Athcast - Athens Music!

"Hope For Agoldensummer is a tribe of 5 musicians living & working in the fine towns of Athens & Atlanta, GA. Our rusty, gutter angel melodies are borne from many hours of collaboration in a cold, damp house. Separately and conjointly we are deeply passionate about the music with which we get involved. We strive to create beautiful, dynamic sounds by way of multi-instrumentation and soaring vocals. The songs we create in hope for agoldensummer are therapy and food; they are hatched from human emotion and experience, joy and fear, sorrow and complacence, dreams and reality. We released our first album in March of 2004." *http://www.hopeforagoldensummer.com/theband.html Photos: Kevin M. Quinn Brown Bag Photography & Design 864.506.5327 brownbagphoto@gmail.com Sound Engineer: Newton georgiatheatre@hotmail.com Recording: Mike Ewing podcastpower@gmail.com Editing: Mike Ewing podcastpower@gmail.com

Along with luminaries like R.E.M., The B-52's and Pylon, Love Tractor helped establish the college town of Athens, Georgia as a mecca of alternative music in the early '80s. Comprised of guitarist Michael Richmond, multi-instrumentalist Armistead Wellford, drummer Kit Schwartz and guitarist Mark Cline, the band's earliest material was instrumental, if for no other reason than that they could not afford a PA system. However, the approach set them clearly apart from other acts on the crowded Athens scene, and helped win them a deal with DB Records. 1982's Love Tractor documented their formative approach, which touched heavily on fusion and even cocktail music. By their 1983 follow-up Around the Bend, Richmond was taking the occasional stab at singing; after the 1984 EP 'Til the Cows Come Home, Love Tractor resurfaced in 1987 with This Ain't No Outerspace Ship, a full vocal exercise which also found the group tackling a cover of the Gap Band's "Party Train." The quartet enlisted Mitch Easter to produce 1989's Themes From Venus, which, while comprised largely of vocal tracks, did contain the instrumental "Nova Express," effectively bringing the Love Tractor story full circle. Accordingly, in 1991 the group decided to take a break from the music business; they reformed periodically, and began writing and performing new material for a projected album. During their hiatus, Wellford played in Gutterball with Steve Wynn, Bob Rupe, Sparklehourse, and The House of Freaks. Cline travelled, studying Italian opera and ancient languages, while Richmond studied art history. After several failed attempts at completing their "comeback" album, Love Tractor returned in 2001 with The Sky at Night. ~ Jason Ankeny, All Music Guide And Love Tractor returns, right where they left off with Black Hole, featuring even more great Mike Richmond songs. You can expect exciting things for 2005 as this new band of seasoned professionals keeps their creative edge alive with an amazing batch of songs. Mike enlisted the talents of Tom Lewis (VOL), Billy Holmes (Uncle Tupelo, VOL), Ben Holst (Avenues, Velure) and Darren Stanley (Squat). Photos: Kevin M. Quinn Brown Bag Photography & Design 864.506.5327 brownbagphoto@gmail.com Sound Engineer: Newton georgiatheatre@hotmail.com Recording: Mike Ewing podcastpower@gmail.com Editing: Mike Ewing podcastpower@gmail.com

"We tell stories of passion, pain, death and beauty with just a subliminal hint of the gutter- striving to connect these dots in which the course of human nature swims~ the band began as songwriter Patrick Carey and pedal steel guitarist Matt Stoessel, crafting sparse yet richly textured tales... among other local acts the ginger envelope performed with was a recently relocated and now defunct band from Lafayette, LA named Urbosleeks, whose core members were Jason Robira, Steven Miller, and Jason Trahan... after a string of shows together, Robira and Miller joined in as the percussive and bass guitar elements, and then was added Jason Trahan on electric guitar...~ the band quickly worked on a string of songs, performing them live in town and some of which were recorded on a five song, self titled ep made available in early 2005... following further devopment and an increasing amount of songs to capture, the band went back in to the studio in the summer of 2005 to record a full length record that should be avaliable in mid-february, and has the lovely additions of Carolyn Troupe on viola, Aaron Jollay on trombone and coronet, and Neil Golden on piano...~ the ginger envelope will be planning a string of dates following the release of this record, and is highly elated to be able to share with all ~" *http://www.myspace.com/thegingerenvelope Photos: Kevin M. Quinn Brown Bag Photography & Design 864.506.5327 brownbagphoto@gmail.com Recording: Kevin Straker kmstraker@mindspring.com Editing: Mike Ewing podcastpower@gmail.com

"...unlike anything else heard from Coulier...another insane release." -The Philler (4/06) "To say that I'm not entirely sure what this is would be something of an understatement. What I do know however is that I like it. This disc needs to be listened to to be believed." -Lucid Forge (4/06) "...pretty much made me pop a boner. I definitely felt like I was getting fucked from both sides, and for the first time in my life I think I liked it." -Econo Culture (4/06) "Coulier use the extremes of their influences as boundaries, not caring if they color outside the lines once in a while. Vibin' could have been an entirely miscalculated disaster, but instead it is perfectly calculated and wondrously disasterous." -Performer Magazine (4/06) "A Prog-fest of stop/start chugs and spacy intent that is thoroughly enjoyable. A rating upgrade from a B to a B+ for having naked girls on the front." -Tastes Like Chicken (4/06) "Volatile guitar-drum army Coulier bashes out fantastic instrumental prog-metal for the ADD generation...A confounding and stunning band." -Stomp and Stammer (3/06) "Seventies porn is rad. So is Coulier" -Screaming Bloody Mess (3/06) "The end result is an album that is curious at times, dumfounding and complex at others and killingly riff-rocking at others" -Flagpole Magazine (3/06) "And it is during this 50-minute abortion [Halibut] that I learned to truly hate Coulier." -Movie Poop Shoot (2/06) "The act is a metal/prog/math-rock/post-rock/hardcore/experimental beast. The trick is that they fuse it all into one raging, frantic concentration of searing rock that only makes it more difficult for them to find a worthy rival." Delusions of Adequacy (6/05) "The riffs-per-minute ratio is stratospheric...an explosive and nearly virtuosic exploration of metal's formulas and the boundaries of Coulier's audience's tolerance." -Splendid Magazine (5/05) "Their chops have been honed on the whetstone of jazz, leaving these kids eager to show their adoring public exactly what's up their sleeve, namely some incomprehensible riffs, nerve-jangling chromatic workouts, and enough nonchalant pinch harmonics to send the dogs of your neighbourhood howling long into the night." -Collective Zine (5/05) "They don't fuck around when it comes to laying down some cool riffs and amazing drumming." -Screaming Bloody Mess (5/05) "...riveting and impressive and at other times just plain crushing." -Indie Workshop (4/05) "...half-assed and garage-esque." -Hybrid Magazine (4/05) They can't all be winners! "Those damn guitars done stole the show." -Flex Your Head (3/05) "...one of the craziest, most intense and enjoyable instrumental rock recordings in recent memory. Coulier is the rare band that snaps me out of my jadedness." -Stomp and Stammer (3/05) ""Cool Cooler Coulier" is unlike anything you've ever heard." "...the air guitar album of 2005." -Lost at Sea (2/05) "The result is positively rawking; in that maddening, spastic way that the kids are so enamored with these days." -Slug Magazine (2/05) "You look at Coulier as a genius who fails classes because he doesn't care about doing things the right way." -Red and Black (1/05) "[Coulier is] a force concerned less with spouting emotions than with unleashing unadulterated fury." -Creative Loafing (9/04) "Coulier is as volatile and explosive as a choreographed car crash. The band's rhythms are like jazz on ice; they're derived from something impulsive and erratic, but [their] structural components are precise and solidified." -Flagpole Magazine (7/04) "This is just so spazzable! Super good." -Collective Zine (2/04) *http://www.coulier.net Photos: Kevin M. Quinn Brown Bag Photography & Design 864.506.5327 brownbagphoto@gmail.com Recording: Mike Ewing podcastpower@gmail.com Editing: Mike Ewing podcastpower@gmail.com

Col. Knowledge & the Lickity-Splits began in the late summer of 2003 in Athens, Ga after I met Andrew J. Steck at a front porch record sale, and then later at a drunk-for-all party. We shared a mutual love for Doo-Wop, Zappa, and psychedelia... and he told me he played guitar and keyboards. Little did I know that he was a guitar/keys viruoso and that he will sit in the top floor of the library for hours at a time studying stravinsky scores and creating compositions of his own on sheet music. He was involved previously in various goof-ball bands such as Naked Pictures of Your Mom, DJ Klon and the Too Drunk Crew, as well as a jug band called Those Calamity County Calibrators which also included our drummer of the next two years, Jeremy Beck. Shortly after meeting Andrew J. and working on a few songs with him, I got a call while I was DJing on Who put the Bomp! from a friend named Leslie. She was living with a fellow named Aaron Jollay who was a bass player and wanted to try and play music with me. I inquired about the music he liked, and all she could tell me was that he liked the Grateful Dead. I was sceptical, as I didn't want no good-for-nothing lazy modern-era hippy in my band. Nonetheless, after the DJ shift I went over to her place where everyone was skinny dipping in her apartment's pool and asked him to sing a really high falsetto vocal phase completely buck-naked. We've been super great pals ever since. We played our first show in November of 2003. Played tons of shows in Athens during 2004. In early 2005, Col. Knowledge & the Lickity-Splits were signed to Alive records, the same great rock n' roll enthusiasts who run the Legendary BOMP! label. The record was recorded at home on a crude cassette 8-track from the 1980's in order to create the kind of overwhelming ball-O'-sound required to make such an exciting rock n' roll / gnarly-pop record. We toured the East Coast/Midwest during the month of May 2005. The shows were fun, energetic, and exciting to say the least. In September after some regional out-of-state shows, Jeremy, our old drummer was replaced by a new one, the amazing Mercer. We celebrated the beginning of 2006 at his residence/our new practice space THE SECRET SQUIRREL with a great new band that Aaron is also in called The Dark Meat/Vomit Lasers Family Band. The year has begun brightly. In March and April 2006 we toured through the south over to the west coast and back through the Rockies. We had all kinds of wild adventures and performed with numerous amazing rock n' roll bands. We had the pleasure of being the backing band for Ariel Pink 3 times during this period, most notably appearing with him at SXSW, jammin' with him at an Art happening in LA, and performing 9 of his tunes with him in Atlanta this past February. Presently we are recording lots of our new and jubulant tunes onto our 8-track and 4-track cassette recorders for another record... as well as setting up short regional tours and shows. Also we've been spending all the rest of our time building dollhouses out of eggrolls. If you like what you hear don't hesitate to contact us: colknowledge@hotmail.com Thank you for listening/reading. Signed Timmy Tumble uh duh Lickity-Splits *http://www.colknowledge.com/bio.html Photos: Kevin M. Quinn Brown Bag Photography & Design 864.506.5327 brownbagphoto@gmail.com Recording: Mike Ewing podcastpower@gmail.com Editing: Mike Ewing podcastpower@gmail.com

Poised to become another name that's dropped when discussions of the world-class Athens, Georgia music scene commence, Dubconscious embraces the role of torchbearer. The band has been testifying to impressed audiences throughout the fertile music cradle of the Southeast for years. Whether opening for acts such as Sound Tribe Sector Nine, Burning Spear, The Slip, and The Wailers or being offered as the main course, Dubconscious brings healthy servings of spirituality, celebration, and social awareness exemplified by reggae pioneers like Lee Perry, King Tubby, Augustus Pablo, and The Gladiators. Genuinely uplifting live performances coupled with studio recordings that successfully harness the energy and healing nature of the genre they respect and export, the band is the personification of righteousness, and a perfect soundtrack to sway to. Dubconscious strives to become an integral part of the evolution of reggae music, leaving their own indelible mark along the way. *http://www.myspace.com/dubconscious Photos: Kevin M. Quinn Brown Bag Photography & Design 864.506.5327 brownbagphoto@gmail.com Recording: Kevin Straker kmstraker@mindspring.com Editing: Mike Ewing podcastpower@gmail.com

"Formed in Atlanta in 1986, the hard-rocking, Southern roots-music-steeped Drivin' n' Cryin' were never embraced on a national level, but have reigned supreme in the region during their tenure. Originally made up of singer/songwriter Kevn Kinney on guitar and vocals, Tim Nielsen on bass and Paul Lenz on drums, the band's debut was the timeless hard rock/bluegrass fusion Scarred But Smarter(1986) on 688 Records, the label that grew out of the punk-era Atlanta club of the same name. The band followed with Whisper Tames the Lion in 1988 for Island and replaced Lenz with Jeff Sullivan on drums. There were high hopes for the band at the time due to the success of R.E.M.; all things Southern were tipped to become the next big thing. But Drivin' n' Cryin's uniquely Southern spin on rock was lost on the rest of the world. Persevering with Mystery Road, with the addition of R.E.M. guitar roadie Buren Fowler on lead guitar, the band didn't alter style all that much. For Fly Me Courageous (1990), the band finally took on the heavy metal mantle and ended up with a good hard rock record, with the odd folk track thrown in. The result was perhaps shocking and less than fashionable in the years when alternative music was just coming into its own. Drivin' n' Cryin's greatest strength was as a live band, as they toured tirelessly around the South, drawing an enthusiastic, college-age audience. A Drivin' n' Cryin' show in Atlanta had to be seen to be believed -- the sound of the crowd singing along would actually drown out Kinney's own unusually strong voice. That same year, Kinney recorded the beautiful acoustic folk LP MacDougal Blues for Island. Drivin' n' Cryin's Smoke was released for Island in 1993 and ultimately finished the band's liaison with the label. It was followed by another, even sparer solo album by Kinney, Down Out Law (Mammoth) in 1994. He accompanied his solo releases by touring with R.E.M. guitarist Peter Buck, who produced the first album, while he and the band also filled the gap between its fifth and sixth records performing acoustic dates throughout the South. By the time the more gentle Wrapped in Sky, the band's Geffen debut in 1996, hit the shelves, they were nearly forgotten -- lost in the void that many bands of their generation would find themselves in the wake of grunge. Kinney, Nielsen and Sullivan have held strong -- with the addition of Joey Huffman on keyboards for Wrapped in Sky. Fowler has since left the fold. The band continue to record, and during 1997 were working on an album to be self-released. " - Denise Sullivan *http://music.barnesandnoble.com/search/artistbio.asp?z=y&CTR=68176 Photos: Kevin M. Quinn Brown Bag Photography & Design 864.506.5327 brownbagphoto@gmail.com Recording: Kevin Straker kmstraker@mindspring.com Editing: Mike Ewing podcastpower@gmail.com

Fronted by sassy Cheri D on keyboards/lead vocals -- backed by feisty guitarist Cat and the firm but funky rhythm section of bassist J3 and drummer Max -- 13 Stories is a quartet whose perky FunkyPopSexyHouseRap shows get a share of catcalls, but mostly calls for encores from audiences who find that 13 is a lucky number for those who like melodic, vivacious rave-ups. 13 Stories performances have garnered the group favorable comparisons to everyone from No Doubt and Blondie to the B-52s, Cibo Matto and Tom Tom Club. The members of 13 Stories have been playing together in different capacities for nearly eight years, but landed on their united approach by almost disbanding. Originally featuring a flashy lead guitarist and more jamming sound, 13 Stories serendipitously stumbled on the groups infectiously energetic, edgy take on pop when making up for the initial guitarists departure. Determined to move forward and make up for the guitars absence, the group brought in keyboards and each took on microphones. The lack of lead guitar didnt last long, with Cat picking up the slack in her own unique way, and soon everyone was comfortable in his or her roles. Aching to perform since the age of four, Cheri D has so much energy she cant pause it. She sang in multilingual choirs for years and haunted open mic nights to hone her voice, influenced by 80s pop and folk music. Cat is a rock n roll naf, ripping natural leads with coltish energy and few influences outside of a little Billy Joel and obscure salsa bands, feeding off her band mates enthusiasm. J3 is the perfectionist, most widely versed in winding genres and setting the steady pace while always mixing things up. And inspired by country and heavy metal Max, is both the anchor and versatile hype man. Few of the members influences directly translate in to 13 Stories snappy sound, which comes across as a soundtrack for a perpetual spring break patio party. One constant to 13 Stories is the bands key: songs are written in the major scale, intended to keep tempos and spirits high. All of this developed as 13 Stories was brought back by popular demand for a monthly residency at Atlanta s Otherside Lounge, soon weaving hip-hop through new wave and funk through synth-pop. Since then, the group has played throughout the Southeast and beyond including dates at Atlanta s Music Midtown, Charlotte s 600 Festival, West Palm Beach s Clematis by Night street festival, Centennial Olympic Park where they opened for Collective Soul, and even the MGM Grand Hotel in Las Vegas , developing as consummate performers with the backbone of a three-piece and unafraid to embrace bubblegum. To go with the uptempo instrumentals, Cheri D writes flirty, but firm lyrics dealing with everything from letting someone take you on a good ride without putting you through a bad trip to a song inspired by social work and appreciating what you have to be joyful about at the end of a week. Each member of 13 Stories delivers parts of the vocals, whether its echoing, rapping or just sultry whispering. Much of what inspires the band is its egoless interaction -- crisply captured by Producers Jeff Hodges and Don McCollister (Sister Hazel, Indigo Girls, Shawn Mullins) on 13 Stories polished debut, FunkyPopSexyHouseRap. Despite having known each other a long time, the members of 13 Stories remain amazed how each can take one anothers suggestions that will constantly lead to a bubbly lick or groove thats new, but feels natural. And one thing the entire group can agree on, is that whether on record or on stage, 13 Stories gives it all no matter what all entails. *edited for text constraints from www.13stories.com/bio/ Media Contact for 13 Stories: Paula Donner - 360 Media, Inc. - 404-577-8686 or info@360media.net Photos: Kevin M. Quinn Brown Bag Photography & Design brownbagphoto@gmail.com Recording: Kevin Straker kmstraker@mindspring.com Editing: Mike Ewing podcastpower@gmail.com

Packway Handle Band Packway Handles strength is in its cohesiveness. Vocal Harmonies and string syncopations lock together like Legos-Aspen Daily News. The Packway Handle Band is a group of young, talented Bluegrass musicians based out of Athens, GA. The group has developed their own unique single mic style of bluegrass that is as traditional as it is exploratory.-Marquee Magazine March 2004. They perfect tight three and four part vocal harmonies, express electrifying picking styles in each solo, and perform memorable live shows. They combine traditional Bluegrass music with their original progressive acoustic songwriting, and have added bluegrassified 80's cover tunes in their performances. Along with some end-of-the-world gospel tunes... For Booking info contact keith@hellobooking.com or for booking questions for the band e-mail booking@packwayhandle.com

Dubconscious Poised to become another name that's dropped when discussions of the world-class Athens, Georgia music scene commence, Dubconscious embraces the role of torchbearer. The band has been testifying to impressed audiences throughout the fertile music cradle of the Southeast for years. Whether opening for acts such as Sound Tribe Sector Nine, Burning Spear, The Slip, and The Wailers or being offered as the main course, Dubconscious brings healthy servings of spirituality, celebration, and social awareness exemplified by reggae pioneers like Lee Perry, King Tubby, Augustus Pablo, and The Gladiators. Genuinely uplifting live performances coupled with studio recordings that successfully harness the energy and healing nature of the genre they respect and export, the band is the personification of righteousness, and a perfect soundtrack to sway to. Dubconscious strives to become an integral part of the evolution of reggae music, leaving their own indelible mark along the way.

Liquid Jungle Liquid Jungle is the combined effort of four musicians creating cutting edge grooves through a sonic blend of hard rock and funk. Together they have developed a unique sound resulting from an eclectic mixture of styles, rhythms, and time changes. Their music is full of hypnotic riffs, ethereal melodies, thoughtful lyrics, and a distinctive style designed to open minds, move feet, and shake the soul. Identical twin front men, Josh and Graham Yoder, have shared a common passion for music and art from an early age. They began writing songs together at the age of eleven; by the time the boys turned fifteen they were performing at clubs throughout Atlanta. Now 22, theyve mastered a unique style demonstrated by their incredible chemistry on stage. Josh describes this phenomenon as a sort of telepathic communication. We finish each others thoughts constantly and during improv, we find ourselves following each other without even realizing it. In the spring of 2004, they were introduced to Jason Monseur, who provides the rhythmic force that drives Liquid Jungles sound. With Monseur in place behind the drums, the band is free to explore, experiment, and grow musically. Soon after the addition of Monsuer, Liquid Jungle began working on their first album, and released the self-titled disc in November 2004. In 2005, they recruited close friend, Zack Varner, to enhance the bands musical depth. Varner has further expanded the sound with his impressive keyboard, guitar, saxophone and vocal skills. Liquid Jungles live performances have been creating quite a stir in the Atlanta, Athens, and Milledgeville music scenes. Their diverse style has made them Atlanta favorites at the Brandyhouse, where they played packed out shows regularly. Their reputation has taken them to Smiths Olde Bar, 10 High, The Masquerade, and The Hard Rock Cafe. Theyve made their presence known in Athens with well-received shows at 40 Watt, Tasty World, Last Call, and DTs Downunder. They also have growing fanbases in NC, SC, TN and AL. Having shared the stage with Johnny Neel from The Allman Brothers, George Porter Jr. of the Funky Meters, Matt Abts of Govt. Mule, and Brian Stoltz from Bob Dylans band, is affirmation of Liquid Jungles current success and foreshadows an even brighter future. In the words of Todd Ziegler, Atlantashows.com, The chemistry among the members generated results which would make an alchemist jealous each plays with the chops and musicality which would make schooled pros simmer with envy In the spring of 2005, Graham had the privilege of touring with Moonshine Still as their interim lead guitarist while the bands regular guitarist was recuperating from an accident. Graham got a good taste of life on the road while making lifelong friends for himself and the rest of Liquid Jungle.

another Fiasco The band Another Fiasco took root in Athens in Late 2002, and it has since branched out across the South and up the East coast to much acclaim. The music touches on four main genres: rock, alt-country, southern fried funk, and island/calypso grooves. Its intense attention to vocals, lyrics, and song writing complement the ability to improvise when and where it has the greatest effect. This concentration allows energetic shows that leave all in attendance craving their next Fiasco extravaganza. These experiences often climax to an incendiary moment, in which, Fiascos state of the art intelligent light show entices the crowd into a frenzy of ecstasy. This understanding drives every nights ambition to achieve a pinnacle of musical perfection. The band currently finished an exciting run of summer shows and is gearing up for the fall intent on pushing heavy promotion and a rigorous touring schedule always intent on expanding its range and fan base. Check out some select tracks from the full length album If Never Was Enough as well as various live tracks from this summer's shows. Also keep your eye out for exclusive previews of demos from the upcomming album being recorded this fall. Everybody's support has been great so please keep it up and we will see you soon!

another Fiasco The band Another Fiasco took root in Athens in Late 2002, and it has since branched out across the South and up the East coast to much acclaim. The music touches on four main genres: rock, alt-country, southern fried funk, and island/calypso grooves. Its intense attention to vocals, lyrics, and song writing complement the ability to improvise when and where it has the greatest effect. This concentration allows energetic shows that leave all in attendance craving their next Fiasco extravaganza. These experiences often climax to an incendiary moment, in which, Fiascos state of the art intelligent light show entices the crowd into a frenzy of ecstasy. This understanding drives every nights ambition to achieve a pinnacle of musical perfection. The band currently finished an exciting run of summer shows and is gearing up for the fall intent on pushing heavy promotion and a rigorous touring schedule always intent on expanding its range and fan base. Check out some select tracks from the full length album If Never Was Enough as well as various live tracks from this summer's shows. Also keep your eye out for exclusive previews of demos from the upcomming album being recorded this fall. Everybody's support has been great so please keep it up and we will see you soon!

The Trews Having conquered their native country of Canada with two Gold albums, six Top 10 singles (including two ..1s at Rock radio) The TREWS are ready to take on the U.S. with the April 18th release of Den of Thieves (Red Ink/Sony BMG). Since the release of their 2003 debut, House of Ill Fame, The TREWS have become one of Canadas most recognized rock bands. For the past three years, weve enjoyed the success that weve earned in Canada. Not only have we learned a lot about the business but weve also matured both personally and musically. I think Den of Thieves reflects this, said vocalist Colin MacDonald. Den Of Thieves was recorded with Grammy award-winning producer Jack Douglas (Aerosmith, John Lennon, The New York Dolls). Douglas encouraged a conscious effort to present many musical influences on their sophomore album. The songs that comprise Den of Thieves include an eclectic mix of their trademark heavy hitting rock sound mixed with melodic undertones evidenced by the use of horns, strings, harmonica and even banjo. So far, the critics are eating it up. Released last summer in Canada, Den of Thieves has earned rave reviews from such esteemed critics as Dexter Haven of Access Magazine who wrote; "It's not like The Trews invented Rock N' Roll, but I'll be damned if Den Of Thieves almost makes me think they did." The TREWS technical proficiency and raw devotion are not limited to their album. Heralded as One of the hottest live bands in Canada, The TREWS are no strangers to the stage, having performed with such superstar performers as Evanescence, Nickelback, Robert Plant and The Rolling Stones. Performing 400 plus shows over the past two and a half years has made us a pretty tight and connected group, said guitarist and vocalist John-Angus MacDonald. Playing that many shows is hard work but it pays off, weve emerged as a stronger band, both as friends and musicians.

The Boston Globe says "Like Summerteeth-era Wilco, RC's arresting debut is a smart-bomb stunner whose material moves with cool ease and crisp authority amid multi layered hooks and moods." -Jonathan Perry Read the full review HERE. The Nashville Scene says...The Wee Hours Revue is a triumph, with Skips jaunty, pinched, sharp-edged vocals, Logans DJ Shadow-influenced approach to the drum kit and the bands vintage-tinged jangly guitars and Rhodes undertones. -Jewly Hight Wordy melodies and strumming guitars, rocking out on epic levels. Best when played big and loud, approaching majestic heights of goodness. This is a gem -www.buzzgrinder.com EDITOR'S PICK on smother.net Wilco fans listen up. Roman Candle is right up your alley. With lyrical twists and wit that could easily be mistaken for Elvis Costello, Roman Candle write compelling songs that are warm with smiling melodic vocals and rich with harmonious guitars. The layers that this band employs on The Wee Hours Revue are simply staggering. Soulful groove is teased by alt. country tenets that are properly deployed without sounding derivative and with proper asides to the Grand Ole Opry sound followed by nice nods to folk rock. The keyboard arranges things nicely with church organ spine tingly effect. Roman Candle sounds like a polished band playing 70s era rock n roll with a bit of folk and country stirred in. - J-Sin "Roman Candle is one of the best, most complete American rock bands to surface in a decade ... After all, (they are) better at what they do--writing imaginative pop songs and building them into captivating four-minute Southern-air epics with the unleashed spirit of The Replacements and unorthodox intuition of Wilco--than any other "band on the verge" in memory." The Independent 6-21-06 Love is an understatement for what I feel about Roman Candle's album, The Wee Hours Revue. This album has songs reminiscent of the golden era of glam rock yet the soul of indie music. You Dont Belong To This World is a love song that pulls at the heart without being sappy. Songs like I Cant Even Recall and Ive Got a Reason are the reasons why I will put this album on my nano ipod. The lyrical content of the album speaks to a broad audience. The plausible story lines and dreamy hooks are likely to keep ones attention. The only glitch is the preachy undertones on love. Over all, this album deserves to be part of any well rounded music lovers CD collection. (9 out of 10) -D.Watley (www.racketmag.com) 8 out of 10 on lostatsea.net. 4 out of 5 at Orlando City Beat. Bands from the South don't usually make it big in the Big Apple, but when they do, they make it really big. This is an album to listen to and Roman Candle is a band to watch. --Glenna Gordon The Wee Hours Revue gets some blog love here. "One of NC's best bands, roman candle, clashes like early kinks at times, then aches like ryan adams. Just don't call them alt-country, that be kind of like calling highway 61 revisted alt-country." --Mark Kemp "...the five-piece band Roman Candle makes well-crafted music, with an attention to detail and a gritted-teeth determination that's hard to find these days. Theirs is a quest for some kind of supreme sonic moment, a layering of sounds and emotions not unlike what's found at the heart of the pastoral-soul work of that Morrison fellow...there's more '70s soul in Roman Candle's sound than '00s alt-country, characterized by, among other elements, a tangible warmth and the wonderful shimmer of a Rhodes." --Rick Cornell