Infused with the fuzz of 90's grunge and alt.rock, The Kut is the alter-ego of multi-instrumentalist, Princess Maha. Live, they're a trio. Think Deftones, L7, Nirvana, Hole, Lunachicks, Incubus and Placebo. On record, they roar. Currently active on the UK and European rock scene, festival performances have included Download, Camden Rocks Festival, Rebellion Festival, Glastonbudget, Nice N Sleazy and Strummercamp among others, while tours have spanned the UK, Italy, Czech Republic, Germany, Belgium and the Netherlands. Voted into the winning spots of the MTV Brand New Unsigned Poll for 2014, subsequent EP releases have gained support from - deep breath - The Guardian, Metro, Scuzz, Kerrang! Magazine, Planet Rock, BBC Introducing Lancashire, Kerrang! Radio, Metal Hammer, Big Cheese, Q and Classic Rock, AXS TV and MTV-U USA. This year has seen The Kut featured as one of Kerrang! Magazine's Breakthrough Acts of 2017, while ‘The Kut EP' was released on 500 limited edition picture disc for Record Store Day 2017, also featuring at number 4 in Kerrang! Magazines Top 10 Record Store Day Releases, alongside Baby Metal and Gerard Way. This summer has already seen The Kut playing 21 UK mainland dates, as well as landing in the Semi-Finals of the UK Songwriting Contest. Currently in the studio finishing the debut album, The Kut play out 2017 with a handful of UK shows before the long awaited release.
Where The Glory Fires’ previous LP Dereconstructed (2014) sought to dismantle one-dimensional notions of Southern identity and culture, Youth Detention has a similar, but more personal intent. “It’s about dismantling myself and the narratives that I’ve taken on,” explains Bains. “It’s an examination of youth and the processes through which we begin to consider ourselves, our identities, and what various communities we belong to or are in tension with.” Often, the songs detail moments in which cultural boundaries and biases become apparent — scenes in which systems of privilege and oppression become visible, particularly as they relate to race, class, and gender. Everyday settings — a church, a ballpark, a cafeteria — are revisited again and again, to explore these fleeting moments of revelation from different perspectives and roles. It’s a record defined by accumulation. Stories, images, and thoughts pile up to create confusion and cacophony in the narrative.
Recorded in Nashville, Tennessee at Battletapes with engineer Jeremy Ferguson and producer Tim Kerr, Youth Detention captures the band in raw form. Each song was cut live to tape, with the four performing in the same room without headphones or baffling. The result is thoroughly human, with Lynn Bridges’ mix retaining the band’s live energy and looseness at the expense of a few out of tune strings. The Glory Fires’ music draws deeply from punk, but also soul, power pop, country, and gospel. It’s equal parts careful curation and geographic inheritance. “It’s the sound of my place,” says Bains. “I want to know it. I want to argue with it. I don’t want to be a band from anywhere that could be doing anything. For me, that’s what punk is about — figuring out who I am and how to be the best version of myself. I can’t do that by pretending to be something I’m not.”
The songs are deeply rooted in Bains’ experience of his hometown, Birmingham, AL. Youth Detention depicts a Southern city in the decades surrounding the turn-of-the-millennium: in the throes of white flight, urban disinvestment, racial tension, class struggle, gentrification, gender policing, homophobia, xenophobia, religious fervor, deindustrialization, and economic upheaval.
The lyrics could ring true anywhere, though. The South exists in the world and, like the South, the world is increasingly beholden to many of these same tensions and forces. The songs on Youth Detention are meant as small acts of resistance to those systems. Documenting minor moments — the refusal to sit quietly through a display of bigotry, the act of quieting down and listening to somebody’s struggle, sticking up for friends targeted for their difference — that, hopefully, serve as the beginnings of a more profound awakening.
Derek Day is a screaming, 23 year-old Los Angelino solo artist from Eaglerock , CA that infuses the power of Rock N' Roll N' Other Genres (R&B,Soul,Progressive Rock,Punk) who engages with and captures the audience theatrically. He's on the lead, licky, riffy, stylistic Electric Guitar to accompany his lead, burning, gritty, soulful contralto Vocals. Finally releasing his first EP in Spring 2017, he's been performing over 10 years with influences ranging from Led Zeppelin through Coltrane, stopping for minute at Tom Waits, to Kendrick Lamar meets GN'R while Stevie Ray Vaughan has breakfast with Mercury n' MJ. It's always a BLAST!
A one woman show exploring the relationship between identity, power and language. Through poetic storytelling, the show tracks the journey of the “N word”, from the Portuguese/Spanish origin, to its use today. As the story unfolds, we will explore the exploitation, reclamation and celebration of words.
“N*gger” is part scripted, part improvised and part English, part Portuguese, placing a history of conflict and reclamation side by side.