Ready to party like it’s the year 2000? Get down with PROMISCUOUS, brought to you by the minds behind your favorite monthly touring throwbacks party…Sorry For Party Rocking! Dance all night to throwback club bangers from Timbaland, Nelly Furtado, and JT. Be the main character on the dance floor Dress code: y2k core Official Party Spotify Playlist: https://open.spotify.com/playlist/5Q71PzX9qDIcvIKww9Hpm1?si=b89d658e1a28429f Follow us on Instagram for updates, pics, song requests & more @ sorryforpartyrocking.us Text “Y2K” to +1 (858) 330-1710 for FREE tickets, updates and secret announcements 🙂 From the creators of Sorry For Party Rocking *This is a tribute dance night. None of the artists mentioned will be appearing at this event, nor are they affiliated with the event.
VOODOO GLOW SKULLS: Were formed in 1988 by Eddie Casillas, Jorge Casillas, Jerry O’neill and Frank Casillas. After a few years of backyard party shows, cassette demos, 7″ singles and first club gigs, they released their debut album “Who is, this is?” for Dr. Strange records in 1993, gaining the attention of Brett Gurewitz, owner of Epitaph records. The band then signed to Epitaph records and released four albums, starting in 1995 with Firme, their most successful album to date, then followed by Baile de los Locos, Band Geek Mafia and Symbolic. The band began to tour worldwide with their first European tour in 1996 followed by Japan, Australia, Mexico, and South America. The band has been featured on several of Epitaph’s Punk-O-Rama releases and has had music featured in video games, TV and movies. The song “Shoot the Moon” from the band’s Firme album was used in the Pauly Shore movie Bio-Dome and the band’s version of “Used to Love Her” (originally written and recorded by Guns N’ Roses) is featured in the Mr. & Mrs. Smith soundtrack. In 2002, Voodoo Glow Skulls signed to Victory Records. The band released three albums on the Victory label and continued to tour. On January 18, 2012, the band released its self-produced ninth album, Break the Spell, through Smelvis Records. In June, 2017, Frank Casillas announced his retirement from the band and was replaced by Efrem Schulz. In May 2021, the band released Livin’ The Apocalypse with Efrem Schulz and continued to play shows. In October 2024, Frank Casillas rejoined the band. Voodoo Glow Skulls is: Edgardo Casillas: Guitar Jorge Casillas: Bass Francisco Casillas Jr. : Vocals Ian Baroni – Trombone Adam Chavira – Saxophone Steven Reese – Drums NEKROMANTIX: Never self-serious while far from a joke at the same time, Nekromantix is a musical unearthing of the biggest themes from the greatest works of monster, zombie, vampire, werewolf and b-horror fiction; ripped from literature, comic book pages or classic celluloid. Nekromantix chases a darkly romantic muse with an even darker humor. The Nekromantix catalog boasts enduring genre classics like the unapologetically hooky yet undeniably fierce “Who Killed the Cheerleader?” and “Gargoyles Over Copenhagen” alongside subversively sentimental cuts like “Haunted Cathouse” and “Subcultural Girl.” There are echoes of rock n’ roll’s greats and punk rock icons alike, all with modern flair. A Symphony of Wolf Tones & Ghost Notes broadens the Nekromantix legacy with expansive ambition that never sacrifices the trio’s inherent grittiness, furiously stoking and reshaping the flames of the creative vision begun in Denmark with legendary labels like Nervous Records, through the band’s master classes in punk n’ roll albums stateside with Hellcat Records, the label cofounded by Tim Armstrong and Brett Gurewitz. Armed with his signature coffin bass, chilling baritone, monstrous expressions and ten-stories-tall haircut, Kim Nekroman has earned tremendous respect, admiration and goodwill from a fiercely dedicated legion of hard-partiers, rabble-rousers, well-meaning degenerates, grease monkeys, outlaw bikers, nostalgic tastemakers and forward-thinking punks. It’s a crew of supporters as diverse as the otherwise classic and timeless music the Danish-born California transplant has unleashed as leader of Nekromantix. Nekroman’s notorious quiff is as instantly recognizable as the coffin bass he’s slapped into submission on nine studio albums, countless worldwide tours and festivals. The quiff, of course, combines the midcentury rebel style of the pompadour and flattop with the punk attitude of New York and Europe from the late 70s. It’s a fitting symbol for the style of music Nekromantix has perfected into an art form, a rollicking psychobilly sound with reverence for the genre’s origins and predecessors, infused with an iconoclastic boundlessness that refuses to abandon the electric catharsis of unadulterated fun. Return of the Loving Dead (2002) marked a career resurgence and subcultural breakthrough for what was previously a feverishly cherished underground band best known outside of North America, via now legendary records like Curse of the Coffin (1991), Brought Back to Life (1994), Demons Are a Girl’s Best Friend (1996) and their unstoppable debut, Hellbound (1989). The new millennium brought the band to America (at first to tour and eventually, to stay), conjuring into the world new Nekro landmarks in the forms of Dead Girls Don’t Cry (2004), Life is a Grave & I Dig It! (2007) and What Happens in Hell, Stays in Hell (2011), as Nekroman steered the band through shifting lineups and energized shows with bands like Rancid and Reverend Horton Heat. Nekroman has been joined by skilled guitarist Francisco Mesa for nearly a decade now, with drummer Adam Guerrero bringing a fresh injection of passionate enthusiasm to the band in 2014. A Symphony of Wolf Tones & Ghost Notes is a fertile proving ground for a reenergized lineup that fans of the band have already loved for two years. New songs like “Glow in the Dark,” “War Bats” and “Resting Witch Face” are instant classics, standing mightily alongside the greatest Nekromantix songs enduring in their set list. There are some bands whose sound, image and front person became synonymous with an entire subculture, whether as originators of a particular style, a crucial innovator among a handful of likeminded artists, or simply as the best embodiment of everything a specific style has to offer. Rock historians may debate who reigns supreme among Black Sabbath, Led Zeppelin and Deep Purple, but there’s no denying they are all heavy metal titans. When someone says “Lemmy” or “Strummer” or “Blondie,” certain feelings are immediately invoked. There’s a palpable energy in the air among hardcore acolytes and culture mavens. It’s a kind of iconic resonance that transcends boundaries. To their dedicated army of supporters around the world and across every dimension, Nekromantix stands tall among the ghosts in rock n’ roll’s undead cemetery.
The Rockett Mafia is a group led by Poison drummer, Rikki Rockett. It has been his vision to create a band steeped in 70’s style Rock ‘N’ Roll, making each song, original or not, feel like they are all part of one record compilation taken to the stage! On Guitar is Stacey Blades, former L.A. Guns guitarist. Brandon Gibbs who fronted Devil City Angels and is part of Joel Hoekstra + Brandon Gibbs project, Ex-Puddle of Mudd Michael Adams Bassist and of course, Rikki Rockett.
Come as you are and celebrate the music and legend of Nirvana and Kurt Cobain w/ Smells Like Nirvana and make this show special by submitting a song request at smellslikenirvanatribute.com Composed of seasoned pros and DIE-HARD FANS of Nirvana, Smells Like Nirvana’s live tribute to Nirvana is a haunting episode of grunge filled angst and rock prowess played without click tracks or backing tracks a trait that is rare in today’s contemporary musical landscape, a trait and philosophy that Nirvana lived by. Come early for their grunge revival enthusiast project “Dead Original”! Stream their first album ‘Bought and Sold’, avail everywhere deadoriginal.com The band features an ex member of the grammy nominated metal band Trivium and hit musical ‘Rock of Ages’ vocalist Paul Wandtke w/ bassist Mike Petrasek and drummer Ty Del Rose (12 Stones, ex Smile Empty Soul)
Temples Properties: Website: https://www.templestheband.com/ Facebook: https://www.facebook.com/templesofficial/ Instagram: https://www.instagram.com/templesofficial/ Twitter: https://twitter.com/templesofficial TikTok: https://www.tiktok.com/@templesofficial Youtube: https://www.youtube.com/channel/UCdorDsEgYHYAFhWC2a2l8YA Spotify: https://open.spotify.com/artist/4ogwGU9VPWrnVBs1GEwZVV Temples’ name has become synonymous with a band with an adventurous spirit; a group constantly coursing with ideas and invention. On their fifth album, ‘Bliss’, they prove that to be the case once again, shaking up the general perception of the Kettering-formed four-piece with a record that flies in new electronic directions, while staying true to their core DNA. The euphoric and melancholic melodies of late ‘90s dance music, and the golden era of the Ibiza scene, combine with psych-tinged riffs and loops to make something thrillingly fresh.As with any adventure, though, getting to this triumphant record wasn’t without its challenges. In 2023, the band -James Bagshaw (vocals/guitar), Thomas Walmsley (bass), Adam Smith (keyboards/guitar) and Rens Ottink (drums) -released their fourth album, ‘Exotico’. Instead of making a splash, its release felt more like an isolated drop. The reaction to it was passive, and some of the fans they met on the road were unaware it even existed. In the aftermath, an article asking “what happened to Temples” suggested Bagshaw had swapped band life for academia. “For the record, I do not work at Leeds University,” he laughs now.That response had nothing to do with the quality of the music or a lack of interest from their audience, but a disconnect in the system around the band. “That was the really disheartening thing,” says Bagshaw. “We knew that our fans were out there. We knew from going on tour that the fanbase was strong and still dedicated. Instead, it felt like there was this complacency from all areas outside of what we were doing.”Understandably dejected, when touring around ‘Exotico’ ended, the band hit a necessary standstill. They were keen to break free from the typical cycle of music-making where “your last record always informs what you do next”, but had to rebuild and reconnect with their original creative purpose that started this journey nearly a decade-and-a-half ago. “A lot of people have preconceptions of what you’re known for, or your sound,” reasons Walmsley. “There’s so much more to us as a band and as a group of people, and I feel like that’s found its way into the band as well. We’re completely reconnecting with why we started and who we’re making the music for -which is ourselves.”Eventually, Temples built a new team around them and signed a deal with V2 Records, but it was the creative relationship between the four band members that was key to their rejuvenation. After initially sending song ideas to each other remotely, it was when they got back in aroom together and began working on things in person that their “shared vision” and “just how fun” making this music was together became quickly apparent.Where on ‘Exotico’, the band worked with guest producer Sean Ono Lennon, this time it felt like ‘Bliss’ could only be produced by Temples themselves. “It was probably the most empowering thing we could do, because it didn’t rely on anybody else’s flair or creativity or patience,” Bagshaw explains. “That was very freeing. It felt like you could just improvise.”Improvise, they did. ‘Bliss’ finds the band experimenting with samplers –not to rework parts of other artists’ songs, but to do so with their own. Sometimes, they’d sample an element of the song they were working on at the time. “We’d get to this point in a song where something wasn’t fully realised, and we would then create samples of that song, then manipulate that to basically make a new sound,” says Bagshaw. The samples became a shared network across the album, a palette of sounds where each could be lifted from one song to another, reversed, reworked and reimagined. “Picasso had the blue period where he’d use those pigments and particular colours; we were building up audio Pantones. It feels a bit more like a collage and almost like remixing, but not in a traditional remix sense.”Sonically, the album sees Temples rework elements of dance music in their image. Lead single ‘Jet Stream Heart’, a song about being seduced by music, mimics the feeling of dancing right in front of the speakers in a club. “We all know that feeling of walking past somewhere where there’s loud music playing, and it’s that kind of allure -there’s something about hypnotic beats that just pulls you into the jet stream,” Bagshaw says. “Ironically, if this song was playing ina club and I was walking past, I’d be like, ‘What the fuck is that? I’m gonna go and check it out.'”The dazzling dart of ‘Vendetta’ perfectly marries scuzzy riffs with lasering synths and a bubbling dance melody. Originally, the two halves were intendedto be two separate songs, but it was only when the band put them together that they worked. “Suddenly, you had this almost Justice, Daft Punk-sounding sample that then goes into something that could be a modern take on dance music, like a David Guetta or Avicii song,” notes Bagshaw. “It should be a shock to the senses; it should make you want to move. It should feel resistant and like it’s pulling you in loads of different ways.”Similarly, ‘Blue Flame’ took shape from a chorus Smith had in his pocket forsome years. Slower, steadier and packed with that gently fizzing chorus, it tackles disconnection at its core, its icier sound reflecting a distance between both humanity and nature, and the growing divide between each other. ‘Revelations’ nods to the Gregorian chant that was commonly deployed in late ‘90s and early ‘00s European dance music with its own take, fittingly opening a track that has a spiritual bent. “The verses are quite angry, but more matter-of-fact, with a situation you’re in or the way things are,” Walmsley explains. “The chorus is the revelation moment where you’re realising that state is temporary and what’s permanent is that things change.”The crunching stomp of ‘Megalith’, too, deals with frustrations. “It’s about finding your inner stillness, but then having found that stillness, maybe it’s not so pleasant,” says Smith. “You can sometimes feel helpless and stuck when the world is moving around you, and you feel like a standing stone, like a megalith, and there’s nothing you can do about it. So it’s about both surrendering to the fact that you have no control over what happens, but also the fear that comes along with that.”Although too young to have been involved in the rave culture of the late ‘90s themselves, it’s something they grew up aware of, hearing the songs through older siblings’ bedroom doors. ‘Bliss’ connects to those memories and uses them to push forward, create something new. “There’s just something about that music where, albeit not very complex, it brings up complex emotions,” Bagshaw says. “It’s bittersweet -a melancholic euphoria.” Influences came from a vast spectrum of electronic music -Faithless, Underworld, Prodigy, Air, Röyksopp, Moby, Massive Attack, Orbital, Portishead, and more. “They all have something in common, and you can’t really define exactly what it is, but it’s a feeling and a mood -and we’ve wholeheartedly recreated that across this record.”To some, Temples turning to this era and genre for inspiration might seem out of the blue, a left-field choice, but to the band, it’s natural. The lineage and connection between psych and dance music is strong, both sharing a tendency for loops and trance-like states. “We’ve always had space in our songs, there’s repetition and some improvisation,” says Smith. “We’ve done the same here, but with a different sonic palette.”‘Bliss’, for the four members, represents not just a feeling in the music, but a synergy between the band and shared creative freedom. “If any record before was refining what we’ve done, it feels like ‘Bliss’ is about permission to let go and be more physical with our music and let everything breathe and build more,” says Walmsley.”We’re at a place where we’re just more accepting,” adds Bagshaw. “I think a lot of artists will agree that there are periods in your career where you don’t worry about your fans liking things. We don’t want them to hate it, but we’ve just done exactly what we want to do in a purely selfish way, and that becomes not selfish when people connect with it. You get that sense of creative bliss if you just do what you want as a group.Obviously, it references the past, but this is a forward-looking record that genuinely doesn’t sound like anyone else. People should throw out whatever they thought we were -this is what weare.”
