Wednesday, September 26, 2012

Messenger Of The Covenant, Kings Of Hate, Alighieri, & Hard Of Heart @ The Blue Lagoon Tuesday 11/6/12

Tuesday 11/6/12

Messenger Of The Covenant
Deathcore / Hardcore / Heavy

Kings Of Hate
East Oakland

Representing the East Oakland, Ca. Kings of Hate is a monster, a rare form of Oakland Beatdown Hardcore. The band has never followed the hype or trends that other "hardcore" labeled bands classify themselves as. Kings of Hate, the hardest style.

Death Metal, Hardcore, Avant-Garde
Northern California

More or less, everyone has given some thought to the music they want played at their funeral. Whether it’s a slow, dismal dirge to accompany your coffin down the aisle, or a rollicking, aggressive tune for your “Irish wake,” it’s one of those details which seems all-important (never mind the fact that you won’t be there to enjoy it.) Californian progressive deathcore quartet Alighieri and their latest release, The Malignant Pulse, provide a stellar, unique, albeit brief mix of doom-laden, down-tempo hardcore and shredding, hard hitting death metal and grind to create a crushing EP which would turn Ghandi’s funeral into a primal mosh-fest.
Amongst all of the unique weapons at Alighieri’s disposal, the most effective is the hard-hitting, down-trodden sludge that surrounds their sound. Whether it’s propelled by droning, pounding drums in “Offering Gown” or the muddy, anti-ethereal guitar that keeps “Slave to Lust” anchored firmly in the gruesome, The Malignant Pulse is a consistently heavy and guttural effort. The sheer crushing nature of the doom-tinted, slam-influenced deathcore that Alighieri supply is destined to leave the listener’s eardrums battered and flattened, as the bulldozing percussion and crown-clearing guitar combine to leave little in the way of survivors.
The icing on the filth-encrusted cake that is The Malignant Pulse is the vocal attack which creates an auditory finishing blow to the listener. Filled with gut wrenching anger and pure, volatile misanthropy, Alighieri’s harsh yells and guttural bellows provide perfect company to the heavy, brutal music which serves as their canvas. “Slave to Lust” and “A Ravenous Climax” both feature climactic, spine crushing, skull-splitting breakdowns which serve as idyllic culminations of vocals, lyrics and instrumentals functioning together as one, planet-devouring machine, establishing a dynamic as unique as the blend of genres from which it sprang.
Alighieri’s unique dynamic is one of ferocious, visceral aggression and dragging, down-tempo dirge-like segments. When the drums aren’t roaring alongside the vocals at a breakneck pace, the doom-influenced heavy hardcore segments are meant to serve as a rest or reprieve. However, even this “rest” is hardly a relief, as rather than being smashed against concrete, the listener is instead treated to a slow drag through a bed of nails and broken glass. In this sense, Alighieri simply transition between two different kinds of heavy, rather than giving the listener a break from the brutality altogether.
If you’ve given any thought to the music that will keep your family company while you’re being hoisted into the ground, put Alighieri’s The Malignant Pulse on your list. While it’s a tad shorter than one might like, it is still twenty minutes of non-stop skin-rending,ear-gouging, skull-splintering doom-laden deathcore which will leave the battered and broken listener begging for more.
For Fans Of: Curl Up and Die, Gaza, An American Shootout

Hard Of Heart

We're Hard of Heart from Merced, Ca. Group of 5 friends from different bands coming together to make sexy music. Formed in November 2011 and performing continuously since February 2012.

923 Pacific Avenue
Santa Cruz, CA 95060

Human Animation Lab, Antholix, & Magic Hats @ The Blue Lagoon Wednesday 10/24/12

Wednesday 10/24/12

Human Animation Lab
Alternative Electronic Rock
San Francisco, CA

Melodic Hard Rock
Santa Cruz
Rockin' Bluesed out Music for the Soul
Santa Cruz

923 Pacific Avenue
Santa Cruz, CA 95060

Strawberry Girls, Hawk Jones, Magoozler, & Gloominous Doom @ The Blue Lagoon Wednesday 10/17/12

Wednesday 10/17/12

Aggressive Groove
Salinas, CA

Zachary Garren parted ways with his previous band, Dance Gavin Dance, in early 2010. While pursuing his solo project, Good Health, he crossed paths with local drummer, Ben Rosett, who was playing with a local band called The Trees. Ben, who was interested in starting a new project, asked Zac if he wanted to jam to see if anything cool would happen. Fortunately, everything clicked, and Strawberry Girls was formed in April, 2011.
After their first performance as a duo, Ben's friend and previous band-mate, Ian Jennings, excitedly wanted to be a part of the project. Ben and Zac, wanting to take the project to the next level, brought Ian on board to play bass for Strawberry Girls.
During the writing process for their first album, a live demo was released on Bandcamp titled, "Demo 2011", containing 5 raw live studio tracks. Months later, Ben, Zac, and Ian brought these tracks to life, producing the album at their home studio. "Italian Ghosts" was released in August 2011 as their first official EP. Soon after, another demo was released titled, "Do Peace (EP)", comprised of two tracks "Do Peace" and "Fight Club". Those two tracks were recorded live in the home studio, intended to hold their fans over until their next release.
Strawberry Girls have a lot planned for 2012. With their 2nd full length album, French Ghetto, on it's way, they have also taken on the task of remixing and remastering "Italian Ghosts" for a second edition release, as well as currently recording "Acoustic Ghosts", which includes mostly acoustic arrangements of new and old songs played on different instruments. There are also other special projects that may surface eventually. In the midst of all these different musical endeavors, Strawberry Girls has also been releasing various cover songs, filmed live and/or recorded in the studio, and put on YouTube.
You can look forward to Strawberry Girls' upcoming releases in 2012:
• "Italian Ghosts" 2nd Edition [re-mixed/re-mastered]
• "Acoustic Ghosts" [acoustic album featuring old and new tracks]
• "French Ghetto" [sophomore album]
• + more...

San Jose

"Hawk Jones’ early recordings paired the unlikely combination of driving punk rock drumming and weird, finger-tapping guitar work, making them a difficult group to classify. Experimental-punk seemed like the best description. But with their new EP, Que Rico, the San Jose band headlining at the Caravan on Saturday shakes things up a bit.
The punk rock edge is toned way down, making it just experimental. It’s not that the drummer has slowed down, but the playing is so much more complicated, “punk rock” no longer seems an apt description. It’s much more in the vein of King Crimson and early Tera Melos.
The guitar work too is as weird as ever. They implement a lot more strange techniques than just finger-tapping. The guitars are balanced out with a lot more synthesizers than the earlier recordings. It’s a multi-layered, math-rock, musical journey.
The songs on the first half of the EP have about ten sections apiece, not including the weird stops and starts and abrupt breakdowns in-between sections. On the opening track, “Cold Hands,” drummer Joshua Fairfield shows off his spastic chops and approaches his kit from just about every angle except the standard 4/4 rock beat. Every couple measures, guitarist Brandon Foss pulls out a new part, whether it’s power chords, finger tapping or just atmospheric noises. And RenĂ© Francis Jr, who doubles up on bass and synthesizers fills out the songs with psychedelic washes and math riff rocking. Nobody in the band stops to take a breath.
Things mellow out a bit on the second half. “Out of Place” is a slow burner. They stick to one basic riff and work off of that, giving it plenty of minor alterations and nuances. They build through repetition and play with dynamics gradually. That doesn’t mean there aren’t a few abrupt stops, like halfway through the song when Fairfield changes his drum beat and everyone drops out for a couple lines. The synthesizer and guitar re-enter the song gently, creating a dissonant, slow build to the finish.
Vocals are few and far between. “Pop Grass,” probably the most accessible song on the record, follows a more standard structure, with actual repeating vocal parts and a guitar riff and synth part that would almost fit an Interpol song. Of course with the weird instrumentation between vocals and a twenty second drum outro, it probably won’t be getting on the radio anytime soon, not that Hawk Jones crafted one second of this EP with that in mind."

923 Pacific Avenue
Santa Cruz, CA 95060

Tuesday, September 25, 2012

Surf Club, Palmz, & Burnt Palms @ The Blue Lagoon Tuesday 10/16/12

Tuesday 10/16/12


Emanating a sunshine-y vibe in the midst of landlocked Stockton is Surf Club, formed by an early member of pre-label Craft Spells, Frankie Soto. With the addition of Eddie Zepeda, Alfonso Robles, and Jose Medina, Surf Club has no hints of being inlanders with their jangly guitars and swoon-worthy vocals. As they quickly gain a fan base by playing shows in the bay area with like-minded musicians, Surf Club obtains comparisons to all the cliches, but they break molds with an infectious, stand-out creativity. The band shows promise with each track they unveil, and are currently seeking the release of their debut EP, Young Love, on Valentine’s day 2012.
Emo Surfer

Sounds like summertime with your first love and wintertime with your true love.

garage pop, garage rock, alternative

Clara Nieto- Drums/Vocals
Christina Riley- Guitar/Vocals 
Paul Towber- Bass (On this Album)
+ Others
Recorded at Brotown Sound, SanFrancisco,CA 
Engineered & Mixed by Gary Olson of Marlborough Farms, Brooklyn,NY
Mastered by Ron Harrity of Peapod Recordings, South Portland, ME

923 Pacific Avenue
Santa Cruz, CA 95060

Hull, Teraton, & Death Monk @ The Blue Lagoon Monday 10/15/12

Monday 10/15/12
Brooklyn, NY
Hailing from the streets of Brooklyn, HULL has yet again emerged with a creation to outlive the ages. Hard at work since the release of their debut album, “Sole Lord,” in 2009, ideas were envisioned and the mighty wind of creativity brought upon this Earth the latest saga, “Beyond The Lightless Sky”.
Digging further into the past, the Mayan epic takes the listener through a division of two brothers and the struggles that they are faced with. One finds salvation amongst the stars and the wisdom of a stranger, while the other is mesmerized with the bloodthirsty belief of sacrifice and self mutilation. In silence lies a realm that exists outside the plane of fear.
Taking the new songs on the road, HULL embarked on a successful mission to Austin for the SXSW festival to then triumphantly return and join forces with longtime friend and talented engineer/percussionist, Brett Romnes (IATA). Within an enormous, darkened club, many nights fell into morning as the immense sound was captured for the album, then finally putting the recording into the hands of a mixing madman, Billy Anderson. With such experience as The Melvins, Neurosis and Eyehategod, the journey was brutally finished.
Known to behold vast sound expanses, HULL maximizes harmony and tone within one monstrous palate. Upon your brow, focus, as a furious whip of intermingling guitars propel you through the atmosphere as a low pulse resonates through your entire being while the pounding drums blanket all chasms of reality. Find yourself immersed in a musical tide as it is played out before your ears beyond the lightless sky.
HULL materializes as a massive entity storming stages and immersing their audiences in a blanket of grandiose down-tuned compositions. A shifting fault line of decibel heavy harmony, this collective force converges in a collision of thrash, doom, classic rock, and formal orchestral works. HULL commands their listeners through each riff with incredible precision, as a seafarer guides vessels through ominous waters. Submerged in cosmic soundscapes, HULL challenges the mind with flowing, off-time fugues and powerful, dynamic movements. Brace yourself for an onslaught of eruptive force as a new world of music is formed in the deafening clap of thunder that is HULL.

Doom Metal
Santa Cruz
Teraton is a three member doom metal band from Santa Cruz Ca.
All three of Teraton's members were brought up in the Santa Cruz Skate/Surf music scene playing in bands in the early 90's, through high school, and continuing on today. Kevin Lemon (Bass) spent time playing bass for the Expendables' in the early years and left to pursue a career in music recording, engineering and production eventually engineering an album for ex Sleep members legendary band Om . He is our "man of action" getting the recordings done and has helped out many bands in and out of town and is ready to record your band! Just look up slow roasted recordings. J.T. (Drums) has smashed the drums in many different genre's of music through his life and is currently hitting the skins in three different groups in Santa Cruz. Besides Teraton, J.T. is in the legendary local die hard skate punk band Cantoker as well as keeping the beat for local folk rock group The Stash Brownstone Band. K.C. (Vocals/Guitar) spent time singing for the local punk band Jetlag throughout the 90's putting out a split E.P. with the Lonely Kings on Sessions Records. He moved to Portland Oregon to play guitar for DEADMANDISCO but they fell apart and he moved back and met up with the two other Teraton members and that's where the thunder began.
We are a doom metal band that started back in the end of 2006 and were formed over a shared love of heavy metal and beer. We are back and will be playing shows again this summer. We are working on a 7" record so I will keep you posted. Metal!! Yeeeaaarrrrggghh!!


We are the vultures that feast upon the dead and in your dreams we are the beasts inside your head.
Born under the oak tree friar eric had seen no light as bright as the one givin by his master loved but unkown he serches for the bringer of life the dim lite candle is the only visible sign for milles in the dense fog
Friar Geoffery: From Distant time and space was he........appeared from the fog within.....he was just a simple seeker,,, looking for gold he then stumbled upon reality...Searching for the untold he started hearing voices....revealing the new and bold..a light being knew he was......abilities knew he had...a follower of the crows call was he....

923 Pacific Avenue
Santa Cruz, CA 95060

"Filthy October" Birthday Bash for Playz w/ Joe Cutter, Sean Blak, Mr. Grey & Clockworc, Lee Earl, Infamous, Playz w/ Sarah Mays & Mrs. Gross, Cutty Sinclair, & Macks Wondah @ The Blue Lagoon Friday 10/12/12

Friday 10/12/12

923 Pacific Avenue
Santa Cruz, CA 95060

The Dirty Clergy, The Groggs, & The George Orwell Experience @ The Blue Lagoon Wednesday 10/10/12

Wednesday 10/10/12

The Dirty Clergy
Garage Rock/Alternative
Birmingham, AL

New E.P. "Shake" now available on iTunes
The Dirty Clergy formed in 2009 by Brian Manasco and Tyler Evans as a folk duo and has since then has evolved into a rock & roll band who has toured from the east coast to west coast and places in between. The Dirty Clergy consist of five members - Brian Manasco (Guitar/Vox), Joshua Pope (Lead Guitar), Brad White (Vox), Kyle Estes (Drums), and Michael Pope (Bass).
The Dirty Clergy released their first “demo” album, “Truth Wars” in 2010 with original frontman Tyler Evans and original drummer Colin Webster. They also worked with The Strokes/Regina Spektor producer Gordon Raphael in the early months of 2011 on the digitally released only - Breakdown EP Pt. 1
After a couple of departures from the band the future was unclear. They traveled as a 3-piece for several months until the 2nd drummer exited. This left Brian and Josh to make a decision. That decision was to make an album. They ended up doing all instruments on the album and the music was completed in late Summer of ‘11. All intentions were to have Brian on vocals, but while on vacation in New York City Brian welcomed Brad White as the new front-man and upon return to Alabama Brad immediately went into the studio to lay vocal tracks for the now released album “Revival“.
The band introduced Michael Pope in early 2012 and welcomed back previous drummer Kyle Estes and hit the road. The band recently released the highly anticipated EP “Shake”. The future of this band is bright with new and broadening material being created everyday - they are poised for great success.

Garage Rock
Santa Cruz

The Groggs from Santa Cruz, CA play an amalgam of reverb-soaked vintage rock in the tradition of their wide-ranging influences but tend to favor the early garage-punk spirit of bands such as The Seeds, The Stooges, Them, The Standells, Hasil Adkins and a healthy dose of late '70s street sensibility. A little bleary. They are commonly referred to as a Garage Rock band, but it is known to the band members' girlfriends that The Groggs are a tougher nut to crack. Always the social chameleon, this group adapts to its audience whether slumming it up in punk mayhem or masquerading in the parlors of high society. But at home the sound resembles a rollercoaster ride through the fading annals rock and roll, much like that Aerosmith attraction in Florida.
Embarking in 2007 on a quest for the purest experience possible in music, in the same ironic graffiti-laced bedroom where fellow Santa Cruz alumnus Camper Van Beethoven once ignited their meteoric ascension (yes we can qualify this), The Groggs named themselves after their corner liquor mart (Buy Beer At The Grog Shop in Santa Cruz!) and became more apt to settle for free drinks and gas money.
In 2008 the group self-recorded and released their seminal EP, Up To No Good, and followed up with a tour of the Northwest and Southern California. During this time it became evident that by doing right by rock and roll, rock and roll will do right by The Groggs and audiences on all fronts tend to agree. And when they don't, they aren't too bothered by it.
In their own home setting, The Groggs have shared their favored local stages (and have had foggy encounters) with groups from abroad, starting in no order with groups like The Black Lips, Kid Congo Powers and the Pink Monkeybirds, King Tuff, Starlite Desperation, The Mantles, Crocodiles, The Flakes, Sleepy Sun, Slang Chickens, The Mean Jeans, Shannon n The Clams, Clorox Girls King Lollipop, The Teutonics, Prima Donna, Pink Films, Glitter Wizard, and a whole bevy of other artists who are really quite relevant. Through these so many occasions the gang has distributed records across the pond and beyond Dirty Water Records in the UK and Green Cookie Records down there in Greece, not to mention and up and down the West Coast and across the great US via mailorder. Yes it's really humming along.
As the group's universal appeal became known and it was declared that The Groggs had taken on a life of its own as a spiritual entity, the group's members once again entered the studio, but this time in much nicer digs. Get this, lead guy Keith, still in the prime of his youth, had been slaving away as intern for a top notch recording facility deep in the Santa Cruz Mountains called Compound Recordings where a bevy of vintage and modern gear doth reside. What came out on the other end was drums recorded with ten microphones, squeezing the life out of many an old amp and much reverberal regeneration that resulted in a Wall Of Sound take on early 80's punk not dissimilar to the collision of The Ramones and Phil Spector.
At this time, real working class guy Keith was manning the paper cutter at a copy shop whose only available radio reception was inclined to the ubiquitious Soft Rock KWAV, and those same soft sensibilities undeniably informed the shimmering Wall Of Sound that sizzles a little too hotly off of their 7" record as it plays. Since those days, he'd be the first to tell you that a modest career in production has begun and as an engineer / producer he has delivered several albums for other groups now for sale such as The Wild Ones, Critic (Side Project to Blackbird Raum) and Up All Night. Many other projects lay shelved but the group anxiously eyes its coming studio full length, this time across the reels of analog tape.
The release of their "3D" EP comes packed with digital download and one pair of 3D glasses for the true enjoyment and total fulfillment of a keepsake level packaging experience that has them flying off the shelves worldwide. And all this came delivered on bowling-ball colored vinyl, it was really too good to be true. But it's a darn good spinner at any roller rink, petting party or teenaged doper scene.
It's live and in the ring where The Groggs really pay off - past press has remarked upon the prowess and stature, physical ability, almost fearsome nature and utter omnipotence of the group's bemuscled foreperson, Keith "Jeffrey" Thompson who delights fans of all age groups with high-flying guitar pageantry and only the most careful of crooning to accompany.
Generally while this happens, bassist and think-tank Ryan "The Snake" Allbaugh gazes in approval, assuring any uninitiates that everything is "going to be fine". Known for a big, round and fuzzed out sound, he's just as well equipped in bedside manner and provides a soothing male presence. In his own right, Ryan is a seasoned performer in past outfits such as Glitter Wizard, and currently as front person for Up All Night, delivers a low down Detroit hustle.
Drummer Dom Gullo has a beard and is the same relative height as his cohorts. This gives the group a striking, proportionate image on stages of any size. And on the drums, he's no slouch. He can play the cymbal faster than a lambs tail. He maintains is mainstay as drummer / vocalist to the progressive two-piece outfit Smokin' Ponies, who are available for parties and functions of any size.
An early encounter between band members Ryan Allbaugh and Keith Thompson laid a hard rock stone in the foundry of the popular Bay Area Psych Rock Band Slash Cult that calls itself Glitter Wizard, fronted by longtime cohort Micah Warren. The band currently resides on in neighboring San Francisco and these old mates frequently reunite to toss one out.
Since those days, The Groggs have become a people's favorite in the Bay Area and beyond, commanding a wide swath of rock and roll lifer's from all corners and out of all woodworks. If you love rock and roll, you will love The Groggs. Or, you won't much dislike them if they are coming to play at your place of business.
When asked about their future, as they are so frequently pestered with their newfound favor in press outlets such as Shindig! UK, Performer Magazine, Maximum Rock N Roll, and an outcropping of esoteric online shanty rags, The Groggs mostly think about the next gig, what's wrong with the van and how to trick someone into releasing their upcoming 12" LP which stands to put a lot of smart record collecting people over the moon upon its inevitable release.
Yes, it's clearly no better time to give this group exactly what they are asking for, and to know that the promise of rock and roll will be fulfilled to you, and in person if you choose by The Groggs.
What the Critics Say :
"A very excellent band" -
"A return to good ol' dingy, hard hitting rock & roll for all the hungry purists" - Good Times Santa Cruz
"Scuzz Rock Luminaries" - Metro Santa Cruz
Formed in 2008, this shaggy local trio continues to electrify venues alongside the likes of the Black Lips and Kid Congo Powers; but don’t think for a second the Groggs are rock stars. “We have no false aspirations to ‘make it,’” says singer Keith Thompson, “‘Make it’ all the time, I say.” With this motto in hand, the Groggs deliver a staggering blast of new garage rock, with hints of punk and power-pop sing-alongs, all wrapped up in a gritty package for a classic sound that spans decades. With openers from Olympia, Western Hymn, Wednesday promises to be a true experience in the lost art of rock ’n’ roll with steady beats and audience interaction—giving anyone in earshot a sense that the show is less about the bands and more about everyone leaving with a good time; just as the gods intended.
Since its inception, the hard-hitting garage rock trio known as the Groggs has given new hope to the Santa Cruz music scene. Lead singer and guitarist Keith Thompson's slightly surfish licks blend beautifully with punch-packing power chords and grungy, soulful singing. All the while, he struts onstage with more swagger than a rooster in the hen house, backed up by the bountiful bass rifts of Ryan Allbaugh. Justin Ward rounds out the group, hammering away on the skins and keeping the beat for the infectiously catchy yet dingy tunes. Overall, the Groggs are a band to be reckoned with, and they put on a show not to be missed. Crepe Place; $5; 9pm. (Brian Harker)
The Groggs
Working-Class Heroes
It’s 6:30 p.m. and I feel out of place hitting up the Blue Lagoon so early. Its black walls and empty stage stand quiet as red lights pulsate overhead in the vacant band room, flickering hints of what will come alive later in the evening. I’m sitting at a table as Keith Thompson, the sound engineer, speedily preps the room for the night’s concert. Finally, irked by the quiet, he puts on The Seeds’ “Satisfy You” as background music for our chat about his own band that’s riled up the very room we’re in many times over, the Groggs.
“It’s working class,” Thompson says of the Groggs’ sound, after joining me with a can of Pabst nestled in his hand, his Golden Boots T-shirt peeking out from his denim jacket. “Most people can relate to it. If we showed up at a veterans’ VFW bar we could probably not get killed.” The singer adds, “It’s not about how intellectual we are, it’s about how we can connect, write kick-ass songs and get everyone pumped and moving.”
Having quaked stages alongside Bob Log III, Kid Congo Powers and the Black Lips, the Groggs have stepped up as one of Santa Cruz’s premier rock acts, delivering on a promise of classic rock and big-hit songwriting based around basic chords. Thompson may claim an aversion to over-intellectualizing art rockers, but don’t be fooled: the Groggs don’t lack introspection. Along with gritty, high-adrenaline garage rock and plenty of nods to ’70s guitar punches and punk rock, the trio delves into country and soul influences (think Townes Van Zandt and the Byrds) and current crowd favorites include some nearly-shoegaze-infused pop rock ballads.
“We want to show that everyone should have a band in Santa Cruz—even the guy who cuts my hair can have a band. There’s no line or distinction between who can play.”
—Keith Thompson, The Groggs
Throughout our conversation, Thompson affectionately refers to his girlfriend and primary source of inspiration, Luxury Sweets bassist Rachael MacKenzie Chavez, as “my chick,” and Groggs bassist Ryan Allbaugh as “my bro,” and the 27-year-old talks about his songwriting intentions with the same unabashed candor and casual confidence.
“We’re trying to unite the reverb-drenched Wall of Sound with classic songwriting and punk energy,” the frontman says of the band’s upcoming debut album, recorded at Compound Recordings where Thompson labored as an intern in exchange for studio time. “I hope it’s a great rock record. Like one for the ages, to put on the shelf next to your Clash and Ramones records. You could put on the Ramones’ Rocket to Russia and then you could put on our album and draw a line to it.”
Twenty minutes into our talk, Allbaugh rushes in. Sporting long hair and a black Pestilence hoodie, the bassist’s death metal background is obvious. Apologizing for being late due to a water pipe bursting on River Street, Allbaugh’s darkness seems to end with his attire. Smiley and lighthearted, the Chico native chimes in to describe his rising band with Thompson and drummer Justin Ward as “unpretentious and enjoyable and a little in your face—old fashioned bar rock in the best sense of the term.” Then he laughs with an afterthought, “Well, maybe we don’t want to emphasize the beer too much!”
“We don’t play to any specific class or social group,” Thompson states. “It’s something to bring all those people together. We want to show that everyone should have a band in Santa Cruz—even the guy who cuts my hair can have a band. There’s no line or distinction between who can play.” Allbaugh agrees, “Yeah, why not? It’s just fun.”
So what’s next for the Groggs in their searing rock plight for the everyman?
“We’re going to attempt another West Coast tour
in the spring once we have the record out,” Thompson says. “That’s if we can get our van to smog—which is not looking good.”
For more information on The Groggs, check out
The Groggs
Written by Linda Koffman
Tuesday, 20 January 2009 -
"The purists of the local rock scene"
Having a MySpace is a necessity for every band these days. Having a MySpace without any music on it will likely get a band nowhere. Unless you’re The Groggs. Peruse their site and you’ll find show dates, plenty of retro black and white photos, and a quirky little bio that so insightfully begins, “Many years ago, three men were born.” Music for a quick listen? Nope. “I’m kind of a purist,” explains singer and sound engineer Keith Thompson about the curious absence of tunes, “I want it to sound like the nuggets of the psychedelic ’60s. In the meantime, through the local network, we’ve been doing all right.” More than all right, the trio has found its niche playing heavy, wall-trembling shows for audiences of all kinds. Thompson, formerly of psych outfit El Sonido, started the band with visions of Gram Parsons and Townes Van Zandt in mind. That plan was soon ditched, and they’ve instead been procuring a set encompassing stoner rock, grinding punk, and the softened edges of power pop—with some Billy Bragg and Sam Cooke thrown in. They’re as accessible as that initial country rock, but as fiercely adrenaline-rousing as Raging Bull. “The origin was that we were going to be the sweethearts of the rodeo, but then we realized that might be a little limiting,” the singer reflects. “So far we get the hipsters diggin’ us, the old folks diggin’ us, and it’s pretty cool.” More like sweethearts of the corner store, the band’s hoping to cement a grassroots sponsorship from their infamous namesake—The Grog Shop, which he calls “a notoriously dingy liquor store that we’re so proud of.” Tacking on that extra ‘g’ as a nod to The Troggs, the threesome pays homage to its neighborhood beverage outlet, and may soon just sport the store’s T-shirts onstage in exchange for, yep, that DIY rock gold: beer. “We’re happy to pay for our beer in the meantime, but it’d definitely be nice to save a little money that way,” the frontman muses with hope. And, if we’re lucky, those savings will lead to some official recordings for the rest of us.

Underground Alt Indie
Santa Cruz

we play music and feel real good about it. maybe we are silly dreamers but we like to think we can help heal those who tune in to our vibration. we play conscious music while retaining the edge of the underground.
we are a collective of friends who play music for the love of it. we are a core who rehearse along with the others who cannot always attend but are still a part of the experience. the band has been evolving for the last five or so years. now that the line-up has solidified we are rolling.
923 Pacific Avenue
Santa Cruz, CA 95060

The Ghost Of Wrights, Crazy Eyes, & Animal Super Species @ The Blue Lagoon Tuesday 10/9/12

Tuesday 10/9/12

Santa Cruz Mountains, CA

In the 1880’s a railroad was completed that traversed the Santa Cruz Mountains. This was accomplished with the construction of a small number of tunnels that connected the small towns and communities that dotted the countryside between the Santa Clara Valley and Santa Cruz. One of these communities was the train depot of Wrights Station.
The railroad was shut down in the 1940’s with the entrances to the tunnels blown up. As a result these small communities dwindled and disappeared becoming ghost towns. Although little remains today but crumbling stone and overgrown foundations, the souls of these towns and tunnels linger on to this day… We are The Ghost of Wrights.


Animal Super Species
Whatever you want it to be
Santa Cruz

We make music in our basement/cave/dungeon.
Our brand new debut album is streaming online here: 
where you can also download the new single "Leave It Dead" and our first EP, Phobos, for free!
You can also listen to and download tracks from here:

923 Pacific Avenue
Santa Cruz, CA 95060