18-19-20 mai 2018
Reel Big Fish
Orange County, CA
Reel Big Fish
Reel Big Fish was one of the legions of Southern California ska-punk bands to edge into the mainstream following the mid-’90s success of No Doubt and Sublime. Like most of their peers, the band was distinguished by their hyperkinetic stage shows, juvenile humor, ironic covers of new wave pop songs, and metallic shards of ska. The group cultivated an underground following that broke into the mainstream in summer 1997, when their single “Sell Out” became a modern rock radio and MTV favorite. Their appearance in the movie “Baseketball” as the halftime band also gained them more fans and helped the bands popularity to grow. Still fronted by original lead singer and song writer Aaron Barrett, they continue releasing albums and touring relentlessly, playing more and more countries and bigger venues all over the world.
Reel Big Fish recorded its self-released debut album, “Everything Sucks”, in 1995. “Everything Sucks” became a word-of-mouth underground hit in ska-punk and college circles, which gave the band enough leverage to sign with the indie label Mojo Records. The label’s president, Jay Rifkin, and former Oingo Boingo bassist John Avila co-produced “Turn the Radio Off”, which marked Reel Big Fish’s first album for Mojo. “Turn the Radio Off” was unleashed in August 1996, and over the next year, the group continually toured in support of the album’s release, expanding their fan base all the while. In spring 1997, the single “Sell Out” began receiving heavy airplay from several influential modern rock stations in the U.S., which soon translated into MTV support for the song’s quirky video. By summer, the song had become a moderate modern rock hit, and the album had charted in the Top 100.
In 1998 the song “Take on Me” from the “Baseketball” motion picture soundtrack was released as the promotional single for the movie and once again found the band in regular rotation on rock radio and MTV in the USA.
The Album “Why Do They Rock So Hard” followed a year later, once again enlisting Oingo Boingo Bassist John Avila as producer. The album was not as commercially successful but is still regarded by many fans as the bands finest work. The band filmed a music video for “the Set up (You Need This)”, the only single released from this album.
The guys wound up on Jive Records in fall 2001 when their current label, Mojo, was bought by Jive’s parent label, Zomba. Reel Big Fish’s first release for Jive, a more rock-oriented record entitled “Cheer Up!”, appeared in mid-2002. This album was very successful in Europe with the video for the single “Where Have You Been” receiving heavy airplay on many music video channels.
Later that same year, RBF did a song for a Rice Krispies called “Snap, Krackle, Pop-punk” which was used in 3 separate commercials. Also that year, they recorded a cover of Toots and the Maytals “Monkey Man” for the Nickelodeon movie “The Wild Thornberrys.” The single for “Monkey Man” was also released in the UK and received heavy radio play as well as the music video being put on heavy rotation on Kerrang TV.
The band’s next album, the cynical yet catchy “We’re Not Happy ‘Til You’re Not Happy”, was issued in April 2005. Touring continued for the rest of the year, and Reel Big Fish happily parted ways with Jive in January 2006, having wished to be dropped from the label since the “Cheer Up!” release.
In August 2006, the group self-released a double-disc live CD (along with an accompanying DVD) titled “Our Live Album Is Better Than Your Live Album”.
Barrett said of this album “We finally captured the energy, excitement and humor of our live shows that we were previously unable to create in the recording studio environment. And it all sounds really good!”
This album is very popular with RBF fans and is sometimes referred to as “the Reel Big Fish Stand-up comedy album” because of all the silly stage banter.
The band returned with some new material in February 2007, splitting an EP “Duet All Night Long” with their friends in Zolof the Rock & Roll Destroyer. “Monkeys for Nothin’ and the Chimps for Free” followed several months later, marking Reel Big Fish’s first full-length studio release since leaving Jive’s roster, and 2009′s “Fame, Fortune and Fornication” found the band covering songs by the likes of Poison, the Eagles, and Tom Petty.
In 2010, the band released “A Best of Us for the Rest of Us”. It includes a 22 song disc of re-recorded hits and classic fan favorites as well as a bonus disc of 14 Acoustic or “SKAcoustic” versions.
On July 31st, 2012 Reel Big Fish released their 7th studio album, Candy Coated Fury (Rock Ridge Music), an inspired and infectiously catchy return to the hyperkinetic ska and biting wit of the band’s beloved early albums. “This album is a lot like our first two albums. It’s got a lot of the same intensity, frantic energy in the music, and the same sarcastic sense of humor. I think these are the fastest songs we’ve done since those albums,” Aaron Barrett, founding vocalist, guitarist, and principal songwriter says. “We’re finally just doing what Reel Big Fish does best, and that’s what we did on those first two albums.”
“Candy Coated Fury pretty much describes what Reel Big Fish does,” Barrett says of the significance of the new album’s title. “It’s hateful, mean, sarcastic, and, sometimes sad lyrics, over happy, wacky, silly, joyous, fast music that makes you want to dance. This album is mostly love songs, but bitter, angry, hateful love songs. Just about everybody knows what it’s like to be in a bad relationship. These songs could be sung by a 15 year old about his first love-gone-wrong, or by a 55 year old about a bitter divorce after 30 years. They’re bad-relationship songs that everybody can relate to.”
Candy Coated Fury is Reel Big Fish’s first album of newly recorded original material in five years. Overall, it’s the seventh in the band’s twenty year history, and it feels as vital and vitriolic as RBF’s foundational releases. The record opens with the huge sing-along vocal, balmy horns, and hyperactive ska groove of “Everyone Else Is An Asshole.” The track is an exceptional distillation of Reel Big Fish’s classic euphorically-juvenile ska punk. The stately arena riffs in “I Dare You To Break My Heart” reference cock rock, new wave, and soul without sacrificing one iota of RBF’s signature simmering skank. “I listen to the Darkness a lot; it was only a matter of time till I wrote a song like this! I can’t really sing as high as that guy so this song sounds more like Kiss, if Kiss was a Motown band that played ska,” Barrett says, detailing the song’s diverse stylistic touchstones. The anthemic “I Know You Too Well To Like You Anymore” features some of Barrett’s finest cutely cruel lyrics. “I think that is an amazing bad-relationship song,” he laughs. “I really captured the hateful love of two people who were once madly in love, but have been together so long, they can’t stand the sight of each other anymore but still say ‘they drive me crazy, and I hate this and this about them, but I love them.’” No RBF album would be complete without playfully irreverent 1980s covers. The band rounds things out ska-ifying the Wonderstuff’s “Don’t Let Me Down Gently” and When In Rome’s “The Promise.”
On December 12th, 2014 RBF released their first Christmas Album, A six song, digital only album entitled “Happy Skalidays”. This album includes 4 classic Christmas songs and 2 RBF originals.
Reel Big Fish continues to tour non-stop, playing over 250 shows a year to thousands of loyal fans all over the world, gaining more and more underground popularity as the Ska scene continues to flourish.
Anti-Flag’s new studio album, American Fall, follows 2015’s well-received American Spring. With Good Charlotte’s Benji Madden on board as co-producer, the band has intensified their signature anthemic style with bigger melodies, tighter songcraft, and thicker guitars.
American Fall is bold – both musically and politically – and Anti-Flag’s time is now.
With Anti-Flag, a new album is always a call to arms and a call to action that reminds listeners to question everyone and everything, including the current administration.
“The politics of distraction influences people to lose focus on what makes a positive impact on their lives and the world,” the band said about the new album. “It encourages people to make choices that are not in their best interest and reduces society’s ability to make progressive change.
“The American Fall is our rejection of this harmful distraction. At this crucial moment in history, we must focus on pushing past the status quo to create a better and more just world. We reject the proliferation of exploitation, racism, bigotry, and socioeconomic injustice that dominate the policies of Donald Trump, just as we renounce the neoliberal status quo that came before him.”
St. Louis, MO
Weezer Ska? MU330 plays an amazing collection of ska, rock, punk, and just good stuff you’ll want to sing along to. They have a high energy live show that you can’t miss!
A Wilhelm Scream
New Bedford, MA
A Wilhelm Scream
How does one gauge the success of a band pushing the envelope of a genre that receives little to no credit by the mainstream media? In the case of A Wilhelm Scream, the answer is “Who cares?” – As a band playing punk rock for over a decade, members Trevor Reilly, Nuno Pereira, Nick Angelini, Brian Robinson and Mike Supina haven’t focused on success, image or whatever bandwagon a group can jump on to get their music into the ears of listeners: It’s the ideal of music from an honest place, playing to the kids who want to hear more than a simple love song, or want an opinion rammed down their throats.
Despite operating just below the radar A Wilhelm Scream have carved out a reputation as one of the best live bands around, bolstered by their staggeringly rich albums of ultratechnical melodic punk rock firestorms. Playing 250+ worldwide shows each year, the band posses a work ethic best described as ‘heroic’.
playing "Hail Destroyer"
“No more bull shit…” asserts singer Liam Cormier of CANCER BATS.
“That was our declaration for this whole album,” he says when speaking about the band’s fifth studio recording Searching For Zero. The choruses are hookier, the screams more savage, the riffs more vicious, the songs more powerful. This is the CANCER BATS at their pinnacle – their “True Zero.”
“We were coming out of what was a really heavy year for all of us, with a lot of challenges, non-stop touring and the deaths of people really close to the band. Us dealing with all of that and how that’s taken its toll,” explains Cormier about the headspace he shared with his band mates – drummer Mike Peters, guitarist Scott Middleton, and bassist Jaye Schwarzer – surrounding the album’s composition.
As such, the 10 tracks that comprise Searching For Zero, produced by Ross Robinson (Sepultura, Slipknot, At The Drive In, Glass Jaw, Blood Bothers and The Cure), marks a new extension of the band’s already staple sonic components – the urgency and intensity inherent in Cormier’s vocals,Middleton’s sometimes sludgy, sometimes raging riffage, and the grimy, gritty,heavy-hitting rhythm section of Peters and Schwarzer, are all present. However, the album boasts a more raw and organic tonal signature than any previous Bats collection, with melodic elements not only musically but also vocally, which Cormier largely credits to their producer and their metal idols.
Robinson brought a bare-bones aural aesthetic to the material, capturing a sound that unites the thrashy metal-tinged hardcore of their previous releases with a meaty lo-fi intensity, found only in their live shows amongst the sweaty masses.The other change was brought out by the band’s love and admiration of Black Sabbath, whom they cover extensively under their alter ego, Bat Sabbath.
“In learning all those Sabbath songs, I ended up having to figure out how to really sing” says Cormier, laughing. “Then it was Ross really pushing me to use that new voice I had discovered.”
As a result, Searching For Zero is impressive in its polarity – simultaneously the most melodic yet menacing CANCER BATS release, incorporating the crude hardcore punk of their 2006 debut Birthing The Giant and more metal leanings of 2008’s Hail Destroyer while pushing the heavy hybrid sounds of 2010’s Mayors Bears Scraps and Bones and 2012’s darker Dead Set On Living to a new plateau.
“With all of these things we’ve had to deal with this past year, we were all at the point of saying “No More Bull Shit,” we’ve dealt with everything, nothing is standing in our way,” Cormier explains. “We’ve found our absolute zero, where there can no longer be a negative, and from that point, everything moving forward can only be positive.”
That positivity –that willingness to change what you can and let go of the rest – is the source of resolution. “There are real reasons we do this,” Cormier says assuredly. “We love being in this band, and we love the people that were lucky enough to share this with.”
Nowhere is that more evident than a CANCER BATS show, where band, fans, and unsuspecting bystanders unite under a banner of raised fists and banging heads. The energy is as undeniably infectious as the music itself and has helped the band hold its own on club and festival stages around the world.
Searching For Zero comes from a place of heavy contemplation for its creators, and at times, that contemplation grew grim and dark. But the end result is an acceptance of the realities that come with pursuing a passion, leaving CANCER BATS with a reinvigorated drive to do right by themselves and the people that have followed them this far.
“We think of the kids that have been with us the whole way,” Cormier states. “And we’re going to make sure that nobody ever regrets buying an album or getting a tattoo of our band put on their bodies for the rest of their lives, we’re all in this for the long haul.”
San Francisco, CA
There aren’t a lot of bands like Get Dead around these days. Instead of worrying about gimmicks and trends, this fivesome from San Francisco, California have always focused on the music and that’s evident with every passion-filled note they play. Get Dead started out performing together in 2007 after their respective bands called it quits and eventually attracted the attention of NOFX frontman Fat Mike who produced the band’s first full-length, « Bad News », as well as their new full-length, « Honesty Lives Elsewhere », and released both records on his label Fat Wreck Chords.
War on Women
War on Women
War On Women is a co-ed feminist hardcore-punk band. Formed in Baltimore, MD in 2011, W.O.W. use driving riffs and in your face vocals that attack the listener both sonically and lyrically, penning catchy and confrontational songs that touch on rape culture, street harassment, the gender wage gap, transphobia, and other vitally pertinent social issues.
In 2015, W.O.W. released their debut self-titled full length (recorded in collaboration with J. Robbins at Magpie Cage) on Bridge Nine Records and have been touring relentlessly ever since, with dates in the US, UK, and Western Europe sharing the stage with such bands as the Refused, Propagandhi, Anti-Flag, Boy Sets Fire, Jello Biafra, RVIVR, Iron Reagan, Dismemberment Plan, and Shai Hulud.
Eau Claire, WI
To better understand Arms Aloft you need to get to know their homeland, The Great Lakes. No no, not Chicago or Cleveland or Detroit, these punk weirdos are from THE NORTH. Half the band hails from Minneapolis and the other two lumberjacks are from Eau Claire, WI. Up in that neck of the woods the people wear large bricks of cheese upon their heads in a display of provincial unity. Ya sure, ya betcha. Well, these kids were destined for more than a life of ice-fishing and drinking Rhinelanders at the sawmill, so they started a band and caught people’s attention with their leftist message and raspy melodies. And on « What A Time To Be Barely Alive » they have 12 songs that take rootsy punk (like Billy Bragg and early Gaslight Anthem) and blend it with the personal politics of bands like The Clash and Dillinger Four. Plus, the cover art has a herd of swine busting out of a pigpen. Ain’t that some shit?
Forming in 1998 in the town of Petaluma, CA., Tsunami Bomb was the brain child of bassist Dominic Davi and keyboard/vocalist Oobliette Sparks. Wanting to combine influences from the darker punk of Northern California scene, with the classic Southern California hardcore, Tsunami Bomb set itself apart from it’s fellow bands early on with energetic and dynamic live shows, dual female vocals, and atmospheric synths that helped quickly build a fiercely loyal fan base.
Fast forward to 2016, where due to fan demand Kung Fu Records has collected the early, now out-of-print and rare E.P.’s into a 14 track LP collection, « Trust No One ». On the heels of this announcement, the original TSUNAMI BOMB line-up of Davi and Sparks, along with long time drummer Gabe Lindeman, have reunited with the help of vocalist Kate Jacobi to support this new release.
After a string of sold out shows around the US and festivals appearances such as the Vans Warped Tour and Remember The Punks, this rejuvenated Tsunami Bomb shows no signs of slowing down, with the band spending most of 2017 writing songs for a brand new album.
With the volume, technicality and intensity that embodies heavy metal and the overarching catchiness and longevity of stoner and classic rock, Barn Burner capture a signature sound that cannot be easily placed or categorized. Cultivating the principles of partying and the ever lasting might of the riff, Barn Burner creates a live atmosphere that render an audience incapable of standing still. Whether it is giving your best friend a well-deserved swill of beer or lovingly smashing the bottle over his head to the sound of a ruthless riff, Barn Burner will fulfill the demands of its listeners. Having finished their second record and follow up to the critically acclaimed Bangers, Barn Burner are prepared to unleash something more fierce…
Such Gold formed in 2009 in Rochester, NY – a region steeped in tradition for quality punk and melodic hardcore bands, and DIY ethic. The band quickly released a demo, followed by a series of EPs and split 7”s on labels like No Sleep and 6131 Records.
In 2012 the band released their full-length debut « Misadventures » via Razor and Tie, produced and engineered by the renowned Steve Evetts (Kid Dynamite, Saves the Day, Snapcase). The LP reached #6 on the Billboard Heatseekers chart and brought the band instant acclaim with both the hardcore and pop-punk scenes.
As with any budding group there were a few bumps in the road during the band’s formative years, including the departure of a series of founding members. Vocalist Ben Kotin seized the opportunity to fill the void on guitar which sparked a new creative element in the band, and a musical push into new territory. Kotin, guitarist Nate Derby and bassist Jon Markson recruited drummer Matt Covey (formerly of Shai Hulud) to re-develop Such Gold as we know them today.
2014’s « The New Sidewalk », produced and engineered by the infamous duo of Bill Stevenson and Jason Livermore (Descendents, Rise Against, Propagandhi), was the first release to feature the modern lineup and a more complex and intense Such Gold. Their new incarnation saw a further exodus from the band’s earlier pop-punk tendencies and found them identifying more with the music they grew up with—fast, riffy, technical and forward-thinking punk and angular, dissonant math rock.
In 2016 the band re-released 2010’s « Pedestals » EP as a re-mixed, re-mastered collection featuring the original release, plus b-sides from the era, on Bird Attack Records – a label founded by the band’s long-time friend Garrett Wadford.
“We met Garrett several years ago while playing a festival in Costa Rica and have stayed good friends ever since,” guitarist Nate Derby says. “It’s been great to watch him grow Bird Attack Records into a record label synonymous with quality punk music and I think he’s long since proven to us that Bird Attack is a worthy home for our band. »
The resilient group has spent equal amounts of time touring both domestically and abroad with the likes of Strung Out, PUP, The Story So Far, PEARS, Anti-Flag, A Wilhelm Scream, the Flatliners, Millencolin and more.
Not to be slowed down, Such Gold prepares to release their jarring new EP « Deep In A Hole ». This 5-song musical exploration shows off their superior ability to combine catchy melodies and arrangements with a mastery of harmonic color and wild textures. The result spans the bands’ sonic past, present and future via their new home at Bird Attack Records. Produced and engineered by the band’s own Jon Markson, and mixed and mastered by Jason Livermore at The Blasting Room, « Deep in a Hole » is Such Gold at their best – doing things their own way.
Santa Cruz, CA
« Dan Potthast is a living legend. Don’t fuck with him. His influence on punk and ska bands runs deeper than you could possibly imagine. He is a songwriting and performing genius and has toured all over the world.. USA, UK, Russia, Scandinavia, Europe, Japan, Korea, Australia, and even Mars. Listen to any of the countless albums he has released with MU330 or as a solo artist, and you will certainly agree that he is an unstoppable lyricist and a master of melody. »
– Dan Potthast
Did you ever see that episode of the original Twilight Zone where the journalist had the haunted typewriter? It worked like this: He’d sit down, type a made up story and the next day that shit would really happen, giving him the ultimate scoop on all his dumb journalist friends. Pretty good episode, actually. Well, there’s a band of kids from Ontario called Junior Battles who seem to have that same kind of thing going on right now, minus the typewriter. It’s almost like one of ‘em has a genie crammed up their ass or something.
Take the story of their success for example: One night, they’re sitting around wildly dreaming about being able to put a record out on Paper and Plastick and the very next day they get an email from P&P overlord, Vinnie, out of the blue, asking if they want to do a record. Next, they asked for the best bio in the world and hey! What do you know? Anyhoo…these canucks are more than just Kreskin-like predictors of the future, they’re also ushering in the bold new era of what can only be referred to as post-beard rock, playing heartfelt, angular pop punk that reminds you of your favorite bands without being derivative, and they’re bringing it to you people with Idle Ages, their full length debut, coming out on P+P on June 28. You heard it here folks!
Achète ton billet dès aujourd'hui
Des laissez-passer 3-jours sont disponibles et donnent accès à toutes les salles présentant des spectacles de la programmation du festival pour les jours choisis. Vous ne pouvez entrer dans une salle car elle est complète? Il en reste plusieurs autres auxquelles vous avez accès et où se produisent d’autres excellents groupes.