Squid Pisser
SQUID PISSER eviscerates the ego and and all things serene with their own vibrant form of vicious and mucky hardcore. Slamming down dolphin corpses at breakneck speeds, the duo, which is comprised of Tommy Meehan on guitar (Deaf Club, Cancer Christ, Sweatband Records, Cartoon Network) and Seth Carolina (Starcrawler), have constructed a fresh and mucousy new alien craft powered by tightly controlled noise-guitar, savage primal drum work, and gooped up vocal deliveries that might sound like a gaggle of frogs thrown into a garbage disposal (although the Squid boys wouldn’t recommend doing this). Conceptualized and formed in 2022, the band decided to fully utilize planet Earth’s viral slumber in order to gestate, write, and record 2 full length albums worth of material. Throughout the year, SQUID PISSER played a handful of shows in California and Nevada as a 2 piece as they continued the quest for further personnel and collaborators. Tommy Meehan’s tightly controlled noise-onslaught of rainbow vomit (spat out of a guitar amp via manic pedalboard wizardry and sophisticated finger work) paired with the utterly brutal and savage drumming of Seth Carolina, merge to create a collection of tracks that have been forged in a totally fucked and sonically chaotic storm of pus and goo.
El Ten Eleven
We like to believe our lives can be shaped into stories—clean arcs, legible meaning—but life refuses the outline. Instead, it moves bluntly and without apology, indifferent to our sense of order. Events pile up without resolution, momentum divorced from direction, motion confused for progress. Sometimes the only refuge left is the nowhere of our own minds. El Ten Eleven’s Nowhere Faster, the duo’s 16th release, was forged within that unease. Across eight tracks, it considers not just nothingness but velocity—the strange urgency that propels us forward even when the destination remains unclear. We are committed to acceleration, convinced speed itself might save us. The 33-minute album slows just long enough to pose the harder questions: what are we running from, and what do we think we can outrun? That tension appears even in the album’s artwork, once again created with longtime collaborator Rob Fleming. It depicts a classic liminal space: familiar, anonymous, quietly unsettling. A stained glass-colored building and a streetlamp blur at the edges, suggesting motion that feels less like escape than enclosure—the kind that traps rather than transports. Nowhere Faster emerged from Kristian Dunn and Tim Fogarty’s longest break from touring and recording in their 23 years together, though “break” is something of a misnomer. Dunn’s famously restless creative pace never slowed. Instead, he began writing for not one but two drummers, handing Fogarty one of the most demanding challenges of his career. The record also marks a first for the band, weaving real strings and piano throughout, deepening the palette of what is already one of their most layered works. The album’s titles and sounds draw from moments scattered across the band’s 23-year history. Opener “Uncanny Valley Girl” marks the return of long-retired effects like the delay pedal, stacking basslines into a dense, enveloping wall. It’s a clear-eyed take on AI-era paranoia, anchored by Fogarty’s steady rhythm—snare taut, cymbals gently alive—giving the sci-fi unease something solid to lean on. “Bjork’s Alarm Clock,” meanwhile, takes its title from an insult hurled at the band by a guitarist of a punk band on their first tour; you can almost hear Dunn and Fogarty’s quiet laughter beneath the buoyant bass and bow-scratched strings. Still, Nowhere Faster is not a retreat into nostalgia. El Ten Eleven remains invested in risk and reinvention. The record continues to center Fogarty’s propulsive drumming and Dunn’s bass-driven experimentation: the first four tracks (“side A”) feature electric bass, while the latter half (“side B”) shifts to acoustic bass processed through pedals, subtly altering the album’s emotional weight. “Last Night In The Kitchen” reaches for the slick, sleazy bombast of classic Bond themes, opening new corridors for Dunn’s ever-expanding musical ambitions. Ultimately, Nowhere Faster is an album about reckoning—about time, endurance, and the uncertainty of how long a band, or a life, can last. We are all fumbling toward finitude. The question is not whether we’ll arrive, but what we want to hear on the way there. What will we dance to as the ground begins to shift beneath us? If nothing else, it may sound something like Nowhere Faster.
Dedications
Simon Joyner & the Ghosts
Simon Joyner is a renowned American singer-songwriter from Omaha, Nebraska who has released albums on independent labels since the early 1990s. His earliest records were influential signposts of the Lo-Fi movement which also produced contemporaries like Smog, Lou Barlow, Will Oldham and the Mountain Goats. He is now widely regarded as one of the great songwriters of our time. Gillian Welch calls him her favorite poet and Kevin Morby and Conor Oberst both claim him as a major influence. Despite often being described as a songwriter’s songwriter, Joyner has soared under the radar for over thirty years. His storytelling has been compared to Leonard Cohen, Townes Van Zandt, Lou Reed, and Bob Dylan. Over the course of 19 albums his career is hard to pin down as he’s followed a mercurial path, never content to make the same record twice. See him at The Reverb playing the songs from his new album, “Tough Love,” with a band of Omaha musical royalty including David Nance, Jim Schroeder, Sean Pratt, Mike Friedman, and Megan Siebe. —— David Nance is a musician based in Omaha, Nebraska. Nance grew up in Grand Island, Nebraska, played in the marching band and discoveredpunk and garage rock before moving to Omaha and joining the mid-2000 garage punk scene happening there with the band the Forbidden Tigers. Several years spent in Los Angeles with his wife Anna led to a period of songwriting and home recording before they decided to move back to Omaha where he began finding his musical identity and started recording his songs with like-minded friends. What developed was a heavy burned-out rock vibe that still somehow fits in the punk universe. Nance also played with Omaha legend Simon Joyner and has continued to record and self-release tapes and cdrs throughout the past decade. Nance is also known for his lightning punk cover recordings of classic albums such as Lou Reed’s Berlin, Beatles for Sale and Devo’s Duty Now For the Future. For this series, Nance will choose a favorite album, learn the songs and record over the course of a week and release it on CDR or cassette on his own Western Records. Nance plans on continuing this project and would like to release 100 of these eccentric home spun and destroyed love letters to the greats. Another partnership includes a collaboration with the musician Rosali that has resulted in two excellent albums and subsequent tours with the David Nance Group as her backing band. They had been touring with her band the Long Hots in 2019 and started playing together with mutual affinity. Rosali’s upcoming album was recorded with musical compatriots James Schroeder recording and Kevin Donahue and Nanceplaying, as well. Not content to mine one musical formula, Nance and company continue to explore new sounds and spaces. From the blistered punk blasts of More Than Enough to the introspective stance on Staunch Honey, Nance and his friends find inspiration from the friends and fellow musicians that have accompanied them on their journey. A fruitful one indeed.
Primal Descent
THIS PERFORMANCE IS AGES 21+
Trixie Phillips’ Rock N’ Roll Burlesque Show
VIP tickets are the best seats in the house with a guaranteed table and seat; this tier also includes raffle tickets. GA is in the back of the house with limited available seating; seating is first come, first served. Join Trixie Phillips’ and her cast for a night of burlesque and rock n’ roll music! We will be showcasing the vast array of genres of rock that have been popular through time combined with the art of striptease! Don’t miss out on an evening of good music, good fun, and good vibes! Want to join in on the fun? Come dressed in your favorite band t-shirt, as your favorite artist, or anything that screams rock n’ roll to you!
Beast Eagle
The Toxhards
A cult band in the making, The Toxhards bring a chaotic shot of adrenaline with their rousing live performances and genre-bending songs. With 8-foot-tall pig suits, t-shirt tosses, AirDropping unreleased demos from the stage, constant instrument swapping, and free coffee, The Toxhards have built a rapidly growing and devoted fanbase – many of whom attend shows cosplaying as characters from the band’s eclectic catalog such as “Ængus, The Prize-Winning Hog,” “Satan’s Little Hell Song,” “Beatrice,” “Doombop!” and “Get Creative! Or Get Radicalized!” No two Toxhards shows are ever the same. The Get Destructive Tour promises to be the band’s most ambitious and interactive run yet, featuring a completely different setlist every night, brand-new visuals, and new songs the audience will vote on during the show (the band needs that sweet, sweet market research!) plus all the Toxhard classics fans love to experience live. The Toxhards’ music has racked up tens of millions of streams and views online, with millions more for their comedic bits and skits. Their debut LP Your Neighborhood was released in spring 2025 via Hopeless Records to critical acclaim, and was followed by extensive touring across North America. The Get Destructive Tour marks a new era for The Toxhards, and promises to outdo everything before it.
Pirates and Outlaws
Pick a side, sea dogs and scoundrels! Join us for an evening of Pirates vs. Outlaws with immersive character acting, costumed fun, and three great sets! Costumes encouraged — dress as a pirate or an outlaw!
Virtua dx
Emerging from the East Coast US city of Baltimore, Maryland, Virtua dx (@virtuadx) have already carved out something of a cult following after the release of their colourful, dance-influenced shoegaze album Guitarpop Forever in mid-2025. With a DIY production style and engrossing mixes of nostalgic samples alongside raw guitars, there’s a charm to the band’s music that few in the US shoegaze underground can replicate. (Josh Holmes, The Mic)
