The year is 1984. Born into the world wearing neon sunglasses and a pair of hi-tops, Jake Sullivan was raised on casio keyboards and cartoons. As he grew, so did his tastes for electronic music. Soon he was creating music that was undeniably radical! However, it wasn’t until he learned to shred guitar and keytar that he truly became BADNRAD! Borrowing from multiple styles and genres, his music plays with a new realm of sonic possibilities. Utilizing dynamic song structuring and inherently catchy melodies, he weaves an aural spectral-gasm of electronic emotions ranging from fun and funky to deep down and dirty to sexy sc-fi cyberlicious to booming bad ass bass in your face! BNR is truly breaking new ground and will soon be melting faces near you! JOIN THE RAD REVOLUTION!!!

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Watching a BadNraR live show is a mega-multi-sensory overload! BNR harnesses the power of his synths, guitar, keytar and talk box while utilizing video/lighting/dance master, Time Squid, to ensure every brain cell is tickled as you watch and listen. Together they team up with a cast of wild and rad characters who make their appearance on stage and interact with the crowd as the music takes the audience on an awesome aural adventure of astronomic proportions. Synchronized lighting and projected visuals heighten the level of seizure-inducing epileptic pleasure as well as set the stage for the bodacious beats blasting through the speakers.

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BadNraD was kidnapped from his home planet by the evil Boss of Bass and sent to the future of 2989. There he was forced to learn shred guitar and create music so powerful that, if played anywhere but the silent vacuum of space, it would destroy planets! However, he was able to escape with the master disc in a battle using the same face-melting shred techniques taught to him for evil. Soon, BNR was back on Earth making music for the masses once again! ...but the Boss still wants that disc and he’ll do anything to get it. So BadNraD must continue to battle the Boss of Bass and his minions during his interstellar adventures in space/time!!!

A glazed roll of the eyes, a hiccup, and a slight stagger. Brenden Green spins his head, then collapses to the ground and writhes on the stage, his clothes ripped and tattered, his feet bare, as he wraps himself up in his mic cord and nearly strangles himself with it. All around is ear-splitting noise, an unholy, raucous mixture of whiskey-soaked blues and rock 'n' roll from a guitar turned up to 11 and a drummer wearing only his underwear (plus a flurry of leg kicks thrown in by the bassist, just for good measure). Each performance by the Goondas is a shit show and a work of art rolled into one, fascinating in much the same way as a car crash, fueled by chaos and the sort of careless self-endangerment that has always made rock music so thrilling—and which leads, invariably, to Green scaling the wall and teetering unsteadily by the ceiling. His bone-jarring crash back down to the stage is unavoidable, and so too is the realization that few bands could pull off such stunts. Fewer still could make such an entertaining habit of it. [Best Live Band 2011, City Pages]

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Armed with a gas mask, insane guitars, smoke machines, pounding tribal beats, lasers, 60's sci-fi samples, socially conscious and political lyrics, Hastings 3000 is a one man rock show formed out of the frozen tundra known as Minneapolis, Minnesota, U.S.A. He is deconstructing the traditional rock n' roll band by stripping down his drumset into a partially homemade kit that he can play using both of his feet, playing guitar with either his hands or a pencil, and singing through a distorted echo-plex with the high energy stylings of 70's punk into modern electro.

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Hastings 3000 plays forty-seven different instruments and performs live typically playing seven at the same time. His debut album, (which he previously lived homeless in an ambulance for an entire year to help pay and gain song experiences for) is entitled, A New Monster. The album was released on Bare Ass Records (Kailua, HI) and distributed in Japan by Chicken Katsu Records (Okinawa, Japan). On the album, he performed live in the studio to create the realistic live sound experience with many instruments (some overdubs). The list includes: Theremins, acoustic guitars, electric guitars, synthesizers, piano, Fender Rhodes, tambourines, marching snare drums, Ebow electro-magnetic bow, tympanis, bongos, congas, electric bass, hi-hats, 12-string guitar, environmental percussion such as telephone pole wires, detuned distorted electric 12-string guitars, kick drum, chimes, bells, voice processors, hand claps, Alesis Micro synth, Boss drum machine, Dr. Sample, African auxillary percussion, environmental recordings and natural voice.

In addition to producing his own music, (over four hundred hours of recordings) Hastings 3000 a.k.a. Joe Hastings performed with and tour supported: Gene Ween and Dave Dreiwitz (Ween), Murder Junkees (G.G. ALLIN), (interviewed with Chuck Berry), Hubert Sumlin (Howlin Wolf, Muddy Waters), Robert Gordon band featuring Slim Jim Phantom (Stray Cats), Glen Matlock (Sex Pistols), Chris Spedding (Roxy Music), Pinetop Perkins, Jonny Lang, Odd Jobs who toured in support with DJ Shadow (Caroline), R.L. Burnside (Fat Possum), Grant Hart (Hüsker Dü), Slim Dunlap (The Replacements), Levon Helm (The Band), James Cotton, Chris Valdala (Chuck Mangione) and Mike Vax (Tower of Power). As a founding member of Fuck Knights (Munster Records), Joe Hastings performed with Black Diamond Heavies, Black Time, Brimstone Howl, Crusaders of Love, Fleshtones, Greenhornes, Human Eye, The Hussy, Hypstrz, Jacuzzi Boys, King Khan & BBQ Show, Lover!, Monotonix, Peelander-Z, The Points, Juke Joint Duo (Lightin' Malcolm and Cedric Burnside), and C. J. Ramone (The Ramones).

Pink Mink was what happened when everyone was making other plans. Christy Hunt had returned from 2 years of touring as the guitarist for the Von Bondies and posted a defeatist post about quitting music and going back to school. Longtime friend Arzu Gokcen saw this post and threatened to lock her in a closet with her guitar until she changed her mind. The two, at similar crossroads in their musical paths, decided to give playing together a shot. And it worked beautifully. While jamming in Christy’s basement, they added seasoned engineer and producer Jacques Wait along with drumming ace Charles Gehr and soon the foursome found themselves forming a band – and February 2010, Pink Mink was born.

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Having the history of all taking part in previously successful outfits (Von Bondies, Selby Tigers, Ouija Radio, etc.) it took no time at all for word to spread about this new formation, and Pink Mink found themselves playing festivals and big shows after barely writing songs for six months. Even with all the attention, they were humbled and surprised to have landed the coveted “Picked To Click” honor in City Pages magazine just a short 8 months after playing their first chords together. All this, and their debut album was nowhere near being finished yet. Finally, after a little over a year of being together, Pink Mink regionally-released their self-titled debut in July 2011. The celebration culminated as the band held their release party on a riverboat on the rivers of the great Mississippi. Being known for throwing a grand party, the “cocktail cruise” did not disappoint. Beyond the party reviews, the critics and fans had much praise for the debut album. A trip to SXSW and several Midwest shows and festivals later, Pink Mink is now taking the album out nationally and will hit radio in February 2012. Quickly thereafter a 7″ vinyl will be coming out on Kiss Of Death Records and the band will hit the road in support of both releases.