So don’t expect it to be any different with the release of Guster’s new album, Ganging Up on the Sun. The Boston-bred band’s fifth studio release may be a melody-minded, breezy, free-spirited, literate pop record like its predecessors—2003’s Keep it Together, 1999’s Lost and Gone Forever, 1996’s Goldfly, and 1994’s Parachute—but this time around, Guster are “more fearless than ever before,” says singer-guitarist Ryan Miller. They’ve pushed themselves both stylistically and emotionally, resulting in their most confident and superlative work to date.

“This album has our loudest song (“The Beginning of the End”), our quietest (“Empire State”), and our longest (“Ruby Falls”). “One song has one of our most sincere lyrics (“Hang On”) and definitely some of our most cynical.” While Miller doesn’t cop to any specific lyrical themes (“I write a melody and words pop up around it”), he does note that most of the words were written against the backdrop of “a president taking a country to war based on some very dubious rationale.”

You can hear a thread of dissent in songs like “Captain,” “Lightning Rod,” “Manifest Destiny,” and “The New Underground.” “But I never want to be preachy,” Miller says. “I’m not telling you whose face to throw a pie in. I’m just trying to exorcise some frustration, some anger, and maybe a provide a channel for someone else’s frustration and anger.”

Ganging Up on the Sun’s sunny, driving-with-the-top-down melodies, vintage harmonies, and warm guitar jangle do recall artists you’d associate with the ’60s and ’70s—bands who also wrote during a time of war and societal mistrust of government—such as CSNY, Mamas and the Papas, Fleetwood Mac, the Band, the Rolling Stones, and Tom Petty. Are Guster wearing their influences a bit more on their sleeve this time around?

“The word ‘classic’ was used a lot throughout recording as a goal for the sound of this album,” singer-guitarist Adam Gardner says, “and it definitely has a more classic rock feel to it.” Adds Rosenworcel: “I think when we switched from the ‘just guitars and percussion’ shtick to using whatever was in front of us, we ended up sounding more like bands we were listening to.”

The shtick he’s referring to is Guster’s early years as a trio when, onstage, front men Miller and Gardner stuck to acoustic guitars and Rosenworcel played bongos with his bare hands. They’ve come a long way since then, and even added a member. Ganging Up on the Sun is Guster’s first album as a four-piece: Joe Pisapia, a Nashville-based multi-instrumentalist who played on Keep it Together and performs with them live, joined full-time when they began recording the new album.

“Joe is by far the best musician in the band,” says Miller. “He can play every instrument and has taken our level of musicianship up about seven notches. Brian, Adam, and I spent ten years together in rooms, buses, and vans—it means so much to have this new energy as part of our equation. It still feels very much like Guster, just a more confident, muscular, refined Guster.”

Not only did Pisapia add texture and oomph to the tracks by playing banjo, dulcimer, trumpet, and lap steel guitar, he also served as producer for half of the songs, which were recorded at Nashville’s Sound Emporium and completed at Pisapia’s home studio, Ivy League, from January to April 2005. The second batch were recorded later in the year at the secluded mountaintop studio Allaire in Shokan, New York, with Ron Aniello, who also worked on Keep it Together.

“I think in the back of my mind I knew we were writing our best material yet,” says Rosenworcel. One of the highlights is the lead-off single “One Man Wrecking Machine,” which is about a guy who hates his life and wants to go back to “the good ole days” and hang out with his buddies, get high, and make out with the hottest girl in school, as Miller puts it. “I’ve had that fantasy my entire adult life,” he says, “Like, what if I had the confidence of a 30-year-old man as a high school sophomore?”

Another highlight on Ganging Up on the Sun is the seven-minute “Ruby Falls,” a celestial epic that features an uncharacteristic muted trumpet in the outro (“I listen to that solo and think ‘that’s on my record’?” says Rosenworcel). “Personally, I can’t wait to play ‘Ruby Falls’ live,” says Miller. “Not just because I love the song, but because I think there’s a power to it that may even be bigger than what we captured in the studio. Or I could be wrong and we’ll sound like the Carpenters.”

“I just love that our band feels unpredictable right now,” Rosenworcel says happily. “I love that no one knows what to expect from us.”

Jukebox the Ghost

Jukebox The Ghost are three friends, Ben Thornewill on piano, Tommy Siegel on guitar and Jesse Kristin on rhythm. Bouncing out of Washington D.C. two years ago, Jukebox The Ghost purvey classic ebony and ivory pop, flavoured with their own brand of quirky lyrics and inventive song writing. Since the bands birth they have been writing and touring non stop, determined to bring their music to the masses the good old fashioned way; by doing everything themselves. It seems to have paid off; Jukebox The Ghost can boast ‘Let Live and Let Ghosts’, various EP’s and singles, and a second album well on its way. Plus, over 250 shows world-wide, with the likes of Ben Folds, Tokyo Police Club, Ra Ra Riot, Jenny Owen Youngs and more.

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Meytal

My name is Meytal Cohen. Pretty common Israeli name that also just happens to sound like my favorite style of music. Coincidence? I think not. So yes, I’m from Israel. I’m the youngest of 7. I have 4 sisters and 2 brothers. My dad died when I was 7 years old, when a drunk driver crashed while he was standing on the sidewalk. My mom successfully raised us all by herself.

I started playing drums at 18 years old, despite the conventional ‘you’re making noise, you’re wasting time, you’re spending money, and this will never mount to anything’ sorta attitude I was getting at home. That same year, I graduated from high school and was drafted to the Israeli Defense Force (it’s mandatory), I served my country for 2 years and was released from the IDF.

At age 21 I moved to Los Angeles to attended the LA Music Academy, and while in school I managed to break my back in a car accident. I broke three vertebras, and had to wear a back brace for 6 months. I returned to Israel for the healing process, and within a year I came back to LA and later on graduated.

After school, it wasn’t easy, like it never really is for a musician trying to make a living at it. I tried to find my place in the huge and scary music industry of Los Angeles, and I can’t say I had much luck. In 2009, a few friends and I recorded a metal violin cover of System Of A Down’s Toxicity. We shot a music video for it and put it up on YouTube. A few months later, that video had 3 MILLION views.

After seeing the response to our toxicity video, I decided I was going to shoot 100 drum covers and see what happens next. 5 years later, I now have over 120 videos, 120,000,000 views, 800,000 subscribers on YouTube, and 1,000,000 likes on Facebook.

Many amazing things have happened / are happening thanks to your support – I’m incredibly fortunate to be endorsed by the best music companies in the world, to have produced my very own instructional package for drummers, the Maximum Meytal, and for creating my first original album funded by you guys through kickstarter, to name a few.

I owe you big time, for caring sharing and supporting what I do. you are the reason I get to do what I love, and I’ll forever be thankful for that. come say hi at one of my upcoming shows, fb, or twitter, and subscribe to my mailing list for some overly revealing, long ass updates, from yours truly.

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History and Significance

Jimmie’s Chicken Shack were formed in the early 90’s in Annapolis, Maryland. Their album “Pushing the Salmanilla Envelope”, released in 1997, was a breakthrough and brought them worldwide fame. It is thanks to this album that the band has firmly entered the history of alternative music.

Hits and Recognizable Style

Jimmie’s Chicken Shack are known for their infectious rhythms, energetic performances and music that keeps you moving. Their hits such as “High” and “Do Right” have become true anthems for many alternative rock fans.

Unforgettable Performances

When Jimmie’s Chicken Shack take the stage, it’s not just a concert – it’s a real show. The energy, vocals, guitar riffs and unique performance style make each of their concerts an unforgettable experience.

Anticipation at Pennsylvania Nightclubs

Pennsylvania Nightclubs is looking forward to welcoming Jimmie’s Chicken Shack. This event will be a real treat for all fans of alternative rock music and culture. The band promises to bring not only their hits to the stage, but also a unique atmosphere that will make you fall in love with their music even more.

Don’t miss your chance to be a part of this unforgettable musical journey with Jimmie’s Chicken Shack!

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Polyphia

Hailing from the quiet suburbs of Plano, Texas, progressive rock outfit, Polyphia, are anything but mild-mannered. With a distinctly thought-out and well-orchestrated sound, the quartet pummels out blistering blast beats, and an onslaught of guitar shreds that blends, seamlessly, with melodic grooves and a humble intensity that never wears on the ear. Capitalizing on a “Standard of Excellence”, the band wishes to inspire those who listen with their doctrine of uncompromised work ethic and self-motivated success.

Wage War

With over five years of unmatched determination, the culmination of five Florida musicians’ effort is ready to be unleashed. Guitarist/vocalist Cody Quistad and guitarist Seth Blake met in high school when they discovered that they shared musical interests, and started jamming soon thereafter. In 2013, the duo encountered vocalist Briton Bond and, shortly after, bassist Chris Gaylord and drummer Stephen Kluesener were incorporated into the mix. The line-up alone of Ocala, Florida’s Wage War sheds a more-than-welcome light on the importance of a solid foundation built upon evolving musicianship. Wage War marks their territory with from-the-heart lyrics and thrashing beats that transcend to a community who understands the trials and tribulations of growing up all too well.

In fact, Wage War IS that community, as Quistad explains, “A lot of the themes in our songs are about growing up to be a productive person, and dealing with the real things that can happen in life and coping with circumstances that could be problematic,”says Quested. “The first single we’re releasing, ‘Alive,’ is an anthem to all the naysayers out there that are always talking about our generation being a bunch of losers.”

Blueprints, the band’s debut album co-produced by A Day To Remember’s Jeremy McKinnon along with Andrew Wade, resounds with all of the tension and ingenuity of its creation. The band delivers 11 tracks of uncompromising multi-dimensional metalcore, filled with high-intensity rhythms, battering drums and blazing guitars, tempered with tuneful vocal passages. Crushing breakdowns alongside a combination of roaring and melodic vocals prove powerful enough to level a small village. Yet, Wage War aren’t focused solely on destruction.

“The goal of Blueprints was to establish a foundation,” Quistad says. “It’;s our first record and our first chance to show people what we’re about. So we really went all out to deliver the best songs we could possibly write and play them to the best of our ability. I think a lot of people are going to be surprised.”

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Ultramarine is a spectacular return to form that recalls the band’s earliest work, and should appeal to fans old and new alike.

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When married couples celebrate twenty years together, they’re usually showered with anniversary gifts. The Bouncing Souls are celebrating their milestone by reversing that tradition and giving back to the fans, releasing one original song per month throughout 2009. More on that later, but first let’s look back on some earlier days…

Picture it: 1989, a Knights of Columbus Hall in Bernardsville, New Jersey. A supportive music-loving teacher throws down $120 to cover expenses. A bunch of sweaty high school kids gather to sneak beers and rock all night at the debut show of a band called The Bouncing Souls. And a Jersey institution is born.

But the Souls’ story actually begins a few years earlier than that historic gig. “Pete [Steinkopf] and Bryan [Kienlen] had a cover band called The Switch around ’86 and ’87,” recalls frontman Greg Attonito. The band was largely booked at parties teeming with college chicks and kegstands, and occasionally, their friend Attonito would join in to channel his inner Roger Daltrey or Billy Idol.

“Then we started another band called Brad Karma and the Absent Minded Fruit Bats,” says guitarist Steinkopf. “There was one song that we had called ‘Quest For Goodie’ and Greg would jump around and sing all kinds of crazy shit to it off the top of his head. We were all teenagers growing up in the suburbs, just looking to create our own fun.”

The threesome spent ever more time hanging at shows in New York City and haunting Trenton’s legendary, late, great City Gardens. The chemistry was undeniable and unstoppable, and it wasn’t long before their creative juices flowed together. Tapping original drummer Shal Khichi, the band holed up in Greg’s dad’s attic and started writing what would make up the early Souls songbook.

Like any young band with energy to burn and original songs under their belt, the boys took to the road in order to share their music and spirit with any crowd that would listen. While there were aspirations to find audiences across the globe, even college parties and basements were enough to keep hope alive in the early days. As bassist Kienlen puts it, “We never spent too much time worrying about the future. The point of the band was always celebrating the here and now, trying to make the best of whatever was in front of us at the time.”

Though it wasn’t until 1995 that the band was able to tour on a full-time basis, they soon found the road to be a more frequent home than the comfort of their own beds. From headlining tiny rooms in remote towns to playing Wembley Arena with Green Day and Tokyo’s Budokan with My Chemical Romance to spending time on seven different editions of Vans Warped Tour (totalling 11 months, with more sure to come), The Bouncing Souls have clocked more travel time than most airline pilots.

Since 1996, the band has had a constant traveling companion and honorary fifth member – their primary touring vehicle, lovingly called The White Castle. For ten years, she gave dutiful service, until The Gold Tour, when her engine gave out – with 300,000 miles on the odometer. Regarding her decade of service before temporary retirement (the proceeds from that tour are rebuilding the old gal’s guts), Attonito says, “We converted those miles into road hours. Estimating about 40 MPH – because a lot of them aren’t highway miles, with plenty of time sitting in traffic – it was staggering. Our estimate rounded out to 333.33 days driving in our truck! No exaggeration: that’s about a full year!”

Fortunately, there are many more tour dates in store for both the band and their beloved Castle. Exactly how many of those dates is impossible to say, though, since the band hasn’t exactly been keeping score. “I’d love to figure out how many shows we’ve played…I wish we kept count,” says Steinkopf. “I know bands that have and it’s awesome. It must be way up in the thousands by now, though.”

Frequent attendees of those gigs (true believers, all) hail the Souls as one of the best bands in the world, and the boys feel the same devotion to their fans. “Bouncing Souls fans are the greatest friends ever,” enthuses Attonito, “They’re passionate and full of life. They really are part of the band in the sense that we’re plowing a path through life together in good times and in bad.”

“It’s pretty much across the board too,” adds Steinkopf. “every age group…all different kinds of people. My favorite is when we meet people that were there from the start and now they have kids of their own that they bring to our shows. We really are a part of each others’ lives.”

“And any time someone says you’ve influenced them certainly makes an impact on you. To know that someone has looked at something you’ve done and they have taken something from it – whether it be in a lyric or the way you play your instrument – has got to be the highest compliment paid,” says drummer Michael McDermott. As a final piece of evidence, Kienlen points to the MySpace gallery of band-based tattoos adorning their admirers: “Last I checked it’s up to almost 300 and counting. Our fans are hardcore in their unwavering support. We really are one big family.”

And families share things, which is why this year, the Souls have decided to gift their family of friends and fans with twelve spanking new songs, available for the standard less-than-a-buck download on the first of each month in ’09, or for purchase on 7″ vinyl in quarterly compilations on their own Chunksaah Records (each featuring one additional bonus track).

Steinkopf elaborates: “We all decided that we wanted to do something different. We’d been on the same schedule for years: write a record, record a record, wait for the record to come out, then tour on it until we wanted to start the cycle again. We also wanted to break our own patterns and do something that was going to be inspiring and new for us.”

Attonito adds “I remember being in New Zealand and saying we should do a release that doesn’t come out all at once…I was thinking in the context of a TV series. Somebody else might have come up with the first of the month idea but usually all the creative stuff we do is a process. Everybody kind of throws a stick on the fire at the right time in the collaboration.”

Doing it for the sake of the music, the fans, and their own inspiration for twenty years, the group – and their White Castle – are going pedal to the metal on a full tank of gas. According to their frontman, “The shared driving force is part of the mechanics that keeps the beast truckin’ down the next highway. We were – and still are – a few passionate, rebellious, creative, idealistic, party loving punks looking for a good time, for something to believe in, and for something meaningful to live for.”

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“Mobile Orchestra is all about variety,” he asserts. “In the past, I’ve set out to make albums that were designed to be a singular listening experience, flowing from track to track. This time
around, the songs are like ten rabbit holes that go off in different directions. I had never approached a record like this. I wanted to clear the slate and forget what I knew in order to create a new experience. I spent two years working on it, and it had the time to grow in between every idea. That’s why there’s so much going on.”

There was no rush for Owl City. These songs got the chance to evolve as he built them and then sought out the right co-conspirators. The first single “Verge” merges his bright, buoyant
production and shimmering vocals with a booming soulful refrain from Aloe Blacc. It blurs the lines between electro, alternative, pop, and R&B; all at once, while remaining perfect for the dance floor.
“You’re thinking about those moments in life where you’re on the edge,” explains Adam. “It’s like the last day of your life as you know it, and tomorrow everything is going to change. It could be
a college graduation. It could be a new career. It could be your wedding day. You’re not sure how it’s going to go, but you’re confident that you’re going to hit the ground running. We
reached out to Aloe out of nowhere, and he was so gracious and kind to lend his incredible talent to the track.”

At the same time, the band steps completely outside the box altogether on “Back Home” with country star Jake Owen. “That’s probably my favorite because it was so fresh for me to try
something else,” he admits. “I’ve done acoustic tracks before but never like this. I’ve been a big fan of Jake’s for a couple of years. I listened to a lot of his records, and he was a gateway into
the country world. We married this pop sensibility with his voice and told a story about how it feels to come home—especially after a long trip or, in our case, tour.”

Then, there’s the love letter to all things nineties with none other than Hanson’s “Unbelievable.”
Wanting to capture a nostalgia for the era, Adam reached out to the pop powerhouse, and they cooked up this jovial anthem. “That one is so much fun,” he says. “It goes through everything we
love about that era, and Hanson fit perfectly.”

Elsewhere, “Thunderstruck” with UK trance diva Sarah Russell proves utterly propulsive and club-ready. As Adam assembled the music, the entire vision came into focus in late 2014
for Mobile Orchestra. “What each of these collaborators does is so different from what I do,” he continues. “It felt so right and natural to reach outside of my comfort zone and join forces with
artists away from my world. That process was awesome. Once these people got on board, it really gave the project steam. The train was finally moving.”

The train really never stopped though. The Owatonna, Minnesota native remains an avant garde hitmaker in his own right. With total album sales over 2.5 million and single sales
surpassing 18 million globally, his smash “Fireflies” from 2009’s Ocean Eyes received a fivetimes RIAA platinum certification in addition to going #1 in 26 countries. “Good Time” featuring
Carly Rae Jepsen went Top 4 in the U.S. and racked up sales of close to three million. He composed the theme song for filmmaker Zack Snyder’s Legend of the Guardians: The Owls of
Ga’Hoole and an original tune for Disney’s Academy Award winner Wreck-It Ralph, while Owl City’s music has seen placements everywhere from The Croods and Veggietales to Smurfs 2.
Even with all of the collaborations on Mobile Orchestra, everything still stems from Adam’s vision in the end. “I’ve always got that laptop out,” he remarks. “You can do so much with
layering, tones, and sounds. It’s literally like an orchestra in a box. If you just take the time to breathe life into it, it can be beautiful.”

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Between the Buried and Me’s first release was a three-song demo, containing the tracks “Use of a Weapon”, “What We Have Become”, and “More of Myself to Kill”. These three tracks were re-recorded for the band’s self-titled debut album, released through Lifeforce Records in 2002. The song “Aspirations” became the band’s first music video. At the time, the release was not widely known, but did manage to catch the attention of Victory Records, to which they later signed. Victory reissued the album in 2004 as an enhanced CD.

In August of 2003, Between The Buried And Me headed to Somerville, MA to Q Division Studios to record their second record, The Silent Circus, featuring the singles “Mordecai”, “Aesthetic”, and “Camilla Rhodes”. “Mordecai” was produced as their second music video. The album was re-released in 2006 with a live DVD of the band’s performance at The Cat’s Cradle in Chapel Hill, North Carolina on July 17, 2005. Mark Castillo played drums on The Silent Circus, replacing Will Goodyear, though for the live DVD Blake Richardson, Dustie Waring, and Dan Briggs had already joined the band, and recording for the third Between the Buried and Me album, Alaska, was already finished.

After the release of The Silent Circus, the band went through numerous members before the current lineup was assembled for Alaska. On drums, Mark Castillo was replaced by Jason Roe, and later by Blake Richardson. On guitar, Nick Fletcher was replaced by Shane Blay, and later by Dustie Waring. And on bass, Jason King (not to be confused with engineer/producer Jamie King) was replaced by Kevin Falk, and later by Dan Briggs. This remains the current lineup.

In the summer of 2005, Between the Buried and Me released their third studio album, Alaska. The title track “Alaska” became their third music video. The album released the songs “Selkies: The Endless Obsession”, “The Primer”, and “Backwards Marathon” as singles. Then in the following year, the band released The Anatomy Of, a collection of covers of bands that influenced Between the Buried and Me, including Metallica, King Crimson, Pantera, Queen, Pink Floyd, Earth Crisis, Counting Crows, and Soundgarden.

In September 2007, the band released their fourth studio album, Colors. Band members called it ” a 65 minute opus of non stop pummeling beautiful music… we have described this release as ‘new wave polka grunge’.” The band has also described the album as “adult contemporary progressive death metal”. On November 6, 2008, the song “Prequel to the Sequel” was made available as downloadable content for the video game Rock Band 2, for free download to users who redeemed a one-time use code in new copies of the game. Since then, the tracks “Mordecai”, “Obfuscation”, “Alaska”, “Selkies: The Endless Obsession” and “All Bodies” have also been made available via the Rock Band Network.

On May 31, 2009, the group went into the studio to record their fifth original album, The Great Misdirect. They released the single “Obfuscation” on September 29 and the album on October 27.

In early fall 2010, the group confirmed that they were recording an EP, which was cited as being a possible precursor for their next full-length album. In October 2010, they put up a video on their YouTube account with the band in the studio. January 18 a second teaser with them in the studio was posted.

On February 21, 2011, Between the Buried and Me stated their move from Victory to Metal Blade Records, then quickly released an EP entitled, The Parallax: Hypersleep Dialogues on April 12, 2011. In May, Victory Records announced the release of a greatest hits album as a three-disc set. On January 16, 2012, Between the Buried and Me revealed that work on the part two to The Parallax had begun and it will be a full-length album rather than an EP.

Between the Buried and Me released “Future Sequence: Live at the Fidelitorium” their first ever blu ray video on September 30th, 2014, via Metal Blade Records. The feature length studio performance with behind the scenes and interviews debuted at #2 on the Billboard Top Music Videos chart, besting new releases from both Dream Theater and YES. The video is also available on DVD and via digital retailers. Upon its release in 2012,”The Parallax II: Future Sequence” became the band’s highest Billboard Top 200 chart debut of their career at #22.

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Word of the young new band spread quickly, and with each show they saw their audience grow. Soon, Flip Like Wilson was packing venues in Pennsylvania, New Jersey, Delaware, Virginia, Maryland, and Washington, D.C. with its unique mix of 70’s hard rock, 80’s new wave, and 90’s alternative and hip-hop.

Now a lean 6-piece, a little older but no less committed to the fans and the music, Flip Like Wilson adds recent and current music to the show, and brings back their great energetic and entertaining performances.

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LIVE’s catalog is filled with songs like those. Among those seminal tunes are mega hits
such as “Lightning Crashes”, “I Alone”, “All Over You”, and “Lakini’s Juice”—which
remained pillars of the nineties both musically and culturally. Who can forget seeing the
music video for “Lighting Crashes” on MTV for the first time—or fiftieth for that matter?
We’ve all sung along to “I Alone” at some point too. That’s just a fact.
Meanwhile, “The Dolphin’s Cry” and “Overcome” ushered the group into the 21st century
triumphantly. Given anthems such as those, it’s not surprising the outfit sold over 22
million albums worldwide and have become a veritable concert juggernaut. However,
LIVE’s got a whole new crop of songs on the horizon for 2013 that carry the same
poetry, power, and passion.

The York, Pennsylvania legends burst on to the burgeoning alternative scene in 1991
with their major label debut, Mental Jewelry. The band—lead guitarist Chad Taylor,
bassist Patrick Dahlheimer, drummer Chad Gracey, and founding vocalist Ed
Kowalczyk—infused heartfelt melodies with raw energy for an inimitable style that stood
out from the early nineties pack.

LIVE’s sophomore set, Throwing Copper, solidified their status as bona fide superstars
though. After fifty-two weeks it reached #1 on the Billboard Top 200 and eventually
surpassed sales of 10 million in merely two years. Rolling Stone and MTV both dubbed
the album “One of the 25 Greatest Rock Albums of All-Time”, while tastemakers from
Spin to The New York Times lauded it with equal praise.

Upon release, its 1997 follow-up Secret Samadhi immediately shot to #1 on the
Billboard Top 200 and eventually went six-times platinum. However, on The Distance to
Here in 1999, LIVE turned into an international powerhouse and jumped from arenas
into stadiums all over the globe driven by the smash “The Dolphin’s Cry”. V and Birds
of Pray followed, continuing to expand their legacy and satiate the rabid and faithful fan
base that they had amassed over nearly two decades.

In 2008, the band initiated a hiatus, and Taylor, Gracey, and Dahlheimer founded The
Gracious Few alongside Candlebox’s Kevin Martin and Sean Hennesy. The project’s
self-titled debut would go on to enjoy critical acclaim as they became a live draw in their
own right.

However, LIVE’s influence never dwindled in either the fan’s lives or the founding band
mates. 2012 saw them reborn. Taylor, Gracey, and Dahlheimer approached longtime
friend Chris Shinn [Unified Theory] about potentially joining the group. After one practice
session, the musicians had tapped into the same magic that characterized their early
days. The creative process had been galvanized and rebooted, and LIVE re-entered the
studio with Shinn behind the mic.

Once again, the band evolve on new material, having recently completed work on their
eight studio album enlisting help of original LIVE producer Jerry Harrison [The Talking
Heads]. Due to be released in the fall of 2014, the quartet has re-invigorated its sound
with effusive energy and massive hooks. The next era of LIVE has just begun, and
there will undoubtedly be many more songs to sing along to.

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