http://www.earphunk.com/
Initially put together as an outlet for fun, musical creativity, Earphunk began with late night jam sessions between good friends guitarist/vocalist Mark Hempe, bassist Michael Comeaux, guitarist Paul Provosty, and drummer Michael Matthews. Reigning from the funky town of New Orleans, the quartet was set on furthering their exploration into playing music, and began to polish their jams and express their musical aspirations at various house parties and small clubs around New Orleans and Baton Rouge, LA. Close to a year later, as the group began to gel and find more opportunities to perform, long time friend and keyboardist Christian Galle joined forces with the Phunk to collectively propel the band's young yet promising sound. Adding vintage organ and electric piano textures to the already heavy, funky jams, the addition seemed inevitable. The band has not looked back since, and has built up a healthy repertoire of well thought out and memorable originals, while paying homage to their influences through covers of artists like Stevie Wonder, the Meters, James Brown, Herbie Hancock, and Jimi Hendrix. Drawing from a large pool of relentlessly loyal friends, who have been converted to fans, attendance at Earphunk's shows began to rise while word of mouth began to travel, and Earphunk was granted their first gig at the legendary and world famous Tipitina's - a dream come true for the now five young and determined musicians. With over two hundred people in attendance, Earphunk has since returned to Tipitina's on several occasions, and has frequented venues like the Maple Leaf, the Blue Nile, Chelsea's, and successfully completed their first tour in the summer of 2010, anchored by a set at the Wakarusa Music Festival.

http://www.earphunk.com/
Denton Hatcher's music is all at once as diverse and familiar as the musicians who hail from his hometown of Vicksburg, MS. From the country sounds of Tommy Bishop, to the blues styling's of Willie Dixon, to the extreme crossover appeal of George McConnell, all Vicksburg natives, Hatcher has taken his experience's in life and music to become one of the south's premiere budding singer/songwriters. His songs bring the listener on a musical journey of love, heart ache, self doubt, and rebirth. The lyrical content is painful and beautiful, simple and clever in a mix of southern soul with a country twist. Simplicity is the key factor to holding all of these influences together. Hatcher gives us a glimpse into his personal life journal with his songs. He is not afraid to show the listener his dark underbelly, and he is just as quick to share his love for a transitioning life full of opportunity and adventure. It is easy to identify with his darkest moments and his greatest triumphs, as they are all situations that the heart of America suffers from and celebrates on a daily basis.

(CMT) "Third round in CMT's Music City Madness songwriters contest 2008."

(225 Magazine) "Hatcher is blessed with a voice that is at times like a young Gavin DeGraw, but with more edge and range. It's pure wounded Southern charm. At other times, Hatcher releases a deep Johnny Cash ramble,but he's always backed by ambitious, home-spun melodies, be they country, blues or rock."

(DIG Magazine) "Songwriter Denton Hatcher opens up Chelsea's floor to BR's songwriting community" http://digbatonrouge.com/article/nitty-gritty-talent-3373/

www.myspace.com/moontaxi

"This high energy and virtuosity of this band is not to be missed" – JamBase

"Moon Taxi is their own element, and have completely developed their own incredible distinct sound." -Musicwithoutlabels.com

"Moon Taxi's extended jams highlight its impeccable musicianship and showmanship, but, unlike most jambands, it focuses on lyrics and songwriting in order to anchor the melody and provide a basis for the instrumental sections." -Relix

"One of those wow moments that had everyone turning to the person next to them, wide-eyed and grinning, asking if that really just happened." -Jambase

Moon Taxi is one of those rare bands that unites musical ingenuity with thoughtful lyrics and still somehow manages to wildly entertain and thrill a crowd. Their new record, Cabaret, is a layered, multi-dimensional endeavor that displays the band's maturing sense of their own musical identity. A follow-up to their live album, Live Ride, Cabaret illustrates the challenges of defining yourself in a world that seems to be suffering from its own identity loss. Lead singer Trevor Terndrup says, "It's about juxtaposition—putting together seemingly opposite ideas and finding a strange harmony." Inspired by surrealist artwork and novelist Tom Robbins, Terndrup says, "I guess we are trying to say that things are not so black and white, or good or evil, but relative to your own perspective."

Evoking the musical revolution of the sixties and seventies, Moon Taxi ignites their eclectic sound with unique melodies and energetic shows. The band has already formed a loyal fan base across the Southeast, selling out clubs and creating a strong grassroots following. Keyboardist Wes Bailey says, "It's an incredible feeling to see people who we've never met before in a town we've never played before, dancing and singing our lyrics at the top of their lungs. That's what really gets us off."

The songs on Cabaret are stories in themselves, each contributing to the continuing narrative of ideals lost to youth and also newly discovered for the future—both of revelry and social-consciousness. On "Hideaway", an anti-war protest is heard in the background. The chant was recorded on the spur of the moment when Trevor and guitarist Spencer Thomson followed an anti-Middle Eastern occupation march during a trip to New York City. Spencer opened his laptop to capture the moment, and the use of the chant, he says, shows the band's hip-hop influences. Songs such as "Southern Trance", "Whiskey Sunset", and "Cabaret", perpetuate youthful visions of campfires, torn jeans, and a good roll in the hay with the cutest stranger at the party. Spencer says about the variety of their songs, "Moon Taxi is unique because we don't have preconceived notions about who we are supposed to be so there are no boundaries for what we are willing to do or try."

Inspired by artists who push the envelope, such as minimalist composer Phillip Glass, Director Quentin Tarintino, and bands like The Beatles and Radiohead, Moon Taxi's study of the greats is apparent on Cabaret. The record was recorded at Alex The Great in Nashville, where others such as Gomez, Yo La Tengo, and Be Your Own Pet have also sojourned. Cabaret was impressively produced by the band's guitarist, Spencer Thomson and Hank Sullivant (Whigs, MGMT, Kuroma), mixed by Grammy award winning sound engineer Vance Powell (Raconteurs), and features folk/hip-hop artist Matisyahu, who the band has also opened for, on the track "Square Circles".

The band has worked hard to develop their well-executed stage presence. Drummer Tyler Ritter says, "What's great about our touring resume is that we've been able to create an interactive dynamic between the five of us that doesn't take away from the songs, but ultimately adds to a more energetic and (dare I say) 'high octane' live show. We constantly keep our eyes and ears open onstage, so we can change direction if we need to. It's like a really intense conversation with your best friend at 2am, after several drinks, where every topic in the world is up for discussion, and you both have to be quick on your feet to follow each other's train of thought." Equally important as the practice of performing regularly, the guys have also shared life experiences that strengthen their sound and camaraderie. Tom Putnam (bassist) says, "Even experiences that weren't directly recorded, (like the rally in NYC, or the lobby hotel sounds in Mississippi), influence our writing, like riding in a Lamborghini at 150 miles an hour with a drug dealer in Memphis, or when we were en route to St. Louis and watched the sky turned dark brown with tornadic winds and hail. Everyone in the band thought for a second we would die, and if they tell you different, ask Tyler for the video. That stuff changes you and your art." It is the willingness to change and constantly evolve that will carry Moon Taxi through many records, and a long and successful career as a band.

http://www.electricmudd.com/
some of the most highly motivated and talented players to grace the southern plane of music in the last few years. An Honest Tune -

Bill Wright from Roadtrippin radio show in Annapolis, Maryland listed his "Top 40 CD's Of 2003", ranking "Call It What You Will" # 14. Bill had this to say about The Electric Mudd: Track 14 - Call It What You Will - Gumbo, Soulful Southern jam band from Mississippi soaked in the blues. Sometimes sounding a bit like Widespread Panic but leaving enough room to sound original and all their own. Songs like "Gumbo" and "Call It What You Will" make The Electric Mudd a band to keep your eyes and ears on. Visit the Roadtrippin website athttp://www.roadtrippin.net

http://www.spacecapone.com/

"There's an open question as to whether it's harder or easier for smooth white dudes to make inroads in R&B music. If you ask Robin Thicke, it's not so easy. If you're following the career of Nashville's Space Capone, you might think it's a breeze. The local press is smitten with Capone's highly danceable, '70s-style grooves and thrift store retro style, and the national media is starting to catch the vapors too, as Capone was recently featured on TBS' entertainment program Sound Check." - Mark Mays (The Tennessean) "Capone sounds like the real deal. His malleable voice can fall into a rumble or rise to a tingly falsetto, though he's best when gettin' his baritone on. He takes his songwriting cues from the '70s, by way of the neo-soul artists who reintroduced audiences to the classics — Giorgio Moroder's disco, Philly soul and Detroit funk." - The Tennessean "Harmonically sophisticated, Transformation is a commercial funk record that effortlessly combines banality and exactitude in its search for a plausible heaven that includes personal appearances by Al Jarreau....The best funk of the early '80s—Gladys Knight and the Pips' brilliant "Bourgié Bourgié," say, or Chic's "I Got Protection" and "Real People"—itched with unfulfilled desires and misgivings about the value of its own sophistication. Space Capone's music has integrity, but it might benefit from some alienation—a state of mind that almost always trumps the bourgeois compulsion to tame the past." - Nashville Scene "Funk master." - tuneinmusiccity.com "If you're interested in expanding your assemblage of groove jams, Space Capone's debut album, Volume 1: Transformation, just might be the panty-dropper you're looking for. If the songs weren't so damn catchy, they'd be a little difficult to swallow. Instead, the hook from "My Dudes All Approve" will live in your head for no less than one week, and the song "I Just Wanna Dance" couldn't be more appropriately titled." - audioholicmedia.com "The focus throughout the entire 2-hour set was Space Capone, as he delivered the vocals with as much precision as he did in the studio sessions. During the show, Capone deftly interchanged his Barry Gibb-esque falsetto with his Michael McDonald-esque full voice while simultaneously interacting with fans at the front of the stage—never missing a note. Capone, obviously thrilled by the turnout of this near capacity crowd, remained humble throughout the set. He took the time to introduce his family members who were in attendance, as well as other band members' relatives who were in the house. The audience was peppered with industry folk and local rockers with burgeoning careers of their own, and Capone had the entire audience loving every minute of the show." - listennashville.com "If you like energetic funk, you will soon be dancing at Space Capone's upcoming show at the Mercy Lounge. Bringing back the 70's soul to Nashville, Space Capone's stage presence can only be out performed by his vocal performance."

http://www.tbirdandthebreaks.com/

T Bird and the Breaks are one of those gangs of people who could have easily banded together to steal hubcaps or hustle you out of your last dollar in a game of street craps. Lucky for all involved, they chose to make music.

The core of this band of musical miscreants consists of Tim Crane on vocals and piano and an unstoppable rhythm section consisting of longtime partner in crime Sammy Patlove on drums and Cody Furr on bass. Johnny "Too Bad" Allison and Sasha Ortiz, on guitar and vocals, add the icing on the red velvet cake.T Bird and the Breaks are one of those gangs of people who could have easily banded together to steal hubcaps or hustle you out of your last dollar in a game of street craps. Lucky for all involved, they chose to make music.

With a sound that pulls from the origins of hip hop, the alleyways of the Crescent City, the grease and grime of an old-school soul review, and all seven of the deadly sins, the Breaks have developed into a locomotive; slowly pumping across America, leaving crowds drenched with sweat and walking funny the next morning.T Bird and the Breaks are one of those gangs of people who could have easily banded together to steal hubcaps or hustle you out of your last dollar in a game of street craps. Lucky for all involved, they chose to make music.

By playing show after sold-out show, T Bird and the Breaks have amassed a die-hard following of fans from Texas to the Bird's home state of Massachusetts to San Francisco and back again. T Bird and the Breaks are one of those gangs of people who could have easily banded together to steal hubcaps or hustle you out of your last dollar in a game of street craps. Lucky for all involved, they chose to make music.

Currently, the band is hoarding miles of tape — song after song with a new sound — waiting for the moment when the people are ready to hear the sickness that plagues T Bird and the Breaks: chunk

http://thegetrealgang.bandcamp.com/album/heavy-metal-heart-ep
Since August of 2011 Stens has been travelling the country recording with different artists he met while being in Dr. Dog. Some of the artists include: Generationals (with whom he plays drums for), Hacienda, John Stirrat from Wilco, Jim Eno from Spoon, Apollo Sunshine, Those Darlins, and many more. There are 15 sessions total to be released in August of 2012.

Juston Stens brings with him - from his days as the drummer for Dr. Dog -- many of the traits that are so endearing about that great Philadelphia band, to his new group of choice, Juston Stens & The Get Real Gang. It's a band that includes a young, straw hat-wearing cousin, a straw hat-wearing brother and other close, occasionally straw hat-wearing friends who create a sort of familial collective that makes what they play and sing feel as if it were made for the side roads, on plots of land far out of the way, where you're butted up against fence lines and country dogs, as far as the eye can see. You're out in the middle of rural pasture and old white-washed two-story homes, where the old men at the town diner are one or the other - long-winded storytellers or about as good at brevity as anyone could ever possibly be. Stens salutes these kinds of men in his music, which employs the scruffy, Vietnam War generation brand of melody and structure, the kinds of men who prefer to believe in simple love, when it's uncomplicated and easy. It's being to look out upon an evening of bright stars and a bloated, white moon that refuses to let anything sleep easy and feel that special person reclining back into your arms and you burn the night talking about everything and nothing to your heart's delight. Stens sings that "love, it doesn't hurt until you hurt the one you love," and his characters seem to abide by this mantra, closely adhering to the belief that one has a choice to make it good or bad and there's no real middle ground that's gonna be good. Stens & The Get Real Gang make the easy, Sunday morning coming down music that gives off the kind of light that feels as if it were streaming with a purpose, as if it were the only light all day long that was actually going to help anything grow - it's that all-important light needed for all things. The band's debut EP is laced with situations gone wrong, with one person feeling the brunt of the loss or the neglect, but dealing with it through the thoughts of those needful things in better times. "Lonely Lonely Night," is a song that strips back any unneeded tinsel or garnish, just being as blunt as possible about what's stewing and brewing inside. Stens sings, "Every day without you is gonna be a lonely day," over a lazy cocktail of heavy bass and the backing shakes and jitters that we used to hear in AM radio staples. It's lonesomeness at its most human - when it sounds as if it's just gutting and similarly uplifting or pleasant in some sick way.

Park The Van Records

http://www.mojomusic.com/alvin/

The Cosmic American Love Child Of Howlin Wolf and Link Wray! Known as amusician's musician, his praises have been sung by everyone from Bob Dylan to Brit guitar gods Eric Clapton & Mick Taylor. Since his 1996 debut recording, the all-acoustic BIG MAMA'S DOOR, Alvin Youngblood Hart has carried his musical message the world over. A devout follower of the "no barriers" approach laid by veteran performers like Gatemouth Brown and the late great Doug Sahm, Alvin continues to defy the so-called purists.

After receiving the 1997 W.C Handy Award for Best New Artist, as well as two Living Blues Awards, Hart's 1998 release, TERRITORY, a rousing tribute to all forms of American music, received the Downbeat Magazine Critics Poll Award for Best Blues Album (and it wasn't even a Blues album). In the summer of 1999 Hart teamed up with producer Jim Dickinson to begin recording START WITH THE SOUL. This record would be hailed as a new breed Southern Rock classic and Alvin's return to the "sacred garage". START WITH THE SOUL was chosen by the New York Times as one of the top 10 releases of 2000, as well as the BBC's Blues record of the year. He also shared Living Blues Magazine's best guitarist honors with fellow road dog Big Jack Johnson in 2001.

2003 was a busy year. Not only was there a GRAMMY nomination, Hart also toured the world as a member of Job Cain, a hard rocking side project he put together with Cry Of Love/Black Crowes guitarist Audley Freed. In August of '03 Alvin was invited to fill in for Taj Mahal for five nights in Tokyo as a member of Kip Hanrahan's Conjure, the worlds longest running jazz poetry ensemble. Assembled to lend musical support to the words of Bay Area poet Ishmael Reed, Conjure featured the talents of tenor sax giant David Murray and also Meters guitarist Leo Nocentelli. Alvin is still a member of the revolving cast and recorded with them on the BAD MOUTH CD.

In 2004 Mr. Hart received a Grammy for his contribution to BEAUTIFUL DREAMER :THE SONGS OF STEPHEN FOSTER. In the Summer of 2005 he released the self produced MOTIVATIONAL SPEAKER, a rock guitar free-for-all, paying homage to fallen & missing rockers like Phil Lynott and Sly Stone. In 2006 Hart took time out to work on the film BLACK SNAKE MOAN. He served as a guitar tutor to star Samuel L. Jackson and recorded a duet with the film's female lead Christina Ricci for the soundtrack. In the fall of that year Hart joined Austin dynamo Ruthie Foster and Rock n Roll legend Bo Diddley for a 2 month coast to coast US tour. Recently Alvin has thrown his talent into the educational arena. In April 2007 he participated on a tour of Mississippi high schools as a member of the Thelonius Monk Institute Of Jazz.

The Summer of '07 saw Alvin hit the big screen as a juke joint musician in the Denzel Washington directed film THE GREAT DEBATERS.

Hart continues to tour the globe as a solo artist and with Alvin Youngblood Hart's Muscle Theory.

http://www.thewerksmusic.com/
Formed in 2007, The Werks have quickly emerged as a national powerhouse. As a result of their eclectic individual influences, The Werks produce a dance party that can be appreciated by a majority of musical tastes. Fusing the psychedelic shredding guitar and screaming organ of jam and classic rock with funk slap bass, synthesizers, and modern dance beats, The Werks are redefining the term "Jam Band" with the ability to cross genres from Psychedelic Rock to Funk to Electronica. Their unique style of performing is affected and manipulated by the energy of the audience, guaranteeing that each show will be different and memorable.

The success is largely credited to the hard work of their street team as well as to the dedication of the band, their fans and a unique performance.

The Werks were apart of these 2011 Festivals: -The Werk Out Music Festival -All Good Music Festival -Wakarusa Music Festival -Electric Forest Music Festival -Summer Camp Music Festival -North Coast Music Festival -Rootwire Music and Arts Festival -Camp Bisco -The Big Up -DexFest -Mayflowers Springdance Music Festival -Karma Music and Arts Festival -The Blast Off -ShamyBash Music Festival -Tribez Vibez -Michigan Roots Jamboree -Hookah in the Hills -Family Roots Festival -Summerdance IV

http://www.bloodkin.net//
"My new definition of underground: singer-guitarist Daniel Hutchens and guitarist Eric Carter, friends since they met in elementary school...and, for the past 23 years, the sturdy, stubborn axis of the Athens, Georgia band Bloodkin...on BABY, THEY TOLD US WE WOULD RISE AGAIN, Bloodkin are at a hot peak in their odyssey, opening with the hypnotic hell of "The Viper," a catalog of addictions checked off by Hutchens in a belly-to-the-bar drawl against a seventies-Neil Young tornado of banjo, dirty guitars and prairie-chapel organ. The spike and clash of Carter and Eric Martinez's guitars in "Wait Forever" suggest Keith Richards and Ron Wood--armed with Civil War bayonets."
-DAVID FRICKE in ROLLING STONE

"BABY, THEY TOLD US WE WOULD RISE AGAIN is the title of Bloodkin's new album and it's truly one of the best damned Rock and Roll albums that I have heard in many a year...life-affirming rock and roll in the grandest tradition...one of the most under-rated bands on Earth."
-PATTERSON HOOD of DRIVE-BY TRUCKERS

"From the very beginnings of Widespread Panic to today and beyond, Bloodkin has been one of our greatest influences. Danny and Eric's music has a consistent blend of poetry, intestinal fortitude, and song-craftmanship that I envy. I can hope their example sinks in to my own approach to music. We can voyeuristically cover their songs during our sets but ultimately it's best to listen to Bloodkin and surrender to what is coming at you––pure intention in the form of music. Bloodkin's presence in, and their approach to, rock & roll or whatever you call it––is as much of what makes up the backbone of the Athens music story as any other band that has come through this town. That's what Danny and Eric mean to me."
-JOHN BELL of WIDESPREAD PANIC

"We had Vic's song and a Danny Hutchens song [on DIRTY SIDE DOWN]...That's when we started talking about the fact that we were covering a song from Vic and a song from Danny, so why shouldn't we do one by Jerry [Joseph]? These are the three biggest songwriting influences in our band's life."
-DAVE SCHOOLS of WIDESPREAD PANIC in BLURT ONLINE

"Slept on for 20-plus years, these roiling Southern rawkers plunge you into a guitar-moaning maelstrom rife with sagas about snorting coke and putting a gun in your mouth and living to ham- fist another round of margaritas."
-CHARLES AARON in SPIN

"[Baby...] is a terrific record, highly recommended also by Patterson Hood...who has been a fan since he first saw them in the mid-90's, when Bloodkin had an apparently legendary residency at the High Hat Music Club." -ALLAN JONES in UNCUT

"It appears that Georgia-based southern rockers Bloodkin have set the benchmark for artistic rediscovery in 2009." -GLIDE magazine

"Bloodkin's 20-year history has been a roller coaster of the good, the bad and the ugly. There have been personal demons to tame, real tragedy to endure, and a very uphill battle to keep their creative relationship intact. But through it all, their music remains a genuine article of southern gothic narrative wrapped in the cloak of powerful and raw guitar-driven rock & roll music. With 9 albums of material to their credit Bloodkin is an undeniably important, although generally under-recognized, part of the contemporary southern musical landscape." -JAMBASE

"Easily the most under-appreciated rock n roll band of the last 15 years, Athens GA's Bloodkin is finally getting some much-deserved attention with this soulful, demon-expelling record [Baby...]. I should let you in on a little secret--all of their albums are this good." -STEVE LABATE in PASTE MAGAZINE

"As if the legacy of Faulkner or even the Beats were alive on vinyl rather than in ink." -STEPHEN M. DEUSNER in PITCHFORK

"Bloodkin...has emerged from the flames with one of the best albums of its career [Baby...], rivaling its 1996 classic Creeperweed in sound, songwriting, and overall vibe." -JAMIE LEE in HITTIN' THE NOTE

"Bloodkin, who formed in the early 1990s, are best known for their influence on Widespread Panic, who have covered a bunch of Bloodkin tunes. As revealed onBABY, THEY TOLD US WE WOULD RISE AGAIN, the bands share a bit of Southern-rock influence, but at its heart the Bloodkin sound is more akin to alt-country contemporaries like Son Volt, or even relative youngsters Cross Canadian Ragweed. The Crazy Horse crunch of the guitars and the willingness to let a groove develop slowly mark the band as distinctly '70s-influenced, but the thoughtful songwriting that sets them apart from the country-rock masses isn't tied to any one era." -CD UNIVERSE

"[Hutchens] is a national treasure, and I'll stand on Steve Earle's coffee table in my Jack Purcell's and say just that." -JUSTIN GAGE in AN AQUARIUM DRUNKARD online

"It's no mystery I am a longtime fan of the music of Daniel Hutchens and his band Bloodkin... I put his catalog right up there with the likes of Townes Van Zandt, Alejandro Escovedo and Steve Earle in terms of truly capturing the nuances of humanity, both the light and the dark, in song." -JUSTIN GAGE in AN AQUARIUM DRUNKARD online

"Like fellow Athenian [Vic Chesnutt], Daniel walks that fine line between the light and the dark. That magic lyrical twilight that you can't quite put your finger on, but one that makes all the difference." -JUSTIN GAGE in AN AQUARIUM DRUNKARD

BIO:
Daniel Hutchens and Eric Carter met each other when they were eight years old. They solidified their early friendship based on a mutual love of baseball, comic books, and rock n roll music. They grew up in West Virginia; much time during their high school years was spent on Skull Run Road, where Eric's family lived, a few miles outside Ravenswood. The boys recall that road as being the site of their first garage band practices. After high school, they started getting a little more serious about their blossoming songwriting partnership. Their road wound through Huntington, WV, and eventually on to Athens, GA, which they soon came to call home. They continued to concentrate on their songwriting, and by the early 90's they had a catalogue of over 300 compositions. By this time Hutchens and Carter had given their musical collaboration a "band name": Bloodkin. People started to notice, and some even started covering some Bloodkin compositions, most notably Widespread Panic, who wound up recording three Bloodkin songs, and who continue to play those and other Bloodkin songs live. Panic's cover of "Can't Get High" peaked at #27 on the Billboard AOR charts. Other songs in Panic's regular rotation are "Makes Sense To Me", "Henry Parsons Died", "End Of The Show", "Who Do You Belong To", and occasionally "Quarter Tank Of Gasoline". Daniel also wound up playing with ex-Velvet Underground member Moe Tucker in the early-to-mid 90's; he played on three of her albums and several of her tours. In 1994 Bloodkin released their first official CD, GOOD LUCK CHARM. The project was produced by Johnny Sandlin (legendary producer of the Allman Brothers, Eddie Hinton, and so many others). Bloodkin recording projects over the years have also featured producers John Keane (R.E.M, Cowboy Junkies, etc.) and David Barbe (Son Volt, Drive By Truckers, etc.). All the while, the Bloodkin boys have continued to play live all over the Southeast and beyond

DrFameus is an electronic music project created by the versatile drummer, Allen Aucoin. Allen explores many realms with DrFameus ranging from breakbeats to drum 'n' bass to dubstep to techno/house. It is his ability to survey the crowd and then improvise that has allowed Aucoin to play in such diverse projects over the years.

Allen began his musical career not onstage, but instead in education and composition. This included instructing and writing for award winning percussion ensembles and teaching drum lessons. While attending Berklee College of Music in Boston Massachusetts Allen was given the nickname DrFameus and it has stuck ever since. Like so many of us, college was not exactly a punctual time for Allen. He became known as the guy that was famously late all the time; so much that a friend gave him the honorary doctorate, DrFameus.

After moving back to the southeast from Boston, Allen continued to work as a teacher and percussion instructor while touring with the band "Skydog Gyspy." In 2005 Aucoin acquired his current role as the drummer for Philadelphia electronic act, the Disco Biscuits. Since winning the "drum off" held by the Biscuits in Atlantic City, Allen has played 450-500 shows with the quartet including shows at the Gorge Amphitheat.