Melt-Banana
w/ The Flying Luttenbachers, Tomato Flower, BabyBaby_Explores
Sun, Jun 2
Show: 7:30 pm
(Doors: 6:30 pm )
$25.00
Melt-Banana with The Flying Luttenbachers, Tomato Flower, and BabyBaby_Explores LIVE at Grog Shop
Sunday, June 2nd
Doors 6:30 p.m. / Show 7:30 p.m.
All Ages
$25 advance / $27 day of show
+ $3 at the door if under 21
MELT-BANANA
Some people say they are noise band, some people say they are so-called no wave band, some people say they are hardcore band, some people say their music is like roller coaster in an amusement park... It is hard to categorize their music, but basecally they are rock band with a spice of punk taste.The easiest way to find out is to listen to their music and you will find out.
Sunday, June 2nd
Doors 6:30 p.m. / Show 7:30 p.m.
All Ages
$25 advance / $27 day of show
+ $3 at the door if under 21
MELT-BANANA
Some people say they are noise band, some people say they are so-called no wave band, some people say they are hardcore band, some people say their music is like roller coaster in an amusement park... It is hard to categorize their music, but basecally they are rock band with a spice of punk taste.The easiest way to find out is to listen to their music and you will find out.
Melt-Banana
Some people say they are noise band, some people say they are so-called no wave band, some people say they are hardcore band, some people say their music is like roller coaster in an amusement park... It is hard to categorize their music, but basecally they are rock band with a spice of punk taste.The easiest way to find out is to listen to their music and you will find out.
The Flying Luttenbachers
The cosmic warriors of punk jazz/no wave/free death apocalypse noise! 1991 to the present, and still crushing normalcy
Tomato Flower
Something happened on No. The early EPs from Baltimore’s Tomato Flower were a pretty, dreamy psychedelia. Warm to the touch, like looking up at the trees on a cloudless day. On No, the four-piece's (Mike Alfieri, Ruby Mars, Jamison Murphy, Austyn Wohlers) debut album, those trees, that cloudless sky, have become haunted, thorny, stormy. It takes Tomato Flower from buttoned-up, almost technically formalist psych pop to something more urgent, raw, emotionally immediate. No is messier, more expansive, and through all of its chaos, the band’s most rigorous artistic statement to date.
No is the band’s first effort made entirely in person, the first thing tracked in a studio instead of in a bedroom. It is a highly collaborative record written and recorded by everyone, partially made live. It is very much the byproduct of a band that has done some serious touring, following a coast-to-coast tour with Animal Collective in the summer of 2022. On No, the drums are aggressive, the bass is fuller and more direct. The guitars are distorted and disorientingly complex. Wohlers’ and Murphy’s vocals are meaty, fully loaded, in your face.
Lead single “Destroyer,” has co-lead vocalist Jamison Murphy practically screaming over angular guitars, oscillating in a sonic space somewhere between the prettiness of Broadcast and the sludge of Jesus Lizard. The song feels like kicking a soccer ball through wet cement, impossible, sisyphean, but also weirdly beautiful. It also presents an early entry point to one of No’s major conceptual underpinnings: that of the breakup between Wohlers and Murphy, which occurred during the composition of the album.
It wouldn’t be fair to just call No a break up album. It’s far more complicated with that. No is a record about negation: I will not do this, you cannot tell me what to do, we are not living in a utopia, don’t be delusional. No embraces a kind of brutal realism, a confrontation of life that only happens when you wizen up a little bit. “Saint,” explores the aphasia and resentment that follows a tumultuous love affair, intense feelings on every end of every spectrum. The baseline stumbles and falls into the earth, almost unable to pick itself back up again. Wohlers’ voice sounds like it is being caught in her throat. “In time/I found that you/started it,” she sings.
No has its foot not just in realism and lucid emotional resonance, but, like in Tomato’s Flower’s past work, the fantastical, too. “Sally & Me,” reappropriates Gerard de Nerval images, with its stonelight and metal, its angel wings and its softness. “Harlequin,” treats a bumbling friend like a pierrot, a titular harlequin where their fuck ups get weirder and weirder in each passing second. All of it is a brutal delight, a departure from the past, a nod to a startling present. Tomato Flower is no longer a pop band. Long live Tomato Flower.
No is the band’s first effort made entirely in person, the first thing tracked in a studio instead of in a bedroom. It is a highly collaborative record written and recorded by everyone, partially made live. It is very much the byproduct of a band that has done some serious touring, following a coast-to-coast tour with Animal Collective in the summer of 2022. On No, the drums are aggressive, the bass is fuller and more direct. The guitars are distorted and disorientingly complex. Wohlers’ and Murphy’s vocals are meaty, fully loaded, in your face.
Lead single “Destroyer,” has co-lead vocalist Jamison Murphy practically screaming over angular guitars, oscillating in a sonic space somewhere between the prettiness of Broadcast and the sludge of Jesus Lizard. The song feels like kicking a soccer ball through wet cement, impossible, sisyphean, but also weirdly beautiful. It also presents an early entry point to one of No’s major conceptual underpinnings: that of the breakup between Wohlers and Murphy, which occurred during the composition of the album.
It wouldn’t be fair to just call No a break up album. It’s far more complicated with that. No is a record about negation: I will not do this, you cannot tell me what to do, we are not living in a utopia, don’t be delusional. No embraces a kind of brutal realism, a confrontation of life that only happens when you wizen up a little bit. “Saint,” explores the aphasia and resentment that follows a tumultuous love affair, intense feelings on every end of every spectrum. The baseline stumbles and falls into the earth, almost unable to pick itself back up again. Wohlers’ voice sounds like it is being caught in her throat. “In time/I found that you/started it,” she sings.
No has its foot not just in realism and lucid emotional resonance, but, like in Tomato’s Flower’s past work, the fantastical, too. “Sally & Me,” reappropriates Gerard de Nerval images, with its stonelight and metal, its angel wings and its softness. “Harlequin,” treats a bumbling friend like a pierrot, a titular harlequin where their fuck ups get weirder and weirder in each passing second. All of it is a brutal delight, a departure from the past, a nod to a startling present. Tomato Flower is no longer a pop band. Long live Tomato Flower.
BabyBaby_Explores
babybaby_explores is the cited name of the providence art-rock project, “Baby; Baby: Explores the Reasons Why that Gum is Still on the Sidewalk”, created by three scrappy bffs Lids B-Day (effected Vox & sampler), Sam M-H (e. gtr.) & Ramona Cano-Daly (keys & rhythm) from the haunted clam chowder suburbia Warwick, RI. Utilizing guitar effects pedals to manipulate sounds they create dissonant and lighthearted simple structured danceable songs that pay homage to musique concrète, European underground synth punk of the late 70’s through the 80's, anthem music, dada, and the Providence DIY & noise scene.
The project started out as a parody of sound, pseudo-concept project between Lids B-Day and Sam M-H in the winter of 2017. It was about turning the energy spent dealing with miso(gyni), ageism, and industry gatekeeping in the local art and music community into some kind of musically laughable, naive, & sharable whimsy.
Sam and Lids grabbed the smallest, most affordable, and simplest equipment they could, lugged it across the icy used auto-lot, which was the “front-yard” of their dwelling place, and into Lid’s unheated wood panel adorned basement-bedroom (called the magic cabin) and began making songs. The setup was a painted casio keyboard, a loop pedal, a mini Squier guitar, and a microphone going through a delay pedal. The two would create and loop drum beats using the keyboard. The guitar Sam was using probably hadn’t been played in over ten years, they began writing songs in the very out of tune-tuning it had come to be in. (Every current song is still made and played in that tuning.) Lids would then add strange, beautiful and incoherent narrative melodies.
In May of 2017, “Baby; Baby: Explores” played their first two shows as a duo..one was a queer porn screening at Psychic Readings (AS220), and the other at the Dirt Palace. Something like immediately following those performances, Ramona Cano-Daly entered the project––which is how it had to be. The three had been collaborating musically and breaking each other's hearts as it was since 2011. They began to play as many shows as possible, even though they only had four kind-of actual songs (Love Song, Anthem, Cheapo, and Leaf Bag). They would get together and make performance-specific songs or spontaneous sounds on the morning of an event. The more they played live, the more what initially was an experimental avant-garde noise group formed into
a fully functioning improv organized and orchestrated...indie-rock band?
Ramona would make a drum machine sequence or percussive loop and then the three would play at once, Lids using their voice, Sam playing guitar, and Ramona playing button bass, they would just play until some seed rendered. If the three didn’t all agree on an idea, it wouldn’t exist further. By 2019, they recorded their first collection of songs at Black Lace in Providence with Evin Huguenin. At the time the band was still under the impression that everything happened in the music industry by some uncalculated coincidence,,,so they didn’t properly release what they created, but it is available on streaming sites and Bandcamp.
On March 03. 2023, they released their album called, Food Near Me, Weather Tomorrow. It was recorded by Seth Manchester at Machines with Magnets and Mastered by Heba Kadry. The music was written in 2020 while trying to find joy despite feeling really really confused and scared. It was put out by the new label run by Angus Andrews called NO GOLD.
In late May 2023 the group went on a North American Tour with the iconic Japanese rock band Buffalo Daughter, completed an North Eastern Tour with indie-rock legends Matt & Kim and opened for other icons like Of Montreal and Miho Hatori.
They will be releasing a new strange over the top and awkward album seperated into 3 Chapters in 2024. It will be called “I Am Not a Rock & Roll Man of the Future”. It was also written in March of 2020. It is music carved out of imagining scenes of strange hysterical scenarios and painted with hokey grandeur.
The release of “Chapter 1: Questionable Personified Cheeseball” will be announced Winter 2024.
The project started out as a parody of sound, pseudo-concept project between Lids B-Day and Sam M-H in the winter of 2017. It was about turning the energy spent dealing with miso(gyni), ageism, and industry gatekeeping in the local art and music community into some kind of musically laughable, naive, & sharable whimsy.
Sam and Lids grabbed the smallest, most affordable, and simplest equipment they could, lugged it across the icy used auto-lot, which was the “front-yard” of their dwelling place, and into Lid’s unheated wood panel adorned basement-bedroom (called the magic cabin) and began making songs. The setup was a painted casio keyboard, a loop pedal, a mini Squier guitar, and a microphone going through a delay pedal. The two would create and loop drum beats using the keyboard. The guitar Sam was using probably hadn’t been played in over ten years, they began writing songs in the very out of tune-tuning it had come to be in. (Every current song is still made and played in that tuning.) Lids would then add strange, beautiful and incoherent narrative melodies.
In May of 2017, “Baby; Baby: Explores” played their first two shows as a duo..one was a queer porn screening at Psychic Readings (AS220), and the other at the Dirt Palace. Something like immediately following those performances, Ramona Cano-Daly entered the project––which is how it had to be. The three had been collaborating musically and breaking each other's hearts as it was since 2011. They began to play as many shows as possible, even though they only had four kind-of actual songs (Love Song, Anthem, Cheapo, and Leaf Bag). They would get together and make performance-specific songs or spontaneous sounds on the morning of an event. The more they played live, the more what initially was an experimental avant-garde noise group formed into
a fully functioning improv organized and orchestrated...indie-rock band?
Ramona would make a drum machine sequence or percussive loop and then the three would play at once, Lids using their voice, Sam playing guitar, and Ramona playing button bass, they would just play until some seed rendered. If the three didn’t all agree on an idea, it wouldn’t exist further. By 2019, they recorded their first collection of songs at Black Lace in Providence with Evin Huguenin. At the time the band was still under the impression that everything happened in the music industry by some uncalculated coincidence,,,so they didn’t properly release what they created, but it is available on streaming sites and Bandcamp.
On March 03. 2023, they released their album called, Food Near Me, Weather Tomorrow. It was recorded by Seth Manchester at Machines with Magnets and Mastered by Heba Kadry. The music was written in 2020 while trying to find joy despite feeling really really confused and scared. It was put out by the new label run by Angus Andrews called NO GOLD.
In late May 2023 the group went on a North American Tour with the iconic Japanese rock band Buffalo Daughter, completed an North Eastern Tour with indie-rock legends Matt & Kim and opened for other icons like Of Montreal and Miho Hatori.
They will be releasing a new strange over the top and awkward album seperated into 3 Chapters in 2024. It will be called “I Am Not a Rock & Roll Man of the Future”. It was also written in March of 2020. It is music carved out of imagining scenes of strange hysterical scenarios and painted with hokey grandeur.
The release of “Chapter 1: Questionable Personified Cheeseball” will be announced Winter 2024.