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SOLD OUT! – SILVERSTEIN * BEARTOOTH * HANDS LIKE HOUSES * MY IRON LUNG * MAJOR LEAGUE

01/17/2015 Doors 5:00 PM    Show 5:30 PM All Ages
SILVERSTEIN

SILVERSTEIN

The fifteen year career of Silverstein has firmly established the group as an institution within an industry characterized by flux and mercurial vogue. Once again we are reminded that since their inception in 2000, the band’s commitment to innovation remains unfaltering.

Leading the rise of aggressive, melodic punk to the forefront of our attention, the band cultivated a sound and work ethic that has brought them from basements and community centers in Burlington, ON, to main stages, and global festivals. The success of the group’s debut full-length, When Broken Is Easily Fixed (Victory 2003), marks a paradigm of the musical American (Canadian) Dream, as the band found themselves sharing both a label and countless stages with their musical idols. The marriage of melody and aggression on this effort and others since, cemented the band within an influential position of their own.

The subsequent success of Discovering the Waterfront, and Arrivals and Departures can be credited to the aforementioned zeal for innovation, and work ethic, culminating in a 25th spot on Billboard’s top 100, a Juno nomination, and alternative music fame. A Shipwreck in the Sand, Rescue, and This is How the Wind Shifts anticipate and facilitate the latest from a group disinterested with creative complacency as Silverstein now enters yet another chapter of their decorated career. “We have gotten better as musicians and songwriters. We want to deliver better songs each time,” Paul Koehler promises. “We have so much more to offer. Our last record was our best record to date and we can do ever better this time. We’re proud of that and we’re going to work really hard to achieve it.” 

The journey from Burlington to over 40 countries manifests itself in the sounds of six full-length albums, countless EPs, and singles- though perhaps never more saliently than it is heard now. Some 1,760 shows, and over one million albums sold have yet to satiate the dynamic five piece, nor their eager listeners worldwide..

 

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BEARTOOTH

BEARTOOTH

Collaborative creativity can produce brilliant results, but there’s something almost otherworldly about what emerges from the minds of remarkably talented artists, the types who’ve lived many lifetimes in a short period, left to his/her own devices. 

As much as Nine Inch Nails, Smashing Pumpkins, The Cure or Foo Fighters (particularly on that first album) are considered “bands,” they brazenly exhibit the precision focused passion of a specific person; often a person bursting at the seams with something to say. BEARTOOTH began and in many ways continues to be such an artist, bubbling forth from the psyche, soul and complex emotions buried in multitalented instrumentalist and songwriter, Caleb Shomo. 

Beartooth shares equal inspiration with brutal metalcore as with old-school punk like The Ramones and the bombastic theatricality of Queen. The end result is a back-to-basics hardcore stomp that would get the crowd moving at a Hatebreed or Terror show, interspersed with a steadfast determination to give equal importance to anthemic choruses.

“I made the whole thing by myself,” Shomo says of Beartooth’s debut album, Disgusting. “The entire record, front to back, is literally a reflection of my thoughts and my mental well-being at the time. The album captures every end of the spectrum musically and lyrically. I know this may sound strange, but I didn’t write these songs for anyone. I wrote just to write. All of the songs came about because I love writing Beartooth songs. That’s it. I won’t record a song unless I love it, unless I believe in it. I won’t do it any other way.” 

Beartooth began as a way to blow off steam and add another dimension to Shomo’s genre-hopping creative output. He and his hometown friends started jamming; hanging out in his Columbus, OH basement studio and playing music for fun. They released an EP, Sick, and then hit the road, touring North America and Europe with genre titans August Burns Red, Memphis May Fire, The Word Alive and Of Mice & Men, among others. In between support slots the five-piece headlined everything from basements to club shows, building a strong and devoted following. The EP’s accompanying music videos for “Go Be the Voice” and “I Have a Problem” (both live and traditional) quickly accumulated over 1 million views, and set the stage for the band’s next endeavor, Disgusting.

While he’s still a very young guy, Shomo has lived a lifetime in music already. He had already dabbled in a project with Escape The Fate cofounder Max Green and Craig Mabbit (Blessthefall/The World Alive/Escape The Fate) when he was called up to play keyboards for Attack Attack! at the tender age of 15. The band incited polarizing dialogue around the world, as some jaded critics mocked the group’s “crabcore” while a new generation of fans followed the band’s every move. Shomo found himself thrust into the front man role following a series of lineup changes. The band’s self-titled sophomore effort debuted at #1 on Billboard’s independent chart. 

Shomo was handling all of the vocals, programming and production duties by the time the third Attack Attack! album, This Means War, broke into the Top 10. The record sold 17,000 copies in its first week, debuting at #8 on the Billboard Top 200. 

Battling the same type of depression, anxiety and overindulgence as many of his fans, Shomo bowed out of Attack Attack! to get himself together, and the songs on Disgusting reflect that struggle.

The closing track, “Sick and Disgusting,” is so personal that Shomo has trouble listening to it. It an intense exploration of the mental health issues he’s struggled with, not dissimilar from the raw truth found on Korn’s eponymous debut, or Reznor’s open confessions of drug addiction scattered throughout NIN. It’s a song where Shomo just hit “record” and let it all pour out. 

“I almost didn’t put it on the record because I felt embarrassed about people hearing it,” Shomo confesses. “It is really intense for me personally. It’s hard to explain but suffice it to say, it’s a song about a lot of mental health things I’ve dealt with. If people listen to it and understand where I’m coming from and respect it, great. If other people think I sound like an idiot because I start crying in a song, I really don’t care. I know how much I put into that song emotionally. It’s one straight take, all the way through. I realized I’d be shorting myself if I didn’t put it on the record.”

Alternatively, a track like “Beaten in Lips” is written from Caleb’s experiences outside his own world: he wrote it from the perspective of abused kids with nowhere to turn. “I was just thinking about it one day, about how absolutely ridiculous it is that some parents abuse their children,” he explains. 

The album’s opening track, “The Lines,” hits a lighter note. “We have been playing that song live before the record comes out. It’s just a fun jam. I wanted to write riffs that people can jump around and get wild to. People can sing at shows and have fun. I want people to sing along so they feel as much a part of the show as we are. I love doing house shows, shows without barricades, floor shows.” 

There’s a beautiful authenticity in Beartooth’s music, which is the result of Shomo’s simple intention: to write songs for the sake of writing songs. There is nothing calculated, nothing crafted for mass appeal. It’s simply the truth of his experiences and emotions. 

“Red Bull has been backing whatever I want to do musically which has been really refreshing,” Shomo says. “There isn’t any pressure to write certain types of songs or to have a certain sound. I don’t go into my basement thinking, ‘OK, I’ve got to write a pop song’ or ‘I’ve got to write a heavy song.’ The songs are what they are and are allowed to be whatever comes out of me. Beartooth ends up having a lot of dynamics that way, a lot of diversity. I never want to make a record that becomes boring.” 

-Ryan J. Downey

HANDS LIKE HOUSES

HANDS LIKE HOUSES

Taking on the music industry with their own unique sound, Australian rock band Hands Like Houses has spent the last 3 years bringing their powerful, high-energy brand of music and live shows to an increasing fan base across Australia, the US, Europe and the UK. 

Emerging from school-based friendships as the boys grew up together in Canberra, Australia, Hands Like Houses officially formed in 2008. Catching the eye of US independent label Rise Records, the band was quickly signed and released their long anticipated debut album ‘Ground Dweller’ in March, 2012. 

Their distinctive style launched them onto the Billboard Heatseekers chart at number 2, and number 141 on the Billboard Top 200, garnering widespread acclaim and legions of devoted followers. Since then, Hands Like Houses have been hitting the road hard. They’ve crossed the US several times over, trekked across Europe, Canada, and the UK, as well as touring on their home soil back in Australia – and the road has only been getting bigger and better. In 2013 their second album Unimagine debuted at number 37 on the overall billboard charts, number 6 on the Indie charts, and number 3 of the Hard Rock charts where the band took their well-deserved place alongside classic icons such as Black Sabbath and new age superstar Taylor Swift. 

Hands Like Houses jumped on full US and UK/Europe tours to support hot commodities such as Pierce the Veil and Sleeping With Siren, as well as playing the entire US and Australian 2013 Vans Warped Tours – and 2014 is proving they have no intention of slowing down. So far they’ve continued traveling coast to coast in the US, UK and Europe, delivering strings of sold-out shows all around the world as they headline and play alongside some of the other great names in music, and they’re not finished yet. The remainder of 2014 will see Hands Like Houses taking their high-impact music and live shows to more countries, and more continents, right up until December 2014.

Twitter   @thebottomlounge

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