The Devil’s Cut / Saint Christopher Webster / Jason Alarm / Cash O’Riley
Wed, Mar 8, 2017 @ 8:00 pm to 2:00am
Wednesday, March 8 / 8pm doors, 9pm music /$8
The Devil’s Cut (Rock N Roll)
Saint Christopher Webster (PUNK/Cuntry/Blooze/Rokk’N’Roll/PunK)
Jason Alarm (Rock and roll)
Cash O’Riley (Stewed and screwed hillbilly blues)
The Devil’s Cut mix earnest storytelling with a feeling of camaraderie and debauchery. The experience creates a profound sense of community you just want to be involved in, prompting you to hurl crushed beer cans at the screaming singers. An ear full of raucous music about death and love in Lansing, which leaves you a part of something. It is true American folk poetry, set to a sound that makes you want to mosh the shit out of your body.
“Music for anyone who has sat on a porch with a beer and watched equipment moved out of a factory after production was outsourced, who has seen the pool hall they grew up in turned in to a convenience store, who has paid their bar tab with a disability check after being hurt on the job.” ~Romeosidvicious from Ninebullets.net
Saint Christopher Webster: Trust me, the attitude of songs like EAT/FUCK/KILL will always be in my heart but I honestly don’t want to be playing that at age 50… In my opinion, LAST CHANCE AT FREEDOM is far better representation of who we are now and better chronicles the struggles we have had.
Grand Ledge, MI quintet Jason Alarm is a generational clusterfuck. Bearing the banner of an unnamed, undefined (and perhaps nonexistent?) third-wave of synth-saturated counter-culture rock, the band is perhaps simultaneously too naive to scare away from the proggy-structures and ideas defined as sacrilege by its new wave forbears, and too drawn to the the guitar-shredding excess of metal eschewed by its punk heroes to leave either alone. This exuberant lack of shame and demonstration of beyond-its-years talent manifests itself in a youthful and energetic explosion that might not even stretch its toes over the punk line if not for its speed and clever ability to show restraint and rely on simplicity when called for in any given song or performance. This is truly the beginning of a natural convergence between the mid-to-late 90’s midwest synth punk fallout and the still adventurous themes found amongst dad’s record collection (think Brainiac meets Iron Maiden at a Yes concert)…whether the band itself knows this or not is another question altogether. -Cale Sauter
Cash O’Riley: An Original Songwriter and One Man Band from Flint, Michigan, The Ownsome Outlaw plays a Homemade, Hand Built 2 Gallon Oil Can Electric Guitar,Harmonica, Drums with his Barefeet, sometimes switches to Banjo or Acoustic Guitar and plays them all LIVE…no loops or backing tracks.Raised on Rock-n-Roll, Honkytonk, Punk, Jazz, Blues and influenced by everything he’s ever heard, Cash O’Riley brings his “Stewed & Screwed Hellbilly Blues” across the highways and byways in the his 1964 Chevy Belair and gets every foot within earshot tappin’, the floor dancin’ and hands clappin’.