste Pedro Almodovar, and erotic illustrator Toshio Saeki.Barnes likens their compositional process to making collages from seemingly unrelated source materials, combining them in provocative ways to reveal new meanings. “I wasn’t working with specific themes that I wanted to try and stretch over a three-minute pop song. It was sewing together a lot of fragmented thoughts,” which ties in nicely to the ‘freewave’ aspect of the album title’s meaning. As Barnes explains, “Freewave is my term for wild and intractable artistic expression. Lucifer is the angel of enlightenment and elucidation. Fuck is something we say when things are going really well, or really badly.”Links: Website | Instagram | Twitter | Facebook | Spotify | YouTube
