SWMRS: BERKELEY’S ON FIRE

Collective Concerts & Indie88 Present

SWMRS: BERKELEY’S ON FIRE

Beach Goons, Goodbye Honolulu, Destroy Boys

Sun, April 14, 2019

Doors: 6:30 pm

Phoenix Concert Theatre

Toronto, Ontario

$22

This event is all ages

Advance tickets also available at Rotate This & Soundscapes

$1 per ticket sold will go to the SWMRS Fund in support of organizations working on the frontlines of the issues they are addressing. Whether it is climate, racial, economic or gender justice, we know that centering the

most vulnerable communities will result in the most just and creative solutions. Learn more about the beneficiaries at: https://swmrs.com/swmrsfund. 

SWMRS
SWMRS
Within the opening bars of SWMRS second LP comes a sea change. You think you're in familiar rock territory with the Oakland-formed quartet when suddenly an electronic beat kicks in that throws you for a loop. The same thing happens throughout the ten tracks that make up Berkeley's On Fire -- the band's most urgent, electrifying and groundbreaking record to date. "We started having conversations about how to make something brand new within the genre of rock," says co-frontman and songwriter Cole Becker. "That's what we talked about every single day."

One of rock music's biggest challenges is overcoming the understanding that it's a genre heavily indebted to its own sense of history. Cole, alongside bandmates Max Becker (guitar, vocals), Joey Armstrong (drums) and Seb Mueller (bass), found that in fragmenting and deconstructing that history, there is new territory to be won and something brand new to be carved. "We have such a deep love for rock music," says Max. When the Becker brothers were growing up and first heard the Ramones and The Clash they heard authenticity and rawness. "It had so much potential to change the way people think and feel." Over the past decade, rock has become a dirty word for a variety of reasons, conjuring images of out of touch, unoriginal nostalgia. SWMRS want to reclaim the word, make it cool again. After all, the childhood friends have invested their whole lives in the art form, having started playing shows in their local Bay Area at the ripe age of 13.

In 2016, SWMRS put out their first record Drive North themselves on their own imprint, Uncool Records. The DIY move paid off in spades with acclaim from Rolling Stone, Noisey, Nylon and Billboard. They became the first unsigned band to perform on The Late Late Show With James Corden (also their late night debut) and their music reached as far as Paris Fashion Week on the Saint Laurent runway. After international headline tours and festival appearances the band signed with Fueled By Ramen who re-issued the record.

In Spring of 2018, the Oakland band drove south to Los Angeles to work with envelope-pushing producer Rich Costey (MUSE, At The Drive In, Death Cab for Cutie). Over two months they pushed and pulled the ideas they'd been working on since their last record, resulting in something you've never before heard from SWMRS -- or any contemporary punk band for that matter. Costey took a sledgehammer to any preconceptions about what the foursome should or could be creating. Genres be-damned, sonic limitations out the window, this was an exercise in grand experimentation, and has more in common with the fun, experimental ethos behind Beastie Boys, Rage Against The Machine, De La Soul,or '90s Bay Area Hyphy rap music than it does any of the band's prior peers. The diversity is indicative of a generation reared on streaming services. SWMRS make music as they consume it -- hyperactively.

"There was so much more attention to detail," recalls Cole, on the levels of perfectionism. A drum sound could take two weeks to find. Rather than it being a stressful endeavour, they were grateful for the time as they recycled past sounds to build this new pastiche that flits from pop rock ('Too Much Coffee') and breakbeat ('Lose Lose Lose') to emo punk ('April In Houston') and jangly power pop ('Trashbag Baby'). "Everyone talks about rock being dead. That's totally bullshit," says Max. "We've only hit the tip of the iceberg."

After watching their hometown get engulfed in a media frenzy over a riot in 2017, SWMRS felt that it appropriate to call the record Berkeley's On Fire. At a time when fire possesses so much vivid and painful imagery for Californians, SWMRS want to document the fears of their generation while emboldening the hope that a new world with optimistic possibilities might emerge from the ashes. Sick, like most young people, of being told that they are incapable of changing the world around them, SWMRS carry a torch for the idea that there is a future to fight for.

Overall, it's a record about urgency during a time when the pressure is on the youth to carry America -- and the world -- forward. "When you travel around the world trying to communicate with people your own age you find really wild anonymous things in common," says Max. "We all want the same thing. The world is smaller than you think." The process of writing it in itself helped Max and Cole get over their own anxieties. 'April In Houston' is the most introspective the louder, more aggressively toned Cole has ever been. In 'Too Much Coffee,' Max documents his own struggles to get to a place of self-acceptance and its eventual conclusion, teaching him to trust in his own voice. For long-standing fans 'Trashbag Baby' is a particular treat; the first time both Beckers share vocals on a song. "I had been letting this song sit. The riff was cool but the vocal wasn't as cool. What would make it as cool? Cole!," shares Max. It's a representation of how the pair have helped each other through their individual problems.

The band are chomping at the bit to feed the new material to their fanbase, with whom they have an immediate connection with via social media. It's a symbiotic relationship, where SWMRS learn as much from their audience's perspectives as their fans do from them. As for the lack of trendiness surrounding guitar-based music, the guys couldn't care less. They're encouraged by the freedom that offers them to try all manner of things. "This is somewhat of an experimental gamble," says Max. "I'm tired of being bored by what I hear," offers Cole. Through touring it they hope to create not just a safe space, but a welcoming community for anyone to feel love for one another and to express themselves to their fullest potential. "I want to give people the feeling I got when I went to my first punk rock show," says Cole. "Floating above the world, feeling alive."
Beach Goons
Beach Goons
BIOHailing from San Diego’s Logan Heights neighborhood, Beach Goons was the brainchild of Pablo Cervantez, the band’s vocalist, guitarist, and sole constant member. Beach Goons started innocently enough with Cervantez and a couple friends picking up instruments and playing out, hitting up any place that would have them, from their middle school to Logan Heights’ library. As the band grew, their sound evolved with them. Their early singles showed a brash, garage-indebted take on punk, but by the time of BoiSad, the edges began to smooth, and more of Beach Goons’ personality began poking through. For their new album, hoodratscumbags, Beach Goons didn’t rush things, instead spending the better part of two years workshopping the songs until they became the most potent examples of what they wanted to express. “Most of the songs were scrapped or I rewrote them,” says Cervantez of the writing process. “It was just going to be an EP, but it got to a point where we had enough songs for it to be an album.” The product of all that work is hoodratscumbags, which GRNDVW Recordings will release on September 7, and sees drummer Chris Moran and bassist David Orozco joining the ranks. Across the album’s 10 songs, Beach Goons effortlessly blend genres, taking a bit from punk andsurf, to authentically express their lives and where they come from. “We’re from a Mexican community, we’re all Mexicans, and we really love showing it,” says Cervantez. “[Logan Heights] is the heart of Mexican culture, and the heart of Chicano culture, and I really want to emphasize this was our upbringing and this is who we are.”Songs like “A.M” and “The End” show the album’s breadth, as Beach Goons write airtight pop songs, but come at them through the side door. The songs twist and turn, revealing their ability to surprise a listener without ever breaking their stride. “I feel more confident writing and releasing this than I ever have,” says Cervantez of hoodratscumbags, and that’s something that’s noticeable on first listen. Beach Goons are pulling off moves that put them in a class of their own, taking the best of bands like Wavves, Joyce Manor, and Culture Abuse, and framing it in their own way. “My family moved here, I’m firstgeneration,” says Cervantez, “I just want to show those people that if you come from these streets, if you come from these hoods, you can do it too.” That sense of community, and Beach Goons’ sheer excitement, permeates the entirety of hoodratcumbags. It can be heard in songs such as “Chunti,” where Cervantez sings in Spanish and holds nothing back. It’s moments like these that show Beach Goons for what they are: a band that’s young, excited, and not afraid to show the world the full scope of themselves. Beach Goons will be touring in support of hoodratscumbags, including an appearance at Riot Fest in Chicago, spreading their message, and sharing their joy, with anyone that listens.
Goodbye Honolulu
Goodbye Honolulu met in school and have been playing in each other’s bands for years. They started their own record label while still in school, the 100% local Toronto label Fried Records. While other kids were cramming for exams or wasting away playing video games, the Goodbye Honolulu boys were busy playing in bars (attempting to sneak their underage friends in), honing their live skills, writing songs and self releasing multiple albums a year.



These teenage years were laying the foundations and as they hit their 20s Emmett, Jacob, Fox and Max decided to join forces and focus their song-writing and energy to one project, say “hello” to Goodbye Honolulu.



Goodbye Honolulu, evoke a 90s slacker vibe mixing vintage garage rock n roll history with modern elements, it’s not exactly pop and it’s not exactly punk.



Goodbye Honolulu is best known for their live shows and in best form when every member is screaming their heads off with shout along choruses. Whether it’s Emmett’s fuzz-layered guitar, Jacob’s gnarly vocals, Fox’s Bowie-inspired vocal inflections or Max beating his drum kit to death, Goodbye Honolulu make their audience the VIP guests to their rock n roll party.


Highlights of Goodbye Honolulu’s ride so far include a USA tour supporting their pals Hinds, releasing their debut album Heavy Gold (2016) and their sophomore release No Honey (2017).
Destroy Boys
Destroy Boys
Oakland based garage rock sweethearts Destroy Boys are showing expansion and demanding reaction on their latest newest LP, "Make Room". The female founded and fronted hi-fi rock band has grown since crossing the radar of music fans after a mention in the pages of Rolling Stone. After releasing their first album, band members Alexia Roditis and Vi Mayugba were then introduced to rock fans worldwide. Their new album is a departure from the angsty relationship driven anthems of their debut album "Sorry, Mom" and a look into the inner thoughts of this generation’s riot girls. Since the band's conception in 2015, Destroy Boys has been rocking stages and festivals throughout the country including a support slot on SWMRS' headlining UK tour.

Destroy Boys' new album showcases the duo’s growth as songwriters and musicians with Mayugba’s driving sonic guitar creating a raw, gritty canvas for Roditis’ ethereal, haunting, and sometimes comical vocals. A raucously introspective road trip to early adulthood, with the feeling of a cross between Blondie and Tragic Kingdom-era No Doubt. Destroy Boys are the perfect soundtrack for slaying the patriarchy or going skating with your friends.
Venue Information:
Phoenix Concert Theatre
410 Sherbourne Street
Toronto, Ontario, M5X 1K2
http://phoenixconcerttheatre.com/