Deep Blues Festival 2014 - Das Programm

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Left Lane Cruiser (USA) Video
This whiskey fueled two-man frenzy of blues-driven rock’n’roll noise straight from Fort Wayne, Indiana promise to hit you like a shock wave and show you a foot-stompin’ good time. Left Lane Cruiser is comprised of Joe Evans on slide guitar and vocals with Brenn Beck on one big-ass bass drum, harmonica and a toolbox full of percussive gear. The raw blues duo of LLC have practiced through thick and thin to hone a sound unlike any other and have been together long enough to have previously released a couple of self-produced EPs. Let your soul drive what you do is the premise of their music, give it all you got, and everything is an instrument: trash cans, paint trays, hubcaps, ladders, you name it.
Learning their craft by playing at house parties, at the corner streets of their home town, and rehearsing in a heatless garage, they have developed their personal take on the North Mississippi Hill Country sound. They have toured relentlessly, sharing the stage with artists such as Robert Belfour, Black Diamond Heavies, Hillstomp, and Chris Cotton among others. They have also appeared at the infamous Deep Blues festival in River Falls Wisconsin in 2007.
Bring Yo’ Ass To The Table is the culmination of everything these boys have experienced as a band during the four years of their existence, it’s greasy hot, shaved dry, and crazier than your smokin’ methed-up ex-girlfriend who keeps singin’ 'Down By The River I Shot My Baby’ thru a two-dollar pawn shop mic she jerry-rigged thru that ol’ gunshot black & white TV in the backyard and dedicating it to you with love m*therf*cker to quote Deep Blues guru Rick Saunders.

Guadalupe Plate (Spanien) Video
A virgin of Guadalupe surrounded by an aura of silver clearly offers an advanced degree of spiritual protection and it is, very likely, just as well. The music that the trio conjure is derived essentially from the dark stuff. They describe the process as a straining to be podrío; to be rotten. And this album is the most rotten thing they have done yet; the most recent example of their process of involution, inhabiting that place in their collective imagination where is the demonic force which straddles the blues and cante jondo. If it is blues or rock then for some reason you can not imagine it being made in any other language than their dark, accented Andalucian Spanish - albeit much of their music as performed is accompanied vocally by baby yelps, Little Richard stream of consciousness or insistent invocations of women’s names.
Their performance is a beguiling and bewitching thing. The band rarely rehearses
because they live in three different cities and because, at a rhythm of 100 gigs a year, gigs which may extend to various hours, much of the composition takes place before an audience. All sorts of audience. To play every weekend two or three times in a country like Spain you will often be playing in brothels or working men’s clubs. There is a wealth of documentary evidence of these concerts on the web. They explain the performance in flamenco terms of duende or hechizo. In the English speaking context it is probably best just to shake your hips and go where they take you. In any case though their public tends to be young and drawn to wild music there are often, lately, men and women of 30, 40 or 50 years who will compare the experience to performances that marked them in their youth...they speak of Beefheart , Canned Heat, The Fall or Pata Negra..... dark stuff.
The album was recorded in three days at Ryan Anderson’s studio in Austin with the
help of Walter Daniels (The Oblivians, The Revelators) on harmonica, and mixed by
Mike Mariconda (Devil Dogs, Raunch Hands) in Málaga.

The Bonnevilles (Irland) Video
Selling their brand of Garage Blues across Europe, Andrew McGibbon Jnr and Christopher McMullan, respectively a deeply soulful vocalist,
delta surfing guitarist and powerhouse drumming man-mountain, who have earned a reputation as one of the most incendiary live acts in the country.
Their sound is described as Hound Dog Taylor and RL Burnside using Black Sabbath’s equipment (Trash City).
Formed in 2008 they quickly recorded their debut album Good Suits & Fightin’ Boots which was release on garage label Motor Sounds.
The following years saw them tour in Europe and play shows with T Model Ford, Scott H Biram, Bob Log III, The Black Diamond Heavies, Kid Congo,
The Fall and Pete Molinari.

N.I. Music Prize Nominees
Dan Hegarty RTE 2FM album of the week & Number 6 in Top100 Irish Albums of 2012

The Irish Times. 4 out of 5 ...grief lurks over their second album like a leaden spectre. McGibbonʼs whiskey-soaked voice is a powerful tool...
Occasionally recalling the shady stalk of contemporary artists such as Dan Sartain...

Mojo Magazine 4/5 ...stunning of the wall twisted punk blues
Incognito Magazine Top 5 Songs of the year
More Than Music. 8 out of 10 Imagine a two-headed fuzz delta garage punk fusion that comes on like an incestuous relationship between
The Black Keys and Jon Spencer Blues Explosion channelled via Rory Gallagher, Howlinʼ Wolf and Willie Dixon.
Alternative Ulster Magazine. 8 out of 10. Itʼs dense, itʼs thrashy, and oh-so-dark.
Red Wine On A Sunday Folk Art & The Death Of Electric Jesus sounds like the The Rolling Stones’ Exile On Mainstreet on steroids
Rick Saunders - Deep Blues The Bonnevilles are one of the very best of the post- (early) Black Keys/white stripes-inﬂuenced bands...
deep dark punk and stylish hard roots music with good pop-sense & without a whiff of retro poly stinkersion from the expected,
Folk Art is certainly a cut above most of the rest.

Deadpan Alley (Canada)
Clunk and Sputter. That is the title of Deadpan Alley's debut CD set to be released in the summer of 2014. It is also the sound of well-worn, powerful machinery.
Guitarist Bob Keelaghan and drummer Jason Woolley are half the team that delivered Agnostic Mountain Gospel Choir's first two CDs. (Keelaghan still remains a member.) That Canadian band is a cult favourite among fans of blues and country music steeped in tradition, but seasoned with irreverence and rambunctiousness.
In Deadpan Alley, they dig in the same dirt as the Agnostics, mining early 20th century blues and country for fuel, but they take it several steps further by throwing in gypsy jazz, hypnotic electric blues trances, and, obviously, the ragged edge of underground rock.
While there are noticeable similarities to AMGC, Deadpan Alley take the music further out, conjuring images of electric juke joints and out-of-body-experiences in the stratosphere.
Keelaghan, who has earned himself a reputation as an underground guitar hero, shows his six-string range with hyperkinetic electric slide, high speed gypsy scales, Delta finger picking, and fiddle tunes simulated for an acoustic guitar. Woolley matches his steps by bashing out skillful, tribal, trash can rhythms.
Clunk and Sputter is a wild ride that seems as if it could crash at any time, but Deadpan Alley deliver the punk-blues goods with a high stakes poker face.

Molly Gene Whoaman Band (USA) Video
"The Molly Gene One Whoaman Band swiftly set up her equipment and not a single one among us had any fucking clue what we were in for.
Where to begin? Let’s try with what was happening percussion wise, shall we? This homemade box that was maybe a foot across held the snare,
a high hat, and the bass drum. All triggered by taps of her feet. It had to have been homemade. A harmonica sat around her neck, a hollow body guitar
in her arms with a metal slide on one finger and the voice to back it all up. It truly was a one-woman band. Had anyone been joining in, the entire experience
would have been lost and probably would have sounded a little too muddy. But this, this was just right. She sat alone and swayed and moved and utilized
every part of her body. Her own genre of Delta Thrash was an aptly appropriate title. It was grimy and soulful. Full of all the garage-y influences that
I grew up with, from the old to the new. She bounced from the raw sexuality of Iggy and The Stooges to the danceability of The Sonics to the minimalism
of The White Stripes. The raucousness was no illusion. Magic, maybe, but there was no slight of hand. With no intention of proverbial brown nosing, this
was easily one of the most heated and talented performances I had ever witnessed. She sweat tequila and screamed until her lungs fell from her mouth.
There’s really not much more I can say considering I am still somewhat bewildered and astonished by her set. You should stop reading, click some links
and listen for yourself. We can meet back up in a minute or two. I’ll be here waiting for you, so go listen, you won’t be disappointed. I swear. .... You’re back?
Amazing, right? Let’s move on..." - September 10, 2012 By Daniel Gardner - Shutter 16 Magazine
When I listen to Folk Blues, and Booze, I feel like I’m listening to the future. At least I hope this is what the future sounds like. Here’s a young(24) artist/performer
with talent and charisma to burn; and she’s playing and singing the rawest, scariest blues being played today. Anyone who’s seen Molly Gene live can attest
to the explosive power of her performances and the uniqueness of her sound. She’s a true one whoaman band; playing a vicious slide guitar, drumming with her feet,
and singing like a demon simultaneously. This album brings that powerful, unique sound to your home or car speakers and then some. Produced and engineered
by the mysterious Solid Audio Productions, Folk Blues and Booze is a gem.
The album opens with an a cappella version of Mississippi Fred McDowell’s When The Train Comes Along. From there, we’re in full One Whoaman Band mode
with Smells Like Low Tide; a rockin’ jam about looking for mischief on the beaches of the southern coast. Listening to or reading along to Molly’s lyrics, I notice a
distinct lack of blues clichés. Sure there’s innuendo but these innuendos are all her own. The impromptu hay ride in the back of her pickup truck suggested
in Stick Shift bears ample evidence to this point. Not a jelly roll or handy man in sight! She’s not so much flirting as threatening to get you drunk and take
advantage of you. Likewise in Kiss Me Quick, Molly goes beyond flirtation and into aggressive seduction.
Elsewhere on the album, Molly shows her range far more-so than on her last album, the full-throttle Hillbilly Love. On Tumbleweed, she perfectly captures
the sadness and anger that comes with a bad breakup. The emotional weight of the acoustic traditional Dinks Song is just crushing. I’ve seen Molly do a
set of mostly slower ballads one August night in Arizona when it was just too hot to rock anymore, and she had the sweaty crowd in the palm of her hand.
Molly Gene is constantly touring so do not miss any opportunity to hear her do it live. Until then, pick up Folk Blues and Blues - Jay Scheffler: Boston Blues Society
"One high energy performer that evening was Molly Gene (One Whoa-man Band). Molly Gene stands out in the one-man blues band genre not because of
her gender but for her over the top punk blues energy. While other performers’ percussion usually consists of some sort of simple amplified foot-stomp device,
Molly uses a custom-built Farmer Foot Drum. These hand-built wooden devices allow a performer to play what is practically a full drum kit using just their feet.
Playing fast and noisy blues guitar while singing and drumming at a crazy tempo takes a ridiculous amount of stamina, and Molly doesn’t pause long to catch
her breath between songs. Her bad-ass blues skills told the audience she’s a full-on force of nature. Molly Gene could probably kick a hole in a car door."
- Chris Green SSG Music

Juke Joint Pimps (Deutschland) Video
You guys sound like Muddy Waters and Elmore James glued together! Your sound is a killer - digging deep into the early Chicago blues of the 1940s, fabulous! You need to promise me that I'll be the first DJ to play your full lenght CD when it's ready!
(Source: Przemek Draheim, blues radio poland)

Undergroundshow Bla Bonn, 07.02.05
"(...) The gentlemen of the Juke Joint Pimps had no reason to complain, either. With their dirty blues sound the duo of T-Man Michalke and Michael Wagener became a guarentee for a great atmosphere. "I just want to make love to you" shouted Wagener at the audience. Standing, with two drum sticks in his hands and a harmonica rack at his mouth, the man from Cologne was also in charge of the singing. (...)"
(Source: Bonner Rundschau)

Harbour Street, Rügen Island
"You guys are completely fucked - up!"
(Source: Jan Mohr, Gitarist of the "Chargers")