Singer/songwriter Rocky Votolato was born in 1978 and spent his childhood on a 50-acre horse farm in rural Frost, TX (population 647), located 100 miles south of Dallas. Growing up amidst a backing soundtrack of Willie Nelson, Steve Earle, and Johnny Cash, he had a semi-unconventional upbringing, as his father was a member of the Dallas-based motorcycle gang the Scorpions (rivals to the Hell's Angels). Rocky's mother moved the family to Seattle in his early teens, and he was soon inspired to start playing guitar by his older brother Sonny. Expanding on his country music roots, Rocky spent high school discovering the underground punk and indie rock scenes before starting his first band, Runaway Laughing, with some high-school buddies. He also fronted the group Lying on Loot, which included his friend and drummer Rudy Gajadhar. When the latter band broke up in 1996, the two musicians (under the influence of Fugazi) started the acclaimed -- though emo-stigmatized -- punk outfit Waxwing with bassist Andrew Hartley and Rocky's younger brother Cody on second guitar; Cody also played in the art-damaged hardcore combo the Blood Brothers. The group recorded three full-lengths albums before officially disbanding in late 2005.

While Waxwing were still active, Rocky had begun seeking another outlet for his lyrical musings outside of the band's dynamic and hard-hitting approach. An eponymous solo record thus appeared in 1999 and found him playing subtle and acoustic folk songs not so dissimilar from Elliott Smith. A 7" record with Seth Warren was issued that same year on the Redwood label, followed by the release of an EP, A Brief History, in 2000. The record featured backing members of Sharks Keep Moving and Red Stars Theory, and garnered Rocky Votolato favorable reviews. Produced by Matt Bayles (Botch, the Blood Brothers), Burning My Travels Clean arrived in 2001 and marked Rocky's first for Second Nature Recordings; what would become Waxwing's final album, Nobody Can Take What Everybody Owns, was released soon after in 2002.

May 2003's Light and the Sound EP served as a precursor to the eventual release of his third full-length, Suicide Medicine, that September. The album was his most focused effort yet, touching on country, rock, and folk influences amidst his still stripped-down sound. Though Rocky had taken only about two weeks to flesh out each of his previous works, he devoted a year and a half of writing and recording in the home studio of co-producer Casey Foubert (Pedro the Lion) to complete his fourth record and Barsuk debut. With Rocky now a married father of two, the resulting album was a fuller-sounding and matured album of country-tinged folk tunes that recalled his Texas roots. Makers was issued in January 2006 to the praise of fans and critics alike, and its lead track, "White Daisy Passing," was featured on an episode of the popular teen drama The OC. Various tour dates followed, including a fall run supporting Lucero. [less]

Janus - is an ancient, two-faced Roman god of gateways and beginnings. Also the root word of January, Janus is a mythological figure that looks both forward and back and symbolizes change and transformation. To their fans’ dismay, in mid-2008 JANUS disappeared from their hometown rock scene in Chicago...they secretly slaved away on a new project. This project was to be uncompromising in every aspect: from producing and engineering, to songwriting and branding, the band was going to do it own their own and better than anyone else in the business. One year later, RED RIGHT RETURN was born. Janus’ debut harkens back to the days when albums were written as a total piece of work, rather than a group of single songs. The Chicago Natives recorded, produced, created all the themes, digital presence, and artwork on their own. Though the process was intense and took some time to complete, the fans are glad they waited… On writing the record, lead singer David Scotney says, “The record, as a whole, was designed to play well from start to finish, showing a range of what we're about as a band. We definitely didn't start out building a record around a few good songs - the approach was to write as many great songs as we could, making sure none of them sounded alike and that none of them sounded like any other band.” Red Right Return – stems from an old nautical saying "Red Right Returning". This Nautical phrase helped captains remember that when returning home to port to always keep the red buoy on the right hand side of the ship to insure safe passage. RED RIGHT RETURN is a collection of ten seamlessly flowing songs that showcase the band’s ability to bring the rock world an intelligent and fresh sound. Lyrically, the songs have very strong universal underpinnings to real life experiences. While they all tell a particular story, the end result is left open to interpretation and the listener is free to draw their own conclusions. “Every aspect of this record was a collaborative process. It's rare that singers invite the entire band into the melody and lyric writing process. I would end up writing 5 or 6, sometimes 10 verses for the same part and each time if anyone didn't like any part of it I'd hit the drawing board,” says Scotney. Musically, JANUS uses a broad range of dynamics and instruments not often used in the rock world (strings, timpani, a full choir, air raid sirens and a glockenspiel) to produce a sound of melodic, ethereal backdrops contrasted with aggressive, heavy, rhythms from the bass, guitars, and drums. Most recently JANUS has teamed up with REALID Records. REALID’s vision is so flawlessly in step with that of the band, that JANUS couldn’t have dreamed of a better partner to bring RED RIGHT RETURN to the fans. With an unparalleled record and REALID Records bringing all of the positive aspects of a major label team to the table, Janus is poised to make their impact on the rock world. JANUS is: David Scotney: Lead Vocals Mike Tyranski: Guitar, Backing Vocals Alan Quitman: Bass Johnny Salazar: Drums [less]

Based out of Richmond, VA, singer/songwriter Tim Barry is most well known as the frontman for Avail, an aggressive hardcore outfit that's been rocking out in the underground since the early '90s. He largely grew up in Reston, a suburb just outside of D.C., fueling his teenage restlessness with 1980s punk, speed metal, and, of course, the nearby Dischord scene. Later on, he grew to appreciate his parents' folk, country, and classical collections as well. Fronting Avail since 1991, the band had released six studio albums as of 2006 and toured exhaustively all over the world, turning themselves into something of cult favorites in the process.

In the mid-2000s, the politically conscious Barry began releasing solo material that abandoned the loud-hard-fast punk rules of Avail and stripped it all down to Woody Guthrie-inspired folk, the only thing tying the two projects together being Barry's gruff voice and brash delivery. Armed with just his guitar, Barry recorded some demos in 2005 on the side, simply for himself to share with his friends; he laid the tracks down with no intentions of formally releasing the material outside of just burning CD-Rs for extra gas money at shows. But one such friend was so taken by the honesty of his music that Barry was eventually convinced to release the eight songs as is under the title Laurel Street Demo 2005 on his friend's German label, Dancing in the Dark.

In between touring the U.S. twice over with Avail, he took off two weeks in 2006 to lay down more material for a subsequent full-length album, using various friends and family members as backing musicians. Owing much to his blue-collar roots in Richmond -- where he spent much time riding freight trains and sitting by the James River -- the candid country-tinged folk of Rivanna Junction was issued in November 2006 via Suburban Home Records. [less]

Attempting to stand out among your peers when you practice your art in the rather insane world of Japanese pop/rock/punk is no mean feat, but New York City based Peelander-Z certainly made some serious waves. Blending elements of the Power Rangers, Japanese and American pop culture images, sci-fi, and pro wrestling, Peelander-Z won fans and friends from a wide cross section of the pop audience, appearing on a number of compilations, as well as festivals and conventions. The group, made up of Japanese born Kengo Hioki (aka Peelander Yellow -- vocals, guitar), Kotaro Tsukada (aka Peelander Red -- bass, vocals), and Kazuki Yamamoto (aka Peelander Blue -- drums, vocals) came together in 1998. As "legend" has it the three were born on the Z region of the planet Peelander, and their colorful garb was not merely costume, but their "alien" skin. Their debut recording, the mini-album Peelander-Z, was released in 1999, and -- coupled with their frenetic (to say the least) live show -- the buzz the trio was creating led to their first American television appearance, on Comedy Central's Upright Citizens Brigade that same year. 2001 would see the release of the debut full-length, Rocket Gold Star, as well as the band's first appearance at the New York CMJ Music Marathon -- a gig they would play a number of times over the next few years. 2002 would see the band take on their first nationwide U.S. tour, and in 2003, Peelander-Z released their follow-up album, P-Bone Steak. Over the next five years, the group toured, appeared at numerous festivals (including Bonnaroo and SXSW), made television appearances (Spike's Most Extreme Challenge, for one) and released more manic J-pop/punk masterpieces, including 2005's Dancing Friendly and 2006's Happee Mania. After a busy 2007, which included the band's first DVD release (Peelander Is Fun!), the band was shaken up in 2008, when it was announced that Peelander Blue (Kazuki Yamamoto) was being "called back" to the Planet Peelander, as he was next in line for the crown of the kingdom of his home world. The actual story as to why Yamamoto left the manic trio is far more mundane -- family commitments -- but Peelander-Z was able to soldier on, when Peelander Green (Akihiko Naruse) signed on to further the group's momentum. In 2009, back to full strength, Peelander-Z released its fifth album, P-Pop-High School, and spent that spring touring their new collection. [less]

Indiana's Murder by Death layers the vocal sounds of an old saloon with the haunting strings of an Hungarian folk dance and the hard driving rhythms of pure rock n' roll, producing what Stuff magazine has called "lush, orchestrated songs," somehow simultaneously reminiscent of Johnny Cash and Radiohead. Added to that thick and intriguing sound are a series of dark and ironic lyrics, combining the mood and tone of Nick Cave and the Bad Seeds with the narrative force of the Decemberists or a short story by Nathanial Hawthorne. Adam Turla fills out these sometimes frightening, sometimes beautiful lyrics by conjuring up a cast of character voices, allowing the songs to speak with the force of the characters themselves, and providing the listener with a sense of ensemble unique in rock music. But this ensemble feel is not only the result of Turla's vocal playfulness, but of the cohesive playing of the band itself. Sarah Balliet channels her Kentucky Bluegrass roots through the skilled hands of a concert cellist, playing point and counterpoint to the lyrics and guitars with magnificent grace and style. Matt Armstrong's bass guitar provides the rhythmic framework of the band, but also takes the lead with surprising frequency, guiding Murder by Death into driving highs and brooding lows. And Alex Schrodt's drumsticks almost dance across the skins, giving the band what the Chicago Reader called "a rhythm section Nick Cave or the Faint would die for." The result is a fascinating slice of American Gothic, replete with trail rides, whiskey shots and Old Scratch himself. Murder by Death's unique sound has developed over several years of touring and recording. Constantly evolving their sound, the style changes from their first release "Like The Exorcist, But More Breakdancing" to their sophomore release, "Who Will Survive, and What Will Be Left of Them?". "Who Will Survive..." grew from a small, limited pressing album into a sleeper hit as they constantly toured the country, sharing the stage with bands as diverse as The Weakerthans, Rasputina, Lucero, Against Me!, and William Elliott Whitmore.” Who Will Survive's..." rich narrative structure, which recounted the travails of a small western town besieged by the devil, not only garnered popular and critical attention, but inspired a number of artistic reactions and responses, including ballet and stage productions, paintings, and even a PhD thesis. The band's new album, entitled "In Bocca al Lupo," forgoes the integrated narrative structure of "Who will Survive..., " presenting the listener with an album built on thematic connections. "In Bocca al Lupo," which translates roughly to "In the Mouth of the Wolf" (a phrase said before students take exams in Italian classrooms, and to which the students respond "Kill the Wolf"), examines themes of sin, transgression, punishment, and redemption, touching on different lives and different stories in each individual song. The resulting album resembles the 1979 murder mystery from which the band takes its name-a pastiche of bad deeds and good intentions, of last minute heroism and, in some cases, nearly impossible forgiveness. Musically, "In Bocca al Lupo" is as diverse as the various stories that the album recounts. The songs themselves reflect the stories they tell-gritty rock and roll beats drive “Brother” and “Sometimes the Line Walks You”, complex tango rhythms twine themselves through “One More Notch” and lonely western guitars accompany the simple elegance of “Shiola” and “Raw Deal”. Each of the album's ballads and waltzes, chants and hard hitting rock songs, meld content and form, creating meaning in the music itself. Murder by Death's unique musical aesthetic ties these seemingly disparate tracks together. With the help of producer J. Robbins (Jets to Brazil, Jawbox, Against Me!) the lush melodies and harmonies so unique to the band transform these varied sounds into a coherent and cohesive album, an album whose overall sound and sensibility melds the darkest moments of Modest Mouse's "Good News for People Who Love Bad News" with the maudlin country roots of Western folk rock. The band's thick, fretted, knotty sound provides a through line, tying together an album as musically diverse as the backcountry roads and basement rooms that inspired it. "In Bocca al Lupo", on Tent Show Records, the band's own label, shows off Murder by Death's maturity, both as songwriters and musicians. The album is alternately rough and gentle, elegant and complex, intelligent and playful; it moves from one to the other without breaking stride, without interrupting the album as whole. Murder by Death is known for their talent as performers, for their live presence, the ambiance and energy present in their music. "In Bocca al Lupo" harnesses this energy and distills it, adding to it the maturity of a band constantly on the road. [less]

Following various lineup changes over the years, RX Bandits included vocalist/guitarist Matt Embree, keyboardist Steve Choi, bassist Joseph Troy, drummer Chris Tsagakis, and a horn section of trombonist Chris Sheets and saxophonist Steve Borth by the early 2000s. Emerging in 1997 from Orange County's thriving ska-punk scene, the band quickly began to make a name for itself as a unit willing to take musical risks and lyrical stances. Most of this was due to Embree, whose songwriting continued to evolve in a more progressive direction even as RX Bandits grew to its eventual complement of six. After generating a strong buzz in the Anaheim area, the Bandits signed with SoCal punk-pop powerhouse Drive Thru and issued their official debut in 1999. Halfway Between Here & There was typical ska-punk with a decided pop edge, but 2001's ambitiously named Progress did mess with the sound's traditional precepts a bit. It certainly showed the Bandits as willing to use the horn section in adventurous ways. The band continued to build their national following, appearing on the Warped Tour and playing club gigs of their own. In 2002, Embree started the record label Mash Down Babylon (MDB) Records, which emphasized the band's role in a larger musical community. With July 2003's Resignation (issued through Drive-Thru's upstream agreement with MCA), RX Bandits took their progressive sound to another level entirely, excising much of the ska in favor of moodier reggae and raw, near post-hardcore screeds. It was also a platform for Embree's views on society and politics. That September, RX Bandits headed out with Something Corporate for a two-month club tour. Summer 2006 found the band on nationwide headlining dates, leading up to the fall release of their next album, ...And the Battle Begun, on MDB. Borth also exited the group. [less]

Alexisonfire is a post-hardcore combo formed in Ontario, Canada, in 2001. Vocalist George Pettit, guitarist/vocalists Dallas Green and Wade MacNeil, bassist Steele, and drummer Jesse Ingelevics debuted in 2002 with a self-titled effort for the Toronto-based Distort imprint. The album did very well in Canada, garnering a lot of support for the band from MuchMusic video network. That exposure led to a distribution deal with the respected American hardcore and punk label Equal Vision, which then issued Alexisonfire's sophomore effort in June 2004. Watch Out! was even more ambitious than its predecessor, mixing moments of melodic grace with the wiry explosiveness that Alex had already trademarked. The next year, Ingelevics exited the group to be replaced by ex-Jersey drummer Jordan Hastings, as a split with fellow countrymen Moneen appeared on Vagrant that November. Green also worked on some acoustic solo material, released in 2005 under the moniker City and Colour. Alexisonfire had become an official part of Vagrant's roster by summer 2006, performing on their Warped Tour side stage and releasing explosive full-length number three, Crisis, that August. The guys then hit up the Reading and Leeds festivals in the U.K. prior to embarking on an extensive two-month fall tour of Canada. [less]

Unleashing a relentless fusion of hardcore and death metal with the precision guitar attack of progressive metal, Job for a Cowboy was formed in Glendale, AZ, in 2002. The group was founded by vocalist Jonny Davy, guitarists Ravi Bhadriraju and Andrew Arcurio, bassist Chad Staples, and drummer Andy Rysdam, and the band cut their first demo CD in 2004. Later that year, Staples and Rysdam left Job for a Cowboy, with Brent Riggs and Elliott Sellers respectively stepping in as bassist and drummer. In 2005, the band recorded a six-song EP, Doom, that attracted the attention of Arizona independent label King of the Monsters, who distributed the disc after an initial self-released pressing by the band. Doom earned a potent buzz in metal circles, enhanced by extensive touring, and Metal Blade Records signed the band in 2006, reissuing Doom with a bonus track. Also in 2006, Arcurio dropped out of Job for a Cowboy, and new guitarist Bobby Thompson joined the group. While Job for a Cowboy was writing material for their first full-length album, Sellers left the band, and Jon "The Charm" Rice became their new percussionist. Recorded between road trips with producer Andy Sneap at the controls, the group's first album, Genesis, was released in May 2007 by Metal Blade, with lots more touring to follow. [less]