Ritual (x-Dead And Divine) & '68 (x-The Chariot)

London Music Hall & SummerCamp Productions present..

Ritual (x-Dead And Divine) & '68 (x-The Chariot)

Partycat, King Pin, Soul Sucker

Thu, December 10, 2015

7:00 pm

$12.00

This event is all ages

Ritual
RITUAL are excited to announce their first Canadian tour since the release of their debut album last week. All dates are below and tickets go on sale this Monday, November 9th, at 10 AM EST. Special guest on the run is '68 featuring Josh from The Chariot. Speaking on the run singer Matt Tobin said, "We're all beyond excited for our first tour since our CD's release and couldn't be happier to be sharing the stage each night with '68. Having shared the road many a time over the years with Josh, its really cool to come full circle in both our current bands and hit the road for a bit. Being huge fans of '68 ourselves, its something we're all really looking forward to and wanted from the beginning."


The debut album from RITUAL is out everywhere now! NOISEY/VICE is streaming the full album here and the band took control of Revolver Magazine's Instagram for the day. The album is available on CD and Limited Edition 12" colored vinyl with exclusive tee shirts and zip-up hoodies, flags, and more at the Bullet Tooth webstore. It's available on CD at Best Buy, FYE, Amazon, MerchNow, Plastichead (UK), and download at iTunes, Amazon, eMusic, Google Play, Bandcamp and streaming at Spotify, YouTube, and Rdio.


RITUAL is a band without guidelines or limitations, chalked full of raw and untainted passion; this was the band Matt Tobin (former Dead and Divine vocalist) always set out to create. "We were born from waste. We are the product of broken bands, miles traveled and mistakes made. We are RITUAL". The band has been busy playing live with Protest The Hero and Silverstein and just played Riot Fest in Toronto on September 19 with Weezer, Motorhead, Thrice, All Time Low and more. Alternative Press featured the band here.


Speaking on the signing, Tobin said, "Bullet Tooth is definitely the right home for RITUAL and we're really looking forward to the future with Josh and the rest of the team!" Stay tuned for more updates on RITUAL, as well as new music, new videos, and tour dates!
'68
In Humor and Sadness, the debut album from '68, demonstrates the loud beauty of alarming simplicity. A guy bashing his drums, another dude wielding a guitar like a percussive, blunt weapon while howling into a mic somehow manages to sound bigger and brasher than the computerized bombast of every six-piece metal band. A splash of roots, a soulful yearning for mid century Americana and the fiery passion of post punk ferocity rampages over a record of earnestly forceful tracks like a runaway locomotive.

Josh Scogin wasn't out of elementary school when the Flat Duo Jets laid their first album down on two tracks in a garage. But the scrappy band's spirit of raw power, punchy delivery, tried-and-true rhythms and urgent sense of immediacy is alive and well in '68.

Heralded by Alternative Press as one of 2014's Most Anticipated Albums, In Humor and Sadness is a snapshot of a fiery new beginning for one of modern Metalcore's most celebrated frontmen. Produced by longtime Scogin collaborator Matt Goldman (Underoath, Anberlin, The Devil Wears Prada), the first full offering from '68 is a broad reaching slab of ambitious showmanship delivered with few tools and fewer pretensions. The scratchy disharmonic pop of Nirvana's Bleach is in there, for sure. And while many associate the setup with The Black Keys, '68 is more like Black Keys on crack.

"I wanted it to be as loud and obnoxious as it can be," Scogin explains. "I want it to be in-your-face. I want people who hear us live to just be like, 'There's no way this is just two dudes!' That became sort of the subplot to our entire existence. 'How much noise can two guys make?' It's obviously very minimalistic, but in other ways, it's very big. I have as many amps onstage as a five piece band. Michael only has one cymbal and one tom on his kit, but he plays it like it's some kind of big '80s metal drum setup. It's minimalistic, but it's also overkill. We get as much as we can from as little as we can."

Like many pioneers, North Carolina's the Flat Duo Jet's blazed a trail for more commercially successful people. They played rootsy rockabilly but with a punk edge. Band leader Dexter Romweber's solo work was a fist-pounding celebration of audacity and disruption, which influenced the likes of The White Stripes, among other bands.

"I got excited when I thought about the distress, the chaos that this two-piece arrangement would create – one guy having to provide all of these sounds, with a bunch of pedals, with certain chords wigging out and missing notes here and there," he says with excitement. "That alone makes up for the chaos of having five people up there."

That idea of less is more, of building something big from something small, persists today at the top of the charts with The Black Keys, just as it's lived and breathed in the bass-player-less eclectic trio Jon Spencer Blues Explosion, the rule-breaking early '90s destruction of Washington D.C.'s Nation of Ulysses, and in the two man attack of '68.

"Jon Spencer's records always sound like he's kind of winging it and I love that," declares Scogin, letting out an affectionate laugh. "In my last band, that's how we tried to make our last record feel. The excitement and imperfection is something I love to draw from."

Before paring (and pairing) things down with friend and drummer Michael McClellan, Josh Scogin was the voice, founder and agitprop-style provocateur in The Chariot, who laid waste to convention across a brilliantly unhinged and defiantly unpolished catalog of Noisecore triumphs and dissonant art rock rage. Recorded live in the studio, overdub free, The Chariot's first album set the tone for a decade to come, owing more to a band like Unsane than whatever passes for "scene."

Scogin was the original singer for Norma Jean and left an influential imprint on the burgeoning Metalcore of the late 90s that persists today, despite having fronted the band for just one of six albums. Whether it's the genre-defining heft of Norma Jean's first album or the five records and stage destroying shows of The Chariot, there's a single constant at the heart of Josh Scogin's career: a familiarity with the unfamiliar.

A new Metalcore band would be a safe third act for the subculture lifer, but Scogin isn't comfortable unless he's making himself (and his audience) uncomfortable. "I definitely wanted to flip the script a bit," he freely confesses. "I've always wanted to play guitar and sing in a band, ever since I left Norma Jean. I needed the freedom of not having a guitar onstage, but now having done that for several years, I wanted the challenge."

Creative problem solving has long been the name of the game for Scogin, whether he was hand stamping ALL 30,000 CDs for The Chariot's Wars and Rumors of Wars album or figuring out how to pull off his '68 song title concept in the digital age of iTunes. Each song on In Humor and Sadness was to be titled with simply a single letter, which when put together vertically on the back of a vinyl LP or compact disc, would spell out a word. However, it's problematic to name more than one song with the same letter, which would have been necessary to spell out what he intended.

'68 is the forward thinking progress of an artist who finds satisfaction in the expression of dissatisfaction. There's progression in this regression. Tear apart all of the elements that have enveloped a singer's performance, strap a guitar on the guy and set him loose with nothing but a beat behind him? It's a recipe for inventive, fanciful mayhem.

After a raucous debut at South By Southwest, a full US tour supporting Chiodos and many more road gigs on the horizon, Scogin and McClellan are propelled by the excitement that comes along with the knowledge that '68 is truly just getting started.

"We've just broken the tip of the iceberg. We're really just exploring all the different things we can do," Scogin promises. "I'll get more pedals, we're try different auxiliary instruments, whatever – the goal is to challenge ourselves and challenge an audience."
Partycat
Toronto's Partycat sits somewhere on the musical spectrum between riot-inducing hardcore and hooky-as-hell melodic rock with a sweet, spastic sound all to themselves.

The brainchild of guitarist Steve Sapienza, Partycat is currently comprised of himself (guitar), Josh Cottreau on the mic, guitarist Patty Kosak, Mike Butcha on bass and drummer Davin Crawford. Born in the summer of 2009, the band has made an impressive amount of progress in a relatively short period. They've shared bills alongside Stray From The Path, Dead and Divine, and Protest the Hero, only to name a few, and more than held their own along such seasoned acts thanks to their boisterous and booze-fueled live shows, full of gang vocals and sweaty pile-ups.

The band recently released their first full-length follow up to their debut EP The Horror Story, which itself showed plenty of promise and poise for such a young outfit. "9 Lives" came to life on iTunes and 12" vinyl in October 2012. The record has only added to the momentum that Partycat had built during the previous years. The record showcases their new vocalist which has raised the dynamic of the band immensely. With the addition of Josh, Partycat has become even catchier with the melodic singing mixed with heavier vocals not to mention the energy he brings to the live set. The video for the first single "Moonshiner" has reached over 7,000 plays in a short time… a great accomplishment for this independent band.

Perhaps most notable about Partycat in relation to other bands in their ballpark is their total transparency, void of any pretention or illusions of grandeur. "We're just trying to have fun, and don't take ourselves too seriously," Sapienza makes clear. "We're not here to preach or have our pictures taken; we just like to have a good time with our friends and fans."

The band will be touring relentlessly behind their grime-filled release, "9 Lives", hoping to continue on the impressive tangent and trajectory they've set with their work thus far. "We just want people to know we're not going anywhere; we're going to take this thing as far as we possibly can," says Sapienza assuringly. "We just love doing what we're doing," and that's made clear on first contact, be it from the stage or stereo.
Venue Information:
Rum Runners
178 Dundas Street
London, ON, N6A 1G7
http://www.londonmusichall.com/

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