is a rapper/singer/song writer/creative based in Tampa Florida by way of Jacksonville Fl.
He is a community activist and a mentor to young men in the urban community.
He visits DJJ’s all over the state to speak and encourage at risk youth.
Chaynce has put out several mixtapes and 2 full projects and an e.p.
Reloaded, Richochet and No Room To Breathe.
*CANCELED* The Industrial Kaos Tour 2020 w/ Dawn of Ashes, Midnight Nightmare, ASMO & Sleight of Hand
Los Angeles, CA-based DAWN OF ASHES – whose very name brings to mind “the beginning of the end” – has broken ground across multiple genres, from aggrotech/terror EBM to industrial black metal, producing a unique hybrid of dark electro and industrial-metal styles since 2001.
This fusion of terrifying soundscapes with brutal, relentless rhythms forms the foundation for the lyrical themes of founder/frontman Kristof Bathory – exploring concepts of horror, perversion, while standing in bold opposition to the dogma of Abrahamic-based religions.
Formed in the Fort Worth area in 1999, Spoonfed Tribe is a musical/visual group known for mesmerizing live shows combining hypnotic walls of percussion, psychedelic sonics and mind-expanding visuals. Since their debut, the Tribe has remained on the road, building a sizeable fan base inspired by appearances at music fests including Lollapalooza, Joshua Tree, Voodoo Music Experience and Wakarusa, sharing bills with acts such as the Red Hot Chili Peppers, the Flaming Lips, Nine Inch Nails, Blues Traveler, Galactic and many more.
The band has released 8 albums, including 2010’s Live from DFW and 2008’s Public Service Announcement. The New album is called “Enjoy the Ride” and was Released in May 2013.
“To describe a Spoonfed Tribe gathering would take too many words, talking too small to measure what is gained by the actual experience of it all. So, to do our best, imagine a show that captures all senses, presents all musical styles, glows with a fluorescent fury, and creates space to be different and unique, all while making you dance like an idiot!”
Josh Hogan – My Denton Music
Sometimes the best way for artists to keep pushing ahead is to remember who their people are â€“ especially when they’re the ones they’ve known for ages and have been itching to work with from the very start. Stef Alexander and Andy Bothwell, respectively known as P.O.S and Astronautalis, have been making guest appearances on each other’s records for over ten years, and date their friendship back even further. That makes a collaborative project like Four Fists both inevitable and necessary at the same time: it’s the team-up of two of Minneapolis’ most stylistically fearless artists, both of whom simultaneously inhabit the worlds of hip-hop and indie-punk in a way that the Twin Cities music community has always welcomed.
“This is something Stef and I have been working on and dreaming about since we became friends in 2004,” says Andy, who moved to Stef’s Minneapolis stomping grounds in 2011. Two years later, the first Four Fists 7″ offered up two sides of finger-clenching post-hardcore for hip-hop heads, showcasing their powers as MCs, vocalists, producers, and songwriters alike. But the span between 2013 and the new album’s creation saw a string of life changes, from Andy’s marriage to Stef’s struggles with kidney failure to the state of social justice in the world, that shifted both artists’ perspectives. Any eventual full-length Four Fists release would have to account for the artists growing from young-and-hungry firebrands into career musicians with increasingly adult outlooks.
But the duo hasn’t grown complacent â€“ in fact, 6666 pools not just their talents but their experience to create a work that bristles with a collective tension. “It’s way easier working with friends,” says Stef. “It gets your juice moving quick. I think with what’s happened with our pairing, we have little chunks of each other that don’t come out in our own music.” That freed them up to build, tear down, rework, and upend their ideas, with the guiding hand of Dutch producer/remixer Subp Yao giving them the leeway to destroy their beats in order to make them even stronger. What that gave them is a sound that bumps hard while still seething with a certain determination, building off a mutual recognition of their strengths that bolsters their resolve. You can hear it in cuts like opener “Nobody’s Biz,” a backbreaking drumline run through with entreaties to action (“It’s fucked up, we all know it baby/the question is, why the fuck we waitin’?”), or the reflective chiptune burble of “G.D.F.R.” and its attempted reckoning with how these two artists even made it to where they are.
In other words, 6666 bangs, but in the service of something greater than entry-level defiance. There’s a vibe that seems to draw from the life of The Clash’s Joe Strummer, who’s namechecked more than once on the album as a young punk iconoclast growing into a reflective humanist. The protests still hold weight: cops threaten even the law-abiding, hustlers don’t do enough to spread the wealth, and there’s no point waiting for someone to save you. But amidst all the tension and anxiety that looms in the background, there’s the sense that everything runs on a secular version of the Serenity Prayer: focus on bettering the situations you can control, learn to help yourself and others in the situations you don’t, and give listeners the sounds they need to endure both.