AdHoc Car Wash

Destruction Unit are a band of trans-radical psychedelic desert dwellers, dug up from the sonic landfills of the cosmos, who have built a reputation for both mesmerizing and terrorizing crowds with their sheer power and intensity. Like running head first into a spinning wall of sound, they have been described by the press as "a band who felt more like a horror movie than a band … With guitars that were distorted beyond belief and acted more as auxiliary noise machines than instruments" (Transmission Entertainment)
and "Suicide-meets-Chrome-meets-Hawkwind-meets-Screamers-meets-the-killer-last-scene-reveals-in-all-the-alien-episodes-of-The Twilight Zone" (LA Weekly) or more simply put, "punk rock" (Austin Town Hall). However, Destruction Unit's brand of feedback worship and heavy psych does not sacrifice songwriting or catchiness; to the contrary, "it's their subtleties—distant bubbling murmurs of noise, faint guitar noodling—that make for the best hooks." (Chicago Reader) The current lineup features R. Rousseau (Reatards, The Wongs, Tokyo Electron) on Guitar and Vocals, brother Rusty Rousseau (Digital Leather) on bass, N. Nappa (Marshstepper, Nihilism) on Guitar, J. Aurelius (Pigeon Religion, Marshstepper, Avon Ladies) on Guitar and J. Keefer (Naive) on drums.

The band originated in the early 2000's and featured R. Rousseau with Jay Reatard (Reatards, Lost Sounds, angry angles) and Alicja Trout (Lost Sounds, Black Sunday). The three appeared together on the first release, 2000's My Disease 7", as well as the 2006 record Death To The New Flesh and Destruction Unit's debut LP, Self Destruction Of A Man. Destruction Unit were featured onThe Screamers tribute The Necessary Effect, Screamers Songs Interpreted.


LVL UP was formed by Dave Benton and Mike Caridi while attending school at SUNY Purchase in late 2010. The project was intended to be a creative outlet for lofi pop songs with an emphasis on brevity. After recording a few demos and garnering a positive response, LVL UP became a full band with the additions of Ben Smith, Nick Corbo and Greg Rutkin. October 2011 saw the release of LVL UP's debut full length "Space Brothers" on cassette, followed by a vinyl release in February 2012 on Evil Weevil Records. The record received modest attention, exciting a small but dedicated fan base in the northeast United States.

LVL UP saw departure of guitarist Ben Smith late 2012. The now four-piece entered the studio winter 2012-2013 to record their second release, "Extra Worlds". This release experimented with both hi-fi and lo-fi recording techniques, while still keeping to the indie-rock/pop song structure of "Space Brothers". "Extra Worlds" was released on Double Double Whammy in April of 2013.

LVL UP has shared the stage with bands such as Real Estate, Beach Fossils, Japanther, The Babies, Bomb the Music Industry, and Joyce Manor.


Bilingual political sax dance punk party from Providence.


Hailing from Ann Arbor, MI, Pity Sex specialize in foggy, lo-fi noise pop and fuzzed-out, blown-speaker walls of sound, all with their own midwestern emo subtleties. Situated somewhere at the convergence of Dinosaur Jr., Sonic Youth and Hum, the bands quietest moments are defeated reflections with plaintive instrumentals. It's loudest are desperate cries washed in searing, reverby overdrive.


Potty Mouth are Northampton, MA-based quartet Abby Weems (guitar, vocals), Ally Einbinder (bass), Phoebe Harris (lead guitar) and Victoria Mandanas (drums). Hailing from the home of Thurston Moore and Dinosaur Jr., and drawing from the fertile music community that is Western Massachusetts, Potty Mouth are all-parts smart-pop craftswomen, specializing in taut, infectious, C-86 influenced indie pop meets '77 punk perfection.

The band released their debut 12" vinyl EP, entitled Sun Damage, in July 2012 as a three-way spilt between Feeble Minds Records (Amherst, MA), Ride the Snake Records (Cambridge, MA) and Puzzle Pieces Records (Brooklyn, NY). Sun Damage garnered the attention of Pitchfork, who called the six-song EP an "an impressive, no-filler debut," as well as The Boston Globe, who named Potty Mouth one of the top five indie-rock bands to watch in 2013. In a review of a live performance by the band earlier this year, New York Times music critic Jon Caramanica called the EP "excellent."

The band has since recorded and mastered their forthcoming debut full-length album, releasing only the first single track, "Damage," to the public. Departing from the more angular shades of post-punk heard in their EP, "Damage" is marked by its significantly heavier production and melancholic hooks. Nonetheless, the track – much like the rest of the unreleased album – stays true to the confident, youthful punk aesthetic the band has cultivated for themselves.

A music video for their new single premiered earlier this year on VICE's Noisey and can be viewed here. All of Potty Mouth's previously released material can be found at their bandcamp page, with their latest news available on Tumblr.


In a city full of brilliant people with dead-end jobs and dampened by bitter-cold winters, playing music offers a cheap outlet. Protomartyr's taut, austere rock was incubated in a freezing Detroit warehouse littered with beer cans and cigarette butts and warmed, feebly, by space heaters. Short songs made for short practices, and the band learned quickly not to waste time. Despite the cold, Protomartyr emerged with a sound that is idiosyncratic but relatable, hooky but off-kilter.

There's a temptation to call it garage rock, but that doesn't quite fit. With respect to the local predecessors, this isn't the primitive stomp of The Dirtbombs or The Stooges' greasy roar. Punk works, kind of, even if it leaves the hardcore kids confused. Post-punk suggests something too retro; indie rock, something too precious. What Protomartyr is, is "stuck between the cracks." If that's the case, though, they aren't alone. Protomartyr's economical rock elicits comparisons to possible antecedents like Pere Ubu or The Fall as well as local contemporaries like Frustrations or Tyvek (whose frontman Kevin Boyer played bass in an early iteration of Protomartyr). Singer Joe Casey's dry declarative snarl serves as a reliable anchor, granting his bandmates — guitarist Greg Ahee, drummer Alex Leonard and bassist Scott Davidson — the opportunity to explore textures and reinforce the rhythm section. In other words, to "fuck around a little bit more."

Post-punk's biggest inspiration, it seems, was its eagerness to demolish punk's orthodoxy, to push against the arbitrary boundaries of genre — at least until it became one itself. For Protomartyr, inspiration usually arrives in the form of ideas or feelings, more than explicit musical references. By the time the band has shaped it to its needs, the source material is almost unrecognizable.


The mythos of Sheer Mag begins like so many other celebrated rock ‘n roll bands of yore: with two brothers. Following in the tradition of The Bee Gees, Oasis and The Allman Brothers, the brothers Seely conspired to create a rock ‘n roll band to end all rock bands. The sheer magnitude of the endeavor required the recruitment of a daring drummer, a fearless lyricist and a diva who could party good AND write the rent check. With the pantheon assembled, MAG quickly recorded and released their debut 7” to cosmic acclaim. The band now stands poised on the brink of world domination or complete destruction. Is it Punk? Is it Rock ‘n Roll? We’ll leave that to the music “critics.” But it is punk.