Nomadic Rock-n-Rollers from parts unknown, Living full-time on the road 8 years straight. Always on tour across the US, Canada, Europe, the UK, and Japan.
Randee McKnight on drums/vocals/acoustic guitar, and Symphony Tidwell on upright bass/vocals are fueled by late nights, risky behavior, and truck stop snacks.
Formed under the light of a full moon, the band observes and take notes on the human condition in dimly-lit parking lots; "life through the windshield" as they like to call it.
Lords of the Highway
Voted Cleveland Scene Magazine’s Best Rockabilly Band!
The Casket Company
Hailing from the Great Black Swamp of Northwest Ohio The Casket Company is a powerhouse quartet that will push your boundaries and not let up. Heavily influenced by grunge and prog, the music is a hard-hitting vessel for the lyrical assault that comes after.
Their songs run the gamut emotionally; taking your mood on a roller coaster with a raw, almost shameless delivery. With Bruce Vermett’s impeccably dynamic drums, Shawn Daley’s heavy and grinding bass, Eddie Reyes' (formerly of Taking Back Sunday & Currently FGAD) ground-shaking rhythms, and Alex Baird’s howling, breathing guitar; their live show and albums alike are a testament to life and loss in the Rust Belt.
Skateboard punk rock for your face
Hailing out of Hall of Fame city
“Really Well”, the new record from Halifax band Mauno, is an expansive, idiosyncratic study in the creases in intimacy, authenticity, and labor, and the ways that music-- guitars, bass, drums, synths and vocals--- can explore and express them. Written by vocalist/bassist Eliza Niemi, vocalist/guitarist Nick Everett, guitarist Scott Boudreau and drummer Adam White and recorded at Chad VanGaalen's Calgary studio, the record collapses the personal and the professional within critiques of capitalism and creative labour. Musically, too, it is non-linear, jutting from the twisted, plucky indie-skiffle of the opener "Really, Really" to the charged post-punk march of "Half It", to the spring-reverb-tweaked riffing of "Reeling II", to the dreamy, sidestepping guitar pop of "Expectations", to the gorgeous, macabre slow-jam of "Vampire".