**SABINA SCIUBBA, String Boys**

Singer, composer and actress Sabina Sciubba, founder of the Grammy-nominated Brazilian Girls, shares her third solo album Sleeping Dragon this summer, along with new single and video “Stolen Kiss” featuring Dhani Harrison.

Sciubba gathered a host of collaborators for the recordings of Sleeping Dragon, her third solo record, including the Grammy winning singer and composer Dhani Harrison (The Traveling Wilburys), pianist Jason Lindner (David Bowie’s Blackstar), cowriter Barry Reynolds (Marianne Faithfull, Grace Jones, Brazilian Girls), singer-songwriter Albin de la Simone, Italian guitar hero Riccardo Onori, Brazilian Percussionist Mauro Refosco and renowned clarinetist Nico Gori.

“Sleeping Dragon feels like something powerful and magical that isn’t menacing or overwhelming. A sacred protective creature,” Sciubba says. “The magical, the mysterious aspect of the music is most important to me. I followed my instincts, without questioning them. I knew I needed to work with people I fully trust. Since COVID, working on music with others has become even more sacred to me. It has to be magical. Only where there is complete trust, there can be magic.”

Sleeping Dragon traverses genres, subjects, and even languages in its scope; Sciubba notes, “I am very genre fluid, I just let the music come to me and then love and accept it as it is… each song really comes in its own language.

Sciubba will come to the U.S. for two dates this September in support of the record, performing at Nublu in New York City on September 23 and Zebulon in Los Angeles on September 27. Sciubba found both critical acclaim and a loyal following as founder and lead vocalist/producer of the group Brazilian Girls, a genre-bending, multi-lingual (Sciubba is of German and Italian descent) and internationally beloved outfit that received a Grammy nomination for Best Electronic Record for their 2008 album New York City. Sciubba went on to release two full-length solo records, Toujours and Force Majeure, in addition to acting alongside Zach Galifianakis in the critically acclaimed series Baskets. “I’m an explorer by nature,” Sciubba says. “So after each record, I’m ready to try something new.”

Line- up:

Sabina Sciubba - vocals and keyboards  
Joshua Moshier - keyboards and synths  
Guitar - Will Graefe  
Bass - Jeremy Cunningham  
Drums - Karl McComas Reichl

and special guests...

Photo credit: Giorgio Z Gatti

This is a 21+ event

Zebulon

Sabina Sciubba, String Boys

Gigs

Los Angeles

**Walter Etc., The High Curbs, Chloe G**

Walter Etc. is the brainchild of Dustin Cole Hayes, who has been creating music (originally as Walter Mitty and His Makeshift Orchestra), writing, videos, and art for over a decade. Based in Ventura, CA he co-runs the label and art collective Making New Enemies with Milk Flud, and has worked alongside Jeff Rosenstock and Ian Farmer (Slaughter Beach, Dog / Modern Baseball) in the studio. Walter's newest album "There There" (self-released via Making New Enemies, May 2021) showcases the band's return to a home-recorded and self-produced approach. With a revolving door of band members and a foray into different genres, it is Hayes's gift for lyricism and DIY ethos that holds all of his projects together in one cohesive canon.

This is a 18+ event

Walter Etc., The High Curbs, Chloe G

Gloom Cruise

Walter Etc.

The High Curbs

Reverberation Radio DJ Night

Tropical boogie, international disco and other spaced out dance floor favs from the 70s

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Reverberation Radio DJ Night

**Colleen, Jeremiah Chiu**

French artist Cécile Schott aka **Colleen** is fearless in her willingness to explore new sounds and new ways of creating music as a solo performer. Over the course of seven critically acclaimed albums released between 2003 and 2021, Cécile Schott consistently reinvented herself, first by taking acoustic instruments out of their usual context and pushing the boundaries of their playability, then through avant-pop electronic explorations.

With compositions ranging from the mysterious and contemplative to kinetic and playful, the Thrill Jockey recording artist has given more than 230 concerts across Europe, the US, Japan, Brazil and Singapore, in prestigious venues and festivals such as Moogfest, Big Ears, Mutek, Transmediale, Villette Sonique, Rewire and many more.

Colleen’s growing passion for synthesis, bolstered by her collaborations with synth manufacturer Moog, have led to her 8th album Le jour et la nuit du réel, to be released on Thrill Jockey on September 22nd, 2023. Built as a suite of songs, the artist’s first double album is also her first purely instrumental work since 2007, and aims to translate through a myriad of sound transformations the complexity of our relation to reality, and its psychological mutations through the cycles of day and night.

**Jeremiah Chiu** is a Los Angeles-via-Chicago artist and musician with Chicago’s venerable International Anthem Recording Co., who released his duo record with Marta Sofia Honer, Recordings from the Åland Islands, in March 2022. In Chicago, Chiu was an active member of the notoriously inter-connected improvisational and experimental music scenes. Chiu’s musical CV to that point included work with Icy Demons and Chandeliers, as well as visual art as Some All None. In Los Angeles, he is an electronic music composer and sound-artist, where he performs and composes solo as well as with variety of collaborators including Josh Johnson, Anna Butterss, Greg Uhlmann, Booker Stardrum, Celia Hollander, Dustin Wong, and Sam Prekop. Most recently, he has toured with Sam Prekop & John Mcentire, was the opener for M83 on their U.S. Fantasy Tour, and performed at MOCA Los Angeles.

This is a 21+ event

Colleen, Jeremiah Chiu

Colleen

**BASEMENT 258 DJ Night**

Jacob Safari, Arian Jalali, and Jeremy Katz present the greatest three dimensional monthly dance event.

Surrender to the scene of the best electronic sounds of the future. Join us and other party people in a limitless musical journey.

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BASEMENT 258 DJ Night

CINÉ-CLUB LAUNCH PARTY

CINÉ-CLUB is an event series for cinephiles who like to party, where each event features an art-house film followed by a house music DJ set. The programming draws inspiration from the ciné-clubs of 1940s Paris, celebrating films from all eras, cultures, and genres. Starting in 2024, Ciné-Club will take place at Zebulon on the last Sunday of every month, and is completely free! Come boogie with your fellow lovers of cinema and LAUNCH this event series on SUNDAY OCTOBER FIRST with a screening of "The Fire Within" dir. by Louis Malle followed by a house-centric set by DJ Dudamel.

Film at 8pm, music at 10pm

Ciné-Club is presented by Films Du Losangeles in association with Coucou French Classes and is hosted by Zebulon Café Concert.

For more information, visit filmsdulosangeles.com/cineclub

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CINÉ-CLUB Launch Party

Lo Moon Residency

For Me, It's You

Lo Moon

Will Butler + Sister Squares

Sara Dobbs and Jenny Shore used to work summer stock theater in St. Louis, Missouri. They’d do the hand jive with TV stars past and future; they’d get coldly corrected by the ancient, legendary choreographer Gemze de Lappe. Sara went on to Broadway, including a run as Anybodys in West Side Story. Jenny went on to choreograph in the independent dance scene of early 2000s Chicago.

Julie Shore is Jenny’s sister. She’s always made music—playing Chopin, writing songs, making bands with her friends. She’s had the archetypal Millennial journey of entering adulthood in the ’08 financial crisis and figuring out what stupid series of jobs you have to take to pay rent while keeping an artistic life alive.

Miles Francis grew up in New York City with Backstreet Boys posters covering their walls. An extraordinary drummer since youth, Miles thrives in collaboration—whether producing artists in their West Village studio, performing with artists like Angelique Kidjo, or powering protests with a big marching drum.

These four—Miles, Julie, Jenny, and Sara—are Sister Squares. What made them a musical unit was working with Grammy winner and Oscar nominee Will Butler. They’ve all just finished a new record together: Will Butler + Sister Squares.

\* \* \*

“I met Jenny—my wife!—in college, the year before I joined Arcade Fire. She was a choreographer; my roommate was a dancer. He convinced me to come to an audition, though I had never taken dance. Jenny was impressed—but she didn’t cast me,” says Will. They went on to collaborate on a series of shows: Will (and friends) providing music, Jenny (and friends) providing dance. They married in 2007. “When I needed a band to tour Policy \[Merge, 2015\], I asked Julie to join because I trusted her musically. And I asked Sara, Jenny and Julie’s childhood friend, because I knew she was super talented,” says Will.

“Antibalas (who I was drumming for) opened some Arcade Fire shows,” says Miles. “I was captivated by Will’s performing. He was creating all these micro DIY performance-art moments within a massive arena show, and I wanted to know everything about it.” Miles offered to play drums anytime Will needed.

Will, Julie, Sara, and Miles jelled on tour. Julie and Sara showed Miles how to do eye makeup backstage; everyone worked on vocal arrangements. All along, Jenny contributed to recordings and general performance ideas, and she joined onstage in 2019. \* \* \*

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Will Butler + Sister Squares

Will Butler - Witness

Will Butler

On October 4th, Anthony Braxton joins Wolf Eyes’ Nate Young and John Olson in Los Angeles for an evening of epic collaboration

As the Wolf Eyes project itself now passes the quarter century mark, Nate Young and John Olson operate a duo, issuing their singular stew of noise, pulse, reedcraft, murmur, and snarl. Also core to their approach: creating novel contexts to collab with other key players across generations and idioms. To wit, within the past several years they have performed live with Marshall Allen, Kim Gordon, Raven Chacon, and Jaimie Branch, to name a few.

A multivalent creative force for over a half century, Anthony Braxton continues to experiment across genre lines and modes, as a composer, improvisor, educator, and thinker. On saxophone, Braxton has pushed past the boundaries of Jazz – from his groundbreaking solo recording ‘For Alto’, through his innovative work leading various small ensembles, and the highly intuitive playing he brings to unique meetings such as this.

This L.A. date is an auspicious one, though not a debut per se, as these players’ first (and last) encounter on stage went down in the mid-aughts. Come catch the slight return as these ever-curious artists unfurl as-yet-unheard trajectories of sound.

This is a 21+ event

Wolf Eyes with Anthony Braxton

Wolf Eyes & Anthony Braxton - Rationed Rot

Anthony Braxton

Wolf Eyes

**Jeremy Jay, Street Fruit, Nic Hessler, DJ Brandon Welchez (Crocodiles)**

When Jeremy was 14, he began playing in high school bands with schoolmates, performing to packed venues in the area. Seeing her son’s devotion to music, Jeremy’s mother bought him an eight-track reel-to-reel recorder, which he used to make recordings in a studio that he built in the family garage.

When Jeremy was 18 he moved to Portland, Oregon, where he met Calvin Johnson, Beat Happening singer and founder of K Records, the label he later signed to and has now released 5 of his albums including 2011’s Dream Diary.

After performing at Primavera Sound festival in Barcelona, the El Segell record label released the album Demons in 2018. Switchblade Sound out of London has released the albums; Dangerous Boys (2019), Devils Daughters (2021) and the new album September Strangers (2022).

This is a 21+ event

Jeremy Jay, Street Fruit, Nic Hessler, DJ Brandon Welchez

Jeremy Jay

Street Fruit

Nic Hessler

**MAN ON MAN, Phranc, dimber**

You remember your pandemic project, don’t you? Maybe it was baking bread, cultivating a garden, or finally committing to Proust? But for Roddy Bottum and Joey Holman—back then, a new couple of longtime musicians, en route from New York City to California to care for Roddy’s ailing mother—it was writing songs, meant only to entertain themselves in those suddenly idle days. Joey, after all, had his guitar in the car; during the road trip west, they ordered a microphone, waiting for them in California where they’d live and work from a cozy beachside A-frame. They got to work but, really, to play, shaping a dynamic string of new-love songs about tender infatuation, the ache of all-consuming lust, and the excitement of a full future, together. “It’s so fun,” they cooed in content unison, “to be gay,” their own birds-and-bees ode to joy. Those songs stuck around, accreting not only into an album but into the band MAN ON MAN, lauded by Rolling Stone and loved for music videos that documented the real romance of two fully grown gay men. That pandemic project? Suddenly, a little hit.

MAN ON MAN’s triumphant and pop-powered return, Provincetown is the result of an accidental band moving with sudden intention and two once-new partners growing into a deeper relationship. Written largely in that tip-of-the-Cape haven that gives the record its name, Provincetown cavorts even as it poses complicated questions about what it means to be queer, alive, and in love in the first quarter of this anxious American century. There are peppy hookup-app blues, queer history lessons set to contagious electroclash, unfettered celebrations of sex and summertime fun—glitter bombs all, set off to light up these often-dark times. “Windows down, let ’em see/We’ve got nothing to hide,” they sing during the enormous and insistent “I Feel Good,” boldly answering the title’s refrain with “I feel great/In these United States.” It is, like all of Provincetown, a massive rainbow flag in the ground—not a statement of existence so much as a proclamation of defiant thriving. Cum, if you will, and take it.

If MAN ON MAN’s self-titled debut represented the start of their relationship, Provincetown—finished just as they neared the four-year mark—represents its steady maturation and the gifts therein. They now know what about the other makes them tick better. For Bottum, a veteran of big-time rock bands, Holman represented the first time he felt fully embraced by a collaborator, that he didn’t have to scream for his ideas to be heard. (And it’s not, mind you, because they share the same tastes. Holman loves Silverchair. Bottum is a Sparks superfan.) For Holman, meanwhile, it’s Bottum’s ability to reduce thorny ideas, whether lyrically or musically or emotionally, into more digestible notions.

That ability is key to Provincetown, which does not shy away from difficulty but delivers it always with pizazz and efficiency. Take opener “Take It From Me,” a fluorescent disco-grunge anthem about decades—no, centuries!—of exploitation of queer culture, from dudes who talk about their wives only after sex with a man to rising rents that push LGBTQ people out of spaces they helped make vital. It’s a doctoral thesis condensed into three minutes, then loaded with a defiant credo: “You’ll never take it from me.” And then there’s “Piggy,” a radiant rock strummer about the internalized self-hatred of someone too scared of being queer to show their face on an app, only their torso. “You gotta first love you, if you wanna fuck me,” they sing in a hook that would have been all over rock radio in an alternate and inclusive version of the ’90s. (By the way, speaking of guitars and the ’90s, yes, that’s J Mascis you hear roaring onc loser “Hush.”) Those same sentiments curdle in “Gloryhole,” a monstrous shoegaze jam about the vexing contrast between being gay online and in real life, or between being ardent digital activists and meatspace meatheads. The good times and the good fight, Holman seems to say, must commingle.

There are, of course pure and unadulterated thrills here, songs that echo that rush-of-love esprit of MAN ON MAN’s debut. In fact, while touring those early songs, especially while opening for the dudely crowds of Dinosaur Jr., they learned how much fun they could have leaning into their livewire tendencies, a realization that shaped this record’s explosive sense of wonder. Named for Provincetown’s famous weekly variety show, “Showgirls” testifies to the pleasures of learning one another’s love-and-lust languages. Sexy, seductive, and dangerous, it’s a rock song about exploring and expanding each other. “Don’t say maybe/when you take me,” Holman sings. “Turn an amateur/into a connoisseur.” You want in on these lessons. All this wisdom funnels into the wonderful “Kids,” a soft, swaying dance tune about recognizing you’re no longer, well, a kid on the cutting edge of queer culture. But MAN ON MAN respects the advances the new generation will make and the fun they will have; they’re here to watch them party and change the world.

In their music videos, Bottum and Holman have made out under a deluge of honey, kissed while fully clothed in a shower stall, and deep throated a banana. On the cover of Provincetown, they are, again, barrel-chested and bare-chested, offering a rejoinder to the way we often see gay men in love. This is all playful and fun, of course, worth a wink and a chuckle. But MAN ON MAN is not a joke band, doing it just for laughs. This happy-sounding music explores serious and increasingly urgent topics in American life. “Cry lots, laugh more,” they sing on “Feelings,” a bit of cultural criticism that doubles as a thesis for their unabashed honesty. “Get comfortable with your feelings.” Provincetown is not only the sound of MAN ON MAN stepping fully into their shared lives and shared band, but also into their role as two singing seers of a current American concern—the ability to exist as yourself, to love who you love how you love them, with self-respect and dignity intact. And, of course, to have fun doing it.

**Phranc** The All-American Jewish Lesbian Folksinger is an internationally acclaimed performer and visual artist whose work uses both humor and anger to interrogate traditional gender perspectives. She writes, records, performs and creates paper sculptures that tell stories, document history, honor Amazons and protest injustice. She has forged her butch identity in cardboard, on stage and on album covers. As a teenager she attended The Feminist Studio Workshop at The Woman’s Building where she focused on songwriting and silk-screening. In the late 1970s she was a member of bands Nervous Gender and Catholic Discipline in the Los Angeles punk rock scene. She has performed in venues across North America, Great Britain and Europe including The Getty Center, Irving Plaza, Metropol, and Hammersmith Odeon. She is a Teaching Artist at the Los Angeles County Museum of Art. Phranc is currently working on a multi-media memoir “Phranc Talk”.

This is a 21+ event

MAN ON MAN, Phranc, dimber

MAN ON MAN

Phranc

Radio Activity Dance Night with DJs Nonformat & Al Lover

This is a 21+ event

Radio Activity DJ Night

Al Lover - Brian Jonestown Masochist

Al Lover

**Al Qasar**

Middle Eastern psych-rock collective Al-Qasar’s debut album is an explosive mix of heavy Arabian grooves, global psychedelia and North African trance music.

The band calls it "Arabian fuzz." Brazenly electric and deeply connected.

Guests include Lee Ranaldo (Sonic Youth) and Jello Biafra (Dead Kennedys).

\------------------When continents collide, they make a thunderous sound. Al-Qasar create the soundtrack to that fission on their full-length debut, Who Are We? It is music for a world in flux, with its ancestors deep in the past, but something that could only have been born in the 21st century. Arabian fuzz, they term it, a vision that’s brazenly electric and deeply connected to its roots.

But it had a definite starting point.

“Al-Qasar was born in the Barbès neighbourhood of Paris,” explains band leader Thomas Attar Bellier. “I’ve lived in Los Angeles, Paris, New York, Lisbon… I wanted to start a project that was in tune with the daily life of people living in these international cities, something diverse, radically colourful, with a fresh, contemporary outlook on what societies really look like today”. The musicians came together, from France, Morocco, Algeria, Egypt, and the United States. Shows followed, first in France, then in Europe and the Middle East. They put out an EP, the widely-lauded Miraj, recorded in Cairo. In the same time frame, Attar Bellier collaborated with the likes of Emel Mathlouthi and Dina El Wedidi, two of the most exciting names in contemporary Arab music.

Work on Who Are We? began in December 2020, with Attar Bellier composing eight tracks that writhe and roar in skilfully controlled chaos. Bass, drums and traditional percussion create a deep, irresistible groove for the foundation, while electric saz and guitars build a wailing wall above, with Moroccan vocalist Jaouad El Garouge’s ecstatic voice, steeped in his Gnawa upbringing, pulling inspiration from history as it strides into the future.

Drawing on years of experience working in Los Angeles studios, Attar Bellier produced the album. Who Are We? translates the sound that inhabited his head into something physical that stirs spirit, heart and feet. It is relentless and insistent, like a psychedelic celebration on the dancefloor, bristling with the kind of deep energy that makes Al-Qasar sound like the world’s most dangerous wedding band.

During those years spent behind the control board, Attar Bellier made some good friends in the US, and they’ve been eager to help out on the project. Alain Johannes (Queens of the Stone Age, PJ Harvey) mixed the record, and Grammy-winner Dave Collins mastered it. The Dead Kennedys’ Jello Biafra was a natural addition to “Ya Malak,” his inimitable voice reciting a translation of Egyptian revolutionary poet Ahmed Fouad Negm, elevating the record’s social critique while showcasing the first-ever English recording of Negm’s work.

Jello Biafra is not the only punk hero to appear on Who Are We? Lee Ranaldo of Sonic Youth layers textured, brooding guitar over the first two cuts, “Awtar Al Sharq” and “Awal.” The sweeping drones embrace the Moroccan bendir groove to magical results. “Lee sent me upwards of eighteen guitar tracks,” says Attar Bellier in amazement. “It was enough for an entire EP, and all so good. The hard part was deciding what not to use. Lee’s vibe just fit perfectly with what I was trying to do with the track.”

Al-Qasar’s magnetic pull drew big names from other continents, too. Hend Elrawy, the acclaimed Egyptian singer whom the band met in Cairo, brings her powerful voice to “Mal Wa Jamal”, whose Arabic lyrics promote a female-centric and humbling outlook on prostitution and its consequences. Like the other songs on the album, its social consciousness is carefully veiled in images. “Hobek Tawrat,” for instance, can be taken as a love song, with its seductive, ringing opening on the electric saz that leads up to the aching voice of New York-based Sudanese innovator Alsarah (Alsarah & The Nubatones). On the surface it offers the gliding, breathless sensuality of romance. Underneath, though, its heart is spikily political as Alsarah calls out against the coup in her homeland, rising in passion with each verse – the chorus a slogan from the recent demonstrations.

One of the band’s great coups is the track “Barbès Barbès,” an ode and homage to the neighbourhood in Paris where Al-Qasar first came together. The iconic Mehdi Haddab (Speed Caravan) added his oud virtuosity to the track. “Barbès is this edgy, amazing, historically Algerian, and still ungentrified part of the city” explains Attar Bellier. “To me, it is more typical of the way Paris really is than the Eiffel Tower, or than the Louvre. Real people live there, real culture happens there.” Haddab, who occasionally performs with the band, is famous for introducing the oud as a rock’n’roll instrument. “When he played on the track, it was as if he’d set it alight, it just came to life.”

Who Are We? is a deep, exhilarating album. Its intensity never wavers, music that pulls from the hypnotic roots of North African trance and threads it into a fabric with the elaborate beauty of Arabic scales and the shock and thrill of rock’n’roll. It is modern folklore, a reflection of the cross-cultural society we’ve become. The continents have collided, and the result is deep magic. Who Are We? Al-Qasar ask. The answer is there on the album cover. Look in the mirror. We are you and me. We are then. We are here. We are now. And we are tomorrow.

This is a 21+ event

Al Qasar

Al-Qasar

**Zackey Force Funk**

Here's the verbiage and photo that they sent me for Zackey Force Funk...

We can announce this as happening during the free Reverb party in October...however you think is best to roll this out is cool with me!

OG boogie monster zackey force funk opens the stage of Zebulon for one night only. reverberation radio will entertain the house with dance tunes from ten to midnight at which the hour we welcome a seamless dance transition to ZFF to bust. croon. cover. and sweat out a heater of tracks. Do not miss this mix. ZFF solo. one man. one mic. many lines

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Zackey Force Funk 

Press Play

Zackey Force Funk

CLOSED for a private event

This is a 21+ event

CLOSED for a private event

Sungazer is an international Future Jazz duo featuring YouTuber / bassist Adam Neely and drummer Shawn Crowder.

Originally formed in Brooklyn, NY in July of 2014, Sungazer has brought their unique blend of hard-hitting Jazz Fusion, 8-bit, Progressive Rock and EDM to audiences in the U.S. and Europe. Sungazer explores the human element of improvisation within the context of modern electronic music. Exciting, hard-hitting, and never predictable, Sungazer creates music aimed squarely ahead into the 21st century. They released their sophomore EP entitled Sungazer, Vol. 2 in 2019. On October 11, 2021 they released their debut full-length album, Perihelion. The long-awaited debut LP explores time and the liminal spaces between jazz improvisation and modern electronic music aesthetics. The album was co-produced and mixed by Simon Grove (Plini, Protest The Hero, Intervals) and features an eclectic cast of guest musicians including Joshua de la Victoria, Hannah Sumner, Jae Soto, Tom Monda (Thank You Scientist), Shubh Saran, Jared Yee, Christian Li, Zac Zinger, Brian Plautz (Aberdeen), Brian Krock (Big Heart Machine) and the Resonance Collective.

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Sungazer

**Cretin Hop Presents CRIME 1978: San Francisco's First & Only Rock 'n' Roll Movie**

We bring you a punk rock double feature of epic proportions: Two amazing DIY films from 1978 featuring two of the most notorious punk bands to have ever graced our astral realm!

1\. In 1978, film producer Larry Larson captured CRIME in their natural habitat, the dimly-lit nightclub Mabuhay Gardens. They looked and sounded more severe than anyone in San Francisco was ready for. The footage sat dormant for decades, until now!

Edited and directed by Jon Bastian, the recently completed movie features archival live performances and unruly behind-the-scenes straight from the original 16mm color film. A vital document of the group – Frankie Fix, Johnny Strike, Ron The Ripper and Hank Rank – as well as North Beach's sordid scene: parading punks, square thrill-seekers and Fab Mab promoter Dirk Dirksen's provocative emceeing

Plus, live Q&A w/ Hank Rank (CRIME) and the film's director Jon Bastian moderated by Justin Maurer (Live At The Deaf Club)

and live performance by CRIMEWAVE (CRIME tribute band)

2\. On June 13, 1978, The Cramps went to play Napa State, a psychiatric hospital in the small town of Napa in Northern California. Opening for them was The Mutants, an eclectic septet of art school punks from nearby San Francisco. Also there was seminal Bay Area art collective Target Video, to capture the show using one of the first video cameras available to the public, democratizing a medium controlled by mainstream media outlets. The resulting VHS tape of the show is one of the most legendary music documents in history and a cult classic tape.

Plus, live performance by Teenage Goo Goo Muck (Cramps tribute band)

Stick around for a Rock n' Roll dance party with Cretin Hop DJ's Rick Barzell & Roger Mars

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CRIME 1978: San Francisco's First & Only Rock 'n' Roll Movie

Cretin Hop Dance Party w/ DJ's Rick Barzell & Roger Mars

Join us for a FREE Cretin Hop dance party w/ DJ's Rick Barzell & Roger Mars following the CRIME 1978 & Cramps Napa State screening event!

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Cretin Hop Dance Party w/ DJ's Rick Barzell & Roger Mars

**TV Smith's The Adverts, The Shadow**

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TV Smith's The Adverts, The Shadow

The Adverts

The Shadow

Dance Party with DJ's Wilder & Nuge

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Dance Party with DJ's Wilder & Nuge

Wilder Zoby

Project Pat will be making an extremely rare appearance in Los Angeles at Zebulon. Capacity is very limited, grab a ticket now.

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Project Pat Live At Zebulon

Gunn

Project Pat

Project Pat Afterparty with DJ White Wolf and Jacob Safari

This is a 21+ event

Project Pat Afterparty with DJ White Wolf and Jacob Safari

Grand Ole Country Bunker and Warbringer Southwest Bourbon presents:

**Grand Ole Country Bunker at Zebulon -** Live Country Music in two rooms!

@ Zabulon Cafe Concert

Hillbilly HypeHouse Jam hosted by Water Tower with special guests  
Classic and Cosmic Country Vinyl by DJ Max Maxtofferson

**Todd Day Wait**  
**Matt Axton**  
**Rosy Nolan**  
**Water Tower**  
**DJ Max Maxtoferson**

C﻿ountry Music and Sundays have been an important part of the California Country Scene for close to 20 years in East LA. We are creating a new event series with Ben Reddell, Emily Rose, Matt Axton and others to help keep Country Music Sundays going all year round. This series will Run in the Fall - Early Spring. Our intention is to support the Traditional and Alternative Country Music Scene and provide a high quality program for artist to play all year round.

O﻿ctober 15th 2023 is the first one. If this works, we will do more.

D﻿oors at 6pm

Sponsored by Sespe Creek Distillary

"Todd is a Missouri native with an easy-going, good humored nature that will have you singing along faster than you know the words. We originally met while I was on a trip to New Orleans, and reconnected at Santa’s Pub in Nashville one Sunday evening. We talked of this and that, drank cheap beers and had a good time. He even mowed my lawn the next day. That’s Todd’s secret you see; he’s a good guy. So we showed him around downtown one nice fall day and he played us a tune in the shade of some pillars. A song about time, about being fine, the heart and the mind. “ – GemsOnVHS

This is a 21+ event

Todd Day Wait, Matt Axton, Rosy Nolan

Todd Day Wait

Matt Axton

Rosy Nolan

**Jonathan Bree, Marion Raw**

Jonathan Bree is a composer, multi- instrumentalist and producer from New Zealand.

A self-confessed workaholic and social recluse, Jonathan spends his days (and nights) in a dingy home office attempting to run his record label Lil’ Chief Records (who have put out albums by the likes of Princess Chelsea, Ruby Suns and his previous band The Brunettes) whilst simultaneously producing albums for artists such as Princess Chelsea, directing and starring in viral music videos for duets about Cigarette Smoking (yes THAT video) and then somehow finding time to record his own material when he should be sleeping.

Jonathan starting playing music at the age of 9 when he wrote his first song "Rebecca" about a primary school crush.

By 12 he was playing drums with 20 year olds in an average goth band ‘The Plaster Saints’ whose claim to fame was releasing a song on a Flying Nun compilation in the 90s.

At 13 out of fear he was going to start wearing fishnets and piercing his privates he was sent to live with his Father in Australia. His Father was a spiritual guru living in Byron Bay, graciously helping his followers to starve themselves in order to raise their ‘vibrations’ so they could board the invisible motherships floating above them.

At 14 after failing to raise his vibrations and also feeling quite hungry he left home and took care of himself by selling drugs to local tourists to make his way through high school.

At age 19 he returned home to Auckland, New Zealand and started his first band The Brunettes. The Brunettes was basically a bunch of indie guys that liked Pavement and the Modern Lovers and the music reflected that. Within 6 months the band broke up but not before Jonathan met Heather Mansfield and convinced her to turn The Brunettes into a duet based recording project.

Jonathan wrote and produced 4 albums and 4 EPs for The Brunettes, driving himself mad over the course of their ten year career trying to achieve the sonic standards of his 1960's heroes of 4 track recording, George Martin and Brian Wilson.

The Brunettes went on to sign to Sub Pop after opening for The Postal Service in 2003 before eventually breaking up 2010. They still however have a loyal and dedicated cult following, especially in New Zealand where their debut ‘Holding Hands Feeding Ducks’ is regarded as a classic.

Jonathan Bree released his first solo album ‘The Primrose Path’ in New Zealand in 2013. The album drew much critical praise and was a finalist in the ‘Taite Prize’ – a respected arts award named after the late journalist Dylan Taite.

Jonathan’s second album ‘A Little Night Music’ drew similar critical praise locally and saw Bree venturing into more free-form territory, further breaking away from more traditional pop formulas found in some of his best-known work with The Brunettes. This was partly due to new interest in classical music after inheriting some old ballet records of Tchaikovsky, and music of Bela Bartok.

This is a 21+ event

Jonathan Bree, Marion Raw

You're So Cool

Jonathan Bree

Marion Raw

**Willi Carlisle, Rachel Baiman**

WILLI CARLISLE is a poet and a folk singer for the people, but his extraordinary gift for turning a phrase isn't about high falutin' pontificatin'; it's about looking out for one another and connecting through our shared human condition. Born and raised on the Midwestern plains, Carlisle is a product of the punk to folk music pipeline that's long fueled frustrated young men looking to resist. After falling for the rich ballads and tunes of the Ozarks, where he now lives, he began examining the full spectrum of American musical history. This insatiable stylistic diversity is obvious in his wildly raucous live performances, where songs range from sardonic trucker-ballads like "Vanlife" to the heartbreaking queer waltz "Life on the Fence," to an existential talkin' blues about a panic attack in Walmart's aisle five. With guitar, fiddle, button-box, banjo, harmonicas, rhythm-bones, and Willi's booming baritone, this is bonafide populist folk music in the tradition of cowboys, frontier fiddlers, and tall-tale tellers. Carlisle recognizes that the only thing holding us back from greatness is each other. With a quick wit and big sing-alongs, these folksongs bring us a step closer to breaking down our divides.

"Willi Carlisle is an absolute force of nature. From the moment he walks on stage you can't take your eyes off of him and the minute he opens his mouth you can't help but hang on every word. Even if the songs weren't there, the showmanship alone would be worth the price of admission, but the scary part is the songs are just as good as the stories." -- BJ Barham

"Willi Carlisle speaks his truth"

\-NPR Music

"Willi Carlisle is just the kind of artist that Americana music needs"

\-Paste Magazine

"Willi Carlisle's latest is good for what ails ya, whatever ails ya."

\-Arkansas Times

"Willi Carlisle is like few things you will experience in music. His songs are strongly literary with rich characters, and his delivery is deeply compelling. And whether he gets you to laughing, crying, feeling unsettled, or infinitely satisfied, Carlisle always leaves a lasting impression."

\-Saving Country Music

"nothing short of beautiful."

\-Outsider

"Peculiar indeed, but ultimately a riveting album in a genre of its own."

\-Glide Magazine

""Tulsa's Last Magician" is a poignant biography of a tragic figure, questioning the hypocrisies of the morals we are raised with. It's an ode to anyone who feels like an outsider."

\-The Boot

"I'll be damned if the heartstrings don't get a firm tug."

\-Music Mecca

"Willi Carlisle is like few things you will experience in music. His songs are strongly literary with rich characters, and his delivery is deeply compelling. And whether he gets you to laughing, crying, feeling unsettled, or infinitely satisfied, Carlisle always leaves a lasting impression."

\-Saving Country Music

"A cowboy for this generation"

\-SiriusXM The Village

"A rave-up raconteur and a seasoned troubadour in the vein of Ramblin' Jack Elliott or Utah Phillips, Carlisle sings big, feels everything, spins yarns and takes you to the heart of American characters"

\-WMOT -- Best of AmericanaFest 2022

This is a 21+ event

Willi Carlisle, Rachel Baiman

Vanlife

Willi Carlisle

Rachel Baiman

**Cindy Lee/ Freak Heat Waves**

"For more than a decade, Freak Heat Waves have been steadily amassing a cult following and earning acclaim from both critics and underground aficionados alike. Their music is a heady cocktail that defies easy categorization, blending elements of post-punk, psych, dub, ambient, house, and techno. Their eclectic sound has served as the soundtrack to countless DIY punk shows, outsider galleries and sleazy discos, establishing the duo as iconoclasts with a reputation for ignoring expectations and subverting genre conventions. While at times, the term ‘acquired taste’ may have seemed fitting, their latest release offers their most alluring output to date. Mondo Tempo, the duo’s fifth LP, released through Vancouver’s Mood Hut, was primarily recorded at their home studios in Montreal and Victoria. Building upon the electronic explorations of their previous record, Zap The Planet (Telephone Explosion), they inject their signature sound with a smoother and sweeter blend of dance music. The album’s tracks feature midi smoothness, trance mantras, dancehall grooves, ambient textures and vocal samples, creating a world that is both captivating and immersive. Notably, the lead single “In A Moment Divine” features a collaboration with Cindy Lee, resulting in a dance floor number that boldly ventures beyond the familiar wheelhouses of both acts. With Mondo Tempo Freak Heat Waves solidify their reputation as one of the most exciting and unpredictable acts around."

IG: @freakheatwaves Twitter: @freakheatwaves

**Cindy Lee:**

"Cindy Lee is a Durham, North Carolina-based songwriter, performer, and recording artist known worldwide as one of the last great torch singers and as a living guitar legend. A transient drag queen and dangerous drifter hellbent on corrupting the youth of America. They have sold out of every album they've ever made, each record a bold landmark in the history of pop music. After 4 releases with the Superior Viaduct label (Suicide, DEVO, Alice Coltrane, Ennio Morricone) they now self-release thru "Realistik Studios". Beautiful and compelling Pop tracks and L-I-T-E torch ballads in the great tradition of Roy Orbison, Ros Sereysothea, Gloria Ann Taylor, and Patsy Cline. A blurring of fiction and reality is a theme, apparent in the contrast between grandiose pop ambitions and amateur recording techniques."

URL: www.geocities.ws/ccqsk

This is a 21+ event

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