Shallow Palace is an American Rock and Roll band from South Carolina. They play a visceral style of rock music influenced by the last 50 years of the genre.
While using three guitars, psychedelic lead riffs flow through a heavy 70's metal-inspired rhythm section rooted with grunge-punk ideals combine to make the most notable part to their sound.
The equation changes when one of the three multi-faceted guitar players gives up the six string in exchange for a piano/organ/harmonica producing a mellower, bluesy side of rock and roll that adds the dynamic that creates this southern quintets unforgettable sound.
No matter the fancy of a particular audience, Shallow Palace utilizes it's seemingly boundless energy and attitude, never failing to deliver a stellar performance, complete with a sonic appeal incorporating frenetic guitar playing and a relentless rhythm section.
Columbia's Stagbriar is not your typical roots act. Yeah, they're folky and front-porchy and irreverently reverent to their Americana forebears, but call us crazy, if we don't hear a little bit of back-country hip-hop in their music, especially on the killer leadoff track to the 2013 album Quasi-Hymns, Murder-Ballads, and Tales of How the Hero Died. Alex McCollum, vocalist and multi-instrumentalist for Stagbriar, says we're only a little bit nuts. "The goal for 'Tom' was to write a talking-blues murder-ballad, like Leadbelly, Guthrie, Dylan, or Van Ronk might have delivered," McCollum says. "Throw Public Enemy in there too." The third track on Quasi-Hymns, "Deepest Leagues," is another one of the album's standout tracks; it's also one of the most schizo. "Leagues" starts off with a punchy ramshackle beginning packed with haunting harmonies before transforming into a delicate bit of Band of Horses dream pop. "'Deepest Leagues' is the result of two completely different songs about similar subjects," McCollum says. "Parts of them had other choruses, or more verses, but it made more sense to put these two ideas together and avoid an overused song structure. The result was a pleasant surprise from the beginning, and it's still one of our favorite songs to play live." -Chris Haire SATURDAY
Banditos are famously eclectic, paying tribute to a myriad of influences that would bury a lesser band in tuneless muck.
Originating from Birmingham, Alabama, the band has since relocated to Nashville, TN and are using their disparate influences to forge a more assured identity.
Though they recall a dozen bands, they sound like none so much as themselves. The instrumentation is as ambitious as it is deftly executed. Mingling upright bass with kazoo and banjo while the soul-spangled howl of Mary Richardson, who plays counterpoint to a deceivingly sparse guitar, drenched in a quantity of reverb and delay, not often associated with "danceable."
All this wouldn't mean anything if Banditos could not deliver live, but these mothers can choogle!
It's always the mark of a good band to be able to play the hell out of three chords and a breakdown, and Banditos shake it down & deliver. Honestly, their shows are such burn downs of shimmying shins and stomping heels they should carry warnings for bone spurs
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