Unregistered Nurse


CALENDAR



5.23 Ottobar Upstairs
Foster Care
Secret Local Band
Savage Pinks
Gutterhooks


5.24 Sidebar
Coliseum
Red Hare
Give
Spoilage


5.27 Metro Gallery
MEMORIAL DAY RAGER
with
Natural Child
Slow Jerks
The Matrimonials
+ DJ Dad Weed


5.28 Metro Gallery
Lemuria
War on Women
Sick Sick Birds


5.31 Metro Gallery
Black Pus
Weekends
Baby Asprin DVD
Wing Dam
Teenage Souls


6.5 Ottobar Upstairs FREE SHOW
Woolen Men (Woodsist)
Lame Drivers
Crimson Wave
Expert Alterations


6.11 Metro Gallery
The Body
TBA


6.18 Golden West
BBQT
Mt. Carmel
TBA


6.20 Metro Gallery
Bleeding Rainbow
Fat Creeps
TBA


6.21 Golden West
Baltimore Animal Rights Federation (BARF) / Humane League Benefit!!
with
Friendbeast
Night Moves
Enemy Insect


6.26 Ottobar Upstairs
TBA


7.16 Metro Gallery
inc. (4AD Records)
Kelela
DJ Total Freedom


8.27 Ottobar
CSR 7th Anniversary!!!
with
Zero Boys
Night Birds
Give
WarXGames
Ravagers


10.17 Metro Gallery
U+Nfest preparty


10.18 & 19 Ottobar
U+Nfest




Booking Inquiries

unbooking@gmail.com



Hype

UNREGISTERED NURSE NAMED BALTIMORE'S BEST MUSIC PROMOTER 2012!!!

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Booking + promo, shows + tours

Flyer by Ben Higgins, click to RSVP!!!

Flyer by Ben Higgins, click to RSVP!!!

Lemuria poster by Jillian Yoffe. So cute! Click to RSVP

Lemuria poster by Jillian Yoffe. So cute! Click to RSVP

CONFIRMED! 6.18
++ CLICK PICTURE TO RSVP!! ++



BBQT (Gabbie from the BamBams… CLICK) MT. CARMEL (Siltbreeze… CLICK) +1 $7/ 10pm Presented by Unregistered Nurse

CONFIRMED! 6.18

++ CLICK PICTURE TO RSVP!! ++

BBQT (Gabbie from the BamBams… CLICK)

MT. CARMEL (Siltbreeze… CLICK)

+1

$7/ 10pm
Presented by Unregistered Nurse

CONFIRMED! 6.5
++ CLICK THE PICTURE TO RSVP!! ++


WOOLEN MEN (Woodsist) CLICK CRIMSON WAVE (Bmore pop)CLICK  LAME DRIVERS (minimal DIY punk/pop)CLICKEXPERT ALTERATIONS (baltimore) $$FREE$$ Presented by Unregistered Nurse doors at 9:30 ///////////////// from P4k: The Woolen Men put out plenty of music on their own before hooking up with Woodsist for its forthcoming full-length self-titled debut. But if you didn’t know any better, you’d swear they magically materialized from the spare parts of the label’s other acts. With its quick count-off, clanging guitar, galloping drums, distant organ wheezing, and underwater vocals, “Head on the Ground” typifies the “melodic 1960s rock with ’90s indie production values” that Woodsist is known for. The Woolen Men perhaps are a little more rock’n’roll than their labelmates, with singer Rafael Spielman affecting an impressive garage-dude drawl that contrasts with the song’s effortlessly bounding drive. 
 
(full review with streaming track; HERE)

CONFIRMED! 6.5
++ CLICK THE PICTURE TO RSVP!! ++
WOOLEN MEN (Woodsist)
CLICK

CRIMSON WAVE (Bmore pop)
CLICK

LAME DRIVERS (minimal DIY punk/pop)
CLICK

EXPERT ALTERATIONS (baltimore)

$$FREE$$
Presented by Unregistered Nurse
doors at 9:30
/////////////////

from P4k:
The Woolen Men put out plenty of music on their own before hooking up with Woodsist for its forthcoming full-length self-titled debut. But if you didn’t know any better, you’d swear they magically materialized from the spare parts of the label’s other acts. With its quick count-off, clanging guitar, galloping drums, distant organ wheezing, and underwater vocals, “Head on the Ground” typifies the “melodic 1960s rock with ’90s indie production values” that Woodsist is known for. The Woolen Men perhaps are a little more rock’n’roll than their labelmates, with singer Rafael Spielman affecting an impressive garage-dude drawl that contrasts with the song’s effortlessly bounding drive.
 

(full review with streaming track; HERE)

CONFIRMED! 5.22 AT OTTOBAR
++ CLICK THE PICTURE TO RSVP!! ++
GET TIX
SINKANE (Sudanese Afro-Funk guitar pop, mem Yeasayer/ Of Montreal/ Born Ruffians)
CLICK + TBA Presented by Unregistered Nurse 9pm $10adv./ $12 dos /////////////////////////////////////////// from Pitchfork; Sinkane Mars 7.0 “Biography can be overstated when evaluating an artist’s work, but Ahmed Gallab’s story is key to understanding his music. The Sudanese son of two college professors, he moved to the United States with his family at the age of five to escape the country’s fomenting political violence of the late 1980s. The family moved around a bit, and Gallab eventually settled in Columbus, Ohio, when he was 18, where he fell in with the city’s hardcore punk music community. He later found work as a session musician of some demand, drumming and serving as a multi-instrumentalist for Yeasayer, Caribou, Of Montreal, Born Ruffians, and Eleanor Friedberger. Eventually, as these things often go, he made his way to Brooklyn, where Sinkane started taking shape as his primary creative outlet. Mars is Gallab’s second full-length as Sinkane, and it sounds like the work of a nomadic professors’ kid with equally strong ties to a DIY scene as well as his east African roots, whose creativity flourished on the road with indie vets and in the self-styled cosmopolitan home of 21st-century indie music. Mars is both refined and easygoing, if not a bit aloof at times. It works in multiple musical registers simultaneously and smartly— the syncopated rhythms and breezy guitar figures of Sudanese pop, krautrock, early-70s funk, free jazz, Fader-friendly global indie— while maintaining a clear authorial voice (largely coming from Gallab’s playing multiple instruments on each song). There’s a loose concept at play on the record: Mars is Gallab’s metaphor for a musical space in which anyone can exist, regardless of background. Though the temptation to refer to the rich tradition of Afro-futurism arises when a guy born in Sudan references interstellar reaches, the connection to Sun Ra, Parliament, or André 3000 is tentative at best. The record’s politics are as abstract as the cover photo, and the album’s mood thermostat doesn’t move much from the “chill” position. There aren’t a whole lot of lyrical specifics, but an abundance of references to the red planet seems less meant to signify escape (as in the Reverend A.W. Nix’s pioneering “White Flyer to Heaven” sermon), or a sign of plain weirdness (as in Lil’ Wayne’s use): For Gallab, it’s more along the lines of a summertime rooftop party, where your affable host greets you without rising from his deck chair.FULL REVIEW”

CONFIRMED! 5.22 AT OTTOBAR

++ CLICK THE PICTURE TO RSVP!! ++


GET TIX


SINKANE (Sudanese Afro-Funk guitar pop, mem Yeasayer/ Of Montreal/ Born Ruffians)

CLICK

+ TBA

Presented by Unregistered Nurse

9pm
$10adv./ $12 dos



///////////////////////////////////////////
from Pitchfork;
Sinkane
Mars
7.0

“Biography can be overstated when evaluating an artist’s work, but Ahmed Gallab’s story is key to understanding his music. The Sudanese son of two college professors, he moved to the United States with his family at the age of five to escape the country’s fomenting political violence of the late 1980s. The family moved around a bit, and Gallab eventually settled in Columbus, Ohio, when he was 18, where he fell in with the city’s hardcore punk music community. He later found work as a session musician of some demand, drumming and serving as a multi-instrumentalist for Yeasayer, Caribou, Of Montreal, Born Ruffians, and Eleanor Friedberger. Eventually, as these things often go, he made his way to Brooklyn, where Sinkane started taking shape as his primary creative outlet.

Mars is Gallab’s second full-length as Sinkane, and it sounds like the work of a nomadic professors’ kid with equally strong ties to a DIY scene as well as his east African roots, whose creativity flourished on the road with indie vets and in the self-styled cosmopolitan home of 21st-century indie music. Mars is both refined and easygoing, if not a bit aloof at times. It works in multiple musical registers simultaneously and smartly— the syncopated rhythms and breezy guitar figures of Sudanese pop, krautrock, early-70s funk, free jazz, Fader-friendly global indie— while maintaining a clear authorial voice (largely coming from Gallab’s playing multiple instruments on each song).

There’s a loose concept at play on the record: Mars is Gallab’s metaphor for a musical space in which anyone can exist, regardless of background. Though the temptation to refer to the rich tradition of Afro-futurism arises when a guy born in Sudan references interstellar reaches, the connection to Sun Ra, Parliament, or André 3000 is tentative at best. The record’s politics are as abstract as the cover photo, and the album’s mood thermostat doesn’t move much from the “chill” position. There aren’t a whole lot of lyrical specifics, but an abundance of references to the red planet seems less meant to signify escape (as in the Reverend A.W. Nix’s pioneering “White Flyer to Heaven” sermon), or a sign of plain weirdness (as in Lil’ Wayne’s use): For Gallab, it’s more along the lines of a summertime rooftop party, where your affable host greets you without rising from his deck chair.

FULL REVIEW

CONFIRMED! 5.12
++ CLICK THE PICTURE TO RSVP ++

CONFIRMED! 5.12


++ CLICK THE PICTURE TO RSVP ++

CONFIRMED! 5.28 AT METRO GALLERY
++CLICK THE PICTURE TO RSVP!! ++
 
LEMURIA!!! (NY, Bridge 9 Records)CLICK With guests TBA get tix; HERE $8/ 9pm ///// Without a distinguishable understanding of the pop and intensity, a silent video of a Lemuria show would appear to be that of a blistering hardcore trio. To the viewers surprise, turning the audio on they’d find the stage diving mania and screamers are really chanting “Maybe I should wear lipstick too” or “You fit in my skin, softest I’ve let in” as guitarist/vocalist Sheena Ozzella’s dynamic, melodic voice guides the unlikely chorus. Lemuria might not sound like they are from Buffalo, NY, but the band was proudly birthed there, following the legacy of an oddly eclectic, if not eccentric, music scene. When you loosen your ears to the sugary indie-pop, you’ll discover discordant notes, odd time signatures, and brutal riffs creating menacing yet catchy music. Releasing their early 7” EPs and splits on drummer/vocalist Alex Kerns’ label ‘Art of the Underground’, they landed their debut full length ‘Get Better’ on west coast pop-punk label Asian Man Records. Following their debut, and worked into an ambitious DIY touring schedule, they sprinkled 7” releases around on labels such as Hex, No Idea Records, and Suburban Home. Eventually, they would settle in with the Boston-based, notoriously hardcore oriented Bridge 9 Records with their 2011 sophomore album, ‘Pebble’. Entering the studio soon, expect a triumph from indie darlings Lemuria in 2013.

CONFIRMED! 5.28 AT METRO GALLERY

++CLICK THE PICTURE TO RSVP!! ++

 

LEMURIA!!! (NY, Bridge 9 Records)
CLICK

With guests TBA

get tix; HERE

$8/ 9pm

/////

Without a distinguishable understanding of the pop and intensity, a silent video of a Lemuria show would appear to be that of a blistering hardcore trio. To the viewers surprise, turning the audio on they’d find the stage diving mania and screamers are really chanting “Maybe I should wear lipstick too” or “You fit in my skin, softest I’ve let in” as guitarist/vocalist Sheena Ozzella’s dynamic, melodic voice guides the unlikely chorus.

Lemuria might not sound like they are from Buffalo, NY, but the band was proudly birthed there, following the legacy of an oddly eclectic, if not eccentric, music scene. When you loosen your ears to the sugary indie-pop, you’ll discover discordant notes, odd time signatures, and brutal riffs creating menacing yet catchy music.

Releasing their early 7” EPs and splits on drummer/vocalist Alex Kerns’ label ‘Art of the Underground’, they landed their debut full length ‘Get Better’ on west coast pop-punk label Asian Man Records. Following their debut, and worked into an ambitious DIY touring schedule, they sprinkled 7” releases around on labels such as Hex, No Idea Records, and Suburban Home. Eventually, they would settle in with the Boston-based, notoriously hardcore oriented Bridge 9 Records with their 2011 sophomore album, ‘Pebble’.

Entering the studio soon, expect a triumph from indie darlings Lemuria in 2013.


CONFIRMED! 6.20
++ CLICK PICTURE TO RSVP++
 
 
Presented by Savage Party & Unregistered Nurse BLEEDING RAINBOW (Philly, Kanine Records)HERE FAT CREEPSHERE and more TBA! $8 Adv // $10 DosCLICK HERE TO GET TICKETS!!! 18+ Nevermind the constant threat of a cease and desist letter, when Carrie Brownstein tells you that your band name is weak, you change it. But it isn’t as simple as a name change for Philadelphia’s minimal noise pop duo Reading Rainbow, significant line up additions facilitated the adoption of a new moniker. So…drum roll please…as we reintroduce Philadelphia’s Bleeding Rainbow, now a full-blown, Brownstein-approved, rock quartet. The name better represents the band’s evolving sound and is all around more badass and trippy as sh*t. The founding members, Sarah Everton, who moved from drums to bass to give her vocals a better chance to shine, and vocalist/guitarist Rob Garcia are now joined by Al Creedon on lead guitar and drummer Greg Frantz. While 2010’s album release Prism Eyes gained significant attention and raised the band’s profile among the indie elite, even that set might not be aware of the previous self-released album Mystical Participation. If Prism Eyes is, by their own description, their attempt at writing pop songs, and Mystical Participation emphasizes an aesthetic of loud and drone-y guitars instead of focused song structure, Yeah Right, the band’s third album release set for October 9th, 2012 on Kanine Records, is the merging and maturation of all these ideas and sounds. For Yeah Right, the band has opted for a bi-polar approach to production, pushing the extremes of murky, ominous and sometimes harsh and fuzzed-out guitar onslaughts (“Pink Ruff”) as well as a strong repertoire of hushed, ethereal moments (“Cover the Sky”) aiming to evoke a nostalgia for 90s slacker culture without sounding bored or contrived. While previous releases reside in the reverb-soaked psychedelic pop realm, Bleeding Rainbow says, “the sound this time around was more directly influenced by bands from our teenage-hood such as Sonic Youth, My Bloody Valentine, Nirvana, Smashing Pumpkins, and Yo La Tengo to name a few.” Mixing hints of Greg Sage’s anthemic, anxiety-ridden punk riffs, with equal parts drone and noise swells reminiscent of Kevin Shields at his most inventive, with an overlaying of boy-girl harmonies, Bleeding Rainbow channels the Mamas and the Papas as if backed by early Smashing Pumpkins. With the inclusion of two long time friends and supporters of the band, Bleeding Rainbow has not only freed itself from the limitations of a two-piece, but given themselves a chance to delve deeper into the mood of songs and allow for extended instrumental sections (“Drift Away”). A more collaborative songwriting approach has resulted in more complex songs, but that does not mean they are without pretty sounds or pop moments. So while Yeah Right opens up easy and welcoming (“Go Ahead”), the end will leave you feeling as if a wall of noise has permeated through your body (“Get Lost”). Bleeding Rainbow set out to create something beautiful from harsh noise, and Yeah Right succeeds wildly at doing just that.

CONFIRMED! 6.20
++ CLICK PICTURE TO RSVP++
 
 
Presented by Savage Party & Unregistered Nurse

BLEEDING RAINBOW (Philly, Kanine Records)
HERE

FAT CREEPS
HERE

and more TBA!

$8 Adv // $10 Dos
CLICK HERE TO GET TICKETS!!!

18+

Nevermind the constant threat of a cease and desist letter, when Carrie Brownstein tells you that your band name is weak, you change it. But it isn’t as simple as a name change for Philadelphia’s minimal noise pop duo Reading Rainbow, significant line up additions facilitated the adoption of a new moniker. So…drum roll please…as we reintroduce Philadelphia’s Bleeding Rainbow, now a full-blown, Brownstein-approved, rock quartet. The name better represents the band’s evolving sound and is all around more badass and trippy as sh*t. The founding members, Sarah Everton, who moved from drums to bass to give her vocals a better chance to shine, and vocalist/guitarist Rob Garcia are now joined by Al Creedon on lead guitar and drummer Greg Frantz.

While 2010’s album release Prism Eyes gained significant attention and raised the band’s profile among the indie elite, even that set might not be aware of the previous self-released album Mystical Participation. If Prism Eyes is, by their own description, their attempt at writing pop songs, and Mystical Participation emphasizes an aesthetic of loud and drone-y guitars instead of focused song structure, Yeah Right, the band’s third album release set for October 9th, 2012 on Kanine Records, is the merging and maturation of all these ideas and sounds.

For Yeah Right, the band has opted for a bi-polar approach to production, pushing the extremes of murky, ominous and sometimes harsh and fuzzed-out guitar onslaughts (“Pink Ruff”) as well as a strong repertoire of hushed, ethereal moments (“Cover the Sky”) aiming to evoke a nostalgia for 90s slacker culture without sounding bored or contrived. While previous releases reside in the reverb-soaked psychedelic pop realm, Bleeding Rainbow says, “the sound this time around was more directly influenced by bands from our teenage-hood such as Sonic Youth, My Bloody Valentine, Nirvana, Smashing Pumpkins, and Yo La Tengo to name a few.” Mixing hints of Greg Sage’s anthemic, anxiety-ridden punk riffs, with equal parts drone and noise swells reminiscent of Kevin Shields at his most inventive, with an overlaying of boy-girl harmonies, Bleeding Rainbow channels the Mamas and the Papas as if backed by early Smashing Pumpkins.

With the inclusion of two long time friends and supporters of the band, Bleeding Rainbow has not only freed itself from the limitations of a two-piece, but given themselves a chance to delve deeper into the mood of songs and allow for extended instrumental sections (“Drift Away”). A more collaborative songwriting approach has resulted in more complex songs, but that does not mean they are without pretty sounds or pop moments. So while Yeah Right opens up easy and welcoming (“Go Ahead”), the end will leave you feeling as if a wall of noise has permeated through your body (“Get Lost”). Bleeding Rainbow set out to create something beautiful from harsh noise, and Yeah Right succeeds wildly at doing just that.

Another killer flyer by Ben Higgins! CLICK IT

Another killer flyer by Ben Higgins! CLICK IT

Flyer by Ben Higgins, click it to RSVP

Flyer by Ben Higgins, click it to RSVP

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