Archive for the ‘Shows’ Category

Time Columns Announce Spring Tour Dates (2013)

Posted: February 1, 2013 by Is This Revolutionary? in Shows
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Our good buddies in Time Columns are back on the road again. For all of our readers not on the eastern half of the U.S., it sucks to suck, doesn’t it? Thankfully, they’ll be in Brooklyn on a Saturday, so if anyone wants to come down for some ITR? fun, we’re going to have a blast. Check out the dates:


3/7: Washington DC (Bloombars)

3/8: Philadelphia, PA (Sprinkle Kingdom)

3/9: Brooklyn, NYC (The Public Assembly)

3/10: Boston, MA (TT the Bears)

3/11: Lehigh Valley, PA (WXLV Radio)

3/12: Altoona, PA (Pellegrine’s Lounge)

3/13: Ashtabula, OH (Dynamite Lounge)

3/14: Toledo, OH (B-Bop Records)

3/15: Columbus, OH (Kobo Live)

3/16: Pittsburgh, PA (Scumbags)


All right, everyone, this is the moment we’ve all been waiting for. B.’s here, along with my Man-At-Arms?, A., bringing you all the best from The Night Wears a Sombrero. 10 amazing bands, topped off by Lymbyc Systym, this is going to be one hell of a night. If you’re following with us, and you have some free time, head down to littlefield @ 622 Degraw St, Brooklyn, New York 11217. Here’s the line-up, and look for the live updates at the bottom of the page.

Lymbyc Systym –
Wires Under Tension –
Zvoov –
Spaces –
Les Rhinocéros –
Adam’s Castle –
Wess Meets West –
Oculesics –
Sontag Shogun –
Calls –

Doors are at 1:30pm, with music starting at ~2:00pm.

Tickets are $14 day of show. This show is 18+.

B. & A.



Lymbyc Systym (11:00 PM)- The final act, and the one we’ve all been waiting for, Lymbyc Systym is the perfect band to wrap up a wonderful night of instrumental music and send us all off into the night. Out of all the two-piece bands that have played tonight, the last two are probably the most talented. The first song is exactly what I needed: mellow and calming and all-around stunning. Without a guitar to be found, Lymbyc Systym holds its own with an incredible keyboardist that plays the guitar parts with low-register keyboard which simulates it quite well. Although more mellow than the other bands, they are in no way listless. Their electronic parts provide an energy all its own. Less like The American Dollar and more of a synth-heavy upbeat band (almost like a more intense Still Blue Still Turning), they have a hard time producing anything melancholic. I love their sound, which makes me feel like cruising on a long, nighttime road trip. Every song they played was new (which was actually a relief, considering I recognized none of them, and I thought I was going nuts), and it shows that they’re continuing to go in an incredible direction. The Bell brothers were a sight to behold tonight, looping galore, yet never sounding stale. Some of their sounds coming from the keyboard sounded like voices, which was a really cool feature. Jingling bells were an awesome ending part to one of their last songs. -B.

If Heaven were 16-bit, they would play Lymbyc Systym around the clock. This is feel-good music. Not in the way that ice cream and greasy burgers are feel-good foods, since you always feel terrible after those. This is “intense game of frisbee” type of feel-good. You feel good in the midst, and you feel good after the fact. I’d say these guys are an instrumental cross between The Postal Service and Phoenix. I greatly enjoy the electronic qualities of both, so this is a very good thing. I could read, eat, write, sleep, drive, converse, do anything to this. The emotional impact this band has is incredible as well. The sound is enormous, enveloping, relaxing. It’s like a fleece blanket in the middle of the winter. This is something that I’m not sure I’ve ever gotten out of music before: each time a song ends, I find myself refreshed, as if I was just awoken by sunlight after a solid seven hours of sleep (one of life’s absolute greatest pleasures). Admittedly, I find myself having trouble finishing this review. I keep drifting. This is honestly some of the greatest music I’ve ever heard. This is music I will be sharing with those I care most about. This is a band I will find myself going back to time and time again for years to come. I couldn’t imagine a better end to a night of such great music. -A.

Wires.Under.Tension. (10:00 PM)- I’ve always held Wires.Under.Tension. in high regard. I’m excited to see them live for the first time. By the time they came on, I’ve been physically and mentally burnt for the past three hours. I’m looking forward to them putting the juice back in my system or healing the wounds of an exhausting and incredible evening. The coolest part about W.U.T. is that both musicians play multiple instruments. And it’s not just the drummer playing another percussion (although that happens to be the case): the guitarist dons both a guitar and a violin on his person and changes them at will, also playing in front of a keyboard which he occasionally mans. The sound is unique because of its wide array of instruments as well as the play style, which combines all of them on one track. The second song, “Electricity Turns Them On”, opens with a glockenspiel, which the drummer loops into the rest of the songs. Everything has a slight electronic tinge to it (kind of like VNV Nation, although they are nothing alike), which makes this band feel as beautifully synthesized as it does natural. The keyboard has such an interesting sound to it, and it’s used in just the right amount that it doesn’t take over the entire song or becomes a one-time-only thing. And all the while, a mysterious red box sits between the men; its use is unknown as of right now, although it may be working the entire time, and I’m just completely oblivious to its function. If there are any other updates, A. will fill you in. Overall, I have fallen head-over-heels for this band, and they’ve tied with Wess Meets West as one of my favorites playing tonight. -B.

“Wood, Metal, Bone” starts with some looped violin, and finishes with awesome. “Looped violin” is code for “awesome” in this case. It is also code for “looped violin.” The metaphor comes early in this review. Oh, boy. Swiss army knives. They serve numerous purposes, but due to the need to expend effort into many facets, each feature suffers in quality. Wires.Under.Tension is like a Swiss army knife, if Swiss army knives were crafted with and composed of military-grade tools. Between the two of them, they play at least five instruments (not including the loop station and that goddamn red box sitting between the two of them the purpose of which is still unknown to me), and each instrument is played phenomenally. This is definitely one of the top ten drummers I’ve ever seen, and I’ve seen some impressive drummers. Either one of these guys could function as a solo musician. They are both highly skilled in what they do by themselves. In my experience, a lot of musicians like these don’t mesh well artistically, due to the fact that they are each often off doing their own thing. Whether or not intentional, they wind up competing, and the music suffers for it. Instead of competing, these two complement each other, to make what are good parts a much greater whole. Oh, my God, they’re about to use the box. …It’s an harmonium. It’s a fucking harmonium. I give up. I admittedly have never heard Lymbyc Systym before, but they have a really tough act to follow.  -A.

Zvoov (9:00 PM)- Seeing as this is A.’s first time seeing Zvoov, I thought I’d let him take this one. -B.

I’m having trouble writing this one. They really enjoy playing in 5/8, which I can appreciate. I love uncommon time signatures. Give me anything with a 5 or a 7 and I can probably enjoy it. 9 is okay. 11 and up, yes please. I don’t think I’ve ever said  this, and I doubt I’ll ever say this again, but here it goes: I think there is too much emphasis on meter. It feels like trying to listen to Rush and Andrew Jackson Jihad at the same time. Instead of making the melodies more interesting, the meter just made them difficult to enjoy. The melodies are okay on average, with moderate standard deviation. I’m not sure if they attempted polyrhythm at certain points, but if they did, it did not help the music in any way. Who am I going to compare this one to? And So I Watch You From Afar. I genuinely enjoy ASIWYFA (really had to think about that acronym). As a (relevant) side note, when I listen to music, I generally listen to entire albums, from beginning to end, and I tend to listen to them over and over again. These are things I cannot do with ASIWYFA. While interesting, the songs take an AAABBBCCC-type pattern. They play a melody, then play it again, and continue this as long as they feel with no variation on the melody. It gets tired, fast. A lot of the music I heard from Zvoov suffered from the same issue: the songs were repetitive in themselves. I appreciate that they didn’t write the same song over and over again. They’re decent musicians. I admire the fretless bass. I bet at least one of these guys listens to Arnold Schoenberg. The music had a bit of an expressionist feel to it. Unfortunately, it’s just not for me. Time for my other sandvich.  -A.

Amen. -B.

Spaces (8:00 PM) – Before I get started, Franco wins the Sneakiest Musician award. Walked up to B. and me with nothing playing but light background music without either of us noticing until he actually spoke to us. B. was looking right at him, too. Bravo, Franco. On to the band now. With all my talk about the traditional band, it would be unfair to neglect to mention that there are two drum sets, two drummers. There are also two guitars and a bass, nothing too extraordinary. There’s also a gentlemen at a sound station complete with a MacBook and what I assume are some MIDI controllers. And now he’s playing on Franco’s drum set. Okay, so there are three drummers. The first song was okay. B. and I came to the agreement, though, that the sound was pretty empty. It was more of a spectacle than anything else. While I like to see a good show when I go to shows, I’d much rather hear a good show. The second song had a much fuller texture, though. And a breakdown? I was not expecting that. The third song makes much better use of the two guitarists. Bass has a catchy line I that sounds like it is as much fun to play as it is to hear. I gotta say, I was going to comment on the second drummer negatively. Watching the two of them, I felt like having a second one didn’t really bring anything to the table rather than a bigger sound. I can appreciate the enormity of an orchestra, but in this setting, I’d much rather see variety. Then I saw the sleigh bells and xylophone (or glockenspiel?). Instant bonus points. And I admit, the sound of two drums sets going at the same time, playing the same thing is really starting to grow on me. I’ve also realized that, while they do play a lot of the same parts, there is also some variety. This band has a lot to live up to, given the number of them. They had a slow start, but they are delivering. This is something I could see myself listening to on a long drive with the volume deafeningly loud in the middle of the night. It is also worth mentioning that they have a new vinyl that, if I understand properly, comes in red translucent vinyl (hot damn, that’s cool), with a hand-illustrated poster, and a digital download code. At twenty-five bucks, you absolutely get your money’s worth. -A.

Spaces is a pretty appropriate name, to be honest. The atmosphere they give off is like floating through space, especially with the cool sci-fi (or is it SyFy now, I don’t know) sounds. The best part of this band, by far, is the dueling drummers. At first, they played the same part, which was…eh. But the moment they diverged and someone took control of the cymbals and the other mastered the snare and whatnot, they stole the set away from the guitars. Which in the beginning wasn’t that hard, mind you. The first song was extraordinarily empty and left me wondering what else they had. After that, however, they totally stepped it up. Chill and atmospheric, made up for everything ever. Good job, guys. -B.

Les Rhinocéros (7:00 PM) – So B. and I went to grab food since neither of us ate breakfast, and we’ve been out since noon today. We missed the first few minutes of this set, but I know I have no shortage of comments to make. Okay. so hands down, this band is the most ridiculous that has played tonight. I use that term neutrally. They’re one of the most ridiculous bands I’ve seen, period. So far, I’ve seen no guitar, a bass, drums, a saxophone, an electric violin, a bell, and the tiniest keyboard I’ve ever seen. Definitely the least traditional band that has played thus far, excluding Sontag Shogun. There’s a lot of pitch doubling going on between the sax and the violin, which is producing this absurd (also neutral) timbre. There’s a lot of typical reggae style bass going on. With a huge background in the ska scene, I can’t get enough. The bassist also makes great use of appeggios in minor keys. The sax replicates these from time to time, producing (once again) a very interesting sound. By the way, this is a four-piece group. The violinist was also playing the keyboard. The violin is hooked up to at least one pedal. The sound that thing produces could cleave steel. It’s not abrasive; “sharp” is a better word. It’s honestly really enjoyable. The saxophonist is working on some effects pad I cannot make out from my position. The drummer is a beast. I don’t even know what to say about him. Possibly the most animated drummer of the night. I want to comment on the bassist more, but he has his back to me. I can’t really tell what he’s up to. He’s good. I’ll give him that. Otherwise, I just don’t have anything to say. As a whole, their sound takes has influence of the reggae and polka sorts. They’re technical in their playing style. They’re… fun. As a spectacle, they were as much fun to watch as Wess Meets West, who were a lot of fun to watch. LR is… great. If you want something different, go see LR. -A.

I ate, got a belly rub, and took a nap. I’d trust what A. had to say. -B.

Adam’s Castle (6:00 PM)- Detroit Red Wings fan always have a leg up in my book, so these guys were off to a pretty good start. The first thing you note is the piano, which sounds like an opening for a radio show. It’s kind of jazzy and features a lot of bass; in fact, the entire band is just bass, piano and drums. They play a high-intensity brand of instrumental music that’s been seen quite a lot in this festival. The songs are all 90’s hardcore short, sweet and to the point, yet with no vocals. The piano serves the function of the lead guitar, yet shares that role with the bass in terms of the most featured instrument. In the second song, the piano sounds like the last half of a track off of Maybeshewill’s last album (can’t remember which, but that’s unimportant). The sound is like a lighter version of Souvenir’s Young America in the way that the bass drives the music forward: its constant presence keeps the music from sounding too ambient, as well as the uptempo drums keeping the music intense. Then, all of a sudden, the piano develops a wall of sound for the band that I never saw coming. It was so…post-rock for the band that shared little resemblance to it at first. Next song has a sort of Caribbean feel to it with its use of unusual percussion and then flows into a syncopated piano part (A.’s word, not mine) and makes it dance back and forth between ambient and in-your-face. You know what? Could have gone without seeing them. Seemed like good guys, though. -B.

There is something to be said about the composition of this band. I dig the traditional guitar-bass-drums make-up, but I almost always appreciate a band that strays from tradition. This three-piece outfit consists of keys, bass and drums. One problem I feel a lot of bands that nix guitars suffer is that you can feel that the guitars are missing. Adam’s Castle doesn’t compensate; to use that word would imply that they are at some sort of initial disadvantage. Between the keys and the bass, they cover both the timbres and the ranges that, if this were another band, the guitar would. The pianist came well prepared, sporting three keyboards and plenty of pedals. The bassist is something else. If you couldn’t see the bass, you would think he’s playing a guitar. Between the dense chords and the intermittent harmonics, this is a man who knows his way around a bass. While the drummer was good, the one thing that was probably the most eye-catching was his simultaneous use of the drums and a drum machine. As a performance, they started off with a great, albeit short song and proceeded with a song that was more eclectic than it was actually enjoyable. From there, though, the songs picked up to and remained at a caliber of the first. The last song, while decent, also seemed a bit lost, particularly after the one preceding it. The second to last was probably both the most technical, most interesting, and most impressive. In my opinion, it should have closed the set. All in all, it was a good performance. -A.

Wess Meets West (5:00 PM)- Instrumental music with electronic sounds is a personal favorite of mine. I love when I hear glitches next to ambient music; it makes the music sound calm without letting you zone out and drift away. Another band that I heard great things about before coming here, I was pumped to have my mind blown. For an ambient band, they bash those crash cymbals quite a ton, and then they pick up the energy entirely. I was not expecting this band to have this prominent of a bassline, which was awesome, although I’m kind of confused by their description now. Midway through the first song, I understood when they played this Maybeshewill-like section, complete with snare rolls and all this potential energy storing up. They kind of sound a bit like This Will Destroy You’s first albums if they took a whole bunch of cocaine and started fighting. A little messy on their wall of sound, but that bassline is absolutely incredible that even A. made a big note of it. The best part is that even though they’re atmospheric, they punch you straight in the face if you think you’re going to space with their punctual crashes after lulls in their music. Can I say more about their bassist? Probably one of my favorite musicians playing this festival, and I haven’t even met the guy yet. They have a sort of pop-punk feel to them whenever they pick up the pace, especially with the way they look like they’re having fun with it (A. mentioned their stage presence is energetic and draws the crowd in, which I absolutely agree with). My favorite band thus far in the show, Wess Meets West is certainly a group you want to check out. They kind of had a drone moment halfway through their set, which I loved. I was waiting for someone to do something like that, and then they kicked out of it with another gorgeous bass line. -B.

These guys remind me a lot of the shows I went to in high school. B. had said earlier to me that they reminded him a bit of a punk band, and I honestly had no idea what he was talking about it. Towards the end of their set, I realize they have this air about them. They have a very confident command of their performance. There’s also a lot of evident simplicity in their playing. The bare bones of their music is very evident. A vocalist just stepped on stage and started speak-singing? The approximate-singing is highly appropriate of the music. Screaming is involved as well. This guy has an incredible voice. I dig this. Anyway, you could hum these songs. You can pick a melody and sing it, which is a great way to get a song to stick with someone. There is plenty of ornamentation to the melodies. There is no shortage of sound or texture. If I had to compare these guys to another band (which I do, because I have to compare everything to something else), I would say they sound like a more mellow, ambient Refused with a more rounded sound, which is a gigantic compliment coming from me; Refused is, hands down, one of my all-time favorite bands. -A.

Oculesics (4:00 PM)- Described as “Postexperimentalmathyjazzrock” and influenced by Russian Circles, I was psyched to hear Oculesics (pronounced Ah-Cue-Less-Icks) from the moment I saw the show list. The members were really cool and wrote out their entire set for us, so that’s a +1 in my book. This three-piece from Connecticut opened up with “Go Hang A Salami, I’m A Lasagna Hog”, which was technical and just all-around fun.  Never having heard them before, A. pointed out they have a similar play style as Coheed & Cambria, which I personally love. -B.

The drummer played off the side of his drums a lot, which added this really cool clapping noise (why can’t I remember the name of the technique?). The second track has a much freer form than the first, much more jazzy/mathy. Plenty of tapping, which is always a good thing; a lot of the tapping is lower on the fretboard, which is interesting. This song has an intriguing progression, in that it doesn’t sit on any particular melody, rather continually progressing at times. At other times, there are very clear movements from one section to the next. Subtlety(including the abandonment of) is itself an art. The fourth track begins with a running guitar line and there’s a very clear distinction between the guitar and bass, which are playing their own melodies at certain points rather than simply serving to harmonize with one another. This is not to say they don’t harmonize well, it just adds a beautiful texture. Each song seems more progressive than the last. Last song starts off super mathy, something akin to Tera Melos. Tempo and meter changes galore, beautiful drum work, heavy bass lines. Organized chaos. The fact that these guys have set, logical progressions from one part of some of these songs to the next that they actually practice, remember and play live is astounding. -A.

Sontag Shogun (3:00 PM)- A band I’ve never heard before, Sontag Shogun’s reputation proceeds them. Their other project, Slowest Runner In The World (which I didn’t know was associated until after CALLS’s set) is labeled as Post-Baroque, which gave A. a chuckle. Down a pianist, I had no idea what to expect. They had a projector going in the background, playing scenes from a hospital in black and white. The entire feel of this band is SO freaking creepy. I’m not sure if what they were doing with all of their feedback was intentional, but it definitely adds to the horror movie feel. I’m not going to lie, during the first song, I became so squeamish at the video of the dissected dog, kept alive by some sort of weird medical procedure. Ignoring the movie in the back, I can actually kind of dig the feel of this band. Really morbid pictures and this B-movie like music. The guy echoing his screeches into the mic and making it like an instrument in itself was a really cool trick. A. was quick to point out that, like, 10 minutes into their set, they finally picked up an instrument (a guitar) and started playing a very minimal track. The vocalist threw spoken word on top of all this, and it kind of seemed like a Satanic ritual. By that point, both A. and I agreed that they had won us over not only because of their unique sound, but also their ability to control the entire mood of the music and the listener. I cringed when they wanted us to, I got scared and nervous exactly when they wanted us to, I was at their mercy. Armed with just a Macbook and a guitar, they put together probably one of the most creative and disturbing performances I will ever experience. I had a hard time differentiating between songs, and by the end of one, I believe, they started taking video of people walking through a mall and then had everything go in reverse, and I was kind of confused. I’m not sure where they were going with all of this by the middle, and maybe I was looking too much into the video itself, but it was kind of hard not to, considering how vibrant and attention-grabbing it all was, but they were playing people eating in this really gross close-up, Dexter intro, way. Then, 10 minutes after the first instrument was utilized, vocals followed in this dreamy, yet eerie, fashion. Once they came, the video lapsed into this beautiful footage of a river, surrounded on either side by foliage. Overall, Sontag Shogun is a great act if you’re not turned off in the first half of it. Their artistic genius takes a little bit to grow on you, but once it does, you’ll be floored.

CALLS (2:20 PM)- CALLS is a 2 piece post-rock band coming out of Medford, NY that hadn’t been as well known as they should’ve been until they started scoring big shows with Signal Hill, Fishing The Sky and, of course, Lymbyc Systym. Running the classic 2-piece looping guitar/drum combination, they bring a lot of energy to a genre that varies from dull to blood-pumping. The best part of CALLS is that they significantly improve  every time you hear them. Their first demo was one of the worst things I’ve heard, but seeing them live was a total game-changer. Their drummer is very talented, and if you don’t believe me, go to and give them a listen yourself. Although they’re known for their fast-paced play-style, they also know how to calm and soothe the crowd with just as much skill, as evident from the second song they performed. Mike, the man behind the base drum, controls the pace like an expert, mastering the ever-fluctuating tempo of CALLS’s tracks.

Not to be outshown, Josh draws from his Caspian influence and nails the ending guitar line. Their third song has a lot more of a rock-feel than their other songs, opening with a less atmospheric guitar riff before breaking out the wall of sound. Their tendency to switch speeds at almost a moment’s notice leads the listener on, keeping them wanting more. What A. loved and pointed out was Josh getting down on the pedal board at the end of the third song, treating it as an instrument in itself rather than just an accessory to enhance his guitar. Definitely deserving more than 35 minutes, CALLS exited on a high note with Sufferfish, a heavier than usual song and they absolutely killed it. So good. Their lack of audience not only shows how little respect their genre gets, but how many people are foolish enough to miss one of the best bands on this line-up. Unfortunately, both members couldn’t stay for much longer after their set, so they had to decline my interview offer. With CALLS opening up The Night Wears A Sombrero, it raises the bar for all the following acts to get on their level.

Thanks to the brilliant guys who set this up (putting my efforts for a Family? Reunion to shame), yours truly at Is This Revolutionary? will be attending The Night Wears A Sombrero, an all-day post-rock festival on July 1st, 2012. For those of us following the Euro Cup, hit record and come down to 622 Degraw Street in Brooklyn because this show is going to be insane. Here’s the info:

Lymbyc Systym –
Wires Under Tension –
Zvoov –
Spaces –
Les Rhinocéros –
Adam’s Castle –
Wess Meets West –
Oculesics –
Sontag Shogun –
Calls –

Doors are at 1:30pm, with music starting at 2:00pm sharp.

Tickets are $12 in advance, $14 day of show. This show is 18+.

All right, now for the fun stuff. I’ll be setting up down there a tad bit early, and me and my little Asus War Machine are going to be churning out play-by-play blogging throughout the sets, and writing up as many interviews as I can muster in between. Good fun, interesting perspectives, and the best genre of music that’s graced this Earth, The Night Wears A Sombrero is sure to be a dream come true, so come down and join the party. OH! And don’t forget to bring your favorite mobile device so you can follow along with @IsThisRevo and see all the behind-the-scene stuff, as well.



Sleepmakeswaves, Once Again in Brooklyn (2012)

Posted: March 11, 2012 by Is This Revolutionary? in Shows

If you didn’t see them last night with CALLS, you have another chance to see them live in Brooklyn tonight.

Sleepmakeswaves (Australia)
Hannibal Montana

No Grave Like The Sea


At St. Vitus
1120 Manhattan Ave.

Brooklyn, NY

Doors at 8


Time Columns, Live in Brooklyn (2012)

Posted: March 5, 2012 by Is This Revolutionary? in Shows
Tags: ,

Time Columns’ and Valerian Swing’s SXSW tour is now in New York, and I wish I could make it (I can’t make Monday night shows). If ANYONE has half a brain, come down and support the Fam? at Death by Audio.

1. Noxious Foxes – 8:45 –

2. Zvoov – 9:40 –

3. Time Columns (MD) – 10:25 –

4. Valerian Swing (Italy) – 11:15 –

Doors at 8pm, music starts at 8:45. All ages. $7.

2/17/2012: Family? Function with Signal Hill + CALLS (2012)

Posted: February 16, 2012 by Is This Revolutionary? in Shows
Tags: , ,

Howdy, folks. February has been a great month for post-rock in New York, and this is one of the best events there’ll be. I just love it when Family? gets together, and Signal Hill being strewn across the country makes seeing them live a special experience. James Gaskill threw this one together & reminded me about this one, so big thanks to him. I’d be going, but 21+ shows impose limits that I can’t by-pass (unless Tim really does hide me inside the kick drum).

February 17th

Signal Hill
North End
No Grave Like The Sea

At Don Pedros
90 Manhattan Ave.
Brooklyn, NY

Doors at 8

Be there (unless you’re underage) or be deprived.


Family? Show in Brooklyn- 9/23/11

Posted: September 21, 2011 by Is This Revolutionary? in General Discussion, Shows
Tags: , , , ,

Yeah, I know, we aren’t even featured on the flier, but it’s the spirit of it all.

Hey, whoever is in the New York/Tri-State area should head down to The Charleston, 174 Bedford, Brooklyn, NY on the 23rd, this Friday, to see some of the great bands that are part of this Is This Revolutionary? Family. Headlining the show is Signal Hill,  a band I’ve had a connection with since I found their album and grew closer to over the past year. They were our first real interview, and I cannot put into words how excited I am to see them.

Next from the Fam? is CALLS, the two piece Long Island post-rock band. I’ve listened to them since their first release, and they’ve certainly matured their sound over the past year, and it’s also going to be a treat to see them as well. The guitarist is an all-around good guy, and has opened up so many more friendships for us, such as introducing us to our sister record label, Pirate Ship Records.

Finally, Twincities is going to be playing in Brookyln, and it’s the first time the NY ITR? crew is going to be together in forever (and Joe’s in a grave somewhere in the Maryland/Tennessee area). Twincities features some close friends of ours as well as ITR?’s own Salvatore, who’s going to be bringing the pain and hopefully some demos/goodies. They’re pretty much as metal as a post-rock band can get without playing metal (and if you have to ask, you’ll never know).

So, yeah, seriously come down on the 23rd, this Friday. It’s going to be the best $10 you’ll probably ever spend.

|||Our interview with Signal Hill [FREE DOWNLOADS]|||Our review of CALLS|||Facebook invitation|||