Unregistered Nurse


CALENDAR



4.18 Metro Gallery
Loop
The Flying Eyes
Jowe Head (Swell Maps/ Television Personalities)

RSVP HERE


4.19 Gold Bar
RECORD STORE DAY SHOW!
Presented by Celebrated Summer Records & Unregistered Nurse

Old Lines
Criminal Code
WARXGAMES

RSVP HERE

4.24 Gold Bar
Ravagers
Games
Slow Jerks

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GET TIX

4.25 Gold Bar
The Death Set EP Release
The Sneaks
Wax Witches
Judge Mental

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ADVANCE TIX FOR THIS EVENT ARE SOLD OUT!

5.2 at Gold Bar & the Crown
Uunregistered Nurse & W33ddog 666 presents

TWO ROOM SHOW

The Skull Defekts
Asa Osbourne
Horse Lords
Microkingdom
Multicult
Wume

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GET TIX

5.3 Ottobar
The Men
Nude Beach
The Convocation
Deletions


RSVP HERE
GET TIX

5.21 Charm City Art Space
Titus Andronicus
Baked
Pure Junk

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5.24 Ottobar
SOUTHPAW RECORDS 5 YEAR ANNIVERSARY


with
Reigning Sound
Sam Coffey and the Iron Lungs
Advlts

DJs
The Thing With Two Heads & Robbie Fearless of Save Your Soul
+ more!!!

GET TICKETS


5.30 Gold Bar
Yi
Lowered Expectations (1st show! Mem. Wildhoney/ Wet Brain)
The Deads
Bummers Eve

RSVP HERE


5.31 Gold Bar
Coming Soon!


6.7& 6.8 the Crown, the Gold Bar & Wind Up Space
LADYFEST BALTIMORE
Two days of bands women/ feminist bands
a not-for-profit fest
to benefit House of Ruth Maryland

Amanda X
Big Mouth (Bmore)
Coup Savage and the Snips (DC)
Creepoid (Philly)
Crimson Wave (Bmore)
Dasher (Atlanta)
Fainting Spells
Glittoris (Bmore)
Jail Solidarity
Lizz King (Bmore)
Mr. Moccasin (Bmore)
Puff Pieces (DC)
Sexgender (Bmore)
Shady Hawkins (NY)
Trophy Wife (Philly)
Wet Brain (Bmore)
Whorepaint (NY)
and more, TBA

Plus daytime workshops, and a market of women-made goods

6.13 Gold Bar
Sick Thoughts
Ar-Kaics
Mr. Elevator and the Brain Hotel
Flesh Woulds
Wet Brain

RSVP HERE




Booking Inquiries

unbooking@gmail.com



Hype

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

FACEBOOK PAGE

twitter
past shows

josh sisk
novelty haus
alex fine
post typography
gen pop records
ea sounds
atomic books
gutter magazine

Booking + promo, shows + tours

Killer Men poster by Deletions, click to RSVP!

Killer Men poster by Deletions, click to RSVP!

Catch them at the Ottobar May 3rd!

CONFIRMED! 5.3 at Ottobar++ click the picture to RSVP!! ++THE MEN (Sacred Bones)NUDE BEACH+TBA8pm$10 adv/ $12 DOSGet Tix: http://www.missiontix.com/events/product/24769/the-men-with-nude-beachAfter spending much of 2011 and 2012 on the road, including a trip upstate to write and record New Moon, their fourth full-length in as many years, The Men needed a break. They decided to take the winter of 2012 off to work on new material in Brooklyn. The converted founding member Mark Perro’s bedroom in Bushwick into a practice space and rehearsed there nearly every day for three months, cutting more than 40 demos. By the end of that winter, the Men had pared that crop of songs down to 13. With their plans to take a break foiled by their own work ethic, they decided to record those songs before New Moon came out. They booked two days at Brooklyn’s Strange Weather studios, clocked in, and tracked all 13 songs entirely live, even including a horn section.Eight songs from those sessions made the final cut for The Men’s new LP Tomorrow’s Hits. This is their first album recorded in a high-end studio and, appropriately, the result is their most high fidelity album to date. That being said, it is still an incredibly straightforward record. Tomorrow’s Hits is a concise collection of songs that nonetheless expands the band’s ever-evolving musical palette. It’s an album full of genre-bending risks, but it reinforces the overarching theme that has come to define its makers: The Men are a great rock band.

CONFIRMED! 5.3 at Ottobar
++ click the picture to RSVP!! ++

THE MEN (Sacred Bones)

NUDE BEACH

+TBA

8pm
$10 adv/ $12 DOS

Get Tix: http://www.missiontix.com/events/product/24769/the-men-with-nude-beach

After spending much of 2011 and 2012 on the road, including a trip upstate to write and record New Moon, their fourth full-length in as many years, The Men needed a break. They decided to take the winter of 2012 off to work on new material in Brooklyn. The converted founding member Mark Perro’s bedroom in Bushwick into a practice space and rehearsed there nearly every day for three months, cutting more than 40 demos. By the end of that winter, the Men had pared that crop of songs down to 13. With their plans to take a break foiled by their own work ethic, they decided to record those songs before New Moon came out. They booked two days at Brooklyn’s Strange Weather studios, clocked in, and tracked all 13 songs entirely live, even including a horn section.

Eight songs from those sessions made the final cut for The Men’s new LP Tomorrow’s Hits. This is their first album recorded in a high-end studio and, appropriately, the result is their most high fidelity album to date. That being said, it is still an incredibly straightforward record. Tomorrow’s Hits is a concise collection of songs that nonetheless expands the band’s ever-evolving musical palette. It’s an album full of genre-bending risks, but it reinforces the overarching theme that has come to define its makers: The Men are a great rock band.

CONFIRMED! 11/14
++ CLICK TO RSVP ++

Sonar Productions/ Unregistered Nurse Present;

Pygmy Shrews (FACEBOOK)

The Men (BLOGSPOT)

TBA


From Pitchfork;
The Men
Leave Home
Sacred Bones; 2011

8.2

Nothing is sacred to the Men. For one, this Brooklyn quartet’s name is pretty much identical to that of fellow New Yorker JD Samson’s active post-Le Tigre project, MEN. Their 2010 sophomore release, Immaculada, featured a caterwauling noise-punk thrasher called “Oh Yoko” that had absolutely nothing to do with the classic John Lennon song, or Ms. Ono herself, for that matter. Their new album swipes its title from a legendary record by New York’s most famous punk band, the Ramones. And part way through the obliquely titled mid-album track “( )”, when the band realize they’re ripping off the fuzz-bomb riff to Spacemen 3’s “Revolution”, they just go ahead and swipe a line from the song too, and cap it with another quote from Spacemen’s “Take Me to the Other Side” for good measure. And yet: For all the cheeky references and inside jokes at play on the Men’s Leave Home, you’d be hard-pressed to find a purer, no-bullshit, serious-as-a-heart-attack rock record released this year.

Listening to Leave Home feels a lot like living inside of Michael Azerrad’s 1980s indie-rock tome Our Band Could Be Your Life, variously bringing to mind Sonic Youth and Dinosaur Jr.’s SST stints, Sub Pop-vintage Mudhoney, and Touch and Go-era Butthole Surfers (who surely would approve of a song title like “Shittin’ With the Shah”). Tellingly, Azerrad’s book ties up its narratives the moment its subjects signed to majors— partly because, technically speaking, they ceased to be indie rock at that point but, more importantly, because those artists produced their most enduring, groundbreaking music while recording for independent labels. Leave Home is likewise a frozen tableau of that tipping point, imagining a parallel universe in which your favorite first-wave indie-rock bands never had to sign on corporate letterhead, never got anywhere near MTV, never toned down their act, and never got old— they just kept on blowing minds at the peak of their powers in perpetuity.

Where the discographies of those aforementioned influences can more or less be plotted on a straight line from chaos to control, the Men’s modest catalogue thus far presents no such linear evolutionary trajectory. Immaculada may have introduced folky acoustic guitar passages and extended doom-metal instrumentals to their post-hardcore attack, but rather than continue to explore those stylistic detours, Leave Home sees the Men return to the full-torque distorto-rock of their 2009 debut EP, but blow it up on a grander scale with a more intense batch of songs. And rather than try to upgrade the fidelity to accommodate the more epic execution, the unapologetic corrosiveness of the sound is ultimately what gives it its power and heft.

So that means Leave Home’s boldest gesture— the seven-minute opener “If You Leave…”— is also its least typical, not just for its tsunami-sized shoegaze haze, but for its open-hearted candor, as its lone, repeated lyric (“I would die”) provides a surprisingly affecting answer to the title’s open-ended suggestion. The song is every bit as surprising coming from these guys as the similarly miasmic “Farewell” was on Boris’ 2006 album Pink, showcasing the respective bands’ abilities to be as blissful as they are bludgeoning. But where “Farewell” anticipated the Japanese doom demigods’ eventual drift toward melodic accessibility, “If You Leave…” is a calm-before-the-storm misdirection. By the time Leave Home’s side one winds down with the grueling, hoarse-throat howls and torturous, slow-motion squall of “L.A.D.O.C.H.”, you’ll be wondering if you’re still listening to the same band.

But on Leave Home’s second half, the Men’s dual affinities for brute punk-rock force and bad-trip psychedelia fuse together to brilliant effect, with a searing series of songs that refuse to relent even as they encroach on the five-minute mark— in particular, the storming “Bataille” suggests Sonic Youth’s “Hey Joni” as recorded by Funhouse-era Stooges, while the closing “Night Landing” effectively blurs the line between krautrock and punk in fine Neu! ‘75-style. Of course, with a name like the Men— and reference points like these— it’s all too fitting that this album will undoubtedly appeal to a certain subset of record-collecting dudes. But the Men’s treatment of their well-curated influences is less akin to that of fan-boys playing in a tribute act and a lot more like an irreverent hip-hop producer’s approach to breaks— key in on your sources’ coolest moments, change the context, and ride that perfect sound forever.

CONFIRMED! 11/14

++ CLICK TO RSVP ++

Sonar Productions/ Unregistered Nurse Present;

Pygmy Shrews (FACEBOOK)

The Men (BLOGSPOT)

TBA

From Pitchfork;

The Men

Leave Home

Sacred Bones; 2011

8.2

Nothing is sacred to the Men. For one, this Brooklyn quartet’s name is pretty much identical to that of fellow New Yorker JD Samson’s active post-Le Tigre project, MEN. Their 2010 sophomore release, Immaculada, featured a caterwauling noise-punk thrasher called “Oh Yoko” that had absolutely nothing to do with the classic John Lennon song, or Ms. Ono herself, for that matter. Their new album swipes its title from a legendary record by New York’s most famous punk band, the Ramones. And part way through the obliquely titled mid-album track “( )”, when the band realize they’re ripping off the fuzz-bomb riff to Spacemen 3’s “Revolution”, they just go ahead and swipe a line from the song too, and cap it with another quote from Spacemen’s “Take Me to the Other Side” for good measure. And yet: For all the cheeky references and inside jokes at play on the Men’s Leave Home, you’d be hard-pressed to find a purer, no-bullshit, serious-as-a-heart-attack rock record released this year.

Listening to Leave Home feels a lot like living inside of Michael Azerrad’s 1980s indie-rock tome Our Band Could Be Your Life, variously bringing to mind Sonic Youth and Dinosaur Jr.’s SST stints, Sub Pop-vintage Mudhoney, and Touch and Go-era Butthole Surfers (who surely would approve of a song title like “Shittin’ With the Shah”). Tellingly, Azerrad’s book ties up its narratives the moment its subjects signed to majors— partly because, technically speaking, they ceased to be indie rock at that point but, more importantly, because those artists produced their most enduring, groundbreaking music while recording for independent labels. Leave Home is likewise a frozen tableau of that tipping point, imagining a parallel universe in which your favorite first-wave indie-rock bands never had to sign on corporate letterhead, never got anywhere near MTV, never toned down their act, and never got old— they just kept on blowing minds at the peak of their powers in perpetuity.

Where the discographies of those aforementioned influences can more or less be plotted on a straight line from chaos to control, the Men’s modest catalogue thus far presents no such linear evolutionary trajectory. Immaculada may have introduced folky acoustic guitar passages and extended doom-metal instrumentals to their post-hardcore attack, but rather than continue to explore those stylistic detours, Leave Home sees the Men return to the full-torque distorto-rock of their 2009 debut EP, but blow it up on a grander scale with a more intense batch of songs. And rather than try to upgrade the fidelity to accommodate the more epic execution, the unapologetic corrosiveness of the sound is ultimately what gives it its power and heft.

So that means Leave Home’s boldest gesture— the seven-minute opener “If You Leave…”— is also its least typical, not just for its tsunami-sized shoegaze haze, but for its open-hearted candor, as its lone, repeated lyric (“I would die”) provides a surprisingly affecting answer to the title’s open-ended suggestion. The song is every bit as surprising coming from these guys as the similarly miasmic “Farewell” was on Boris’ 2006 album Pink, showcasing the respective bands’ abilities to be as blissful as they are bludgeoning. But where “Farewell” anticipated the Japanese doom demigods’ eventual drift toward melodic accessibility, “If You Leave…” is a calm-before-the-storm misdirection. By the time Leave Home’s side one winds down with the grueling, hoarse-throat howls and torturous, slow-motion squall of “L.A.D.O.C.H.”, you’ll be wondering if you’re still listening to the same band.

But on Leave Home’s second half, the Men’s dual affinities for brute punk-rock force and bad-trip psychedelia fuse together to brilliant effect, with a searing series of songs that refuse to relent even as they encroach on the five-minute mark— in particular, the storming “Bataille” suggests Sonic Youth’s “Hey Joni” as recorded by Funhouse-era Stooges, while the closing “Night Landing” effectively blurs the line between krautrock and punk in fine Neu! ‘75-style. Of course, with a name like the Men— and reference points like these— it’s all too fitting that this album will undoubtedly appeal to a certain subset of record-collecting dudes. But the Men’s treatment of their well-curated influences is less akin to that of fan-boys playing in a tribute act and a lot more like an irreverent hip-hop producer’s approach to breaks— key in on your sources’ coolest moments, change the context, and ride that perfect sound forever.

Flier by Nolen Strals of Post Typography. Click HERE to see his website.

Click the picture to RSVP

Flier by Nolen Strals of Post Typography. Click HERE to see his website.

Click the picture to RSVP

CONFIRMED! 9/12
*CLICK THE PICTURE TO RSVP *


THE MEN (NY, on Sacred Bones… SACRED BONES)ROOMRUNNER (mem. of Double Dagger, grunge music?)+1 MORE/ TBA 
at The Golden West
$6/ 10pmfrom the Fader;The  Men are good because they sound like a tornado, picking up and dropping  off scraps of sound like they weigh nothing. The joy is that it seems  whirlwind, not collapsable and planned out. But they’re also from  Brooklyn, the land of the self-aware, so maybe they’re accustomed to  questions like “What are your influences?” When asked in a Village Voice  interview about the new song and all of its inspirations, member  Christopher Hansell had this to say about his favorite guitars: “Right  now I’ve been obsessing over the guitar tone on Wire’s Pink Flag.  Obviously Greg Ginn’s tone on almost all of the Black Flag records is a  staple…” He’s not wrong. The new record has, to a tee, both that  gigantic crunching guitar BIGNESS of Wire records and the incessant  forward momentum of Black Flag. But there’s way more stuff in there,  too. Remember Twister? Cows, houses, trees, everything spun around, and  Helen Hunt was running around trying to figure out the monstrosity of  the whole thing but by the end of the movie didn’t learn a damn thing  except that it’s best to just respect the tornados’ insanity. She had  the right idea.Read more: HERE

CONFIRMED! 9/12

*CLICK THE PICTURE TO RSVP *

THE MEN (NY, on Sacred Bones… SACRED BONES)

ROOMRUNNER (mem. of Double Dagger, grunge music?)

+1 MORE/ TBA
 


at The Golden West

$6/ 10pm



from the Fader;
The Men are good because they sound like a tornado, picking up and dropping off scraps of sound like they weigh nothing. The joy is that it seems whirlwind, not collapsable and planned out. But they’re also from Brooklyn, the land of the self-aware, so maybe they’re accustomed to questions like “What are your influences?” When asked in a Village Voice interview about the new song and all of its inspirations, member Christopher Hansell had this to say about his favorite guitars: “Right now I’ve been obsessing over the guitar tone on Wire’s Pink Flag. Obviously Greg Ginn’s tone on almost all of the Black Flag records is a staple…” He’s not wrong. The new record has, to a tee, both that gigantic crunching guitar BIGNESS of Wire records and the incessant forward momentum of Black Flag. But there’s way more stuff in there, too. Remember Twister? Cows, houses, trees, everything spun around, and Helen Hunt was running around trying to figure out the monstrosity of the whole thing but by the end of the movie didn’t learn a damn thing except that it’s best to just respect the tornados’ insanity. She had the right idea.

Read more: HERE

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