Surf Punk Instrumental @ Since 2013
From Brazil

In almost 10 year career the whole reached incredible success with his unforgettable performances, adding to its extensive curriculum hundreds of concerts, among them presentations in France, Italy, Belgium, Germany, England, Argentina and in almost all Brazilian territory.

With more than ten releases, the set has featured in major media in Brazil and abroad, such as Globo, MTV Brazil, TV Cultura, ABC News, Transamerica, Eldorado FM, Kiss FM, and vehicles printed as Folha de São Paulo, São Paulo, 
Dynamite, Rock Press, Trip, TAM Magazine 100% Skateboarding and numerous 
citations in specialized sites, blogs, social networks.

Beginning in 1963, The Sonics created an uncompromising, overdriven brand of rock 'n' roll whose musical and emotional intensity had no precedent at the time, and has yet to be bested in the years since.  Driven by Gerry Roslie's fearsome, bloodcurdling howl, Larry Parypa's pummeling, distortion-heavy guitar work and Rob Lind's greasy, squalling sax, the Tacoma, Washington-bred combo delivered a brutal, propulsive sound and a swaggering, primal attitude to match.  By taking rock 'n' roll to the edge, the Sonics helped to lay the groundwork for punk, garage and heavy metal, decades before those genres existed.  

The Sonics became regional stars throughout the Pacific Northwest, where their over-the-top performances made them a consistently in-demand live act.  But their assaultive approach proved a bit too extreme for national mainstream exposure at the time.  The original Sonics splintered in 1967, but the band's influence and mystique continued to grow steadily in the ensuing decades, as their vintage work was rediscovered by succeeding generations of fans and musicians.  Meanwhile, such Sonics standards as "Psycho," "The Witch," "Strychnine" and "Have Love, Will Travel" continued to turn up in film soundtracks, TV commercials and the set lists of the countless Sonics-loving bands who emulated—but never duplicated—the band's sound.

As The Sonics' posthumous profile grew, the band members stubbornly resisted a steady stream of lucrative offers to perform reunion shows.  Instead, they maintained that the Sonics would only reform when they felt that they could equal their original onstage energy level, and when they could record new material that would equal the intensity of the old stuff.  

The Sonics finally ended their four-decade hiatus in November 2007, with a pair of rapturously received shows in New York.  Although the band had intended those shows to be a one-time-only event, word of the performances quickly circulated amongst Sonics fans, resulting in performance offers from around the world, and turning the temporary reunion into a permanent one.  Since then, The Sonics have performed for rabid crowds across the United States as well as England, Spain, Belgium, Sweden and Norway.  They headlined a sold-out concert at Seattle's Paramount Theatre, where they had performed their last show back in the day, and at the SXSW music-industry conference in Austin, Texas, and the NXNE festival in Toronto.  

Having reconquered the live stage and built a new, multi-generational fan base, the reactivated Sonics have set their sights back on the recording medium, enlisting noted producer Jim Diamond (White Stripes, Dirtbombs) to record THIS IS THE SONICS —the Sonics' first album of new material in nearly half a century—at Diamond's Detroit studio Ghetto Recorders.  

The 12-song set finds The Sonics channeling their original savage, primal essence on such new originals as "Chaos," "Sugaree," "Bad Betty" and "I Got Your Number," while continuing their tradition of audacious cover material with raucous reworkings of Ray Charles' "I Don't Need No Doctor," Bo Diddley's "You Can't Judge A Book by the Cover," the Kinks' "The Hard Way," Hank Ballard's "Look At Little Sister" and the rousing Motown nugget "Leaving Here."

THIS IS THE SONICS shows the Sonics' original sound and swagger to be fully intact, and ready for 2015.

www.lightbulballey.com

Garage/Psych/Punk

Light Bulb Alley are a Rock ‘N’ Roll band from Montreal that has existed for over 10 years. Their last release was"The Bright Side Of The Dumpster", It features Chloé Soldevila from ANEMONE on back up voice and Sean Cary Barnard from UUBBUURRUU on guitar. Produced by Daran in Montreal.


The band has shared the stage with Lyres, MOTO, Matadors and toured US, Canada and Mexico.

The group consists of Allister Booth (guitar, vocals), Sean Cary Barnard (guitar) and many members throughout the years. The band began as an independent act, self-producing their recordings, before they eventually gained popularity in the Montreal Garage/Psych scene. The band's raw garage rock sound draws heavily from Allister's influences of Old Time Blues and 70's Punk. Their debut album, "The Sound of Things", was released by Ricochet Sound (The Gruesomes label) in 2011. Their last release was "The Bright Side of the Dumpster" in 2016.

Light Bulb Alley believes in Rock ‘N’ Roll in its pure form, but does not disqualify the significance of the ever changing currents of new music. They do not believe in dogmatic pureness or regurgitating a carbon copy of what has been done before. Their sound is an alchemy of old and new, darkness and light. This duality is ever changing and never stagnant.

On the Unreleased album (Lights and Shades) Allister Booth sings of progressively breaking free from darkness. The songs, when played live, impact audiences by pulling them into the mysterious poetic lyrics and melodic music. The lyrics are vague and elusive and inspired by dark poets like Jim Morrison, Leonard Cohen and Bob Dylan. Light Bulb Alley sees the value and humour of depression and lowly living. Allister is honest and writes about what he has seen in Montreal. They make a positive leap forward towards the light at the end of the tunnel. “Cut Me Loose” is a break up song that hints at making the best out of a bad situation and moving forward. “What You Wanted is What You Get” depicts the night life/underground scene in Montreal and how alluring it could be. Theres also the concept of steering away from dark/party ridden paths and negative aspects of life as alluded to on in “Fly Away You Stupid Ghost”. 

The underground Rock ‘N’ Roll lifestyle is hard, but when articulated in music, it can be cathartic and give people an outlet to groove to. They can be compared to the Cramps, Rolling Stones or Velvet Underground with a modern spark.

Press

"...their rollicking, rockabilly-tinged sound retains the fireball energy and DIY grit of a classic punk outfit”. Bandmark.com

"Stratified clouds of cigarette smoke in a bar are the images invoked by the music here". Earshot

" I can't describe properly how great it is! Moody guitar, bass and drums with vocals and trashy performing are still shudder my body!!! Excellent"! Gew Gaw Fanzine.

"After a rumbling, shuddering cover of ‘Who Do You Love’ we get into a CD of damned fine originals. This is neo-garage psyche delivered good and ugly".  Leicester Bangs 

"...absolute killer garagepunk guitar noise just made for dancing and drinking"! Mongrel Zine

"Seedy underbelly stabbing at your eyes like Jack the Rippers surgical knives. Leaving you for the crows, vultures and worms". Sugarbuzz Magazine

" tormented, and a rhythmic system steamroller are the ingredients of this beautiful sandstone by the ability garage, which is often willingly let go fevered drifts psych". Retrophobic.com

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