The Burning of Rome began modestly as Adam Traub’s recording project in a laundry room in Oceanside, CA. It rapidly outgrew the four-track tape recorder on which it was born and demanded his complete devotion, as well as some talented extra musical hands, to bring it to life.

Enter the Romans: Oft barefoot axe wielder Joe Aguilar, whose specialties include scratchy guitar licks and spastic dancing. French bass man Keveen Baudouin, whose metronomic mind produces calculated bass lines with intelligence and fury. Slacker-era siren Aimee Jacobs who belts with operatic force while hammering on her glockenspiel and synthesizers. Zen guru Danny King, shredder behind the kit, who is, quite obviously, the terrestrial answer to the octopus. And Traub, manipulator of keyboard, guitar, light system—the proverbial kitchen sink through an amplifier—all while demonstrating a vocal gradation as yet undocumented elsewhere in nature.

Mix this all together and you have space rockers The Burning of Rome blasting their phonic waves at unsuspecting humanoids in Southern California for the past few years. The quintet has conjured a sonic palate replete with everything from death pop bliss, galactic rock, gypsy punk cabaret, to indie spaghetti western, and are now poised to harken the masses with the release of their forthcoming effort, Year of The Ox.

“We have assimilated,” Traub says of the unit. “We share an unbridled passion to revere music as life rather than hobby.”

The Burning of Rome was welcomed into the sun-kissed arms of San Diego’s independent Surfdog Records who released the group’s strange and sprawling debut With Us in 2012. A regional favorite, which the San Diego Reader described as sounding as “if the Misfits took psychedelics and performed an ABBA tribute,” With Us won the title of “Album of the Year” from the San Diego Music Awards.

Surfdog introduced the band to famed Butthole Surfer and producer Paul Leary (U2, Melvins, Sublime and Meat Puppets), who fell in love with the band, leading him to captain the production duties for Year Of The Ox, alongside co-producer Traub.

The brunt of the thirteen-song collection was tracked at the El Paso, TX pecan orchard and auditory oasis known as Sonic Ranch, which Traub calls a “veritable museum of rock and roll artifacts with some of the rarest recording gear on the planet.” The rest of the album was completed back in Leary’s hometown of Austin, where several guest drummers—Josh Freese (A Perfect Circle/NIN), Dale Crover (Melvins/Nirvana) and Matt Chamberlain (Pearl Jam/Of Montreal) dropped by to beat sticks and blow minds.

Year of the Ox weaves the three concepts of art, rebellion and life into a cascading aural braid. Each song, disguised by infectious pop hooks and provocative allusions to historical lore, elicits an intensely moving account of Traub’s interpretation of the human experience. (RIYL: Mr. Bungle as heard through whatever space-fangled stereo system is installed in the Starship Enterprise’s holodeck.)

The Burning of Rome’s live show is a different beast entirely. It fuses the brashness of punk with the orchestrated drama of a theatrical production, personified by front man Traub stomping carelessly on a crooked timeline between GG Allin and David Bowie. The group is oft (and rightly) regaled as one of the best live bands in Southern California, much to the chagrin of band members’ body parts which are regularly sacrificed to serve their mechanical purposes as mere extensions of their instruments. “It’s inherent,” Traub says. “Our blood beats to perform, travel and create. And damn the torpedoes, we’ll continue to do so as long as this world’s still spinning.”

2013 was a year in motion for the Burning of Rome—opening for the Yeah Yeah Yeahs at Milwaukee’s Summerfest, a string of east coast dates with alt-supergroup Volto!, tracing the Pacific coast with the iconic Psychedelic Furs, and a jaunt across the pond for an acoustic tour of London.

2014 is poised to supernova with a Mexican tour—including the Mexico City Vive Latino Festival alongside NIN and Arcade Fire, worldwide tour dates, and a brilliant new album.

Whether the Burning of Rome leaves you mesmerized, bloodied, confused, ecstatic or bewildered, or whether you can’t figure out if you’re witnessing a punk show, carnival, dance party or performance art piece, one thing is certain—the Year of the Ox is upon us

"The perfect mix of goth and dance influences to accompany an Edwardian Ball, with enough organs and dark vocals to satisfy Castlevania fans."
- San Diego City Beat Magazine

"Their musical horizons stretch far beyond the threshold of modern rock. The Burning of Rome is a post-apocolypitic mash-up of meticulous orchestration, electronic manipulation and eccentric experimentation. If Danzig constructed a carnival ride, it'd look something like this."
- 944 Magazine

"The kind of songs that Danny Elfman would assemble as a soundtrack for the Technicolor birth of the spawn of Satan"
- San Diego City Beat Magazine

"The Burning of Rome’s style can not be forced into any known genre without taking shortcuts and over looking its originality. Its dark tones and circus like melodies intermingle into one spontaneous, yet entertaining work of musicianship."
- X1FM

The Honkys! : Of Menace & Mirth
By Terrance W. Rassmuessen

The Honkys!, Northern San Diego’s indie roots stalwarts, have been forging original Moonshine Music long before the current trend towards “Americana” developed. Originally formed in Huntington Beach amid the Rockabilly Rebellion of 1982, as the Bel-Aires, the current line up of brothers; Bret & Broy Hazzard along with their childhood friend Sean McCarty, create propulsive, musical innovations at every stop on their never ending tour. 

While [the Bel-Aires &] the Honkys have a long history of nonstop touring, playing with national and international acts alike, they have spent the past few years focused on capturing their weighty cannon on a series of analog recordings. In the studio with Thomas Yearsley (of the Paladins) at the helm, the Honkys’ sound has turned to a burnished country hue. The general tone of the Honkys sound has matured with age and even their classic Honky standards have taken on the antique luster of well worn saddle leather. 
 
While Sean carries the rhythmic weight of the band, momentum is often guided by Broy’s box car strum, which gives participating listeners a musical framework to build upon. The result of Sean’s Stand Up Bass line is a slap, click and thump to the chest. Often Sean will build understated patterns which will lull the ear, only then will he pounce upon the crowd with a thick wallop, all without losing time.

The structure built by Broy and Sean is set ablaze with the fire-hot fretwork of brother Bret. Using no effects or other technical wizardry, Bret is a true master of emotion. His bright, clean guitar strokes can turn dizzyingly turbulent in a moment; like a roughneck out on the weekend. 

All three Honkys! take their turn at the mic, each displaying his own unique style. Bret’s menacing yowl strikes granite terror on tune’s like “Moonshine,” the tale of an ugly bender turned deadly. Broy’s fractured tenor, on the other hand, brings to mind the balmy blissful splendor of a Hilly Billy Neil Young. He can warm a room with his easy smile on tunes like the crowd pleasing sing-along “Emerald Treasure.” Sean, the crooner of the group, conveys goof ball charm on brawny cruisers such as ‘Reno” or the party starting “Bring it On”.

While most bands wouldn’t dare to fill the room with a live set of simple straight ahead music without the back bone support of a drummer, the Honkys! go one step further. Every night when the band plays out, they distribute; shakers, wash boards, tambourines and cow-bells to the tipsy patrons across the West. The effect is an improvisational whirlwind which enraptures listeners and draws them into the mix. 

Even though nearly 30 years of polish have buffed the Honkys! sound to a fine sheen there is still enough loose jangle to keep things interesting. While each night’s set may contain many of the band’s original favorites spiked with selected new compositions, covers and attic-dusty rarities, the result is an adventurous trek through new melodic territory. The tuneful travelogue includes passage through flashes of dread and joy, sorrow and elation. The Honkys play good time music for hard luck times. 

Over the years, the boys have learned to pilot a stuffed road house through the highs and lows of an arousing set. One minute they may batter the listeners with the caveman stomp of “Walk Tall”, scaling the heights of ecstatic splendor and the next they will entrance the horde and provide soul stirring relief with “The Lesson”. But they will always bring you right back home with the locomotive jooglin’ and rocking chair comfort of “Front Porch”. The wonder is listening as the introspection of the studio has strengthened and sharpened the songs themselves, transforming and infusing them with new poignancy. There is a theatrical quality to the recorded music of the Honkys. At times it feels as if they have composed the soundtrack to the movies of your mind. 

More about the Honky is available at online at www.reverbnation.com/thehonkys or facebook.com/thehonkys . For booking please contact HonkysBrand@gmail.com

Hailing from the Dusty Hills of the Inland Empire Sandbox Bullies mix styles of Rockabilly Blues Punk and Good old American Rock N Roll 

The Honkys is following