Rye Coalition, Will Wood and the Tapeworms, The RocknRoll Hi Fives, Long Neck

Cinco De Mayo White Eagle Hall Anniversary Party

Rye Coalition

Will Wood and the Tapeworms

The RocknRoll Hi Fives

Long Neck

Sat · May 5, 2018

Doors: 6:30 pm / Show: 7:30 pm

This event is 18 and over

There will be giveaways!!

Rye Coalition
Rye Coalition
Rye Coalition began from a desire between Jersey City high school kids Jon Gonnelli (guitar) and Ralph Cuseglio (vocals) to form a band. They found their drummer in David Leto - an ex-member of legendary local Jersey band, Merel, whose status gave the group some instant interest in their home area - and a bassist in Leto's childhood friend, Justin Angelo Morey (Leto and Morey became friends while attending Our Lady of Mercy school together) Cuseglio, Gonnelli and Leto were schoolmates at St. Peter's Preparatory School. Taking a cue from local hardcore acts like Merel in their writing, the band (simply called Rye at the time) played chaotic, distorted songs with screamed vocals and more emphasis on dynamics than speed. Shortly after forming, Rye added Herb Wiley as a second guitarist.

The group's first recorded output took shape in the form of a demo entitled The Dancing Man, in 1994. The band quickly followed this with a self-booked tour of the east coast. The Dancing Man, as well as Rye's energetic live performances, caught the interest of local New Jersey label Troubleman Unlimited Records, who offered to press a 7" for the band. The record, entitled Teen-age Dance Session featured three songs and garnered the band further attention in the independent music scene. The 7" was released at a time when many bands playing similar style of emotionally charge hardcore were being dubbed emo by fans. This classification would dog Rye Coalition for a good portion of their career, much to their dismay (as the never considered themselves a part of the so-called genre).

Following the release of their first record, the band recorded two songs for a split 12" with Olympia, Washington's Karp, also released by Troubleman. The split would feature the band's first recording of the track "White Jesus of 114th Street," a fan favorite which remains in the band's setlists to this day. A split 7" with Harrisonburg, Virginia's Maximillian Colby was also release around this time. The Karp / Rye split would later be reissued on CD by Troubleman and also include the songs from the Teen-age Dance Session 7".

Still fresh out of high school, the members of Rye struggled with the desire to pursue the band full-time as well as further their educations. Wiley parted ways with the band in 1996, following the release of the New Sherriff In Town 7" (the band's first for New Jersey's Gern Blandsten label), in order to attend school out-of-state. The 7" also marked their first time working with engineer Alap Momin of Dälek.

Rye (by now adding "Coalition" to their name - or sometimes "Rye and the Coalition") continued on during downtime from their educations, now acting as a quartet. They wrote and recorded their first full-length LP, entitled Hee Saw Dhuh Kaet, in 1997. The band chose to again work with Alap Momin, and the album was released by Gern Blandsten Records.

By this time, the band was making a conscious effort to incorporate their other musical influences into their music, and move away from the confines of their earlier sound - vocals became slightly less aggressive, while not lacking in urgency, showing Cuseglio's true vocal prowess, and some elements of classic rock and even blues are apparent on the recording. The band's trademark tongue-in-cheek sense of humor also became more apparent on the record (song titles included "The Higher The Hair, The Closer To God," and "Fucking With Beautiful Posture"). Sporadic shows and small tours followed, but later that year, Justin Morey also left the band to pursue other interests.

At this point Dave Leto moved to bass and recruited his brother, Greg (also an ex-member of Merel) to take over the drums. The new lineup began work on their next album, entitled The Lipstick Game. Two years in the making, the album was again engineered by Alap Momin, is seen by many of their early fans as the band's pinnacle. It documents some of Rye Coalition's most powerful and experimental songwriting. Opening song "The Prosthetic Aesthetic" quickly ascertains that the band has sacrificed none of its energy, whereas songs like "Baby's Got A New Flame" and the title track exemplify the fusion of post-hardcore with classic rock that Rye Coalition would perfect on later releases, while the acoustic ballad "Tangiers" and closing instrumental track "Through The Years" are probably the group's most melodic songs ever recorded.

The record was well received by fans and the music press, and Rye Coalition again embarked on a tour to support the album, with Greg Leto leaving the band and Morey returning to take up bass duties again (Dave Leto switched back to drums). Following that, things slowed down again for the band, with shows happening on occasion as the members continued with their educations. Herb Wiley also returned to the fold in 2000 as the band was writing for their next album, thus reinstating the full original lineup of the band, which remains to this day.

In 2001, the band signed a deal with independent label Tiger Style, and recorded their third LP, On Top, this time working with respected engineer Steve Albini. The third album, released in 2002, was again a critical success, although some fans were dismayed by the band's further movement into classic rock territory. Rye Coalition now proudly wore their AC/DC and Led Zeppelin influences on their sleeve alongside those of Shellac and Fugazi. The record is essentially a perfect synthesis of those styles: arena rock guitar riffs and direct, often humorous, lyrics coupled with off kilter rhythms and distorted basslines.

The band undertook several tours to support the album, including a stop at 2002's Michigan Fest, from which their performance of "White Jesus of 114th Street" was included on a documentary DVD of the festival. A 5-song EP of tracks recorded with Albini during the On Top sessions was released in 2003 on Tiger Style as the Jersey Girls EP. The band also contributed covers of AC/DC's "Whole Lotta Rosie" and Grand Funk Railroad's "Got This Thing On The Move" for a contribution to Sub Pop Records' Singles Club series.

The critical success of On Top caught the attention of several major labels, and Rye Coalition was offered the opportunity to sign a major record contract for the release of their next album. The band decided to sign with Dreamworks Records. The band was signed by A&R Kenny "Tick" Salcido. The label had a history and reputation of helping up-and-coming bands receive more widespread attention and radio play (they had recently added such acts as Jimmy Eat World and Saves the Day to their roster), and Rye Coalition was able to maintain full creative control of their music.

To record their fourth album, the band put together a "wish list" of producers that they would like to work with. At the top of the list was ex-Nirvana drummer and Foo Fighters front man Dave Grohl. The band was surprised to find out that Grohl was not only a fan of the band, but also eager to work with them, and even more surprised when their record label agreed to the collaboration.

Production work on Rye Coalition's fourth full-length (later to be entitled Curses) began in 2004, but the record would not see release until 2006, and would not be released by Dreamworks. In October 2003, Dreamworks was acquired by Universal Music Group, and by 2004 was shut down completely. The artists on DreamWorks were split up and placed on either the Geffen Records or Interscope Records. Rye Coalition found themselves on a label who had essentially no interest in them (despite the label's telling the band otherwise), and although the bulk of the recording had been completed for Curses by this time, the record remained in limbo, with the Interscope's lack of interest in releasing it becoming more apparent to the band as time passed and mixing of the record was put on hold.

Rye Coalition took to the road during this time, relishing the opportunity to play the new songs live while struggling to get their record released properly. Grohl took the band as openers for Foo Fighters which gained them much exposure to mainstream audiences. An opening slot touring with The Mars Volta and Queens of the Stone Age garnered them further attention, but by 2005, the band had realized that Interscope had no intention of releasing their album.

The band asked to be released from their contract with the label, believing that if they did not want the record, that the band should take it to another label. Interscope initially refused, and noted that the band would have to pay an exorbitant sum in order to obtain the rights to their record back from the label. The band entered legal action against Interscope, eventually being released from their contract and getting their album back for nothing. By the end of 2005, the band had proceeded with mixing and mastering the album (again with help from Grohl), and decided to title the record Curses, in reference to their recent debacle with the label.

Rye Coalition then began another label search in an attempt to find a home for the record. They eventually decided to return to their roots and release the album with New Jersey's Gern Blandsten Records. A pre-release EP entitled Chariots On Fire was released as an iTunes exclusive in 2006, featuring three tracks from the upcoming album and one exclusive song, "Gone With The Windshield." By the time Curses was ready for release, it had expanded to also include a bonus DVD of the band's trials and tribulations while making the album.

Curses was finally made available in 2006 to critical and commercial success (thanks in no small part to the bands relentless touring). The new songs all but abandon Rye Coalition's early post-hardcore sound in favor of punchy, straight-head hard rock. A documentary about the making of the album, including footage working with Dave Grohl at Sound City Studios, was also included on Curses.

Currently, Rye Coalition are still based in New Jersey, and have completed several tours of both the United States and Europe. They are presumably preparing material for their next album. A full-length documentary is also in the works about the band. Morey, Gonnelli and Wiley currently play in The Black Hollies on Ernest Jenning Records.

In 2007, bassist Justin Morey announced that he was quitting Rye Coalition to pursue The Black Hollies full-time.

On February 19, 2011, Rye Coalition reunited for a single sold-out show at Maxwell's in Hoboken, New Jersey. They have since played occasional gigs including the opening celebration of White Eagle Hall in Jersey City and have reunited again for the anniversary show.
Will Wood and the Tapeworms
Will Wood and the Tapeworms
WILL WOOD AND THE TAPEWORMS are the genre-bending "rock n' roll perversion of cabaret" (Fangoria, 2016) alternative act known as "the epitome of a performance" (The Aquarian, 2015) lead by singer-songwriter Will Wood.

Conceived in the autumn of 1991 despite the use of three forms of contraceptions, WILL WOOD arrived on the NJ independent music scene without warning or explanation. Wielding face paint, drag shoes, and "sharp theatrical tunes" (NJ.com, 2016) WOOD assembled a ragtag team of musicians known as THE TAPEWORMS and began to crash around the east coast, bringing audiences on his "journey into glittering hysteria." (AXS Entertainment, 2016)

Since their inception in 2015, WILL WOOD AND THE TAPEWORMS have garnered a rabid cult fanbase and national press reactions, and sold out shows around NJ. Sharing the stage with national and internationally touring acts like GOGOL BORDELLO, HONUS HONUS of MAN MAN, and more, WWATT continue to prove they are "New Jersey's next big thing," (mycentraljersey.com, 2016) by bringing ""A SHOW EXPERIENCE UNLIKE ANY OTHER..." (Dying Scene, 2017) to the stage. They have released two full-length studio albums, 2015's EVERYTHING IS A LOT, and 2016's SELF-ISH.

WILL WOOD AND THE TAPEWORMS are currently unsigned and have just released their third full-length album, THE REAL - a live record featuring new and old tunes in an entirely new way. Their sold out recording sessions/concerts had critics saying they "WILL FOREVER GO DOWN IN HISTORY." (Dying Scene, 2017) and were "powerful well beyond anything else I had seen or experienced on a stage." (NJRacket, 2017)

WILL WOOD AND THE TAPEWORMS are currently on tour.
The RocknRoll Hi Fives
The RocknRoll Hi Fives
If you want to find the hardest rocking family band in the truest sense of the word, look no further than New Jersey’s Rock N’ Roll Hi-Fives.

Comprised of parents Joe (guitar) and Gloree (bass) and their progeny Eilee (vocals), and Evren (drums).

the Rock N’ Roll Hi-Fives are more than gimmick. They’re a great band with great songs.
Long Neck
Long Neck
“I don’t want to spend the whole time talking about how great New Jersey is,” Lily Mastrodimos jokes while talking about her band’s forthcoming new album. But her home state comes up a lot in conversation, because Jersey is intrinsically tied to the music that Mastrodimos makes as Long Neck, and her songwriting has a definitive sense of place. Started as an outlet when she wasn’t working with her old band — Band To Watch alums Jawbreaker Reunion — Mastrodimos recorded the first proper Long Neck release, 2015’s Heights, split primarily between two locations: her upstate New York college’s dorm room and her parent’s house in Jersey City. A lot of her songs deal with wanting to be somewhere else, or wanting to be home, or wanting to find a place within herself that feels like home.

Long Neck’s new album, Will This Do?, is peppered with nods to the state and her personal and familial connection to it. There’s a song about a photograph of her grandmother standing over the salty sea in Cape May (or possibly Cape Cod, unknown the way all family histories are rendered fuzzy with time); there’s references to the Turnpike and cruising down wide roads feeling both free and trapped at the same time. “New Jersey, what’s the worry?/ It’s not like I’m in any hurry/ I can see the lights of home,” she sings on one track.

Mastrodimos began Long Neck as a solo project, but over the last couple years it gradually expanded to a full band, one that only emphasizes her Jersey roots. All of its members also grew up in the state, and some of them have known each other since childhood. (Their guitarist, Kevin Kim, played with Mastrodimos in her first band in the fourth grade.) That closeness and sense of shared experience permeates the songs that they play together, an instinctual geographic likeness that can’t be easily manufactured. It also provides Mastrodimos with a solid foundation to push Heights’ deftly-picked folk songs into more muscular territory, bursting with fresh energy and confidence.

Her hooks, including the one on Will This Do? lead single “Mine/Yours” (premiering above), often take the form of something akin to a marching band stomp or a rapturous barroom chant. Centered around Mastrodimos’ deeply affecting voice, “Mine/Yours” is an affirmation of individuality in the face of coupling, a compromise between holding on to what you need while navigating what someone else wants. “I want to say this simply/ I want to make it pure/ I wanna be mine and I wanna be yours,” goes the chorus.

The song acts as a snapshot of restless nights staring up at the ceiling and contemplating your place in the world. “It was inspired by the first tour that I went on with Jawbreaker Reunion and Adult Mom,” Mastrodimos explains. “It’s a very distant kind of song, where you’re away from people you care about and you just want to be with the ones that you love, even though you’re doing something great. It’s also about this idea of wanting someone to go home to, having someone in your life to keep up to date with what you’re seeing and wishing that they were there.”

As with all songwriters, Mastrodimos’ lyrics are a reflection of her own interests. Beyond Jersey, there’s a fixation on science and nature that stems from her career path outside of music. For example: “Mine/Yours” was written while she was doing field work in Cape Cod, studying bats. Will This Do? features a song about lichen that’s used as a way to describe a toxic codependent relationship; another invokes the bee hive collapse as a way to translate feelings of emptiness and inadequacy in the face of loneliness. These metaphors create a fantastical world that feels separate from our own but is also entirely a part of it. On a highlight from her 2015 album, Heights, she depicts separation on a glacial scale: “I don’t wanna stay here when the sun sets, like I don’t wanna lose your number when the poles reset,” she sings. “Ice floes, ice floats in a cold place/ Surface cracks like the lines in your face/ Surface cracks like dirt in an earthquake.”

There’s also a strong thread of family in Mastrodimos’ writing. She maps personal histories and patterns, placing her existence in some larger context and continuum. Will This Do? as a whole is an attempt to process a specific grief, written as a way to cope with the death of both of her grandmothers, who passed away within a month of each other last year. Concurrently, Mastrodimos was also dealing with a complicated relationship, and many of the songs are about trying to find autonomy in a life that feels increasingly uneasy and unreliable. “It was a long period of time of being immensely depressed because it felt like my family was falling apart,” Mastrodimos says. “I felt very isolated and numb and angry, but I didn’t know how to express that without screaming into a pillow or running away completely. So, basically, I did a lot of driving around Northern Jersey, listening to pop-punk and screaming in my car, because what else are you going to do?”

One of Will This Do?‘s most strikingly beautiful songs, “Matriarch,” is a tender remembrance of her grandmother. “I spilled coffee on the coat you gave me/ And I wanted to say ‘sorry,’ though you couldn’t hear me,” Mastrodimos opens. “I can still see your fingers on piano keys/ Can’t tell what you’re playing, but you are sitting next to me.” It ends on a line that provides the album with its title: “You asked me why I didn’t write a ballad yet/ Will this do?” It’s an aching question that hangs over all of Long Neck’s new album, a desire to do right by those who love you and those that have left you.

“‘Matriarch’ is one of the most personal songs on the album because so much of it is based on my last conversations with my grandma and seeing her at hospice,” Mastrodimos says. “One of the last things she said to me was, Music is great, but you’ve gotta stick with science. I’m doing that, I’m doing science, but I also want to make sure that I’m doing her proud, too. Nana, will this do? I really hope it will.”- Stereogum
Venue Information:
White Eagle Hall
337 Newark Ave.
Jersey City, NJ, 07302