Glory Days Presents!More Live Music in Gainesville & Southeast USA
Whores, '68

High Dive presents!

Whores

'68

Alistair Hennessy, Thunderclap

Fri, December 1, 2017

Doors: 8:00 pm / Show: 8:30 pm

$13.00 - $15.00

SHOW DETAILS
• 18 or over, unless accompanied by parent/guardian.
• NO SMOKING inside the venue.
• Smoking allowed outside in the Beer Garden!
• $3 under 21 fee charged at the door

Whores
Whores
​"Atlanta's "new kings of noise rock" Whores have hit the proverbial big time. With two EPs that have achieved near-cult classic status in the noise rock underground and countless cross-country tours, over the past five years the band has managed to gain the kind of respect usually reserved for acts that have been pounding the pavement for decades. At the helm is veteran musician Christian Lembach, whose knack for combining sludgy, crushing riffs and immense walls of feedback is amplified further during the band's hypnotic live show. By all accounts, Lembach has never given less than his all for a crowd, and this assertion is validated by his tireless dedication to fan accessibility."
- NOISEY


10 New Artists You Need to Know: October 2016 - ROLLING STONE
20 Best Metal Albums of 2016 - ROLLING STONE

"The Jesus Lizard meets early Queens of the Stone Age at the therapist's office." ROLLING STONE

"New kings of noise rock." NOISEY

"they have stepped up and delivered, with not only one of the finest noise rock albums of the year, but also one of the best loud rock albums, too."
NEW NOISE MAGAZINE 4.5/5

“There’s a lot of sonic variety on Gold, in fact; tonal and E0 variation from song to song contribute to the music's diverse feel, a quality that impresses the
more you spin it.” 8.5/10 MAGNET MAGAZINE

"Whores. are catchy. Between the bookends of instrumental distortion and angry vocal delivery lies a trio that are clearly capable of knocking out a chorus you’ll be humming all day." ALTPRESS

“a masterfully executed, self-deprecating album that it is necessary to listen to.”
HEAVY BLOG IS HEAVY

Formed in 2010, Atlanta, Ga. noise merchants, WHORES., have quickly become infamous, thanks to their crushing live shows and no-holds-barred punk rock attitude.

The band signed to Brutal Panda Records in 2011 to unleash their ferocious debut, “RUINER.” Recorded at The Factory in Atlanta, “RUINER.” features five crushingly heavy tracks of pissed-off noise rock for fans of Helmet, Pissed Jeans, Harvey Milk and The Jesus Lizard.

Since their inception, the band has toured throughout the U.S., playing shows with Red Fang, Torche, Iron Reagan, Deafheaven, Black Tusk, Floor, Retox, Kylesa, The Atlas Moth, Zozobra, Royal Thunder, Fight Amp, Lo Pan, Coliseum, Obliterations and many others.

In late 2013, WHORES. released their highly anticipated follow-up, “CLEAN.” Recorded by Ryan Boesch (Helmet, Tomahawk, Fu Manchu, Melvins), the record sold out within a month, prompting the band to quickly release a second pressing. “CLEAN.” is now on its fifth pressing.

The band has garnered much attention as one of the best new acts in the noise rock scene. Spin Magazine voted WHORES. as one of the “must-see” bands at the 2014 SXSW and named “CLEAN.” in the top 10 of their 20 Best Metal Albums of 2013.

We were in other bands. Now we're in this band. Soon we will all be deaf. Commercially moribund, second wave, first class, good times, bad vibes.
'68
'68
In Humor and Sadness, the debut album from ’68, demonstrates the loud beauty of alarming simplicity. A guy bashing his drums, another dude wielding a guitar like a percussive, blunt weapon while howling into a mic somehow manages to sound bigger and brasher than the computerized bombast of every six-piece metal band. A splash of roots, a soulful yearning for mid century Americana and the fiery passion of post punk ferocity rampages over a record of earnestly forceful tracks like a runaway locomotive.

Josh Scogin wasn’t out of elementary school when the Flat Duo Jets laid their first album down on two tracks in a garage. But the scrappy band’s spirit of raw power, punchy delivery, tried-and-true rhythms and urgent sense of immediacy is alive and well in ’68.

Heralded by Alternative Press as one of 2014’s Most Anticipated Albums, In Humor and Sadness is a snapshot of a fiery new beginning for one of modern Metalcore’s most celebrated frontmen. Produced by longtime Scogin collaborator Matt Goldman (Underoath, Anberlin, The Devil Wears Prada), the first full offering from ’68 is a broad reaching slab of ambitious showmanship delivered with few tools and fewer pretensions. The scratchy disharmonic pop of Nirvana’s Bleach is in there, for sure. And while many associate the setup with The Black Keys, ’68 is more like Black Keys on crack.

“I wanted it to be as loud and obnoxious as it can be,” Scogin explains. “I want it to be in-your-face. I want people who hear us live to just be like, ‘There's no way this is just two dudes!’ That became sort of the subplot to our entire existence. ‘How much noise can two guys make?’ It’s obviously very minimalistic, but in other ways, it’s very big. I have as many amps onstage as a five piece band. Michael only has one cymbal and one tom on his kit, but he plays it like it’s some kind of big ‘80s metal drum setup. It’s minimalistic, but it’s also overkill. We get as much as we can from as little as we can.”

Like many pioneers, North Carolina’s the Flat Duo Jet’s blazed a trail for more commercially successful people. They played rootsy rockabilly but with a punk edge. Band leader Dexter Romweber’s solo work was a fist-pounding celebration of audacity and disruption, which influenced the likes of The White Stripes, among other bands.

“I got excited when I thought about the distress, the chaos that this two-piece arrangement would create – one guy having to provide all of these sounds, with a bunch of pedals, with certain chords wigging out and missing notes here and there,” he says with excitement. “That alone makes up for the chaos of having five people up there.”

That idea of less is more, of building something big from something small, persists today at the top of the charts with The Black Keys, just as it’s lived and breathed in the bass-player-less eclectic trio Jon Spencer Blues Explosion, the rule-breaking early ‘90s destruction of Washington D.C.’s Nation of Ulysses, and in the two man attack of ’68.

“Jon Spencer’s records always sound like he’s kind of winging it and I love that,” declares Scogin, letting out an affectionate laugh. “In my last band, that’s how we tried to make our last record feel. The excitement and imperfection is something I love to draw from.”

Before paring (and pairing) things down with friend and drummer Michael McClellan, Josh Scogin was the voice, founder and agitprop-style provocateur in The Chariot, who laid waste to convention across a brilliantly unhinged and defiantly unpolished catalog of Noisecore triumphs and dissonant art rock rage. Recorded live in the studio, overdub free, The Chariot’s first album set the tone for a decade to come, owing more to a band like Unsane than whatever passes for “scene.”

Scogin was the original singer for Norma Jean and left an influential imprint on the burgeoning Metalcore of the late 90s that persists today, despite having fronted the band for just one of six albums. Whether it’s the genre-defining heft of Norma Jean’s first album or the five records and stage destroying shows of The Chariot, there’s a single constant at the heart of Josh Scogin’s career: a familiarity with the unfamiliar.

A new Metalcore band would be a safe third act for the subculture lifer, but Scogin isn’t comfortable unless he’s making himself (and his audience) uncomfortable. “I definitely wanted to flip the script a bit,” he freely confesses. “I’ve always wanted to play guitar and sing in a band, ever since I left Norma Jean. I needed the freedom of not having a guitar onstage, but now having done that for several years, I wanted the challenge.”

Creative problem solving has long been the name of the game for Scogin, whether he was hand stamping ALL 30,000 CDs for The Chariot’s Wars and Rumors of Wars album or figuring out how to pull off his ’68 song title concept in the digital age of iTunes. Each song on In Humor and Sadness was to be titled with simply a single letter, which when put together vertically on the back of a vinyl LP or compact disc, would spell out a word. However, it's problematic to name more than one song with the same letter, which would have been necessary to spell out what he intended.

’68 is the forward thinking progress of an artist who finds satisfaction in the expression of dissatisfaction. There’s progression in this regression. Tear apart all of the elements that have enveloped a singer’s performance, strap a guitar on the guy and set him loose with nothing but a beat behind him? It’s a recipe for inventive, fanciful mayhem.

After a raucous debut at South By Southwest, a full US tour supporting Chiodos and many more road gigs on the horizon, Scogin and McClellan are propelled by the excitement that comes along with the knowledge that ‘68 is truly just getting started.

“We’ve just broken the tip of the iceberg. We’re really just exploring all the different things we can do,” Scogin promises. “I’ll get more pedals, we’re try different auxiliary instruments, whatever – the goal is to challenge ourselves and challenge an audience.”
Alistair Hennessy
Alistair Hennessy
“Heavy eyes and hopeful hearts.” Yeah, that about sums it up! Exhausted late-night commutes home probably makes the cut, too… See, for the last year or so we have been shutting ourselves inside our windowless, brick-walled rehearsal studio, with nightmarish temperature control, for hundreds of, if not literal,thousands of hours. Well, the end is nigh good friends, and with it approaches our first full length studio album, “The House We Grew Up In.” Creation of this record began immediately following the completion of the “Awake” split EP we released over a year ago with our friends, Blank Page Empire. Actually, I think we started writing before that was even finished, but that’s beside the point. As is our mantra, we took a very different approach during the writing process. After a few directional conversations, and B-squad attempts, the creative consensus eventually found its focus on organic and tangible themes, human-level and purposefully relatable lyrics. Less screaming. More “yelling notes.” Melody over thrash. Heavy on the heart, and less on the gain… not to say we don’t still love slamming shit real hard.
Thunderclap
Thunderclap