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Thursday 3 December
Warehouse Live The Studio 07:00 PM All Ages $17.50 to $20.00
Copeland, Eisley, We Are The City
Aaron Marsh
Bryan Laurenson
Jonathan Bucklew
Stephen Laurenson
Copeland has reunited to release their sixth album after calling it quits in 2009. Here's what you need to know:

Copeland formed in Lakeland, Florida in 2001. The band's first album, Beneath Medicine Tree, came out in 2003 on indie label The Militia Group. The album's layered melodies, combined with Marsh's thoughtful, emotive croon, immediately engaged music fans, offering a nuanced take on the emo music of the early ‘00s. The group unveiled four subsequent albums between 2005 and 2008, including Eat, Sleep, Repeat on Columbia Records in 2006. Copeland signed with Tooth & Nail in 2008 and have partnered with the label to release their long awaited sixth album, Ixora.

In their heyday, the band played over 200 shows a year. They've toured with Brand New, Sparta, Goo Goo Dolls, The Rentals, Bob Mould, Switchfoot, Motion City Soundtrack and Guster. Copeland has also historically supported new artists and Paramore's first ever show was opening for Copeland in Nashville in 2004.

The music on Ixora, which is titled after a type of tropical flower found in Florida, is a logical continuation of Copeland's emotional and atmospheric melodies. Aaron's lyrics, however, represent a more mature take on life. "My life is drastically different as a 34-year-old dude married with two kids than it was as a homeless band dude with a lot of young person drama," the singer says. "A lot of (the lyrics are) about my kids, my life and my family, and dealing with all of the mental and emotional issues that come with becoming a parent. There's a happy-sad tone to it all, which has always been true of our music. It's just less love songs than it used to be. In my mind, these lyrics are some of the best I've ever written."

This is likely not Copeland's last musical effort. The band plans to play some shows in support of Ixora as it makes sense in their current lives and possibly write more music. "We all are thinking that there will be more albums in the future," Aaron says. "I don't know why we wouldn't. We all enjoy making records together. As long as people want to hear them I think we'll keep making them."

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Thursday 3 December
Walter's Downtown 08:00 PM All Ages $12.00 ADV
$15.00 DAY OF
The Octopus Project
The Octopus Project has been releasing joyous electronic-rock-noise-party music since 2002, all the while touring the world playing festivals such as Coachella, Lollapalooza, Austin City Limits, and All Tomorrow's Parties, and as handpicked support for artists as diverse as Aesop Rock, DEVO, and Explosions in the Sky. Through their musical and visual work they've earned a reputation for elaborate multimedia experiments and extremely fun, extremely loud live shows. The band has released fivefull-length albums --2013's Fever Formsbeing the latest. Also active as composers for video games and film, they were awarded the Special Jury Award for Musical Score at the 2014 Sundance Film Festival for their work on the film Kumiko, the Treasure Hunter. Projects since then have included the immersive installation/performance Shapes (and Other Shapes)and the release of Mister, a limited, handmade plush toy which included exclusive new tracks.They are currently working on new music and will be touring Europe in September 2015

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Tuesday 8 December
Rudyard's 08:00 PM All Ages $20.00

Baroness, Earthling
Baroness' triumphant new album contains some of the biggest, brightest and most glorious riffs and choruses the adventurous rock group has ever recorded. But its title, Purple, also reflects a dark moment in the group's recent history: the terrifying bus crash they survived while on tour in 2012. "The band suffered a gigantic bruise," singer-guitarist John Baizley says of the accident. "It was an injury that prevented us from operating in a normal way for quite some time. Hopefully, this record is the springboard that helps us get away from all that."

The album, which is due out December 18 and which producer Dave Fridmann (the Flaming Lips, Sleater-Kinney) helmed, covers the gamut of emotions Baroness have experienced in recent years and serves as their victory cry. Purple finds a revamped lineup of the band - Baizley and Pete Adams (guitar, vocals) and new additions Nick Jost (bass, keyboards) and Sebastian Thomson (drums) - playing 10 intricately textured tunes and singing about the worry they felt immediately after the crash ("If I Have to Wake Up (Would You Stop the Rain)"), the struggle to recover as smoothly as possible ("Chlorine & Wine") and their ongoing quest for survival ("The Iron Bell"). From its bulldozing opener "Morningstar" to the avant-garde 17-second closer "Crossroads of Infinity," the record is at once both their most emotionally threadbare and musically complex offering to date, with passages that allude to their classic-rock roots as much as their crushing metal past.

Adams says only recently, since the group has gotten back on the road, he thinks that Baroness has felt like a band again. And now with Purple under their belts, Baroness are ready to take on the world. "There's a lot more playfulness now," Adams says. "Everyone now is positive, there's no heavy bullshit. People are laughing and smiling more now in Baroness than I've ever seen. That's real, and I'm thankful for that." The bruise is beginning to heal.

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Wednesday 9 December
Warehouse Live The Studio 06:00 PM All Ages $20.00
The Black Dahlia Murder, Goatwhore, Iron Reagan, Entheos, Artificial Brain
Brian Eschbach: Guitar, Vocals
Trevor Strnad: Vocals
Ryan Knight: Guitar
Max Lavelle: Bass Guitar
Alan Cassidy: Drums

The problem of dropping a record as career-defining as 2013′s Everblack is that the bar is set so high following it up is a galling task. That The Black Dahlia Murder‘s response to such a challenge comes in the form of the devastating Abysmal serves to once again demonstrate why they are considered one of the most vital bands in contemporary death metal. "Once the record started to come together we knew it was going to be something special," states vocalist Trevor Strnad. "It's more urgent, it has more dynamics, it's a more emotive record, and it has a more raw, angry sound to it. It's still million mile-per-hour death metal, but when you invest so much thought and emotion into what you're creating you end up with a record that does stand out, and we can hold our heads up high and say yeah, this is our best work."

t this stage in the game, with typically modest aspirations, Strnad is more interested in maintaining their longevity than shifting records, and if the band never gets any bigger than they are right now he will "die happy a hundred times over". However, this does not mean there is anything even vaguely resembling an end in sight. "We're still young at heart and I feel like the evolution of the band still has a long way to go. I don't see a ceiling on what we can do, and there will be no end. It's just going to be a constant ongoing fight to make better music and be a better band, and it's always going to be time to kick ass."

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Saturday 12 December
Numbers 08:00 PM All Ages $18.00 ADV
$20.00 DAY OF

Sailor Jerry presents: An Evening with Lucero

You could say we were one of the lucky ones, starting this band in April of '98 without a clue as to what we were doing. We were getting tired of the steady punk rock and metal diet and we wanted to try our hand at country songs, or do our best Tom Waits/Pogues impersonation.

The trick there was that we couldn't really play our instruments! I had never played guitar before and Ben Nichols (lead singer, guitar) had only played bass in other bands. Finding Roy Berry (drummer) and John C. Stubblefield (bassist) solidified the line up and being hidden away in Memphis allowed us to woodshed, experiment with different sounds and create one that was ours alone.

Eventually we got out of town, and playing 250 shows year not only made us tight as a band but as a family as well. We are still one of the few bands out there with the original line up from almost the beginning, and it shows.

Picking up Rick Steff on keys allowed us to expand the sound and grow musically. Being able to play whatever we could think up in our heads and having the music we loved and grew up on motivate and inspire us to try new things and take chances. We realized that if you added some horns to Ben's lyrics that it took it to the next step, from sad bastard country rock to soul and R&B and we realized we were a Memphis band and came by it honest. We have always brought Memphis with us wherever we went and this just proved it.

While 1372 Overton Park was written and the horns added after the fact, Women & Work was written with the horns in mind so it was a little less gung ho and was starting to settle in nicely. Women & Work is one of the best modern Southern rock records in my opinion and the song "On My Way Downtown" has almost surpassed "Tears Don't Matter Much" as the crowd favorite… almost!

This brings us to the new record. All A Man Should Do contains some of the most resonant lyrics Ben Nichols has ever written, lyrics that read like chapters from his life on the duality of relationships, getting older, finding where you want to be in this world, and musically we are broadening our sound. Working with producer Ted Hutt for a third time at the famous Ardent Studios, we felt comfortable enough to take some chances with a palette of new tones that sound understated yet powerful, bringing life to the stories behind the lyrics without overshadowing them.

It's also the first time we've ever put a cover song on a record, with a full band version of big star's "I Fell in Love with a Girl", and having Jody from Big Star sing back-up vocals makes it that more special and amazing. This is a Memphis record in the greatest sense and a perfect finish to the three-part love letter to a city that brought us up and made us what we are today.

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Monday 14 December
Saviours, Venomous Maximus, Satanic Overlords Of Rock N Roll
California's SAVIOURS continue to forge ahead with towering riffs, colossal rhythm, monumental guitar harmonies and an obsession with the end of times, the occult, psychedelics and the arcane. Still building upon the the foundation that BLACK SABBATH, IRON MAIDEN, THIN LIZZY and MOTORHEAD laid, SAVIOURS enter their second decade preparing a new album for a fall 2015 release.

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Saturday 19 December
Warehouse Live The Studio 07:00 PM All Ages $15.00 ADV
$17.00 DAY OF

End Of The World Fest w/ Dead Horse, Helstar and more

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Monday 28 December
Warehouse Live The Ballroom 07:00 PM All Ages $18.00 ADV
$20.00 DAY OF
Shakey Graves, T. Hardy Morris
"The first album was me wanting to burn down my life, cut my hair off, and run screaming into the woods," says Alejandro Rose-Garcia. "This album is the trials and tribulations of becoming domesticated, letting people into your world and letting go of selfishness—the story of becoming a pair, losing that, and reconciling with the loss and gain of love."

Rose-Garcia is professionally known as Shakey Graves, and with his new record, And the War Came, he extends the ground—emotionally and sonically—broken by his 2011 self-released debut album, Roll the Bones, which brought him national acclaim and, three years later, still ranks near the top of Bandcamp's digital best-seller charts.

Roll the Bones established the powerful, mesmerizing Shakey Graves sound of Rose-Garcia accompanying himself on guitar and a handmade kick drum built out of an old suitcase. NPR Music named him one of 10 artists music fans "should've known in 2012," describing him as "astonishing…unclassifiably original. And frighteningly good." Paste included him in a "Best of What's Next" feature, praising his "gnarly composite of blues and folk," while The New York Times observed that Shakey Graves "makes the one-man band approach look effortless."

But while this distinctive arrangement continued to earn him an ever-expanding fan base on the road, Rose-Garcia knew that he wanted the follow-up to achieve something different. "With the first album, I didn't have any expectations except my own," he says. "This time, I was making something people were going to listen to out of the gate. I tried to maintain everything I enjoy about recording, the weird homemade aspect, but I was seeking a new, shining sound quality. The concepts for the songs are a little bigger. This is not the ‘Mr, Folk, Hobo Mountain' album—it's more of the Cyborg Shakey Graves. It's definitely the next step in the staircase."

An experienced actor who had a recurring role on Friday Night Lights and appeared in several of Robert Rodriguez films, Rose-Garcia started making music as part of New York City's "anti-folk" scene. While knocking around the underground music community in Los Angeles, he saw a performance by one-man band Bob Log III that pointed his work in a new direction. Since returning to Austin, Rose-Garcia has become so closely associated with his hometown that for the last three years, Austin has celebrated "Shakey Graves Day" by mayoral proclamation.

To record And the War Came, co-producer/collaborator Chris Boosahda brought all of his gear to Rose-Garcia's house and converted the space into a big, open studio. Though the signature Shakey Graves set-up remained the starting point, other instrumentalists came in and multiple, wildly different arrangements of the songs were attempted for what was initially planned as a double album.

Most notably, Rose-Garcia wrote and sings three of the album's songs with Esme Patterson, a solo artist and member of the Denver-based band Paper Bird. "We started out just having fun and writing, and then that turned into some of my favorite songs on the album," he says. "We actually wrote ‘Dearly Departed' on Halloween as a tongue-in-cheek, haunted house sex joke, and then we played it that night and people went bonkers. Esme and I write so similarly it kinda freaked us out, and I really learned the power of writing music with someone you get along with."

Soon enough, Rose-Garcia found that the experience of making the record was being mirrored in the songs themselves. "I was letting go of that one-man everything," he says. "I did need people's help, and my control freak nature had to subside a bit. It meant learning collaboration, but also knowing when to stick to my guns—all of that was the experience of this year, and the songs were some of the more genuine experiences; some of them even became sort of prophetic."

"Only Son," a meditation on solitude ("I used to be an only son/My heart was like a stranger"), became the opening track and "thesis statement" for And the War Came. "Hard Wired" is not, as it may first appear, about a relationship falling apart, but "about having friends with problems—watching a friend struggling and not doing anything about it."

The themes of these ten songs, explains Rose-Garcia, return over and over to the idea of the "other." "It's not about any single person, it's about being that second, other person. Even the title—I never thought about whether I was able to handle that aspect of things, of having these relationships. And the War Came is a little bit of, be careful what you wish for."

Songs like "The Perfect Parts" and "Family and Genus," meanwhile, represent a very different sound for Shakey Graves. "Those have a lot more aggression, they're heavy and big," he says. "I'm a little worried because it is a new step out, and people have gotten really precious about the stuff I've done—which is a huge compliment, and a dream come true—but I'm interested in what a Shakey Graves song is to people."

Another crucial influence on the direction of And the War Came has been Rose-Garcia's lengthy and far-flung touring schedule (which has recently included stops at the Winnipeg and Newport Folk Festivals, prior to a headlining run this fall). "I'm constantly flying places and moving at a fast rate," he says. "Imagining what it was like a year ago is almost incomprehensible to me now. I feel like I've almost seen too much this year—bands, music, places. And if that doesn't affect you in certain ways, then you're doing it wrong."

While his remarkable success story continues to unfold, Alejandro Rose-Garcia sees And the War Came as a pivotal step in the evolution of Shakey Graves. "This is a doorframe album, as we're going into a new building," he says. "It's taste of everything—what might come in future, which might include just guitar or the one-man band thing, but not pigeonholed to any one sound. I wanted to open some stuff up and get people ready for wherever it's going."

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Friday 1 January
Warehouse Live The Studio 07:00 PM All Ages $15.00
Leftover Crack, PEARS, Days N Daze, Krigblast

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Thursday 14 January
Rudyard's 08:00 PM All Ages $12.00 ADV
$14.00 DAY OF
Legendary Shack Shakers, The Yawpers, Flamin Hellcats
A ghostly man in black haunts our vision, a belled buzzard rings our doom, a creek witch scrabbles in the dirt, an inexplicable glossalia of voices pours out over the CB radio on a dark highway.

These are a few of the images, myths, and stories that infuse seminal punk roots band the Legendary Shack Shakers' new album, The Southern Surreal. Released September 11, 2015 on Alternative Tentacles Records-Jello Biafra's record label-this is the Shack Shakers' first release in five years, lands on the band's 20th anniversary, and is their Alternative Tentacles debut (following releases on Yep Roc, Bloodshot, and Arkam Records). The Southern Surreal also features guest appearances by actor/musician and long time Shack Shakers fan, Billy Bob Thornton, and Jesus Lizard guitarist Duane Denison. With The Southern Surreal, the Shack Shakers explode the ‘Southern Gothic' concept, reaching so deep into the forbidden roots of Southern culture that the rich mud they bring forth is almost unrecognizable.

It's the kind of album that could only have sprung from the mind of frontman/mad genius JD Wilkes, a relentlessly curious Southern renaissance man who's just as comfortable shredding the hell out of a packed house full of sweaty fans as he is settling in to a late-night jam with an elder mountain fiddler. As the bandleader for the Legendary Shack Shakers, JD has been compared to iconoclasts like David Byrne, Iggy Pop, or Jerry Lee Lewis, and with his small, wiry frame and intense, incandescent performances, it's not hard to see why. But while he plays the carnival barker onstage, he's a dedicated lifelong student of true Southern culture. In just the past couple years, he's released an album of old-time mountain music with lost elder Appalachian fiddler Charlie Stamper, and he's authored a book on the barn dances and jamborees of Kentucky. As a bonafide Kentucky Colonel (a title bestowed by the state's governor), Wilkes wears the South on his sleeve, but isn't afraid to dirty it up a bit, howling from the speaker stack and blasting out explosive blues harmonica lines.

The Southern Surreal marks a return to the Legendary Shack Shakers' lineup of bassist Mark Robertson, guitarist Rod Hamdallah, and drummer Brett Whitacre. They're back on the road with a renewed purpose following Whitacre's miraculous medical recovery-he came back from death three times-and the new album is a launching point for national touring and more. This newfound purpose fuels the raw energy behind The Southern Surreal, which was recorded at the historic Woodland Studios in Nashville, home to classic recordings from artists like Waylon Jennings, Willie Nelson, Johnny Cash, and Bob Dylan, and now owned by Gillian Welch & David Rawlings. JD's recent work with his roots ensemble the Dirt Daubers, helped him push the Legendary Shack Shakers into new territory. On The Southern Surreal, the fire-breathing rockabilly ("MisAmerica"), cautionary crooning ("The One That Got Away"), and punk country ("Christ Alrighty") the Shack Shakers are known for is still there, but the music has deepened to bring in influences as disparate as Mississippi hill country trance blues ("Fool's Tooth"), mountain banjo and square dance songs ("Mud"), and Tom Waits-ian barrelhouse piano ("Demon Rum"), not to mention the found sounds that JD slipped into the recording, like crackly radio sermons, trains, coyotes, and ghost story fi eld recordings. It's a heady brew, and Jd likes to compare it to the medicine shows of old, only this time the snake oil salesman's peddling mescaline and speaking in tongues!

In the end, you'd think a band with six critically acclaimed studio albums, song placements on shows like HBO's True Blood, and fans like horror author Stephen King or Americana icon Robert Plant, might take this one a bit easy. But the Legendary Shack Shackers are rolling harder than ever, bringing a new sound tied as much to the South's haunted folklore as to the wall-rattling live shows that first gave them their ‘legendary' moniker.

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Sunday 17 January
Rudyard's 07:00 PM All Ages $8.00 ADV
$10.00 DAY OF
The Peach Kings, Smoke Season, Tba
The Peach Kings are the cinematic garage rock duo of Paige Wood and Steven Dies, whose sexy and relatable songs are the soundtrack for their intimate love story. With a raw vibe and raucous stage presence often compared to The Kills and The White Stripes, the curated sound and aesthetic is a nod to classic cult movies and directors like Lynch, Tarantino, and Andersen. Embodying something unmistakably vintage, their inspiration includes, but is not limited to, PJ Harvey, Nancy Sinatra, The Cramps, Lou Reed, Lee Hazelwood, and Portishead, adding their own undercurrent of hip modernity through every last note.

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Saturday 23 January
Numbers 07:00 PM All Ages $26.00 ADV
$28.50 DAY OF
Mike Gordon
Phish bassist Mike Gordon returns to the road with his band which includes longtime collaborators Scott Murawski and Craig Myers, organ and synth-master Robert Walter and sharp-shooter John Kimock on drums.

Most artists have a fixed ritual or routine that they rely on to inspire their efforts from concept to fruition. Gordon tends to establish general goals, and then eschew routines for creative experiments. This rings true with his fourth studio album, Overstep,

The result is a diverse but tightly knit family of sturdy rock numbers that manages to sound grounded but sophisticated at the same time, and raw but carefully considered. Like Gordon himself, the album is full of contradictions, juxtapositions, and surprises - which is exactly what his fans expect.

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Thursday 28 January
Warehouse Live The Studio 08:00 PM All Ages $15.00
SAVOY is a live electronic rock trio from Boulder, now living in Brooklyn, consisting of DJ Gray Smith, DJ/guitarist Ben Eberdt, and drummer Mike Kelly. Their distinctive style incorporates the classic sound of rock 'n' roll into techno, dance, and bass music. Featuring live instrumentation (drums and guitar), as well as vocals from GRAMMY-nominated artist Heather Bright, SAVOY's legendary live performances have been referred to as "one of a kind" and "the best [show] around." Their signature laser light show, voted 2014's #1 live laser show in the country by ILDA, creates an immersive multi-sensory experience that perfectly complements their high-intensity musical performance. SAVOY stands out in today's crowded musical landscape, thrilling packed houses nationwide with a radically unique sound and one of the most unforgettable, hard hitting dance shows on the planet.

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Saturday 30 January
Rudyard's 08:00 PM All Ages $10.00 ADV
$12.00 DAY OF
Marrow, Sima Cunningham
Marrow is a brand new band featuring former Kids These Days members Macie Stewart (keys/guitar/vocals), Liam Cunningham (guitar/vocals) and Lane Beckstrom (bass/vocals), along with drummer Matt Carroll. They released their two-song debut EP, "TWO," in December 2013. Both songs can be heard in the short film the band made with videographer Austin Vesely to accompany the release. Watch here:
Sunday 31 January
Rudyard's 08:00 PM All Ages $10.00 ADV
$12.00 DAY OF
Black Tusk, Royal Thunder
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