Silver Abuse started before you were born. They were showered with beer and spit at their first show. Now the world has caught up with their odd and angular musings and are starting to pay respect. Fans say they sound like nobody else. In a good way.

Voice Of Addiction are politically charged and socially conscious Chicago based punk-rockers. V.o.A. has been around since 2004 doing over 1,500 shows across North America. Having 8 official releases & independently selling over 10,000 physical copies (as well as being involved in countless compilations, and digital sales) these boys have proven they are a force to be reckoned with. V.o.A. has been featured in the video games Skateboard Party 1-3, Snowboard Party 1-2 & Playbook. A feature length documentary on V.o.A. entitled "Punk Band" is out on all major outlets. The new full-length “Divided States” was released 8/5/22. The Video for Shinigami was just released & WON Chicago Indie Music Awards. And we are about to release another video for Division Complex.

Led by drummer Brad Elvis (Screams, The Elvis Brothers, Big Hello, The Romantics) and vocalist/guitarist/saxophonist Chloe F. Orwell (Big Hello), Chicago’s The Handcuffs will be releasing their fourth studio album Burn The Rails. The 13-song album was tracked at Kingsize Sound Labs, Chicago with producer/engineer Mike Hagler (Wilco, Neko Case, Billy Bragg, Mavis Staples, My Morning Jacket, The Mekons). Burn The Rails is being released by Pravda Records in June on CD, download and via streaming platforms and later on 12″ vinyl. For the the new album, The Handcuffs found inspiration from the heady, analog days of early 1970s rock & roll, weaving together elements of glam, indie, garage, art and blues rock. Inhabiting some of the same musical turf as T-Rex, Mott The Hoople, Roxy Music, The Raconteurs, P.J. Harvey, Led Zeppelin, and Patti Smith – all filtered through a modern lens – they deliver bold, sexy songs with memorable melodies and unexpected twists. Guest keyboardist Morgan Fisher (Mott The Hoople) demonstrates his synthesizer and piano prowess on a couple of tracks on the new LP. The relationship with Fisher, a musical hero of the band, began after singer Orwell’s rave review of Mott The Hoople’s 2018 reunion tour went viral on social media, attracting the attention of Fisher, who got in contact. From there a creative collaboration was sparked, in-spite of an ocean separating the now real-life friends. Finishing the record during the peak of the pandemic and lockdown, gave several of the songs an  inadvertent anthem-for-the-times feel – with themes of love and loss, heartache and hope, and even the great ideological divide that was as omnipresent as the virus. Elvis and Orwell formed The Handcuffs from the ashes of Big Hello, their first band together, which released three indie label records and toured from coast to coast. Elvis’ career also includes a few major label go-arounds, arena tours, and a backstory that will be documented in a new autobiography in the near future. The duo’s eagerness to explore new sonic territory and evolve into an entity that aligned more with their ever-expanding influences and broad range of musical tastes prompted a change. The Handcuffs began as primarily a studio project, in which Elvis and Orwell wrote and recorded an abundance of material. During the process, they realized that they missed the live band experience, and so The Handcuffs as recording artists and a dynamic live band was born. Completing the line-up are bassist Emily Togni, lead guitarist Jeffrey Kmieciak, and keyboardist Alison Hinderliter, all of whom originate from different parts of the country, but have made Chicago their home.

Vortis is an ultra-concentrated, old-school explosion of second wave punk rock ruckus. Their sub-two minute songs epitomize Chicago punk rock and feature all of the hooks with with none of the frills. If playing the sub-sub-genre game, this Chicago three-piece belongs in the punk-before-industrialization section next to bands like Naked Raygun, Dwarves, and Hüsker Dü. This trio requires no coasts for their wave of punk rock, only those big throaty guitars and throat-shredding vocals with pointed messages anxiously crafted for the latest round of geopolitical oblivion.