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Candlebox rode the grunge bandwagon to multi-platinum success in the early ’90s, despite howls of protest from the Seattle faithful who considered their music a watered-down version of the genuine article. To be sure, Candlebox’s take on grunge diluted the punk and indie elements inherent in its original form; instead, they were rooted in the bluesy, classic-style hard rock that grunge had ostensibly replaced. Their resulting commercial appeal made them highly suspect in the minds of authenticity-obsessed scenesters, and it didn’t help matters that the band hadn’t formed until well after the Seattle hype machine had begun. Nonetheless, Candlebox unwittingly helped Usher in the post-grunge era; along with Bush, they showed how the more challenging aspects of grunge could be ironed out and polished into a sound that mainstream rock radio could embrace without reservation.

Candlebox were formed in Seattle in December 1991 by singer/guitarist Kevin Martin, a native of Elgin, IL, who’d grown up partly in San Antonio, and drummer Scott Mercado. Initially calling the band Uncle Duke, they added lead guitarist Peter Klett and bassist Bardi Martin (no relation to Kevin) and changed the group’s name to Candlebox, after a line in a Midnight Oil song. Their demo tape found its way to Madonna’s Maverick label, which quickly resulted in a record deal in 1992. Candlebox’s self-titled debut was released in 1993, and while the first single, “Change,” began to build them a following, it wasn’t until 1994, when the follow-up, “You,” appeared, that Candlebox really started to take off. “You” gave them a breakthrough hit on mainstream rock radio, which set the stage for the success of “Far Behind,” essentially a power ballad for the grunge era. “Far Behind” was a major hit on both mainstream and alternative radio, and also made the pop Top 20; its exposure helped Candlebox climb into the Top Ten on the LP chart and eventually sell over three million copies.

By the time Candlebox returned with their second album, 1995’s Lucy, the backlash was already in full swing. Partly because of the group’s previous momentum, the lead single, “Simple Lessons,” earned some rock radio airplay, and the album itself went gold and barely missed the Top Ten. However, it was largely ignored or dismissed by much of the mainstream media, and was ultimately hurt by a relative lack of memorable songs. In 1997, founding member Mercado left the band and was replaced by original Pearl Jam drummer Dave Krusen. Candlebox’s third album, Happy Pills, appeared in 1998 and marked a return to the more basic sound of their debut. “It’s Alright,” “10,000 Horses,” and the title cut all landed some airplay, but the album sold poorly; by this time, countless bands were working in a similar style, and the band’s early momentum had long since dissipated. Krusen departed in 1999, as did Bardi Martin; they were replaced by Shannon Larkin (ex-Ugly Kid Joe) and Rob Redick, respectively, but the group disbanded the following year. The original lineup of Martin, Klett, and Mercado re-formed for a handful of shows in 2006 to support the release of Rhino’s Best of Candlebox compilation. The overall positive reunion stirred rumors of a new studio album, culminating in 2008’s Into the Sun.

INDESTRUCTIBLE NOISE COMMAND (I.N.C.)’s ‘Heaven Sent… Hellbound’

‘Heaven Sent… Hellbound’ Hits Stores on New Release Date, August 9th, 2011 – To Be Distributed Through Candlelight Records

Internationally established thrash metal band INDESTRUCTIBLE NOISE COMMAND and Candlelight Records have teamed up to distribute the band’s upcoming full-length release,Heaven Sent…Hellbound, on it’s new release date, August 9th, 2011.  The album is being released on Rising Records, and is the band’s first full-length offering in over 20 years.

INDESTRUCTIBLE NOISE COMMAND just wrapped up on shooting two new music videos for the singles ‘Fist of Fascista’ and ‘Swallowed’ a few weeks ago in Brooklyn, NY.  A new “behind-the-scenes” video is now available for viewing at  In the video below you can see the guys discussing the shoot and taking part in general tomfoolery on the rooftops of Williamsburg.  The video was shot by director Russell Hasenauer, and the “behind-the-scenes” footage was edited by Kevin Juliff.


Through humble beginnings in Connecticut, INDESTRUCTIBLE NOISE COMMAND exceeded their own expectations and the expectations of others with two successful full-length Giant Records releases, Razorback (1987) and The Visitor (1988). Giant Records signed I.N.C. after witnessing the band’s crushing live performances with the likes of Exodus, Megadeth and King Diamond; all of which taking place only six months after they had graduated high school.  In 1988 with The Visitor, the band hit #1 on the CMJ Metal charts and stole the U.K. #2 Import slot out from underneath Aerosmith. Now based in New York City, the band is back with their Bleed the Line EP and Heaven Sent… Hellbound. I.N.C. is an original pioneer of the thrash metal scene, resurrected in order to take back a genre recently flooded with neo-thrash carbon copies.  Revived and back with a vengeance, I.N.C. is ready to prove ownership of the scene in 2011.


  • Erik Barath – Guitar
  • Tony Fabrizi – Guitar
  • Dennis Gergely – Vocals
  • Dennis Leeflang – Drums
  • Samuel J. Roon – Bass

For more information on INDESTRUCTIBLE NOISE COMMAND, please visit these sites:

I AM ABOMINATION to Release New Digital EP, ‘Passion Of The Heist’.

Taylor, MI’s I AM ABOMINATION is pleased to announce the upcoming release of their brand new digital EP, Passion Of The Heist, on July 19th, 2011. The digital EP is being released by GOOD FIGHT MUSIC, the same label that released I AM ABOMINATION’s first critically acclaimed full-length album, To Our Forefathers. A new single from the digital EP will be released via the band’s official Facebook page on June 8th. Stay tuned for further announcements about this debut.

Passion Of The Heist is described by the band as a concept album, and was produced, written, engineered, mixed and mastered by guitarist Nick Sampson. The EP was also recorded at Nick Sampson’s studio in New Boston, MI. All lyrics on Passion Of The Heist were written by Brandon Good. The band plans on releasing new information about the concept of the EP with the release of the new single. Passion Of The Heist includes guest appearances, including an appearance by ATTACK ATTACK’s Caleb Shomo on the track ‘Ascension’.

“We’ve had such an amazing time putting hard work into this album, and we can’t wait for people to hear it,” states vocalist Phil Druyor. Guitarist Nick Sampson adds, “This is the first time we’ve ever sat down to write an album with no outside opinion, and it turned out awesome.”


  • 1   Vivification
  • 2   Abduction
  • 3   Examination
  • 4   Transformation
  • 5   Ascension (ft.Caleb Shomo of ATTACK ATTACK)
  • 6   Invasion

I AM ABOMINATION’s first full length album, To Our Forefathers, can be purchased on iTunes here.

For more information on I AM ABOMINATION, please visit these sites:


I survived the end of the World/Judgement Day

Now that you have survived the End of the World, let everyone know with your I Survived the End of the World or Judgement Day T-shirt.

Cick image to get prefered shirt.

Redwood Son’s double CD, “The Lion’s Inside”


Redwood Son — Because Of You from The Sights Of Sounds on Vimeo.

On June 11th at Aladdin Theater, Portland, Oregon’s alt. country/Americana act Redwood Son, the brainchild of front man/songwriter Josh Malm, will release their debut CD, “The Lion’s Inside,” June 11th at Aladdin Theater.

Also on the bill are Sarah Billings, Brad Mackeson, and Jordan Harris.  Tickets are $13.00 in advance.

Redwood Son’s twenty-song double-disc debut, “The Lion’s Inside,” boasts a dynamic versatility that crosses the borders of their West Coast Americana with hook-laden roots-rock and alt. country.

The band’s core sound and early rawness is nostalgically captured on disc one, entitled “Summer of ’77,” produced with a warm analog approach by trusty local engineer Rob Stroup at his 8 Ball Studios.

Then there is disc two, “New Beautiful Day,” was produced simultaneously by Dean Kattari to beckon the band’s mainstream viability, building upon their core with an ease-on-the-ears and communal expansiveness that features plentiful guests including Gretchen Mitchell and Ray Frazier.

Led by singer-songwriter Josh Malm, Redwood Son’s long-awaited release of “The Lion’s Inside” signifies a culmination of Malm’s tireless persistence as a performer and live music presenter throughout the Pacific Northwest since 2005.

Though making an initial mark under his previous moniker, J*Malem, he birthed the concept of Redwood Son in 2009, searching for an honest sound representative of his childhood in the California Redwoods.

The first incarnation of the band was making way towards this very album while establishing a local presence when an unexpected catastrophe struck. On Novemeber 4th, 2009 Redwood Son’s original drummer and Malm’s long-time friend Kipp Crawford was killed in a tragic event that remains partly unsolved.

Though Redwood Son experienced a state of dismantle with uncertain destiny, Malm did not lose sight of their shared vision alongside the standing support of the group’s original guitarist Chance Hayden. The project was resurrected in the spring of 2010 to nobly move forward, recording their much anticipated debut in Crawford’s honor.

On June, 11th 2011 celebrate the release of “The Lion’s Inside” by Redwood Son, as the band headlines an exciting local bill at The Aladdin Theater. One can most certainly expect a powerful performance with soul stirring recollection of their trials and tribulations while they look ahead to a New Beautiful Day.

PRIORY – Portland based electronic/rock, folk quartet releases first CD.


PrioryPortland, Oregon-based indie-pop/electronic-folk outfit Priory, comprised of Brandon Johnson (vocals, bass), Kyle Dieker (acoustic guitar, keys, bells, falsetto), Rich Preinesberger (drums), and Greg Harpel (lead guitar, bells, keys), will celebrate the release of their debut, self-titled full-length on June 17th at Mississippi Studios.

Also on the bill are Mackintosh Braun and Lost Lander (featuring Matt Sheehy from Ramona Falls).  Doors are at 8:30pm, show starts at 9pm.  Tickets are $8.00 advance and $10.00 day of show.

“Priory” is the band’s debut full-length and the follow up to 2010’s “Cold Hands” EP.  The album will be released to retail on June 21, 2011 via Portland’s Expunged Records (home of Blind Pilot).

Instantly infectious, yet not a sugar-pop album that will be easily discarded, Priory walks a tightrope between immediately catchy, instantly warming songs, and subdued, complex layers that take multiple listens to start to unravel and understand the true depth of their work.

“It’s finding that balance between the standard acoustic instruments and partnering them with huge electronic bass and keyboard licks,” says the band’s Kyle Dieker when asked to describe their sound. “Priory is all about tones and where those sounds sit in a song.  Blending folk melodies with pop sensibility, Priory takes from a collection of sounds and brings them together into something that is familiar yet innovative.”

Besides layers of instrumentation that help develop the complexity of the songs, contrasting with the ease of the melodies and hooky-ness of their songwriting, Priory also puts a lot of time into their lyrics.  Developing stories that also take the listener more than a few listens to start to completely digest the power of the music.

From comparing a drug addition to a bad relationship (“Devil vs. Heater”), how our perception of family and the importance of it changes as we age (“Searching”), and self-assessment in dying moments (“Coal Mine”).  To songs about fighting for what you believe in (“Worthy Dreams”), being in a relationship with someone who is always being pursued by others (“Kings of Troy”), and realizing life is short (“Cold Hands”), the latter of which is about a couple dying together in a car crash.  Priory doesn’t shy away from tackling some of life’s scariest questions or the thoughts that we all think, but oft-try to suppress.

They come out swinging; creating music that could simply be described as “beautiful,” reeling you in, but offering up much more for those that take the journey and visit it over and over again.

“I want people that hear our album to feel something,” admits Johnson.  “Some of our subject matter is not all that light and fluffy, not unlike life, but I believe there is always a positive side. There is a glass half full, if we choose to perceive it that way.  And, a little nursery rhyme melody can often add a sense of whimsy to a dark subject matter.”

It is that contradiction that builds up and develops throughout the album, with the band toying with the playfulness of it all, while taking everything very seriously.

“Every song on the album means something to us. We did not want there to be any filler,” Johnson adds.

With the record complete, and a band itching to play live, the group plans to hit the road throughout spring, summer, and fall and tour relentlessly. In their new, revamped bus, putting on an amazing live show and converting people the old-fashioned way: one fan at a time, one club at a time, one city at a time.  And, for Priory, that just feels right.  As organic and natural as their songwriting process comes an organically grown fan base.

Water Tower Bucket Boys, Tour In Support of “Sole Kitchen”


No Depression said of Portland, Oregon-based Water Tower Bucket Boys and their forthcoming national release, “Sole Kitchen,” that it has a “…harder edge than any folk album you’re likely to hear this year… they’ve adopted the intensity of rock and punk and channeled it into their songs and tunes. But they still love their roots and can’t go through a set without throwing in an old-time ballad or a bluegrass song… Their far-ranging influences enable them to see the common ground between folk, rock, punk and even jazz, and they draw from this common ground to create their unique sound.”



  • 5/13/11 – LaurelThirst Public House – Portland, OR
  • 5/19/11 – Sam Bond’s Garage – Eugene, OR
  • 5/20/11 – Apple Jam Festival – Ashland, OR
  • 5/22/11 – Axe & Fiddle – Cottage Grove, OR
  • 5/24/11 – Tractor Tavern – Seattle, WA
  • 5/25/11 – Goodfoot – Portland, OR
  • 5/28/11 – Folklife Festival-Raisin A Ruckus Show – Seattle, WA
  • 6/04/11 – W.O.W. Hall – Eugene, OR
  • 6/15/11 – Weiser National Fiddle Festival – Weiser, ID
  • 6/22/11 – Goodfoot – Portland, OR
  • 6/23/11 – Traditions – Olympia, WA
  • 6/24/11 – Slim’s – Seattle, WA
  • 6/27/11 – Amnesia – San Francisco, CA
  • 6/29/11 – Crepe Place – Santa Cruz, CA
  • 7/01/11 – Redwood Bar & Grill – Los Angeles, CA
  • 7/02/11 – Red Barn Concert Series – Los Osos, CA
  • 7/03/11 – Russian River – Santa Rosa, CA

A fitting description for the band and their fourth full-length and first national release, “Sole Kitchen,” engineered, mixed, and produced by MxPX/Tumbledown front man Mike Herrera at Herrera’s Monkey Trench Studios in Bremerton, Washington.

The band will be releasing “Sole Kitchen” via brick and mortar distribution, their first album to be nationally distributed to retail, on April 26, 2011.

Having performed on radio shows such as BBC, NPR, and RTE, and sharing the stage with acts as diverse as Old Crown Medicine Show, Mumford and Sons, Wilco, The Red Stick Ramblers, Pokey LaFarge and the South City Three, and Woody Pines, the Water Tower Bucket Boys have honed their skills (and sound) to win over an eclectic array of audiences.

“Old Crow Medicine Show, who we are big fans of and have influenced us a lot, have been instrumental in our career,” states one of the band’s multi-instrumentalists/co-vocalist Kenny Feinstein.  “Gill Landry [from Old Crow Medicine Show] gave us an exact busking route from North Carolina back to Oregon that we followed town for town, bar for bar.  He is known as the king of busking in our circle and we were grateful for this ‘secret’ route.  He taught us about little bars in tiny towns that would profit well for us.  Every turn on Gill’s map was an exciting and fruitful venture.”

Busking is how Water Tower Bucket Boys got their start, playing traditional, old-time music and bluegrass on street corners up and down the west coast, before progressing to square dances and bluegrass festivals.

After several trips to Europe and back, and being introduced and influenced by many other bands, including Velvet Underground, cajun culture and music, Chuck Ragan/Hot Water Music (Ragan hand-picked the band to perform on a leg of last year’s Revival Tour), Mumford and Sons, Wilco, and even electronic music (even if it doesn’t reflect in their music), Water Tower Bucket Boys sought to expand their sound even further, incorporate more of their current listening tastes into the music, and the result is “Sole Kitchen.”

“Water Tower is about trying to defy definition,” says banjo/guitarist and co-vocalist Cory Goldman.  “We’ve been shifting around stylistically as long as we’ve been a band and are continuing to evolve.  Its about being true to our roots but also not being afraid to experiment and push forward.”

Meeting Mike Herrera through a friend, they eventually met up with him at a Tumbledown show, gave him a copy of some of their music, and a dialogue began.  Soon the band found themselves in Bremerton, Washington, for a weekend, recording at Herrera’s studio what would become “Sole Kitchen.”

Tracking and mixing in a whirlwind two days, the band recorded the entire record one day (sans a few overdubs the next), setting up a few mics and doing what they do best: playing live.

“Our sound is loosely based in the traditions of old time, bluegrass, punk rock, blues, Cajun, and country,” explains Josh Rabie, the band’s third multi-instrumentalist and co-vocalist.  “We pride ourselves on tight, three-part harmonies and powerful instrumentals.  And, when we were recording with Mike, we really just wanted to capture all that energy on record.  I think we accomplished it.”

Adds Goldman, “‘Sole Kitchen’ was really just our first step in a new direction, trying to redefine the nature of the band beyond just rocking out tunes and songs.  I really feel like its our first album all over again in a way, our first one done in a professional studio and our first one where we are really putting all our skills out there.  It’s about opening the door to the next new thing!”

One of the album’s high points is “Heaven,” one of the first tracks the band ever decided to have drums on, and the song that inspired them to decide to incorporate drums on future songs and recordings.

Other album highs include “Telegraph,” a song that chronicles a true night the band experienced in Berkeley, California after purchasing acid from a punk on the street while busking.  “Blackbird Pickin’ At A Squirrel,” a song that showcases the band’s instrument versatility and musical style and “Goatheads,” a number about one of the members blacking out while on tour are two more album highs.  As is “Numb,” a song that tackles the problem of addictive behavior.

“Our goals with ‘Sole Kitchen’ are to reach people who have never enjoyed the banjo, mandolin, or fiddle. To bring songs that are relevant in today’s social climate while maintaining their roots,” comments Feinstein.

Cory Goldman (banjo, guitar, vocals), Kenny Feinstein (guitar, mandolin, harmonica, fiddle, vocals), and Josh Rabie (fiddle, guitar, harmonica, mandolin, vocals) comprise Water Tower Bucket Boys.