by nickAD | Mar 15, 2024
Rebelmatic DCxPC Live Vol. 18 Rebelmatic Live at Fuzz Fest WV
Live albums are not as ubiquitous as they once were in decades past, but a great one can still be iconic and essential. A great live album not only catches a band’s energy and personality, but also crowd’s energy and interactions. DCPC, a label run by Scott Pasch, specializes in live vinyl, an idea that spawned from the proliferation of livestreams during the pandemic and has since carved out a very distinct niche in punk and hardcore.
For volume 18 of its live series, DCPC , along with Shiny Dome Records, captured a set from New York hardcore giants, Rebelmatic, during Fuzz Fest WV in Morgantown, West Virginia. Rebelmatic are an absolute force live, with kickass hardcore anthems, relentless energy, and superb musicanship. All of that comes through loud and clear on DCxPC Live Vol. 18 Rebelmatic Live at Fuzz Fest WV.
“Pony” kicks off the record in a fury, the band immediately on fire. Alkatraz’s near-metal guitar intro gives way to straight-ahead punk rock delivered the Rebelmatic way. Ramsey Jones is a flawless drummer, his snare rolls and tom-tom patterns sounding studio-perfect. Karnage adds depth and musicality on bass, especially underneath Alkatraz’s solos. And, of course, there’s Creature, aka Creech, his New York-accented growl sounding so fierce, delivering powerful vocals and inciting the crowd to match the band’s energy.
Rebelmatic live in Brooklyn (photo by Kate Hoos)
The chants of “Re-bel-ma-tic!” start immediately. Creech, from the stage, sees all—who’s dancing and thrashing and who’s maybe slow to respond. Some of the most entertaining and endearing parts of the record is hearing him try to get every single person in the audience involved, calling in the passive folks more than calling them out.
“You right here, my friend,” he says to someone in the audience, breathless after a particularly searing “Insult to Injury,” “you are not participating. We need everyone to participate to make this more of a celebration.”
From there, the band launches into “Blood and Gold.” Alkatraz’s descending “Rise Above”-style guitar intro is joined by an absolutely blistering snare roll from Jones. From there, it’s pure punk rock celebration, as intended. Creech bellows the singalong chorus hook, with Alkatraz and Karnage barking “Blood and gold!” behind him.
Rebelmatic live in Brooklyn (photo by Kate Hoos)
“Show N Prove” is a powerful NYHC stomper, and the West Virginia kids no doubt moshed their way into oblivion. Creech’s vocals are particularly intense during this tune, as he seems to reach for something extra. “Hey yo, don’t die asleep/hey, yo, don’t die a sheep” is a classic hardcore hook.
There’s another great interlude afterward, Creech encouraging the crowd to get to know each other. “If you don’t know each other, introduce yourself. I don’t care about all the social shit, say ‘Hello, my name is blah, blah, blah.’”
Shows, especially punk and hardcore shows, can sometimes be a little edgy and maybe off-putting for some. He’s quick to make sure everyone knows it’s an inclusive space.
“We’re at a social gathering. I want people to feel comfortable, I want people to have fun. Is that OK?” The crowd assures him it is so.
The positivity remains present during a tight-as-fuck “Born to Win,” a pogo-worthy rager. Creech seems to invoke a bit of Jello Biafra in his vocals during the chorus, “Oh baby, you/you’re born to win!” Jones is phenomenal here, his perfectly tuned snare cracking with such life, I can’t imagine anyone was left standing with their arms folded.
Rebelmatic live in Brooklyn (photo by Kate Hoos)
It’s a near-impossible task for a live album to match the intensity and magic of actually being at the show. But, hell, if this record doesn’t come damn close. The recording itself is pristine, serving as a no-frills, accurate depiction of Rebelmatic as an exceptional live band. They don’t need any trickery. Set up good mics and let them do their thing—which is what we get with DCPC Live Vol. 18. It’s as close to being there as you can get without sharing sweat with someone you just met.
DCxPC Live Vol. 18 Rebelmatic Live at Fuzz Fest WV is available now via Bandcamp.
by FTA Staff | Feb 17, 2023
Hi! Hello! Here we are with some bite sized goodies and a taste of a some new things that we dug that came out in the last week (ish), quick fire responses to some great new music we think you should check out. This week Kate and Mike weighed in on some killer new songs— give ’em a listen!
Ben Folds– Winslow Gardens. After not releasing an album in eight years, the alt rock piano man is back with “Winslow Gardens,” the first single from the upcoming What Matters Most and it’s a slice of classic Ben Folds. [KH]
Bully– Lose You (feat. Soccer Mommy). Two of the most vital songwriters/voices in indie rock—Bully’s Alicia Bognanno and Soccer Mommy‘s Sophie Allison—have come together for a cool collab and made a song that would have felt right at home in 1994 next to Veruca Salt or Belly. It’s a mid tempo rocker full of low-key grit in the verses, making way for big grungy swagger in the choruses and a ripping guitar lead that hits at the 3/4 mark to mark the crescendo before the loud gives way to quiet introspection and acoustic guitar to bring the song home. The song appears to be a one off for now, but could perhaps be the first exciting taste of the follow up to 2020’s SUGAREGG.
Of the collaboration Bognanno shares “When ‘Lose You’ came about it was the first time I’ve considered having someone else sing on a Bully song. I love Sophie’s voice and have always admired everything she does so to me it was a no brainer. Watching her soar out of the Nashville scene and dominate indie music world wide has been a joy. Writing ‘Lose You’ was a way for me to work through the pain and reality of impermanence. It doesn’t make it any easier but reflection is often followed by growth and to me that’s what life is all about.” [KH]
Death Goals– Faux Macho. The London based mathy, noise punky queercore two piece are poised to release their second album, A Garden Of Dead Flowers, this spring (via Prosthetic) and have released the first single “Faux Macho,” a choatic rager of a tune that sees the band building upon the power of their first full length, 2021’s The Horrible And The Miserable. The duo shares that “‘Faux Macho’ is one of our favourite tracks we wrote for this record, wearing our love and appreciation for queer culture with pride on our sleeves for the world to see.” And if this is the first taste of what is to come, then I’m already anticipating this one is going to be a serious contender for one of my favorite releases of the year. The album releases in full 5/5. Read more about it here. [KH]
Deerhoof- Wedding, March, Flower. Showing off a much softer side, Deerhoof has released a very tender piano ballad which sees a role reversal of drummer Greg Saunier on lead vocals and piano while singer Satomi Matsuzaki helms drum duties. On the song Saunier shares: “I was flirting with my partner Sophie and sent her a video of me humming and playing the piano. Deerhoof was starting to get songs together for our next record. No one had suggested we needed any tender piano ballads, but Sophie convinced me to show it to my bandmates anyway. I was so touched when they were into it. The real kicker came when Satomi wrote lyrics. They were in Japanese, so when we first rehearsed it, I wasn’t even sure what I was singing. But Satomi had written a love song about a wedding. Satomi and I ended our marriage over 10 years ago, and it hasn’t always been easy for any of us to keep the band going. Our songs have always been one way that we all process our feelings with each other. Co-writing and performing ‘Wedding March Flower’ with her was really intense.” [KH]
Dry Cleaning– Swampy/Sombre Two. The UK post punk band just wrapped their North American tour (see our coverage) and just announced a new EP, Swampy, which will include bonus tracks, remixes and a demo from their second album, Stumpwork. They have released two songs from the EP this week and said via a press release: “These two songs were recorded in the Stumpwork sessions and they feel like good companions to us. They share a dusty, desolate and spacey atmosphere. On the eve of this release we have been touring through the southwest US, where these songs feel at home in the arid, Mars-like landscape of the Arizona desert.” Swampy releases in full on 3/1 via 4AD. [KH]
Elliott Fullam– A Hopeful Ending. When I hit play on this track, mind was immediately transported to hearing Elliott Smith’s stirring self titled album for the first time (which for the record was definitely before Elliott Fullam was born) or more recently, finding myself lost in the depths of Julien Baker’s debut, Sprained Ankle. It’s hard not to make the comparison with Baker or Smith, Fullam definitely draws influence from the somber realness of both of those artists, and here the 18 year old singer-songwriter from NJ creates a beautiful song built around finger picked acoustic guitar work that he says “expresses the experience of finding beauty in someone while fearing the inevitable vulnerability that comes with it.” This is his first release for Kill Rock Stars, having signed with the label (who also released Smith’s iconic first three albums in the 90s) after self releasing his first full length, What’s Wrong, in 2022 along with a handful of singles and EPs. Fullam will make his NYC debut at Mercury Lounge on 2/22 (the site of one of Baker’s early NYC performances, too) along with Screenager and Joe Allocco. [KH]
Fat Heaven– Doomsday Clock. Hanging on the corner of Rancid and Social Distortion, counting down from their “Quarter Life Crisis,” Brooklyn trio Fat Heaven dropped another bit of crunchy pop-punk goodness right into our laps just ahead of their latest release Trash Life out Feb 24th. It’s everything you love about the lovable scamps and like everything else in their catalog will have you singing along for days. [MB]
Iguana Death Cult– Sensory Overload. A slice of jittery sax fueled no-wave post punk from the Rotterdam quintet, try not to let this one get stuck in your head. The song deals with the anxiety of *gestures around at the world* and the reality of living in a semi-dystopian present that we can’t ever seem to get away from (a theme I’m coming across in more and more of the new music I listen to and review each week). It is the first single from their upcoming album Echo Palace (5/12 via Innovative Leisure). The band self produced the album which was then mixed by (Sasami’s brother) Joo-Joo Ashworth (Sasami, Dummy) at Studio 22 in Los Angeles and mastered by Dave Cooley (Tame Impala, Yves Tumor). [KH]
Mediocre– To Know You’re Screwed is to Know A lot. A sharp slice of gritty indie pop from this self deprecating duo who are rocking out as if everything is fine even as the Dumpster fire of life rages around them, a feeling we can all relate to. They share “We wanted to capture the chaotic and futile experience of running away from your own mess—literally and figuratively. Sometimes the awareness of being screwed is comforting, but sometimes ignorance is bliss.” This is the first taste of their latest EP, To Know You’re Screwed, which arrives on 4/7 via Dangerbird. [KH]
Not- Anxiety. If you hadn’t told me this wasn’t ALL, I wouldn’t have believed you that this at least didn’t contain some members of ALL or the Descendents, most notably bassist Karl Alvarez, who in particular has made a very clear influential mark on this band who is in fact, not ALL (or any of the members of it). While it flies a little closer to the sun influence wise than I probably would go for in one of my own musical projects, and at times feels indistinguishable from the source material, it is a project that was born out of deep love and true DIY fashion. As their Instagram reads “What do you do when ALL stop making records? You form a band with your friends and make your own.” Indeed, you do. Read an interview with the band where they talk about how they are in fact NOT ALL. [KH]
Omat– Daisy. I caught this band opening for L7 a few months back (see coverage) and really enjoyed their set. At the time the band had no recordings to dig into after the show which was a bummer but fortunately that has changed as they have just released their debut single, the infectious “Daisy.” It’s a fun upbeat romp that meets right at the intersection of post-punk, indie and gritty shoegaze and the studio definitely captures their essence well. I’m definitely ready to hear what else lies in store for this exciting new band. [KH]
Phantom Signals– Slow Burn. Straight from inside the mind of Melody Henry comes a brand new solo project, Phantom Signals, who just released a beautiful whisper lullaby of a second single. With a lovely drifting melody (pun intended) that feels somehow almost familiar but a touch askew, its soaring chorus sweeps you up into crescendo and then drags you across the delicate framework of tin drum piano percussion like a ballerina music box exploded into a pile of crunchy distortion and broken springs. In a twist of cosmic fortune, Melody won the recent BandNada band lotto jackpot by being paired up with Joey Russo (Castle Black) and Mike Petzinger (Pocket Protector) who Mel quickly recruited to round this project out to a quartet. Inspired by the old Car Seat Headrest recordings and bands like Hop Along, we here at FTA are excited to see what’s next from Brooklyn’s newest indie band. [MB]
Rebelmatic– Amnesia. Rebelmatic, the NYHC scene champions and tireless advocates for our music community, are one of most respected Black hardcore/punk groups in all of New York and have gained national attention with their relentless drive and work ethic. Now they have unleashed a killer new single ahead of their upcoming Southern US tour with Weedeater. And indeed it delivers on all fronts. In true Rebelmatic style, the song opens with a gang vocal chant “Shut Up! Shut Up! Shut Up!” (an homage to Little Richard playfully shushing his fans at shows) over Alkatraz’s heavy guitar work just as bassist Kreature and drummer Ramsey Jones immediately blitz with a thunderstorm of rhythmic onslaught. Vocalist Creature cues with his distinctive booming vibrato “I don’t need no therapist” and before you can say their oft heard call and response chant at shows, “REH-BULL-MA-TIC,” you’re swinging your arms and caught in a circle pit having the time of your life. [MB]
Snayx– Buck. I recently discovered this brash UK based duo and fell in love with their snotty ode to fucking off and telling your boss to shove it, the insanely infectious “Work” which features a video of the two chugging beer and being well, very British. Now they are back with “Buck,” which is still driven by their signature distorted, heavy bass sound but is decidedly more subdued and reserved to the more hyper affair of “Work” or their other recent single, “Deranged.” All three of these songs are part of the upcoming EP, Weaponized Youth:Part 1, which is due out on 3/10 and will include two more tracks. [KH]
Stimmerman– House Party. Chronically stuck between band and solo project, multi-instrumentalist and vocalist Eva Lawitts, and their project Stimmerman, just released new single “House Party” (from their upcoming record Undertaking out 5/10) which really punctuates the nature of their split personality. Well known for absolutely abandoning all the rules of pop sensibility and conventional rock formula, the track for the most part stays stripped to the bones. Showcasing a dynamic vulnerability in Lawitts’s voice we don’t often get to hear, the lyrics are dark and visceral poetry stretched over the clicks and squeaks of a lonely acoustic guitar. And apart from some subtle atmospheric tension smoldering in the background, we are left with this delicate raw nerve exposed for almost three entire minutes. It isn’t until the final 45 seconds that the entire thing blows open into mayhem. The bottom drops out, and the sky rips open as the massive drums tear in under the weight of the bass blown out guitars raining down full Stimmerman! [MB]
Tired Radio– Dead and Gone. The melodic mid-tempo hard rock band made up of “1 big guy, 1 small guy and 2 medium guys,” just released another new single to follow up on their lead single “Old Keys” which has been making the rounds following a European tour last year where they opened for The Get Up Kids in Germany. For fans of band like The Menzingers, Hot Water Music, and Jawbreaker (alternatively Sharkswimmer or Heavy Lag for local Brooklyn comparison), this is definitely the song you want to bump in anticipation of their new EP Lousy, thanks. out everywhere March 10th. [MB]
Tits Dick Ass– Girlfriend From Hell. The Brooklyn based band has made quite the splash on the NYC scene in the last year with their live shows attracting bigger and bigger crowds and for good reason, they are unabashedly queer as fuck with a stage presence that is massive paired with a ferocious sound; they hit in all the best ways. Now they have released their debut single, the no-wave punk ripper, “Girlfriend From Hell,” which is also the first taste of their upcoming debut album, Burn A Bitch, due out this spring on House of Feelings. Despite not having synths, it reminded me a bit of the synth punk nightmare classics of Screamers and definitely is a kindred spirit to the freaky outsider no-wave and punk of the late 70s and early 80s. The song features a video that was filmed at local venue Rubulad and directed by filmmaker Dylan Mars Greenberg️️️. A companion remix was also released alongside the song for acidic and cool re-interpretation that feels downright dystopian. Read an interview with the band here. [KH]
The Tracys– Soviet Mistake. In true Tracys fashion, tongue-in-cheek Cold War era tropes throwback to a different age on their latest single which comes ahead of their upcoming record Welcome to the Land of Nothing due out later this year via Shotgun Nature. Delivered in the style of The Ramones with a twist of The Lillingtons, the pop-punk quartet (Dave Klym-vocals/guitar, John Payne- guitar/vocals, Larry Mancini- bass/vocals, Matt Ernst-drums) continue to deliver the big hooks and humor. Chock full of 1980s spy-era imagery and even more 80s guitar solos, you won’t even care whether or not The Tracys took your baby away. [MB]
by Kate Hoos | Oct 26, 2021
The Death Set at Our Wicked Lady (photo by Kate Hoos)
I’m not quite sure when or how I initially came across glitch punks The Death Set, but I do know it was in the mp3 blogosphere era circa 2006/2007ish around the time their first EP, To, was released. By the time 2008’s Negative Thinking was out, they had become a firm mix CD staple for me and I’d put them on every disc I made for someone. Unfortunately during that time of my life I wasn’t able to go to shows a whole lot due to the (very draining) job I had at the time so I never got to see them play. I also admit I kind of lost track of what they were up to after the death of founding member Beau Velasco in 2009, though would periodically revisit the old EPs over the years. Not really having kept track, I definitely was surprised to see a show announced in Brooklyn in the summer of 2019. I sadly couldn’t make that show (for reasons I don’t even remember now) and then…we all know what came next.
Flash forward to late 2021 and shows coming back to being reality. I was beyond excited that the band was not only putting out a new record, How To Tune A Parrot, but was also playing a release show in Brooklyn at Our Wicked Lady. And with one of the best bands on earth, Rebelmatic, to boot? SCHEDULE CLEARED IMMEDIATELY because there was absolutely no way I was going to miss that night. Also on the bill was harsh industrial metal rapper EU10GY (who I had recently heard, but not actually seen, during a shift I was working at one of my venue jobs when he was opening a show there) to make for a really energetic and sonically varied and intense night.
EU10GY kicked things off and is the creative brainchild of Isaac Shane. The project incorporates samples and beats, as well as live guitar, and weaves in samples juxtaposed with Shane’s vocals. He is a passionate and bombastic performer and it was nice to actually see him in action rather than just hearing it from another part of the venue. Rebelmatic hit the middle spot and it dawned on me as they took the stage that this was actually my first time seeing them inside in quite a while since I’d seen and/or played with them several times over the last year but it was always outside at one of their pop up events (they are now at 32 and still going strong. See pics from show 31 by Ellen Qbertplaya).
But the setting makes no difference really – indoors, outdoors – it doesn’t matter because there is never a time where you are going to see these guys at anything less than 200% on stage, they have more energy than just about any other band I can think of. Regular drummer Ramsey Jones was upstate recording with another project, so they were joined on stage by fill in drummer, Ish, who is a member of hardcore band, Fear Is Dead, and he fit in seamlessly with the band despite having the very big shoes of Jones to fill. Firing on every single cylinder, they put on another performance that resonated through the room down to the street below and absolutely won them a slew of new fans in the process.
The Death Set at Our Wicked Lady
I was already having a great night by time The Death Set hit the stage and it only got better from there. They played a lot of songs from the new record of course, but I was also thrilled that they played several of the early classics that I love so much because I wasn’t sure that they would go far back in the catalog. “Around The World,” “Intermission,” and “Negative Thinking,” are among my favorites and they blipped through all of them much to my delight. I was also hoping to hear “Overload Damage,” the opening track of the new album and my new favorite which they hit towards the end of the set. And speaking of high energy performances, lead singer and founding band member Johnny Siera didn’t spare an ounce of it on stage and was on and off the drum kit several times, in and out of the audience, and bopping all over the place with his guitar.
Towards the end of the set the sound tech attempted to tell the band to stop playing and said “one more song” a few times but they played about five more before they finally ended which got no complaint from me or anyone else in the audience. Though to be fair, this may have been less an act of defiance and more that the tech kind of mumbled it into his mic and didn’t project it at all, so it’s entirely possible the band didn’t hear it on stage (I did a double take at first and wasn’t sure the first time in fact) and he didn’t make much of an issue about enforcing it fortunately. After waiting all this time to see them, it would have been a huge bummer for them to get the plug pulled so I’m really glad that didn’t happen.
Slap, slap, slap, pound up, down, snap, we go around the world and do what must be done, negative thinking can ruin your life, in hind site I don’t want to be like the people I liked, In your eye, weapons fly, Don’t even try to feel our size, Wonder why the people cry The motherfuckin’ DeathSet!
Need I say more?
Scroll down to see pics from the show (photos by Kate Hoos)
EU10GY
REBELMATIC
THE DEATH SET
by Ellen Qbertplaya | Oct 18, 2021
Rebelmatic performing in Brooklyn with Angelo Moore (photo by Ellen Qbertplaya)
For over a year now, NYC hardcore punk band (and FTA favorite) Rebelmatic has been organizing regular outdoor events drawing from a roster of fine openers and this Sunday was no exception. Yesterday afternoon they put on their 31st pop-up show of the pandemic with special guests No Call No Show, and Angelo Moore, the front man of legendary band Fishbone.
Kicking it off was Brooklyn band No Call No Show who played a quick, energetic burst of songs that set the mood nicely. They feature Mikie Nice on vocals/guitar, Mark Thorn on bass, and Josh Salant on drums.
I was especially excited to check out Angelo Moore, having seen Fishbone a number of times but never Dr. Madd Vibe just by himself. Angelo, who came in from Los Angeles for this gig, performed solo against recorded tracks played from his laptop. He mixed it up with his saxophone, theremin, and vocals while exhibiting his trademark charismatic energy and lyrical dexterity.
Rounding up the beautiful afternoon was headliner Rebelmatic, with regulars Creature on vocals, Alkatraz on guitar, Karnage on bass, and Moïse Scott subbing in on drums. They played a tight set full of songs, and even coaxed Angelo to join them for a song with his sax.
I hadn’t been to one of these pop-ups since the spring so it had been a while, but I recognized many familiar faces in the lively crowd. The guys in Rebelmatic always put in their all into every show and it never gets old seeing them live. They were one of the first live acts I got to see after a long period of no concerts due to Covid, so I am happy to catch them whenever I can.
These pop-up shows are always a good time, and while there’s no set admission, these bands do accept donations. These shows have been happening on the same block in Bushwick every time, and we’re not going to reveal the address here, but you should definitely follow Rebelmatic’s Instagram for announcements of upcoming gigs.
As an aside, I was hoping to bring the mister to this one as he has been a lifelong fan of Fishbone, but sadly, he was sidelined by a bum knee. I talked to Angelo after his performance and showed him an old photo I took of him at the Apollo Theater. It was from a Fishbone show that happened to be on my husband’s birthday, and Angelo jumped down from the stage and climbed over the seats until he happened to be right on top of us, and he held his mic down for my husband to sing into. I somehow managed to capture this magic moment on my cell phone. I thanked Angelo for making Michael’s birthday a super memorable one. Angelo gave me a few stickers to bring home to Michael, gave me a hug, and took a photo with me. Best day ever!
Scroll down for pics of the show (photos by Ellen Qbertplaya)
NO CALL NO SHOW
ANGELO MOORE
REBELMATIC
by Kate Hoos | Jun 23, 2021
Go Skateboarding Day and Make Music New York both come around every year on June 21st and draw scores of enthusiastic participants. Go Skateboarding Day is an event to celebrate- you guessed it- skateboarding and skate culture, as well as to encourage more people to get involved with the sport. MMNY is a city wide festival of free pop up concerts performed outdoors in public parks, plazas, and in front of participating businesses. While not directly affiliated with each other, music and skateboarding definitely go hand in hand, and punk has always been closely linked to skating, so it was only natural for a punk show to happen in the late afternoon merging the festivities in a public plaza in Brooklyn. The bill featured intersectional feminist skate punk Witch Slap (aka the band I play drums in) progressive black metal Prostitution (who organized the event) and was headlined by hardcore punks Rebelmatic.
Under the blazing afternoon sun, Witch Slap kicked things off as skaters rolled up to settle in for the show. From my position behind the drum kit, I watched as the crowd grew as we played and got particularly into our ode to women/girl skateboarders “She Shredder Revolution” which we paired back to back with a cover of the Black Flag classic “Nervous Breakdown.” The heat was pretty wicked but it didn’t slow us down and it definitely didn’t stop people from dancing and skating while we played, hitting tricks to joyous cheers and applause. When our set was done, I caught my breath for a few minutes, chugged A LOT of water, then set to work grabbing shots of Prostitution and Rebelmatic who both put on blistering sets, not letting the scorching heat slow them down one bit either.
Prostitution powered through a set of thrash-gazey originals, complete with a few fun covers including the Van Halen classic “Panama,” and a heeeavy version of “Take On Me” by the 80s one hit wonders Aha. If they were tired from a long day of skating and working on getting the event set up, they didn’t let on, shredding through song after song without letting up.
Rebelmatic closed out the day and this band truly never ever runs on anything less than 110%; even with the fierce heat, this show was no exception. They are one of the hardest working bands in the NYC DIY scene today, organizing outdoor events on a regular basis and inviting other DIY locals to play, almost single handedly keeping the flame alive during the latter part of 2020 when any kind of live music was still so scarce. As the sun began to dip lower in the sky, they tore through a set of fan favorites like “Born To Win,” from their 2020 release Ghost In The Shadows, and “Feel Some Type of Way,” and “Don’t Shoot” both from the 2020 EP Eat The Monster, bringing the day to a close with a hard hitting, intensely exhuberant coda.
Scroll down for pics of the show
WITCH SLAP
(photo by Ellen Qbertplaya)
PROSTITUTION
(All remaining pics by Kate Hoos)
REBELMATIC
The Death Set at Our Wicked Lady
