Somewhere between the AM country of yesteryear, the high and lonesome willow-whine of the cosmic cowboy and the horny, hiccup-ing rambunctiousness of Buddy Holly resides D.T. Buffkin and his “honky tonk ‘n’ roll.”
Leopold & His Fiction, Biography
Naked, stripped down and aching with adrenaline is the rawness of Leopold and his Fiction. Originally formed as an outlet for Daniel James Leopold to exercise his lessons from his formative years in Detroit, the seminal force of Leopold and his Fiction is the catalyst for soul-drenched, bare-bones rock ‘n’ roll that shakes with the power of ’73-era Stooges while seducing with the rhythm and blues of Motown. “The band elicits a power when it’s time to perform that is unable to be harnessed in any other medium short of a fist fight,” says Leopold. “Whether that’s on stage or in a recording studio it’s almost hard to contain it. It’s more life than I’ve ever felt before.”
Leopold and his Fiction have been working with GRAMMY®–nominated producer Chris “Frenchie” Smith (The Datsuns, Slayer, Jet, The Dandy Warhols, etc.) in recording and capturing a captivating musical journey that is as relentless as it is inspiring. “Frenchie saw our show and listened to our records,” says James. “He was very blunt and said, ‘I’m confidant I can make you guys shine!’ He brought a lot out of me and the band. The energy was very positive and the songs are confident, edgy and packed with emotion.” Amidst the band’s hook-filled party rock, Leopold is also able to refine his more melodic Neil Young / Jackson Browne side.
The next Leopold and his Fiction album promises a full pallet of artistry from America’s deep, dark underbelly and rootsy fabric to a revival of an R&B, backwoods charm. It goes back to the days when Motown and Stax loaded singles with a shaking groove on the A-side with B-side ballads clearly as comfortable in the same skin.
Born in Madrid, Spain and raised on the border of South Texas (Brownsville), Carlos Servando Cavazos, aka Carlton Zeus, is a Mexican-American hip hop artist whose debut album “Three Strikes You’re IN” has scored him a top spot among hip hop independents.
Official website KillSwitchZeus.com
Since 2007 we in the band Third Eye, born and bred in San Antonio, have worked hard and played harder to bring you memorable concert events playing the songs we all know and love from our fave, TOOL. Over these many years, we have made it a point to introduce S.A. Tool fans to new venues around town, and to have talented opening original acts exposed to a wider local audience. Circa 2011 we added a dynamic APC set to our shows. #thirdeyesa #sathirdeye
“With the moves, the tunes, the energy, and the deft use of animal print, there’s no good reason why Sphynx shouldn’t be as big as the monument they’re named after.”
-Austin-American Statesman, ACL Review
“Glam-rockers Sphynx are millennial’s answer to Queen…This electro-pop trio could give Andrew W.K. a run for his money in a headbanging contest, while still hitting those falsettos and looking fabulous doing it.”
“Never have men in fur so graciously whipped their hair back and forth.”
-Diffuser, ACL Review
“Excited and excitable molecular electo pop.”
These Austin, TX natives have been compared to pop icons like Prince and David Bowie and to newer groups like Phoenix and MGMT for good reason. The trio’s vibrant live show has carved it’s own niche in Austin, where they’ve sold out popular venues, charted on pop/alternative stations, and become a fixture of the music scene. This was demonstrated on February 13, 2014 when the band performed at City Hall and Mayor Lee Leffingwell proclaimed the day ‘Sphynx Day’ in Austin.
Sphynx began touring heavily in 2011 and has since logged over 300 shows in 38 states, both headlining and supporting national acts like Jungle, Cut Copy, Spoon, Of Montreal, Tilly & The Wall, Wavves, and Stepdad. The trio’s dance party grooves and glam-rock aesthetic have made them a festival favorite and landed them spots at ACL, SXSW, CMJ, Bunbury, Midpoint, Utopia Fest, Center of the Universe, Homegrown Fest, Chaos in Tejas, Fire Arts Fest and more. The live show has caught the attention of festival goers and journalists alike, receiving praise from USA Today, Nylon Magazine, Fuse, and Diffuser.
The band has released 3 EPs and a concert LP and is currently recording new material.
Harmony Driven American Rock with a 70s sensibility.
James Mason: Guitar / Lead Vocals
Jason Kloess: Guitar / Mandolin / Vocals
The Roosevelts Beard Company
Debut album “The Greatest Thing You’ll Ever Learn” available now on iTunes! bit.ly/RooseveltsGreatestThing
We are The Roosevelts: America’s Own Indie-Rock Act
The Roosevelts guitarist Jason Kloess muses on the birth of their name:
“It was Presidents’ Day. It was our first day in the studio. We had the songs, but we didn’t have a name. There were two of them, and two of us. – I like to think they would have been fans of our music.”
As one half of the electric duo along with singer James Mason, the two brothers – in song, not blood (though maybe beards) – carved a distinctive niche on the renowned live music scene of Austin, Texas, before their recent move to the music industry’s “third coast” – Nashville, Tennessee. Together, the songsmiths cultivated a sound that’s a little bluesy, a little bit folky, and a little bit rock ‘n’ roll. Sure, there’s some mandolin in there, but most importantly, it’s just heartfelt, genuine music that belongs to them alone, not any genre. When forced to give it a name, the boys will tell you it’s “harmony-driven American rock with a 70s sensibility.”
Still, some tastemakers are describing their sound as “warm, rootsy pop.” Ultimately, you might have to decide for yourself.
The Roosevelts are a “live” band if there ever was one. 2016 found The Roosevelts completing a run of at-capacity tour dates and one-nighters with Robert Earl Keen, Green River Ordinance, and Grace Potter; a featured spot at the BMI Songwriters Festival in Key West; and hard-earned feature spots at world-famous, tastemaker festivals South by Southwest (SXSW) and Austin City Limits Festival.
Their show provides a rousing, dance-worthy compilation of songs, but also features poignant tunes that scale the depth of their personality and communicate their story with remarkable power. Having a charismatic ability to connect with fans, and a delightful set of songs, concert-goers can’t help but smile – making The Roosevelts a band that music fans of any genre can’t afford to miss.
Rock, Southern Rock, Americana Rock
Matt Pillion – Vocals, Guitar, Sax, Piano
Kevin Cunningham – Guitar, Vocals
Jack Zaferes – Bass, Vocals
Chris James – Drums, Vocals
New Jersey/Philadelphia/Delaware Valley
If folk music were turned up to eleven and included guitar solos, I think you would get in the ballpark of what we are.
Most bands have an amusing anecdote to tell whenever someone asks them about their name. In the case of New Jersey quartet Stolen Rhodes, they have two.
“We had a Rhodes keyboard that was stolen from our singer earlier in his music career,” explains Kevin Cunningham, the band’s lead guitarist. And the other story? “The band may have commandeered a Rhodes at some point from an undisclosed location,” he sheepishly admits.
Take another look at that last sentence: the band sought to reacquire a Rhodes piano, a keyboard that’s been out of fashion for nearly three decades. The band’s name isn’t just a funny story – it’s a battle cry.
“The music of the past is what spoke to us the loudest,” explains Cunningham. “It is music you can feel, timeless music, songs that people react to in any generation. It’s less like a yearbook of a certain point in time and more like a National Geographic magazine. It’s good no matter when you hear it.”
Of course, you would expect a response like that from a band whose principal songwriters, singer/multi-instrumentalist Matt Pillion and bassist/guitarist Dan Haase, grew up a stone’s throw away from Bruce Springsteen’s adopted hometown of Asbury Park. It’s not like they really had a choice in the matter; “The classic Asbury sound was in the water,” Cunningham jokes.
The Boss’ influence proves to be more spiritual than literal, however, on Falling off the Edge, Stolen Rhodes’ debut album. If anything, the ghost of the Allman Brothers looms the largest, particularly in the mile-wide chorus of “Blue Sky” and the easy-like-Sunday-morning “Freight Train.” (Speaking of “Easy,” the band’s track “Beautiful Way” sounds like the Allmans taking a crack at that very Commodores song.) Pillion takes no vocal cues from the Southern rock gods, though; his raspy tenor is bound to draw (lazy) comparisons to Kings of Leon’s Caleb Followill, but one listen to the horn-kissed “One Day Everyday” and it’s clear that Free-era Paul Rodgers is a better starting point.
At least for the moment, anyway. While they may currently take their inspiration from an earlier time, Stolen Rhodes has no interest in carving out a career as a classic rock tribute band. For them, the writing process is nonstop and constantly evolving. “It changes daily,” Cunningham says. “We are all students of music, so we are all bringing in our own personal tastes that we continue to discover to expand our sound.” One aspect of the band’s personality that seems unlikely to change, though, is their love of playing live. Indeed, for each day they spend writing new material, they spend five days practicing for that weekend’s gig, and that passion for performing can be felt throughout Falling off the Edge. With each track clocking in at a minimum of five minutes, this is a band that loves to let their songs breathe, and are not afraid to go wherever the moment takes them.
Their hard work has thus far paid off in the form of a dedicated – and diverse – live following, and also earned them the respect of veteran acts from opposite ends of the music spectrum (punk rockers Dropkick Murphys and country act Diamond Rio have both sung the band’s praises), and while Stolen Rhodes is grateful for the regional success they’ve attained, they have their eyes on a larger prize. Falling off the Edge, they hope, will serve as their calling card to the national stage.