Double Barrel Benefit 18

Black Haüs (headliner)

The four members of Black Haüs met while at the University of North Carolina-Greensboro in the late 2010s. Their first show was in November 2017, making their band less than five years old. The early years for the band featured a lot of local house shows in the college town of Greensboro, performing covers of popular artists like Daft Punk and Kanye. Their big break came in 2019 when they were one of five finalists for Afropunk’s Battle of the Bands and performed at the festival in Brooklyn, sharing the stage with artists such as FKA twigs, Death Grips and Rico Nasty, to name a few. Vocalist Jeffrey Tulliz shared the announcement on his personal Instagram with the caption “SO SURREAL […] I graduate in December and get to perform at my dream music festival?!?!” 

In terms of genre, Black Haüs like that their sound is hard to pin down. In an interview with AFROPUNK, when faced with the task of giving a short description of the type of music they make, Black Haüs answered “We HATE having to categorize our music. We feel as though our music is genre-bending and can’t be put into any box.” Black Haüs’ sound can probably best be described as “alternative,” which, despite it being a super vague term, represents Black Haüs’ individual and fluid style. A common theme in all of their music is an undeniable groove; the rhythm section of the band, led by bassist Collin Nesbitt and percussionist Sid Pennix, drives every track. Pennix plays a MIDI board on several tracks in lieu of a kit, giving the tracks a punchy dance beat. Pennix also contributes the more rap-influenced vocals to the band, shown on tracks such as “Rich Petty” and “Burn It Down.” 

Guitarist Taylor Williams has been called the “Guitarist from Heaven,” both for his ability to bring the band together as a whole and his ability to perform a wide array of styles. The jangly, arpeggio-style riff featured in “Removed” is reminiscent of 1980s alternative college rock acts such as R.E.M. and New Order and brings you back to listen to the track over and over again. The disco-influenced track “You” features an effortlessly smooth solo, and the minute-long punk track “Divide Em!” plays grimy power chords just like all your favorite garage rock bands do. 

Refusal to conform to one facet doesn’t just come across in Black Haüs’ genre distinction, though. Even though they’re an all-Black band, they want everyone to know that “no one member is the same.” They’re all well aware of the fact that being Black in a punk band isn’t something that a lot of people are used to seeing, especially in the South. “We wanted to showcase how diverse Black people can be,” said Pennix in a 2018 interview with The Carolinian, UNC-G’s student newspaper. In their aforementioned interview with AFROPUNK, Black Haüs summed up themselves by saying “We are queer, we are punk, we are Black, we are undefined, and we are unapologetic, those are the qualities that make up Black Haüs.”

– Maddie Jennette, WKNC General Manager

Band Members:

• Collin Nesbitt: bass
• Taylor Williams: guitars, vocals
• Sid Pennix (he/him): drummer/midi board, vocals
• Jeffrey Tulliz (he/they): lead vocals

More Information:

• @BlackHausBand on Facebook and Instagram
• @BlackHaus on Bandcamp
• @Black-Haus on SoundCloud

Sources:

• Haw, Sam. (2018, Feb 23) “Local band you should know: Black Haüs.” YES! Weekly.
• “Meet Black Haüs.” (2021, Jul 15). VoyageLA.
• “Meet the Brooklyn Finalists: Black Haüs.” (2019, Aug 7). AFROPUNK.
• Obregon-Cuebas, Omar. (2018, Apr 4). “Greensboro’s Black Haüs is an Afropunk Force.” The Carolinian. 

BANGZZ

Bangzz is a punk two-piece from Chapel Hill with enough energy to light up any crowd. Vocalist Erika Libero belts out impassioned lyrics about her experiences as a mixed woman in America over driving guitar chords and electrifying drum fills. With song titles like “Your Asian Fetish is Racist” and “Don’t Touch People,” BANGZZ uses their music as a call to decency, criticizing sexism and racism at their core. Their debut album “You Took My Body Long Ago And Now I Am Taking It Back” is a powerful assertion of body autonomy inspired heavily by riot grrrl music although Libero didn’t encounter the genre until their 30s. Growing up in Japan, her exposure to American music was limited to the hits.

When forming BANGZZ in 2019, Libero and Ceaser hardly knew each other. In an interview with INDY Week in 2021, Libero said “I was like, well, Jess is the best drummer in Durham – punchy, purposeful, driving. There’s a power and steadiness at the same time that makes you feel really secure. I just cold-called her. We met that weekend, practiced twice, played a show and just kept going.” Since then BANGZZ has played shows with bands such as Wednesday, Mannequin Pussy and Truth Club, as well as performing at the Hopscotch Music Festival. Libero also organizes her own two-day festival every year in October called Manifest. Manifest strives to break the patriarchal nature of popular music with a lineup that is diverse in gender, race and genre.

BANGZZ’s mission statement is “to live with middle fingers up in defiance to what is expected of my gender and race, rediscover my authentic self, and use my power to empower.” 

– Elle Bonet, WKNC Video Content Creator

Band Members:

• Erika Libero (she/they): vocals, guitar 
• Jess Ceasar (she/they): drums 

More Information:

• @BANGZZBand on Facebook, Instagram and Twitter
• @BANGZZ on Bandcamp and SoundCloud

Sources: 

• Howe, Brian. (2021, Aug 18). “BANGZZ’s Debut Album ‘You Took My Body Long Ago And Now I am Taking It Back’ Is Cathartic Garage-Punk.” INDY Week.

BANGZZ photo by Zack Hargett

Basura

Raleigh-based grindcore band Basura describes their own music as “Grinding Pain,” and listening to any of their tracks will give you an idea of what they mean. Taking inspiration from Steely Dan, Gorgasm, Thai Food and Fransisco Goya, Basura does not seek to compromise with the listener, instead offering their take on grindcore and extreme metal. The music is harrowing, paranoid and surprisingly fun.

Searing hot riffs attack from your speakers without hesitation, contrasted with a constant sense of groove that threatens to fall apart at any moment, Basura’s music is insanely powerful, akin to bands like Jarhead Fertilizer. Tracks like “Canine Crisis” and “Caressing” off of “Emotional Terrorism” sound like paranoid sonic freakouts desperately trying to scare away whoever is listening. The track “Bitten-in Fudge” retains this sort of unease, while also offering sludge metal-like riffs, letting your ears catch their breath and latch on to something relatively easy to track, before sending you back into the musical storm on “Air Jordan.” Basura’s other projects don’t ease up on the mayhem, but also explore new and exciting sound textures. Their album “Wet Chains” is littered with psychedelic and churning trumpet sections provided by Casey Firkin of Helgamite, adding a unique edge to the project while putting the listener on the edge of their seat. 

Basura aims to record their next album “Hara\\Cary” by the end of January 2022 and the band expresses their gratitude to the metal scenes of North Carolina and Virginia, DIY spaces and traditional venues, as well as their listeners. Witness total sonic annihilation on Friday, March 11 at the Pour House, and in Basura’s words, “Keep it greasy.”

– Gibson Porter, WKNC Chainsaw Music Director

Band Members:

• Vassia (he/him): Guitar
• Lukas (he/him): Drums
• Lindsey (she/her): Bass/Vocals

More Information:

• @BasuraGrind on Facebook, Instagram and Bandcamp

Sweet homé

Sweet homé describes itself as a pop band. While the feedback-laden guitars and a lack of obvious hooks might not immediately show it, this is definitely pop music. It has a very sneaky, “Nevermind”-esque way of taking somewhat abrasive sounds and structuring them into instantly engaging solos or as crashing tidal waves propelling the verses forward effortlessly. Lead singer Rick Davis (he/him) puts the sweet in “Sweet homé” with fun and expressive vocals that glide in and out of the instrumentals, like on 2019’s “Panic Attire” where his opening verse melts into a fuzzy instrumental freakout before returning over jangly and restrained guitars. The indie rock sensibilities blended with the washed out and reverb filled soundscapes creates a sound that sounds like Slowdive meets Beach Fossils. Davis talked about how he was “just trying to make the catchiest music I possibly can, that’s the only goal” and the more fun riffs and earworms you hear from this band the more that vision comes into focus.

Davis is the mastermind behind Sweet homé, and handles much of the recordings, but live the band adds key players who take this raw, shoegaze power and harness it in more expansive ways. Guitarist Kelly Bridges, keyboard player Sophia Cadavero, bassist Ariel Hoerter and drummer Lukas Dicker create a powerful ensemble cast. For Davis, the live experience is a “unique blend of fun and s*** your pants terrifying. Mostly because I’m not much of a guitar player, guitar is a completely non intuitive thing for me, so playing one live almost feels like I’ve snuck into an exclusive club and I’m just waiting for everyone to notice I’m an imposter.”

If you’re taking your first steps into the Sweet homé discography, Davis mentioned that “Best Friends” off “Big Winner (Spiders)” was his favorite song he ever recorded, so that’s definitely worth a listen, and that whole album is a banger and great entry point. In particular “Misty the Cat” and “Big Winner” were favorites of mine from that project. Melatonin is another great run of songs with “Sour” and “Dead Car” being personal highlights.

– Erie Mitchell, WKNC Daytime Music Director and Blog Content Creator

Band Members:

• Kelly Bridges (they/them) – guitar
• Sophia Cadavero (they/them) – keys, vox
• Ariel Hoerter (they/them) – synth bass  
• Rick Davis (he/him) – guitar, vox
• Lukas Dicker (he/him) – drums

More Information:

• @Sweethome2 on Bandcamp
• @Sweet-home-7 on SoundCloud

Elijiah Rosario (headliner)

Elijah Rosario, Georgia native and Durham-based R&B artist, has found a niche for himself in the North Carolina music scene. His 2021 album “Genuine Truths” displays what Finessed Media calls his combination “pop sensibilities with mainstream R&B with a splash of melodic hip-hop flows.” His sound is familiar – think Roy Woods, 6LACK and PARTYNEXTDOOR – but with a style unique to Rosario. Above all, Rosario always notes, the music is deep, sensual and it grooves. In the “Genuine Truths” opening track, “Sincerely,” Rosario encapsulates his vision. “I don’t follow trends man,” Rosario said. “My style so timeless; Just bought a crib I ain’t signing no more leases; Spreading my wings for these heights I’m reaching; This my time ain’t no question.” 

Heavily inspired by Rihanna, Marvin Gaye, SAINt JHN and Ty Dolla $ign, Rosario works to create an evergreen catalog ripe for connection with the listener. Instant classic songs with equal parts euphoria, sensuality and determination are woven throughout his repertoire. From the anger of a scorned lover in “Need Me” to the undying love of “Best of Me” to the self-reflection of “Plot On My Soul,” every feeling presented is authentic. Since beginning to make music in high school, Rosario has pursued music on and off until a moment of clarity following his mother’s passing. “I realized life was too short to not go after what I really wanted to do and I knew that was pursuing music,” he said.

Rosario for the same from his audience. “I just want to encourage people to speak their truths, be accountable for their actions and most importantly have those honest conversations which might seem difficult to have,” he said.

Rosario and producer Xotic were first set to collaborate at the beginning of the pandemic, right as the studio was closed indefinitely. The two texted about future collaboration and when Rosario sent “I suppose” in their text string, Xotic knew from his language choice that the two had to meet and work together. They went on to create “Genuine Truths” in Xotic’s home studio and were bonded as family members. Rosario is currently working on new music with a new single set to release on March 23 with plans to “show a different side of him artistically.” We can’t wait to hear Rosario at DBB and to hear a new side of him.

– Camryn Darragh, WKNC Local Music Director

Band Members:

• Elijah Rosario (he/him)

More Information:

• @ElijahRosario.Music on Facebook and Instagram
• @ERosarioMusic on Twitter
• @ElijahRosario on Bandcamp
• @emr94 on SoundCloud

Sources:

• Personal Interview
• Young, Daniel. (2021, Nov 23). “Elijah Rosario: Gets Personal With Debut Album ‘Genuine Truths.’” Finessed Media. 

NunAfterHours

Based out of Raleigh but born and raised in the small town of Hendersonville, N.C., NunAfterHours supplies an eclectic mix of pop, hip-hop and hard rock to her performances. She really has the ability to light the stage up with her fearless attitude and infectious dance moves. It will leave you headbanging and boppin’ all at the same time as you wonder how someone could create something so raw and hardcore. 

Nun is a Queer Black woman and at the same time was raised by a preacher. Her influences include Machine Gun Kelly, Rico Nasty, Juice WRLD, Trippie Redd and Kehlani, and many of those sounds are reflected in her work. She has been making music since 2017 and usually performs with a band that really compliments her sound, lending even more energy to her commanding lyrics. Nun is also part of a music collective called Krawzbonez led by Durham native Jooselord who headlined Double Barrel Benefit in 2018. 

She is also a North Carolina State University alumni who studied psychology. In 2019 Nun was in the Carolina Music Awards as a nominee for best hip-hop female. Her most recent EP is 2019’s “Fallen Angel” but she has since released three singles within the past year. The local music scene in North Carolina is strong and that is due to all the support from the community so don’t be afraid to show some love.

– Brandon Whippo, WKNC Assistant Local Music Director and Interview Content Creator

Band Members:

• NunAfterHours (she/her)

More Information:

• @NunAfterHours on Facebook, Instagram, Twitter and SoundCloud

Kenny Wavinson

Born Kendall Daniels in Greensboro, N.C., Kenny Wavinson has been making music since he was seven years old. He moved into beat production and, in 2015, put out his first journey into singing that would eventually blossom into a career: the “Teal” EP. After learning guitar for a few years and finding roots with his Kenny Wavinson persona, his first solo-produced record “LonersRadio” was released April 20, 2018. A few short years, a Bandcamp write-up and several projects later, WKNC invited him to complete their stacked local roster for Double Barrel Benefit. 

Wavinson calls the wavy meditations he’s been carving into the North Carolina indie scene “Lakewater Rock,” and one track into any of his records you get why. On his most recent project, “Daze In Blue,” lightly detuned shoegaze-y guitar riffs crowd around the edge of the mix, showing just how much space he gives his songs to breathe. The drums softly chug along in the center, acting as a guide to the hazy meditations brought on by his voice- a lantern clutched tight to the listener in the fog. He is no stranger to synth-work either, piercing the thick low ends on May 2021’s “Yesterday” EP with analog drones that could be mistaken for Boards of Canada stems.

On his more groovy songs, like “Sun is Out” on 2019’s “Krooked” LP or “One Little Morning” from “Daze In Blue,” Wavinson radiates the energy of past greats like America and Bill Withers over a lo-fi production style that can only be described as newer Jack Stauber or Clairo records with a lot more guitar. A lot has changed in music since America’s self-titled or Bill Withers’ “Menagerie,” but the multi-instrumentalist is careful not to mess with the modern obsession with intertextuality. He warps the old, tried and true methods of songwriting just like all trailblazers do.

– Grant Eubanks, WKNC Promotions Director

Band Members:

• Kenny Wavinson (he/him)

More Information:

• @KennyWavinson on Facebook, Instagram, Twitter, Bandcamp and SoundCloud

Permanent

Permanent is the experimental electronic project of Mimi Luse, born from the DIY ethos of the underground scene. Based primarily in Durham, she has put out two albums under the moniker Permanent, releasing her 2021 debut album “Social Disease” with the record label Modern Tapes and contributing to Hot Releases’ “Alone in the Dark 2” compilation. These releases retain traces of her previous work: the arresting, political vocals of the post-punk band Cochonne combined with the attention to instrumentation and collage of found sounds on her release under the name Manhole. 

From teaching herself Wire bass tabs in graduate school to using her phone’s voice memos to collect sounds, Mimi takes an approach to creation that is highly instinctual. Tracks like “Big White Hearse” and “Honte Idiotique” are startlingly nuclear, with driving rhythms that recall the drone of heavy machinery. Sparring with these rhythms are Luse’s vocals; at times almost hymnal and at others authoritative cries. Citing inspirations such as Providence’s half-techno half-noise outfit Container, Berlin’s Nick Klein, local and once-local acts Secret Boyfriend, Cevra, Housefire, Floor Model and Marv, as well as electronic pioneers Chris & Cosey, Permanent combines dark, atmospheric loops with the hard-synth aggression of industrial music. It’s “music that you can move your body to, that’s sometimes even catchy, but with an experimental undercurrent.” 

While I would argue that you could definitely dance to “Social Disease,” Permanent’s Double Barrel performance promises to bring these elements at an even higher BPM, combining elements of techno and minimal synth. Think more Boy Harsher or Bunker Records than her previous post-punk influences. Permanent plans to release new material soon, and you can see her, surrounded by synths and sequencers, on the second day of WKNC’s Double Barrel Benefit 18.

– Molly DuBois, WKNC Program Director

Band Members:

• Mimi Luse (she/her)

More Information:

• @Its-Permanent on Bandcamp

Sources:

• Atkinson, Will. (2020, Jul 22). “Manhole’s ‘Piss on My Heart’ Uses Found Sound to Highlight the Plunders of Capitalism.” INDY Week.
• Atkinson, Will. (2021, Aug 3). “Permanent’s ‘Social Disease’ Is a Celebration of Early Experiments in Underground Music.” INDY Week.
• Personal Interview
• Ruccia, Dan. (2021, Oct 6). “With Its Final Album, Cochonne Brings an Era of Deranged Playfulness to a Close.” INDY Week.