The Basements: EP Release Party @ 191 Toole


 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.




The Basements are an alternative rock group formed at the University of Arizona. Sebastian Driver (vocals/guitar) is from Anchorage, Alaska. Alex Sciortino (drums) and Brandon Pors (lead guitar) hail from Peoria, Arizona. Dylan Goode (bass) is from San Francisco. When they aren’t too busy saving the world from evil, you can find them around Tucson and her ever they serve the best drinks. The Basements will be performing at 191 Toole on May 6th to celebrate the release of their new EP, which will be available on the same day. Until then, you can stream their new single, “Better for You”, on April 14th. Whatever kind of music you’re into, The Basements will be sure to have you dancing like nobody’s watching.


















 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.




The last two years changed music for everyone. They might have changed HEALTH for the better.


Three years after VOL.4 :: SLAVES OF FEAR, the L.A. trio’s ferocious entry into the world of heavy music, HEALTH return with the second half of their DISCO4 series. On the first installment in 2020, they swapped remixes for original collaborations with Perturbator, 100 Gecs and JPEGMAFIA.


A whole lot went to hell in the meantime, forcing the band to re-invent how they wrote music together. For DISCO4 :: PART II they cut it fast and mean, recruiting both legends and nascent contenders of heavy music and its many peripheral genres.


The centerpiece of DISCO4 :: Part II is the Nine Inch Nails collaboration “ISN’T EVERYONE,” which re-unites HEALTH with their early-career arena tourmates. The mesh between Trent Reznor’s growls and Jake Duzsik’s gossamer melodies—all over a gigantic synth barrage—feels like a new moment in industrial music.


On “COLD BLOOD,” their latest single with metal titans Lamb of God, HEALTH show they can devote themselves to a genre and detonate it all in the same track. Its blistering heaviness juxtaposed against album cuts like the raucous “GNOSTIC FLESH/MORTAL HELL” (with noise-rap banshee Backxwash and the virtuosically scabrous trio Ho99o9) or the contemplative “STILL BREATHING” (co-piloted with teenage post-punk experimentalist Ekkstacy), demonstrates the breadth of HEALTH’s sonic palette and ability to incorporate what heavy music looks like today and going forward.


From their twitchy 2007 debut, through the groundbreaking 2012 score for Rockstar Games’ Max Payne 3 and 2015’s DEATH MAGIC, multi-instrumentalists/producers Jacob Duzsik and John Famiglietti, and drummer Benjamin Miller, snuck beauty and rigor into blinding noise. They draped moody violence over trap beats and warehouse rave sounds alike.


HEALTH are not only making the heaviest, most genre-obliterating music of their career. They’re documenting just how insane it feels to be alive right now.


Kishi Bashi – 151A 10th Anniversary Tour


 To provide a safer environment for the public and significantly expedite fan entry into our venues, Rialto Theatre & 191 Toole have instituted a clear bag policy as of March 1st, 2022. The policy limits the size and type of bags that may be brought into our venues. The following is a list of bags that will be accepted for entry: Bags that are clear plastic or vinyl and do not exceed 12in x 6in x 12in One-gallon clear plastic freezer bags (Ziplok bag or similar) Small clutch bags, approximately 5in x 7in All bags subject to search. Clear bags are available for sale at the box office.




They say that you spend your entire life writing your first album, piecing every formative moment, scribbled turn of phrase, and thematic epiphany into a fantastical collage. Multi-instrumentalist K. Ishibashi (aka Kishi Bashi) disproves that old adage. The title of Kishi Bashi’s 2011 debut album, 151a, is a riff on the Japanese phrase “ichi-go ichi-e,” roughly translating to “one time, one place.” That’s exactly what this debut is: A singular time, an inimitable place, a launchpad for bigger and better things to come.

“It’s a play on words that translates as a performance aesthetic of having a unique performance in time, with imperfections, and enjoying it while you can,” Ishibashi told NPR at the time of the album’s release. “The saying reminds me to embrace my mistakes and move forward.”

Produced and performed exclusively by Kishi Bashi, 151a is a showcase of singular talent and ambition— and it didn’t go unnoticed by fans or peers. Along with launching Kishi Bashi’s career as a soloist, this earnest debut made him one of indie music’s most in-demand violinists. He was no longer relegated to side stage as a collaborator of Regina Spektor, Sondre Lerche, of Montreal, and more—the Kishi Bashi name could endure with its own merit.

As deeply personal as 151a undoubtedly is, the record was animated by a deep and enduring partnership. Following Kishi Bashi’s collaboration with of Montreal’s Kevin Barnes for the watershed art-pop album Paralytic Stalks, his worldview and artistic approach was transformed for the better. Strict habits hung loose, sonic palettes bled and broadened, and a one-man orchestra sprouted from a foundation of string loops.

From the deconstructed Beach Boys-esque doo-wop of “Wonder Woman” to the menacing marriage of Eastern Hues and Western operatics of “Beat the Bright out of Me,” 151a a mediation between opposing drives, offering possible reconciliation but never promising it. The album’s emotional wellspring, “I Am The Antichrist To You” was reimagined in 2021 when it was featured on the animated sci-fi sitcom Rick and Morty, introducing Kishi Bashi to a new generation of awestruck fans.

Kishi Bashi also uses 151a as a vehicle to explore his cultural background. Using Japanese refrains as a compositional and textural device (the polyrhythmic grandeur of “Bright Whites”; the gleeful surrealism of “It All Began With a Burst”), Kishi Bashi celebrates his heritage with earnestness. Japanese phrases and couplets are sung as the response to Kishi Bashi’s resplendent calls, offering listeners a conversation that dovetails with the album’s themes of love, sentimentality, and self-discovery.

Today, the “one time” and “one place” that 151a inhabited seems further than ever, almost broaching celestial realms of time and space. But, rest assured, with each listen, the world that Kishi Bashi built springs back to life. The world of 151a never left—it was just waiting to be rediscovered.

Josh Rouse

ABOUT Josh Rouse


“Like a baseball player who quietly hits 30 home runs every year or a golfer who regularly finishes in the Top Ten, Josh Rouse‘s continued streak of excellence is easy to ignore and maybe even downplay a little” — Tim Sendra,


You don’t have to work hard to enjoy Rouse’s music. His songs present themselves to you with an open heart, an innate intelligence and an absolute lack of pretension. They are clear-eyed, empathetic and penetrating. Without pandering, they seek to satisfy both your ear and your understanding. The verses draw you in with telling detail, both musical and thematic, and the choruses lift and deliver. They resolve without seeming overly tidy or pat.


Josh Rouse was born in Nebraska, and following an itinerant upbringing he eventually landed in Nashville where he recorded his debut Dressed Like Nebraska (1998).  The album’s acclaim led to tours with Aimee Mann, Mark Etzel and the late Vic Chestnut. The followup- Home (2000)—yielded the song “Directions” which Cameron Crowe used in his film Vanilla Sky.


“Every time I’ve made a record, I’ve tried to make it different from the last one,” says Rouse. “I always became fascinated by a different style of music. But at the end of the day, no matter how eclectic I try to make it, it’s my voice and melodic sensibility that tie things together.”

For his breakthrough album, 1972 (2003), which happens to be the year he was born, Rouse decided to cheer up a bit. Noting that he’d earned a reputation for melancholy, he says, with a laugh, “I figured this is my career, I might as well try to enjoy it.” While the Seventies are often identified with singer-songwriters, Rouse was primarily attracted to the warmer sound of albums back then, as well as the more communal feel of the soul music of that time.  The follow up,  Nashville (2005) continued the hot streak and expanded his audience further.


After relocating to  Valencia, Spain with his wife Paz, Rouse has released a steady stream of high quality songs and albums. Subtitulo (2006) contained the international indie folk hit “Quiet Town”. On El Turista (2010) he even experimented with writing and singing some  songs in Spanish. In  2014, he won a Goya Award (the Spanish equivalent of an Oscar) for best song for “Do You Really Want To Be In Love,” from the film ‘La Gran Familia Española.’


The Embers of Time, was one of his strongest—self-described as “my surreal, ex-pat, therapy record.”  He followed that up with Love In the Modern Age, which took its musical inspiration from the thinking man’s pop of the eighties: The Blue Nile, Prefab Sprout and the Style Council. And in 2019 he tackled the Christmas album on The Holiday Sounds of Josh Rouse but instead of well-worn carols or classics, he wrote an entire record of original holiday themed pop songs.


ABOUT Freddy Parish


Freddy Parish grew up in Sonoma County, California, just down the road from where Jack London wrote “Valley of the Moon,” named for the mythic translation of the Miwok “Sonoma.” His Arkansas born father inspired a lifelong love of country music, from the poetry of John Prine, to the gentle love songs of Don Williams. After spending a year of high school studying abroad on the Baltic Coast in Ainazi, Latvia, he went on to spend his formative years traveling the country taking odd jobs and writing songs, and later returned to school to study Music Composition, Audio Production, and Poetry at the Evergreen State College in Washington.

After spending time in North Carolina, Virginia and West Virginia, Freddy began tracing back the roots of country music, along with his own Ozark family heritage, in a study of old time fiddle and banjo traditions. In 2018 he won 1st place for old time banjo at the West Virginia Open Fiddle and Banjo Contest. Upon settling in the Southwestern border town of Tucson, Arizona, he founded the Old Town String Band, who in 2018 released a collection of traditional songs and tunes entitled “Last Chance.” The group established a monthly residency to showcase old time and traditional country music at Tucson’s now shuttered listening room El Crisol. In 2021 he released an EP of original songs entitled “A Cold July” and has taken up a monthly residency at the iconic Hotel Congress in downtown Tucson.  He has opened for Marty Stuart, Sam Outlaw, Jade Jackson, and Run Boy Run.

Freddy continues to pursue his own more contemporary songwriting in the Country, Roots, and Americana genres through story telling, poetic imagery, and themes of heartache and love, existentialist dread and hope, courage, vulnerability, and the ever beckoning open road.

Ultra Q



Not to add to the deluge of artistic clichés brought on by the Global Event Which Shall Not Be Named, but spending more or less a year in the house offers plenty of time for reflection, reevaluation, and revision. Though there was a lot to process already in those months, it was an opportune time to try and get your shit together, whatever that may mean for you. For Jakob Armstrong—in addition to many other things like the rest of us—part of it meant fine-tuning a collection of songs first recorded in late 2019. A prolonged process leading to five of the seven songs on Get Yourself a Friend retooled into their better-than-even final form.


Jakob Armstrong—youngest son of Green Day frontman Billie Joe—began playing guitar at seven years old and honed his craft privately until about sixteen, playing in bands in and around Oakland after meeting friends with like-minded tastes in music. Soon enough, with the memories of Ultraman action figures fighting in his mind, he and a group of friends he cultivated from those years playing around and pouring over records, formed Ultra Q (its name inspired by an Ultraman prequel series).


Fusing together the skyward lift of Interpol, the clever guitar interplay of the Strokes, the maudlin romanticism of the Cure, and the often impressionistic narrative gifts of Arctic Monkeys, Ultra Q’s growth since their 2019 EP We’re Starting to Get Along has been exponential. A traditional alternative rock sound was baked by the California heat, shards of broken glass gleaming in the sunlight, spanning the distance from Berkeley to Rodeo Drive. Over blaring guitars and thunderous drums, Armstrong’s voice is carried by a very familiar lilt. 2020’s In a Cave in a Video Game, self-recorded by Armstrong on a whim while quarantined, could easily be slotted between the blown-out, lo-fi tones of early Wavves and the works of intentionally harsh-sounding Columbus band Psychedelic Horseshit.


Opening double-shot “Pupkin” and “It’s Permanent” soar to the heights of Ultra Q’s powers in much different ways; the former a black-clad romp through a rainy graveyard, the former pushing straight to the clouds with its soaring chorus. “Straight Jacket” veers pleasantly close to the jangle-pop of the Go-Betweens. “Bowman” features guitars like cats getting into a scratch-fight while an astoundingly metronomic drumbeat is played live rather than punched out on a beat pad. Closing the EP is its title track, an affecting end credits anthem full of nostalgia and a twinge of regret.


As a whole, Get Yourself a Friend marks the synthesis of a songwriter’s vision and his band’s ability, forged through an invisible existential threat and an ever-changing world, eager to show what they’ve found while we were all inside. — Martin Douglas

ROLE MODEL – TouRX 2022 World Tour



Tucker Pillsbury assembles, disassembles, and reassembles different vibes, sounds, and emotions into Role Model. One moment, he is crooning about his crushes earrings over crunchy chords. The next, he is spitting bars about staying home. Either way, the intimacy of his songwriting beckons connection. You will experience doubt, anxiety, infatuation, and even love right next to him.

Eve 6: Extreme Wealth Tour



eve6 isn’t a very good band. they got lucky and had like a hit and a half like twenty
years ago and sold some records but who cares. they’ve had all the terminally
predictable ups and downs of every other band thats been chewed up and spit out
by the machine. their new shit is good but no one will listen or care. eve6 doesn’t
really like music and thinks more often than not its just a distraction for the dull of
mind. eve6 thinks music industry people are the worst people in the world and this
includes label people, lawyers, publicists, managers, radio program directors, music
supervisors etc. thanks for taking the time away from your fake slack job to read this. -eve6




As of September 20, 2021, all patrons will be required to wear masks while attending an event unless actively enjoying a beverage. Additionally, proof of full COVID-19 vaccination or a negative COVID-19 test result within 48 hours will also be required. At-home tests can only be accepted with results given via an app (which includes your information). The test result will need to include your name and date of birth, and also have a time stamp so we can determine when the test was taken. It will be compared to your photo ID at the door.

If you are uncomfortable with these guidelines, have already purchased a ticket, and would like a refund you may contact the Rialto box office at




Rhian Teasdale and Hester Chambers each wear a small gold necklace made by Hester: one that says Wet, and one that says Leg. Before last summer, those necklaces would have been cryptic to almost everyone else. However, a lot has changed since then. Wet Leg only released their debut single, Chaise Longue, in June 2021, but its dry wit, Mean Girls nod and thumping indie-disco beat turned it into a runaway hit. They have already performed on Jools Holland and Seth Meyers, supported a slew of great acts from CHVRCHES to Idles, sold out their entire 2022 tour with only two songs out in the world (Wet Dream followed in September, another absolute corker) and now, with new single Too Late Now, an album on the horizon and having been ranked #2 in the BBC Sound of 2022 list, this year looks set to take them even further. Here are the pop stars you’ve been waiting years to discover.


“It all seems so long ago now,” says Rhian, still a little stunned by the rapid pace of it all.” It has only been six months. “There have been so many firsts for us since then,” says Hester.


The next first will be their debut album Wet Leg, an instant classic that peels back the layers of the band to reveal the smart, dark heart at the centre of it. There’s dancing, guitars, humour, sex, disenchantment, parties, break-ups, a woozy ode to being kicked out of a shop for being ‘totally pickled’ (Supermarket) and a spectacular insult lobbed in the direction of an ex-boyfriend: “When I think about what you’ve become, I feel sorry for your mum.” (Ur Mum).


Wet Leg was mostly recorded in London, in April 2021, meaning they had a finished album before the world had even heard Chaise Longue. “I guess how it happened was unconventional,” says Hester. Rhian speculates: “Not many new bands get the opportunity to cocoon themselves in the studio without the noise and opinions of the outside world.” “It felt like a weird social experiment” jokes Hester.


The duo teamed up with Dan Carey (Squid, Fontaines DC) to produce the bulk of it. “It was such a beautiful, homely studio, with no glass separating us. We didn’t have much studio recording experience, but we immediately felt at ease at Dan’s. It just felt right. We made friends with his fluffy white little dog, affectionately named Feta. If we ever got into a rut with anything, we’d just take five and go hang out with Feta – she was a light to us in dark places, when all other lights had gone out.”


They chose from a pool of demos that they made at home on GarageBand, “They were super scrappy,” says Rhian, “but they were good enough to get our ideas across and already they had a sense of identity to them.”


The music isn’t the only window into the world of Wet Leg. The woozy logo and the paintings on each single’s artwork were all designed by Hester herself, and the accompanying videos for Chaise Longue, Wet Dream and Oh No were also directed by the pair. Wet Leg’s identity is ever-evolving but distinct; “Like, surrealist prairie, but with lobster claws. It’s very dreamy but maybe a little bit sinister at points,” says Hester.


But for the album cover art, they’ve kept it simple. “It’s a photo of me and Hester, just after we’d come off stage. I’ve got my arm around her waist, and she’s got her arm over my shoulder, and we’re ever so slightly hunched over…” says Rhian, before Hester finishes her sentence: “Like we’re telling each other a secret… or quietly plotting world domination,” she jokes. The image is a perfect visual representation of their friendship and all things Wet Leg.




Rhian and Hester first met at college on the Isle of Wight, where they both grew up. The pair decided to start Wet Leg after a long hazy summer of rolling around fields and playing festivals with a couple of different bands. They would play their set and then stay for the rest of the weekend to take in as much music as possible before returning to their day jobs. “It was a

pretty fun time…I think it really helped inform what kind of music we wanted to make when we eventually started Wet Leg,” concludes Hester.


“Initially, we started the band because we wanted to get free entry into festivals,” adds Rhian. “We wanted to put the summer we’d just had on loop. So I guess we wanted to make music that would fit in that setting, in that headspace, because for the most part, the bands we’d been in before took themselves a bit too seriously, let’s say.”


Wet Leg was born. They wrote enough songs for a festival set – Wet Dream, Chaise Longue and Oh No came from that unhurried time – in the hopes that they’d get booked to do a few more festivals.


Hester says they weren’t sure what would happen next, whether they’d even carry on. “It’s just a thing, isn’t it? Making grandiose plans to start a band but then just getting too busy with the everyday. We were both working full time jobs so it’s miraculous that we managed to find any time for it really,” she reflects. “But being at a festival and being a bit inebriated helps you come up with your best worst ideas – you get that sense of drunken clarity on things,” jokes Rhian. “Yeah, I still have flashbacks of us earnestly declaring to our friends that we were gonna start a band and that the name would be ‘Wet Leg’. The general response being a slightly patronising pat on the back and a ‘Sure you are’”.


Wet Leg, the album, is sad music for party people, and party music for sad people. The main focus was always “good-times-all-the-time” (Angelica) right from the start. Whilst the album is for the most part a representation of that sensibility, a dry and often dark sense of humour ripples through. Whether that’s eviscerating a pretentious ex-boyfriend who sends unwanted texts declaring he’s dreamt you were back together and happily married (Wet Dream) or being sucked into the 3am doom scroll on the magnificent glam-stomp Oh No, reminiscent of an 80s sci-fi film, distilled into two minutes and 29 seconds.


I Don’t Wanna Go Out reflects on clinging to youth through partying and being in bands, while Too Late Now, which closes out the album, is a three-part epic-in waiting that captures confusion and disillusionment; in a near-spoken-word interlude, Rhian rattles through dating apps, TV and a messy, bleak world, wryly settling on a bubble bath “to set me on a higher path”. (She isn’t relaxed enough for baths in real life. “I find it quite hard. I’ve got business to do, I can’t just sit and soak myself into prune-hood.”)


Opener Being In Love sums up that bittersweet give-and-take, starting with a barebones melody before slamming into the chorus. “It is”, says Rhian, “about how being in love is not very conducive to doing much of anything else at all”.


Chaise Longue announced their arrival emphatically, demanding attention like its bratty narrator: “Mummy, daddy, look at me…” “It’s just so dumb,” says Rhian, embracing the Ramones tradition of proud simplicity. “We wanted to introduce ourselves like, we’re not going to be like other bands, we’re not indulging that ‘struggling artist’ thing. We have a sense of humour; start as you mean to go on and that”.


“That’s the other thing about our band,” says Rhian. “We’re not virtuoso guitarists or anything but making music isn’t about that for us. It’s just: ‘Does it sound good?’ Often it’s the rough bits, the weird wonky melodies that you hold on to.” “Also, are we having fun?” adds Hester, “Being such close friends, starting this band together was such a refreshing experience compared to other bands we’d been in before. We help each other take risks and do things that scare us.” “Courage is found in unlikely places” Rhian adds.


Angelica is named after Rhian’s oldest friend and housemate, and was recorded in Hester’s living room, by bandmate Joshua Mobaraki. It’s a trippy, synth-kissed journey through parties

and regrets. “It’s laced with disenchantment,” Rhian says. “Even though the chorus is ‘good times, all the time’. That’s just impossible, isn’t it?”


Hester takes the lead vocal on the gorgeous, looping Convincing, “about the indifferent feeling you get when you acknowledge that you’re blue and not ready to do anything about it,” she says. “But in the end, it’s only a passing thing, this shadow, even darkness must pass” adds Rhian.


Loving You is a heartbroken kiss-off to a clueless ex who ‘wants to be friends’, while Piece Of Shit is rip-roaring takedown of the very same: “You say you’re a genius, I say you must be joking,” sings Rhian.


Ur Mum brings it to a final climax — “When the lights go down on this fucking town, I know it’s time to go” a lyric that denotes outgrowing the slow pace of life and small town energy of the Isle of Wight in which Rhian lets out her “longest and loudest scream.” Rhian wrote it one evening on a break from her old job as a wardrobe assistant, where she was working on a fast food commercial. “I snuck my guitar into my hotel room and wrote it at the end of a long, boring day,” she explains. “Sometimes it’s just good to have a big scream, isn’t it?”


It is. Wet Leg is cathartic and joyful and punk and scuzzy and above all, it’s fun. “Wet Leg was originally just supposed to be funny” says Rhian. More and more people are now in on the joke with the two of them, but that spirit remains at the centre of what they do. “Home is now behind you. The world is ahead” concludes Hester.

Igor and Red Elvises




Igor Yuzov was born in Germany, raised in Ukraine and studied in Russia. He grew up in the former Soviet Union, where folk music was the norm and rock’n’roll was illegal. A rebellious streak, however, led him to seek out the forbidden music. As soon as it became possible, Igor left Russia for America with his “Folk’n’Roll” band Limpopo and was personally greeted by Ronald Reagan. In 1993, Limpopo won Ed McMahon’s Star Search and their popularity began to blossom. In 1995, Igor dreamed that Elvis Presley came to him and told him to start playing rock’n’roll. Igor and his Russian friends became Red Elvises and gave street performances on Santa Monica’s 3rd Street Promenade. As their crowds grew larger, the City of Santa Monica ordered them to discontinue their street performances. Evolving over the years, Igor’s music has been labeled “Siberian Surf Rock” which contains humorous lyrics and grooves that forces his audience to dance. Over the past 20 years, Red Elvises have constantly toured all over the world with occasional breaks to record new music and to participate in film and television projects.

As an independent band, Red Elvises have produced 12 studio albums, two live albums, a live concert DVD, and a Greatest Hits compilation. Some of their most notable film contributions include music and or performances in “Six String Samurai”, “Mail Order Bride”, “Armageddon”, “Skippy”,  “Melrose Place”, “Fastlane”, “Penn and Teller’s Sin City Extravaganza”, “VH-1 Behind the Music”, and “MTV”. Red Elvises have performed for large festivals, private parties, and played on massive stages such as 2005’s Live 8 Benefit Concert. No matter where they perform, Igor & Red Elvises always bring the party with them.

For more biographical information about Red Elvises, order or download the book “Igor and the Red Elvises” by Marla J. Selvidge.