With the heart of a genuine Texas bluesman, the head (banging) of a Zappa and Lemmy disciple, and boots resting in the dust outside of town at sunrise, Scott H. Biram journeys through the harrowing human condition like no one else. A walk on the Biram side straddles the chasm between sin and redemption and The Bad Testament lands somewhere west of the Old Testament and south of an AA handbook. It’s a record of hard-grinding lost love, blues and deep, dark Americana.
Scott H. Biram conjured the words and music for The Bad Testament during mad alchemical sessions at his homemade studio in Austin, TX. Through stacks of amps, spools of cable, and a prodigious collection of microphones, he spread his technical wings wide, while never losing the immediacy honed from a life on the road. He added a drum kit and rustic vocal duet to his skill set (which already includes all guitars, bass, keyboards, vocals, and percussion on the album). And strip away the one-man band eccentricity, SHB is out-writing any meeting taker on Music Row. The man writes on a razor’s edge of aggression and deftness, thoroughly contemporary but steeped in the backwaters, back porches and back alleys of our collective musical heritage.
The Goddamn Gallows
Spit from the heart of America's Rust Belt, arising from a night of flophouse violence. Drifting across the states, they cemented their sound in Portland, OR and later in Los Angeles, CA, where they lived in abandoned buildings, squatter camps, storage units and shoebox apartments.
In 2007, they left everything behind and spent the next 4 years living out of whatever vehicle would get them to the next town. Building upon their original sound of twanged-out, punk rock gutterbilly (Life of Sin 2004 and Gutterbillyblues 2007), they began picking up stray musicians along the way and adding to their sound; washboard, accordion, mandolin and banjo (Ghost of the Rails 2009 and 7 Devils 2011) creating a sound referred to as "hobocore", "gypsy-punk" or "americana-punk", while never being stuck in any one sound.
Enter 2018 and The Goddamn Gallows have reinvented themselves once again with The Trial. From rockabilly, psychobilly and punk rock, to bluegrass and metal, The Trial infuses disparate sounds into a new strange recipe of seamless genre bending profundities.
Mix one part Texas fiddle and one part Tennessee banjo, add doghouse bass and a splash of guitar and you have a delicious cocktail for your ears known as the Urban Pioneers. This string band hammers out a variety of original songs that encompass old time hillbilly music, western swing, rockabilly, and even a few gypsy type songs for good measure. The band stays on the road constantly all over the world playing anywhere from large festivals to backyard parties, from quaint listening rooms to goat farms, and from divey punk bars to corn roasts.
Liz and Jared met in 2011 as backing members for a handful of prominent underground roots artists. When the timing was right they decided to form their own band and do things their way. Since 2014 the Urban Pioneers have released five full length recordings and have criss crossed the globe countless times. From the spring through the fall the trio spends a large majority of their time on the road. When the weather turns cold they spend their winters on their Texas ranch trapping feral hogs and writing new material.
Viva Le Vox
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