The Bronx

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The Bronx

Death by Stereo, NO PARENTS, B Boys

Mon, April 16, 2018

Doors: 7:00 pm / Show: 8:00 pm

The Glass House

Pomona, CA


This event is all ages

The Bronx
The Bronx
Fifteen years ago, The Bronx appeared in a storm of attack-mode guitars, apocalyptic rhythms, screaming aggression and sneering disdain for the status quo.

In 2017, as The Bronx resurface with their fifth eponymous album (and first in four years), the Los Angeles-based quintet has lost none its pugnacity. “The Bronx V,” as it is destined to be known, is as hard-hitting, confrontational and relevant as ever. And while it may or may not sound more grown-up than their vein-bulging early releases, they will not apologize either way.

“It has the angst and social commentary that has characterized us from the beginning,” guitarist Joby J. Ford says, “only now the angst is aimed at more than just superficial things and the social commentary is directed at more than just people who like different music than us.”

Says singer Matt Caughthran: “We still have a lot to prove to ourselves.”

Coming from a band that has persevered for a decade and a half, that sounds outlandish. Moreover, they've led dual lives for the past eight years, maintaining an alter ego as Mariachi El Bronx that as is as true to that form of music as their hardcore is to the punk ethos. Prove themselves? Yes, that’s the way the Los Angeles-based quintet thinks and works.

“The Bronx V” is out Sept. 22. The band — Ford, Caughthran, guitarist Ken Horne, bassist Brad Magers and drummer David Hidalgo Jr. (replacing Jorma Vik, who departed the band in 2016) — recorded the album over five weeks with renowned producer Rob Schnapf, whose wide array of gear allowed them to add considerable nuance to their blistering guitar volleys.

“Instead of having one thick wall of guitar, there are a lot of different colors, different sounds, the result of using a variety of guitars and amps,” Horne says. “Overall, it’s still heavy but catchy.” Adds Magers: “He was perfect for us. Somehow, we sound clean yet dirty.”

Years back, Schnapf was slated to work on the third Bronx album and the Mariachi El Bronx debut, but that was scotched when the band was dropped by their label. The producer was happy it finally happened. “They know the drill,” the producer says. “It’s not like anybody had to coax anybody. And it ended up being two oddball amps that gave the album its sound.”

More than sonics, though, “The Bronx V” finds Caughthran at his most full-throated and direct, addressing themes ranging from the national consciousness to his own personal struggles and mid-thirties malaise.

“One of the main hurdles was kicking myself out of the depression I’ve been battling for two years,” he explains. “I don’t want to over-dramatize it, but I felt pretty bleak for a while. I didn’t want to just write about relationships — I wanted to write about how difficult it often is to keep your head on straight. Sometimes it’s a daily battle. I’m a lucky guy, but I’ve been down some dark holes the past couple of years, not knowing whether I was capable of being the person I thought I could be.”

That feeling is referenced in “Channel Islands”: “Last chances dancing in the moonlight / goodbye is written in the stars / I saw myself above the ocean / running outta time / running outta time,” Caughthran wails, looking his own self-doubts squarely in the eye.

But while confronting his own demons and the notion that “maybe I’m not cut out for making it to the second part of my life,” Caughthran says he also looked externally for inspiration. “The world is on its ass,” he says bluntly.

The pulse-quickening “Broken Arrow” tackles phobia over religion; the anthemic “Cordless Kids” suggests “our future’s buried in the past;” and “Kingsize” broaches the idea of knocking everything down and starting all over, because “The summer of love / is divorced.”

“The world is both sad and hilarious right now,” Caughthran says. “It’s a funny time to be an actual living human being with a heart and a conscience. I am not a fan of people shutting their doors and closing everything off. But as an artist, it’s actually a great time to create.”

Adds Ford: “We never wanted to be a political band, but how can you not make some kind of statement with the things that are going on around us?” he says. “I think we arrived at something that is conceptually correct.”

Lacking none of the band’s typically pugilistic fervor, “The Bronx V” lands punches exactly where they’re aimed.
Death by Stereo
Death by Stereo
Death by Stereo (also referred to as D. B. S.) is a hardcore punk band formed in Orange County, California circa 1996 by frontman Efrem Schulz. They are well known for their energetic performances and intricate guitar work. Their name can be attributed to the 1987 horror film The Lost Boys, for which Corey Haim speaks the line.

Death by Stereo has released five full-length studio albums and one live album. Their most recent studio album, entitled Death Is My Only Friend, was released on July 7th 2009 in the United States. They also have a DVD in the works.
No Parents is a punk band. Like, a real punk band. One that breaks actual things, and
tattoos each other, and manages to make wearing skirts look both natural and menacing.
With a cocktail of energy, humor, and beer sweat, No Parents bridges the gap between the
catchy nostalgia of early 00’s, anarchy-symbol- wristband wearing, pop-pranksters and the
raw howl of glee that’s resonated from mosh pits since before Reagan ever slunk into the
presidency. Their live shows are both spectacle and splash zone, something to be witnessed
yet impossible not to be immersed in. Thus far, no reports have surfaced of them turning
any party-minded parents away at the door.
B Boys
B Boys
Three psychos that came to be through fate by way of necessity, B Boys offer up to the world their sonic manifesto, No Worry No Mind. A relief from the mania, an expression of duality, an extension of Dadaism.
Born in different times from alternate altered states, these B’s convene on the astral plane, channeling the individual experience and wisdom from their respective points of origin into a singular entity. Abstraction takes a triangular form: vibrant guitar melodies, undulating bass lines, deep swirling grooves. Sounds that transcend a linear timeline, splintering out across multiple spectrums. Interlocking vocals skillfully bob and weave overtop, their mantras resounding. But don’t be fooled, they’re just like anyone else — they put their chinos on one leg at a time.
You’ve got something growing out your neck, my friend. Are you willing to hear its call? Open your Self to the frequencies and let the vibrations illuminate your being.

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Venue Information:
The Glass House
200 W. Second St
Pomona, CA, 91766