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KID DAD’s new track “Limbo” is a song that deals with feeling unsafe, hassled, or even abused. As vocalist and guitarist Marius Vieth says, it’s about being “caught between uncertainty and fear, searching for something real to hold on to, in search of hope.”
The band has chosen to convey this in a music video that tells the story of a child trying to escape domestic violence. Part of what initiated this concept was the fact that, due to Covid-19 and the regulations put in place to battle the pandemic, there has been a surge in cases of domestic violence worldwide. Being trapped at home, a place that should be a haven of safety, can turn into a living hell for far too many people with the detection rate for young victims being shockingly low.
Band Announces ‘SAFE In A Box’ Campaign to Raise Awareness Around Child Abuse / Domestic Violence
Says the band: “We address feelings of isolation and entrapment on our debut album ‘In A Box’ and feel obliged to call attention to this situation. We want to raise awareness of the prevalence of domestic violence cases worldwide and encourage people to donate to SOS-Kinderdorf & NSPCC in order to support the work they are doing in preventing such violence and supporting victims.”
Kid Dad has set up a website with information, donation links and merch items with 100% of the proceeds to be donated, here: www.kid-dad.com/safeinabox.
"After a lot of research and brainstorming on how we can actually help, we decided to produce some small merch articles of which 100% of the proceeds will be donated to SOS Kinderdörfer and NSPCC. In addition to this we will pay 100% of the producing and shipping costs so every single cent you pay will find its way to the organizations.We know we can’t change the world with this, but even if a single child will be helped, then this whole campaign will be worth it!If you have the means we deeply encourage you to make a donation directly to the organizations:
Help us to make a change here: www.kid-dad.com/shop. Please notice that all the donation items are marked with a little house!Thank you so much,Marius, Max, Michael & Joshua
Debut Full-Length In A Box To Be Released August 21
“Limbo” was written on a trip Marius took to London in collaboration with Welsh singer-songwriter Sarah Howells (Bryde). In A Box was fueled by these songwriting trips to England, as well as to China and Switzerland, and much time spent in Berlin. Regarding the experience of recording the album over a prolonged period of time, Marius says “I really enjoyed working with so many different setups. You absorb everything when you’re young – I want to take advantage of that.“
In A Box will be released 21 August via Long Branch Records. KID DAD hail from Paderborn in Germany and have played shows across the continent with the likes of Taking Back Sunday, Marmozets and Fatherson.
Just two days after sharing the Tommie Sunshine & MureKian Remix of his track “Overs”, The Guidance – properly known as Stefan Pruett – was found to have passed away peacefully overnight. Pruett was open about his lifelong heart condition — his pacemaker, his three open-heart surgeries, and one closed-heart surgery. He was formerly the lead vocalist of Phoenix electro pop group Peachcake, which was founded by him and vocalist/multi-instrumentalist John O’Keefe, who was most identifiable as the keytar player.
Nothing could have prepared me for the first time I was exposed to Peachcake. Considering the line-up, it was likely the May 18, 2005 “Suicide Prevention Show” at now-defuct Tempe, Arizona venue The Clubhouse; this would have made me 18 years old when I was introduced to them. I had ventured out to catch a band named My Darling Murder, after drummer Elias Mallin reached out to me on Myspace and sold me a ticket. MDM was influenced by industrial music — I recall Mallin (formerly of Opiate for the Masses) mentioning Nine Inch Nails in particular while chatting it up with him at The Graffiti Shop off of Mill Ave.
Peachcake was absolutely nothing like MDM whatsoever, and how these two acts were included in the same line-up that night is beyond me (probably the theme of the night), but in some odd way it worked. At this point in my life, I was still developing my identity and beginning to cross from goth into raver culture; you can thank my introduction to the movie Party Monster and the frequent spillover between cultures in the widely spread and yet surprisingly small city of Phoenix.
Peachcake brought mammoth-sized energy and a psychedelic atmosphere into the room from the moment they struck up their instruments. It looked like a party store had exploded all over the stage.
The impressively energetic performer was not an extraordinary vocalist, and it didn’t matter because that’s not what it was about; it was about the experience. He had an unapologetic, inherently confident stage presence — somehow very pure and innocent-feeling despite frequent thrusting and convulsing, sometimes wearing as little as little as pink satin boxer-briefs.
Looking back on all of the exhilarating dance parties, he was giving us permission to let our inner children run free amidst a society constantly pressuring us to conform to a conveniently capitalist idea of what being an “adult” looks like. Pruett had a gift for inspiring even the most timid in the crowd to leave their comfort zones, go nuts and participate in oddball activities.
Combining hippie and punk elements in both sound and lyrics, the artists cultivated a community that demonstrated a tone of universal acceptance and unconditional love while challenging the status quo. Many years later, I learned of The Flaming Lips, who had an unquestionable influence on the church of Peachcake, with a similar ethos.
Making a great impact, Peachcake performed at countless interesting venues across the valley, continuously toured, played festivals, performed with noteworthy acts, released their debut full-length What Year Will You Have The World?.., held drum circles in downtown Tempe, and participated in political causes on topics such as demilitarization and opposing anti-immigration.
They cycled through a handful of live band members over the years. O’Keefe departed from the group in 2009, and Pruett continued on with Mike McHale (guitar, synthesizers, percussion, backing vocals), Henri Benard (drums, percussion), and David Jackman (programming, beats, production, soft synths, vocals).
They worked on retooling the band, their sound was refined with the help of producer/engineer Jalipaz Nelson (Audioconfusion), and the 2012 album Unbelievable Souls was released.
“Everything’s out there, we’re climbing up these walls, Falling down the stairs laced with sweat and tears, It’s time to pick ourselves back up, show the world we’re tough Stop running on an engine of fear. Because something is out there waiting for you to find it, And when you do, it may hit you oh so blindly. Pick yourself back up, show the world you’re tough Stop running on an engine of fear.”
On April 13, 2013, Peachcake performed their final show at Crescent Ballroom. Unfortunately, after this show I never had the opportunity to witness the glory of Pruett and Peachcake again.
He went on to relocate to Los Angeles and start his new “Darkwave Pajama Pop” musical project, The Guidance — its Facebook bio currently reads:
“In an effort to escape the monotony of electro pop, Stefan Pruett moved from Phoenix, Arizona to Los Angeles to begin his solo project ‘The Guidance’. As The Guidance, Stefan wants to craft a reflective approach to making electronic music that he has termed “Future Grunge”. This aural concoction is the convergence of electronic synth sounds, driving beats, and dance elements representing the aesthetic and energy of 90s grunge, but all sequenced digitally instead of live instrumentation.”
When I learned of The Guidance late (thanks, Facebook algorithms) I was thrilled. I planned to see him perform at a show in Phoenix at the Valley Bar in 2016, which ended up being canceled. Pruett’s impressive energy was like a much-needed supplement for a deficient world. I feel that no words can properly convey how meaningful and refreshing the experience of Peachcake’s live performances was. It is wonderful that he continued to perform and uplift fans and strangers until the end.
Despite all of the light in a dark world that Pruett brought to countless individuals, on his Facebook profile mini-bio, he left us with the words, “I haven’t done shit with my life yet.” But beneath all of the layers of weirdness that he wore existed a profound musician with an insightful mind, a quirky sense of humor, and a big heart. I believe that those inspired and supported by Stefan Pruett’s music, performances, words, and deeds will always carry some of his light deep in their souls.
Stefan Bennett Pruett
Mar 8, 1985 – Jun 14, 2020
“They put us in little cubes and tell us how to do our jobs, Saying that there’s no more left for revolution. But I’m sorry sir, I’m going to have to stand and disagree , Cause no matter what, you’ll never ever ever ever get to me. I’ll always have my light, my will, my creativity, To shine bright upon you and all the world you see. What would happen if we spent out time creating harmony Instead of all the destructive, lost, calamity?
The clock is ticking away, what are you doing today?”
Award-winning Italian vocalist / multi-instrumentalist NeroArgento is sharing with fans the new music video for the full length’s second single “Shed My Skin”, featuring singer/musician Brandon Ashley from The Dark and Caitlin Stokes from Corlyx.
‘Shed My Skin‘ is a more industrial-oriented song, based on heavy and low-tuned guitar riffs, plus huge and catchy layered vocals that give the song a killer radio attitude.
Watch the “Shed My Skin” Music Video
The music video was directed once more by Fabio Brunello (Director, CGI, FX, and editing).
Circles is NeroArgento‘s fifth studio album and it takes a step back to the original “industrial” roots as well as a step forward into a more mature and experimental sound. Known in the crossover scene as a solo artist, and founding member of the industrial metal act The Silverblack, NeroArgento has been involved in over 40 records to date including the Princess Ghibli compilation, a very well known collection in Japan that has sold several thousand copies along with performing multiple times at the New Years World Rock Festival, an event by Yuya Uchida.
NeroArgento’s tracks have also been featured in several official gameplay trailers, displayed on renowned websites as Warcraftmovies and Machinima plus his solo albums were released as special editions in Japan.
Among many collaborations as a producer, musician, and remixer, NeroArgento has worked with artists such as Dead By Sunrise, Vamps, Disarmonia Mundi, Rise To Fall, The Stranded, Massive Ego, Lady Faith alongside remixed songs for fan clubs of KORN, The Prodigy, Gorillaz.
Circles is set to be released via Rockshots Records on September 18th, 2020.
LOS ANGELES — TOOL has issued the following statement regarding their postponed concerts (original dates listed below):
“As so many music lovers have come to realize over the last several weeks, there is no playbook that artists, promoters and venues can pull from in these unprecedented times.
When we played what would be our final show of 2020, March 11 at Portland’s Moda Center, we believed we would be back on the road sometime this Fall. As we worked towards that goal we’ve come to realize that there is absolutely no certainty in re-scheduling dates for this Fall or 2021. State and local ordinances vary widely and no one can predict when high capacity events will safely return.
At the same time that we were working to reschedule this tour, we read your messages. Messages of job losses, illness, emotional and financial pain. We could continue to postpone or reschedule dates for some time into 2021 but ethically, we do not think this is the right course of action. In our opinion, tying up our fans’ money for months, if not a full year, is unfair. With that in mind, we have made the very difficult decision to cancel the tour so we can help support the people who have supported us for years.
Please know, we want nothing more than to return to the road, to play these songs for you and to celebrate our shared recovery. When the time is right, we will do just that.
In the coming days you will receive an email from the ticketing service you purchased tickets through notifying you of the event cancellation and when to expect your refund.”
March 12 Eugene, OR Matthew Knight Center
March 14 Boise, ID Ford Idaho Center Arena
March 16 Salt Lake City, UT Maverik Center
April 16 Miami, FL American Airlines Arena
April 17 Orlando, FL Amway Center
April 19 Tampa, FL Amalie Arena
April 21 Charlotte, NC Spectrum Center
April 22 Charlottesville, VA John Paul Jones Arena
April 24 Baltimore, MD Royal Farms Arena
April 25 Uniondale, NY Nassau Veterans Memorial Coliseum
April 28 Montreal, QC Bell Centre
April 29 Quebec City, QC Videotron Centre
May 1 Wilkes Barre, PA Mohegan Sun Arena
May 2 Buffalo, NY KeyBank Centre
May 4 Toledo, OH Huntington Center
May 5 Grand Rapids, MI Van Andel Arena
May 29 Tacoma, WA Tacoma Dome
May 31 Vancouver, BC Rogers Arena
June 2 Edmonton, AB Rogers Place
June 4 Winnipeg, MB Bell MTS Place
June 6 Minneapolis, MN Target Center
June 7 Sioux Falls, SD Denny Sanford Premier Center
June 9 Madison, WI Kohl Center
June 10 Moline, IL TaxSlayer Center
June 13 St. Louis, MO Enterprise Center
June 16 Wichita, KS INTRUST Bank Arena
June 17 Oklahoma City, OK Chesapeake Energy Center
June 19 Colorado Springs, CO Broadmoor World Arena
Ice Cube’s Everythangs Corrupt was released on December 7, 2018. It was the first album from Ice Cube in 8 years (I Am The West was released in September of 2010 and peaked at #6 on the Billboard Top Rap Albums chart). Since then, he’s released the hit film, Straight Outta Compton, been inducted into the Rock & Roll Hall of Fame and received a Star on the Hollywood Walk of Fame.
(Burning Hot Events earns from qualifying purchases.)
Burning Hot Events will donate any commissions earned through the purchase of Everythings Corrupt on Amazon through our links during the month of June to Rights4Girls — a human rights organization dedicated to ending gender-based violence against young women and girls in the U.S.
Black Lives Matter
“Racism is everywhere in sexual exploitation.
Pornography is rife with racist material that celebrates the degradation of black women and girls. Commercial sex buyers are predominantly white while victims of sex trafficking are disproportionately women and girls of color. Predators prey upon the people society has marginalized, which means minority communities are a prime target. The list goes on.
SAN FRANCISCO – Faith No More have announced a number of rescheduled dates for the band’s European tour that was originally slated for this Summer:
June 09, 2020
June 7, 2021
Manchester, UK O2 Apollo
June 10, 2020
June 8, 2021
Manchester, UK O2 Apollo
June 11, 2020
June 9, 2021
Glasgow, UK O2 Academy
June 15, 2020
June 11, 2021
Birmingham, UK O2 Academy
June 16, 2020
June 12, 2021
London, UK O2 Academy Brixton
June 17, 2020
June 13, 2021
London, UK O2 Academy Brixton
June 22, 2020
June 21, 2021
Stuttgart, GER Schleyerhalle
June 23, 2020
June 23, 2021
Berlin, GER Max Schmeling Halle
June 26, 2020
June 25, 2021
Oslo, NOR Tons of Rock
July 03, 2020
July 4, 2021
Amsterdam, HOL AFAS Live
July 07, 2020
July 7, 2021
Zurich, SWI Halle 622
All currently held tickets remain valid for the new date. Refunds are available upon request. Please direct inquiries to the original point of purchase.
News regarding the band’s North American Summer tour dates is forthcoming. On Friday, rescheduled dates for Faith No More’s performances with System of a Down were announced: originally slated for May 22 and 23 of this year, the shows will now take place on May 21 and 22 of 2021 at Los Angeles’ Banc of California Stadium.
FNM Launch Fundraiser for Crew
Faith No More has also launched a fundraiser for their crew who were deeply impacted by the postponed tour plans, Bill Gould explains: “There’s been plenty of attention about the collapse of the concert industry, how it has been impacting musicians, artists, agents… but very little coverage has focused on the impact it’s made on a crucial element of live music and touring: the crew. Without a band’s crew, the show does not go on; yet, in light of the recent postponements, they have been left with few options to support themselves, or their families. And speaking of families, the band that you know as Faith No More is more than the five musicians you see on stage. It is a larger family, an ecosystem that includes backline, a production manager, lighting, sound and tour management. We had an entire summer of touring booked – and now, as a result of this pandemic, all of our crew have been put into a seriously vulnerable financial position. We have been working with these folks for years, and we feel very close to them. Since shows are not an option, we are trying to do what we can to offset this unfortunate turn of events with a special merch sale.”
The fundraiser includes an exclusive, limited edition t-shirt design, a Faith No More logo mask as well as several highly collectible autographed vinyl copies of the band’s most recent album Sol Invictus, as well as a variety of gig posters and show-used drumheads from Faith No More’s 2015 tour. The merch is available now via FNM.com/crew-relief/.
About Faith No More
Faith No More is Mike Bordin (drums), Roddy Bottum (keyboards), Bill Gould (bass), Jon Hudson (guitar), and Mike Patton (vocals). The San Francisco-born, platinum-selling band have released seven studio albums: We Care A Lot (1985), Introduce Yourself (1987), The Real Thing (1989), Angel Dust (1992), King For A Day… Fool For A Lifetime (1995), Album of the Year (1997) and Sol Invictus (2015).
Maynard James Keenan-fronted Band Releases First New Music since 2015
Jerome, AZ — Puscifer, the Arizona-born, “exceptionally groovy” (Entertainment Weekly) band that Revolver dubbed “Maynard James Keenan’s… indescribable musical/performance-art collective,” release the eerily topical “Apocalyptical” single and video:
A message from Keenan arrives alongside the track: “Manipulated information disseminated by kings, queens, dictators, so called leaders, supposed professionals or outliers and conspiracy theorists living underground, or in basements, is not new or unique to this generation. Misdirection is Power Struggles’ conjoined twin but the speed at which it now travels in this digital age is dangerous and destructive on many levels. This rapid distribution of poison and its immediate impact will be the hallmark of our generation. Even In light of all this, and all the noise the digital landscape generates, all I keep asking myself is ‘what is it with the whole hoarding toilet paper thing?’”
The ”Apocalyptical” release follows social media breadcrumbs hinting at imminent moves amongst the Puscifer camp. As had been speculated, and can now be confirmed, the band’s fourth full-length studio album will arrive this Fall via Alchemy Recordings, a partnership with BMG. Alchemy Recordings is a new record label created in partnership between Dino Paredes, former American Recordings Vice President of A&R, and Danny Wimmer, the founder of Danny Wimmer Presents, the premier production company for rock music festivals in the United States.
Vocalist Carina Round sheds light on the darkly prophetic timing of the song: “’Apocalyptical’ was one of the very first musical ideas for the new record that we put our voices on out in Arizona in late 2019. It was simultaneously very fresh and also felt like we had never been apart.”
“For the initial writing process of ‘Apocalyptical,” we relied heavily on a Fairlight IIx (an early musical computer using 8 bit samples), and a Synclavier II (another early digital workstation that relied on FM synthesis),” explains guitar player and co-producer Mat Mitchell of the behind-the-scenes creation of the song. “These were heavyweights in early digital music productions and defined a generation of music. We decided to set modern computers aside by working within the limitations of these early computer technologies. This created a unique space for us to explore and the results can be heard throughout this track.”
Puscifer has released three full-length studio albums: “V” is for Vagina (2007), Conditions of My Parole (2011) and Money Shot (2015). Maynard James Keenan initially used the moniker in a 1995 episode of “Mr. Show,” bringing the band to life in 2007. Keenan’s companions in the electro-rock outfit have been Mat Mitchell (guitar/production) and Carina Round (vocals/songwriting). The band brings a unique mix of recorded output and on-stage theatrics, pairing each release with a conceptual live show, from a “Hee Haw”-infused performance featuring recurring Puscifer characters Billy Dee and Hildy to 2017’s luchadores-themed outing.
Covid has cancelled all of the tours that our concert photographers were set to shoot. Any support you can offer to help offset our loss of income stream during this unprecedented time is truly appreciated by our talent staff of photographers and journalists. Consider contributing to our Patreon account so that we “Get Back To Where We Once Belonged!”
(Pictured: One of our team photographers- Mark Greenawalt – who has been able to have dreams come true over and over with the opportunity to shoot all of his favorite classic rock artists for Burning Hot Events – including the legendary Sir Paul McCartney!)
About a decade ago, I was first introduced to Georgia Train as part of a two-piece band named Bitter Ruin. From the moment of first hearing the track that introduced me to them on Myspace, “Trust”, their dramatic music had the ability to connect with my mental and emotional state. Released on May 1, her 10-track solo album I do is no exception, as it resonates deeply on personal levels.
I have developed many of my own website projects over the years that never quite took off, and one of them was a alternative/goth fashion and feminist website called Mistress Ravine – which I created in my early 20s. On that site, I had an Advice & Opinion blog that I intended to help educate young women, and put a spotlight on artists that I felt deserved recognition. For that blog, I wrote an album review for Bitter Ruin, and it’s funny to think back and wonder how much of my track-by-track dissection of Hung, Drawn, and Quartered may have possibly missed the mark when it came to interpreting the songs. It is, of course, a given that listeners will always apply their own understanding from their unique realities to tracks, yet I have thought back on it over the years a bit self-critically. Listening to Train’s commentary after having already listened to I do about seven times since its release, it is fascinating to learn the true meaning and the headspace behind the songs — it’s so much more intricate than what I tend to assume… so much more potent.
While in quarantine, Train produced this album herself, regarding which she comes across as humble and intentional in her commentary. Her solo work differs from Bitter Ruin’s past work in that it is less theatrical, or to use a word from her commentary, flamboyant. To be forthcoming, I wasn’t sure whether I would connect with the album in the same way as their past work when I heard teaser clips. However, the maturity and sophistication of I do do parallel my evolution and speak to me. The album having been recorded at home and serving as an introspection on love and marriage, it is a uniquely authentic, raw listen. However, do not go into this album expecting a series of mere love songs.
I do is, to me, an album of healing and acceptance. When we fight “to the death” to make a relationship work, it’s as if we stick our fingers in our ears, unfold our blinders, and charge forward. We feel righteous, we feel we are doing a good thing, the loving thing, and yet in actuality, we may be more doing harm than good. That is one of the most difficult things we can ever face. Sometimes, music is the key to revealing the truth, to waking us up. Sometimes we need a song to give us a poignant message (or more bluntly, hit us over the head with it) that compels us to simply utter a self-aware “ouch.”
Train, who is known — with no exaggeration — for her vocal acrobatics (a bit trite, but such an apt phrase), also has an impressive vocal range. You will catch her voice flying high, as well as dipping deep, throughout the album. Often, she flutters around in a falsetto, though any old Bitter Ruin fan knows how she can belt that chest voice (a favorite example being “Leather for Hell” — a unique rock song for Bitter Ruin). Her graceful singing on I do is a perfect fit for the very private conversation she is having through her music.
That is not to suggest that the album lacks intensity — to the contrary, my favorite track from the album, titled “Pressure”, crescendos and inspires heartache.
“Did I put too much pressure on you to be the one I can lean on? Maybe I was wrong to”
The following track, “Shatter”, paints a picture of the unintentional self-harm we participate in out of desperation to repair a broken relationship. The song is a twisted knife in the heart of anyone that has been in this situation, yet serves as commiseration.
“On my knees finding pieces of the shatter, these tiny cuts don’t matter Work all night just to put us back together, I swear I’ll make us better”
“Marry This” is a unique, nuanced track that addresses the way people that commit to each other inevitably change — a topic I have yet to see Disney tackle.
“I didn’t marry this (don’t know what it is, don’t know what it is), I need to know what this is.”
The most beautiful song on the album is, in my opinion, “White Snow”. In the commentary, it was very interesting to hear who she states influenced the track. (Speaking of Disney, I can imagine Frozen’s Elsa singing this song. Though, with all due respect, this song is meant for Georgia Train, not Idina Menzel.)
“Unholy”, with a gospel style chord progression, has the perfect sound for the closing track. If you listen to the commentary, it is mind-blowing how quickly it was written and recorded. It is the only track on the album that addresses sexuality, but as an intellectual study of sexuality — something I have never heard in a song before. Within the Gregorian chanting, she sings in a language which I was trying to pinpoint as either Italian or Latin, and it turned out to be neither. Find out what it is in the commentary.
I do is an album for listeners who like music to draw out their emotions. It is for those who like to ruminate on their relationships, or to analyze the psychology of love and behavior. (Ok, so, it’s made for me.) It fluctuates between grief, regret, desperation, ambiguity, fear, and hope. It is unlike any other I have heard, and I am very grateful it is in my life now.
Among many things, the album is about musing on what has transpired in relationships, the uncomfortable truths about relationships we do not often hear in pop culture, struggling to understand, confronting tough realities, and coming to terms. Over the commentary, Train explains how some of her personal experiences inspired certain tracks, how songs evolved, her intentions and stylistic choices, how she reclaimed some of her music, and so much more. The commentary makes the album feel that much more whole, and I think it’s especially significant to include with a quarantine release. I absolutely support the idea of the commentary for future releases.
I highly recommend not only purchasing the version of the album with the commentary on Bandcamp, but for just a bit more, support Georgia Train by purchasing her full digital discography. Either way, you can get it here.
A Message from Georgia Train
A Few Recommendations:
If you can, listen to the album with noise-cancelling headphones over your ears to experience it intimately.
If you are able, please purchase it even if you have access to Spotify.
If you purchase the commentary, you can do what I do and stream the regular version of the album on Spotify as well for a tiny bit of extra support!
Check out my favorite Georgia Train song, “Get Out” — another belter:
CHECK OUT BITTER RUIN!!! They released the track “Caution to the Wind” last year after about 5 years of hiatus, and two more this year! They’re one of my all-time favorites, and I am thrilled to finally have the opportunity to share them on Burning Hot Events.
Now Streaming and Available as FREE Download on Bandcamp
San Diego’s Hey, Chels have released their debut full-length Everything Goes digitally for FREE on Bandcamp. The LP is also streaming on DSPs and will be released on vinyl later this year via Brainworm Records.
The band says, “Our reasoning is that we don’t feel right asking for money right now with the current state of everything. If you feel like helping the band out, share us with a friend, add us to a playlist, share us on your socials, we would very much appreciate it.”
A music video for the new track “You’ve Got You Now” is streaming here:
The follow up to the band’s well-received 2019 self-titled EP, Everything Goes was recorded by Pat Hills at Earthtone Studios in Sacramento, CA.
Due to the current state of the world Hey, Chels had to cancel all tour plans but will be back out as soon as it’s safe again.
Everything Goes Track Listing:
You’ve Got You Now
Floating Through Days
About Hey, Chels
Hey, Chels is what you get when you spend 10 years of your life working for a degree you’ll never pay off. It’s realizing the whole world is terrible, while also serving as a reassuring pat on the cheek that everything is going to be ok. It’s a warm summer day and a cold winter night. Hey, Chels is a four-piece rock n roll band from San Diego fronted by Jax Mendez (New Way On) and featuring Stephanie Presz (The Newports) on drums, Kevin White (Squarecrow) on guitar, and Ricky Schmidt (Western Settings) on bass.