Last night I experienced the moment that I experience for one moment every year, and spend the rest of the year thinking about. I was driving and although it was only about 8 pm, and the sun was still shining, I felt just the slightest chill as the balmy wind blew over the skin on my arms. Right then, a gust of wind from the west sent a flurry of leaves tumbling across Westnedge in front of me, and it was undeniable: summer is on its way out.
To be fair, it's barely halfway through August and I hope this doesn't inspire that creepy, panicky feeling of impending Winter, but it's happening all around us. Summer's almost over. And, like every year since elementary school when I would make ambitious lists of things I wanted to do or accomplish over the summer (go camping. draw a lot. have a garage sale. save $50. Wait, these are still my summer goals.) I find myself evaluating what I really did and really accomplished this summer.
Fortunately-- or unfortunately, depending on how you look at it-- for me, I was unemployed for most of the summer (which you might have read on my Myspace blog). While this severely limited my possibilities due to financial constraints and the enormous amount of time and energy I put into finding a job (which I luckily found... at the beginning of August.) the freedom I experienced was enormously transformative in a number of ways: for one, the gift of spontaneity. And this was valuable in one major way: I went to a LOT of shows, many of which were unbelievably last-minute and, some might say, poorly planned. But that's how I like to roll.
So, this year, the question I ask myself as I feel the Chill descend over Kalamazoo is this: was it really worth it? Sleeping away the most beautiful hours of the most beautiful days we see in Michigan? Depleting my savings, my brain cells and every ounce of my bodily energy to travel across the Midwest-- across the country, in some cases-- to go to shows? Splitting my commitment-less days both writing, and agonizing about how much writing I wasn't doing? The highs and lows, all the luck and misadventures: was it really worth it?!
In a word: yes.
Some highlights:
-Wakarusa Music Festival. The Festie that started it all (this summer, anyway). If you've been reading my MySpace blog, you'll know that Waka was the (in?)direct cause of my unemployment this summer (that and a mega-bitch named Pattie; yes, with an "ie"). And if you've talked to me for more than ten minutes this summer, you've probably heard all about it.
Waka. I'm just now realizing I have not written about it at all. I think it was just too enormous an experience for me to even try to articulate. I'm going to take a deep breath and do my best to pocket-size it for you:
My roommate Nick and my good friends Alex and Rachel crammed in my Vibe with a weekend's worth of supplies and took off for Arkansas one sunny morning in early June. We arrived at Mulberry Mountain nearly 20 hours later, having braved torrential thunderstorms for most of the drive and experienced a plethora of victories and setbacks alike. Setting up camp (the four of us, plus our friend Agata, her twin sis Anna and their buddy Zach, a new friend of ours and, we would find out, the embodiment of the word "party") we had no idea what we were in for: several days of INTENSE Southern summer heat (most of which we beat by escaping the site, driving down the mountain, swimming and napping on the banks of the Mulberry River) and, of course, some truly lifechanging shows.
The one the comes to mind: STS9. If you are into any electronic music at all, I am sure you've heard of (and probably even like) STS9. On the second night of the festival, STS9 headlined, blowing our minds for several hours from Mainstage. If I don't wrap this up in one sentence, I will be here talking for hours: This show was truly one of the greatest gifts I have ever received.
The next night at Waka was probably the thing I had anticipated and built up in my mind the most, mainly because My Band, Umphrey's McGee, was playing a night show (they had played the previous night; a daylight set at Mainstage, which was good but not overwhelmingly so). I was "that guy" for the entire drive down and few days leading to this show: talking my poor friends' ears off about how Umphrey's is "the best live show in America;" "the most mindblowing shit you'll ever see;" etc etc etc. Unfortunately, I had become separated from my friends by the time Umphrey's took the stage (due to an enormously long and enormously unpublishable story, or set of stories) and spent the show front and center, literally, with other equally vigilant Umphrey's devotees: new friends who supplied me with water and other refreshments and, though I was in the wake of a partied-out moment, I was able to rally and had the time of my life (I even appear on the concert DVD of that show. Available on UMlive.com.). With the help of my new friends (and, not to mention, The Boys From Chicago) I truly came back to life. And, silly me, I didn't even know I wasn't living yet. Which is why I love-- LOVE-- festies. And Umphrey's.
But that is really what Wakarusa, as a whole, did: bring me to life. I re-discovered when I was there what it meant to have fun and enjoy life, and how little it truly takes (in the way of material things, sanitary conditions, etc) to thrive and love your life.
-Shows About Town
The walkability of Kalamazoo in the summer, as opposed to any time of year, is remarkable and lends itself incredibly well to various show-crawls. And yes, I think of them as show-crawls and not bar crawls. Why not go catch bluegrass at Bell's, indie at the Strutt and rock and Papa Pete's And hell, why not a basement show at the end there? And if I was getting REALLY crazy, why not work in a jam sesh of my very own?!
So that's exactly what I tried to do. And like I say, my funds were limited due to my job status, but we're lucky we live in a city where cover charges are seldom over $5 to begin with, and sometimes you can get in cheap-- or even free-- by showing up late. And while I'm not advocating this, as I believe fervently in supporting local bands and venues, it's not always impossible to slide in without paying a cover. Just sayin'.
It was my pleasure to catch a variety of Kalamazoo bands this summer; among my favorites:
--Re-renderings of some of my classic favorites-- namely, the new facade of Ender (they're acoustically delicious!) and Their Teeth Will Be of Lions, with their newly-solo frontwoman Jay Dykehouse.
--Elm Street Riot. Easily one of my favorite Kalamazoo bands.
--Kathryn Tapper. This new(er) chick on the block graced the first Kzoo NOISE! showcase at Old Dog; I was truly impressed and entertained.
--Brandon Mann and the Reprimand. Brandon Mann: He's everywhere you want to be and more. In case you haven't noticed, Kalamazoo NOISE! loves BM&TR, and I am no exception.
--Small Town Son. Alright, alright. I know I talk all the time about how I don't like country. But seeing them one balmy night at Old Dog, Oberon in hand, out on the patio right at dusk, I actually really enjoyed their good-ol'-boy swag, and their covers that even I knew. Oh, and they have a fiddle player who totally shreds.
--Speaking of country: Brother Bill. There has been some controversy surrounding my review of Brother Bill's album, "Wild On The Whiskey," due to a then-anonymous commentor's disagreement with, and, I think, misunderstanding of what I was trying to say (which happens in this medium! and is my fault for my colorful, and sometimes irresponsible, word choices). And allow me to set the record straight: I REALLY LIKE IT! I ALWAYS HAVE! So when I caught them at Harvey's one night, I half expected a little tension between me and at least one of the fellas in the band. But luckily for me, their personalities are as easygoing and good-natured as their music, and everyone was really cool to me. It wasn't until later that I realized that in my review, and/or subsequent comment thread, I promised them all Jim Beam shots, and didn't deliver. Awful. If you're reading this, Brothers, next time-- sorry!
-More Umphrey's
Yes, I am an "Umphreys Fan." This fandom is unlike any I've ever experienced. I feel like I am actually addicted to Umphreys shows. There is truly nothing-- nothing.-- in the world that makes me happier than being at an Umphrey's show: pressed up against the foot of the stage, jamming hard; spaced-out, sober, or anywhere inbetween. There's nothing like having not a single care in the world because your "world" doesn't exist outside of the show. That's what seeing Umphreys is like for me.
And I know you're probably smirking at the very least right now and might even have a slew of anti-"hippie jam band" thoughts in mind, your hand twitching in reckless anticipation of clicking the "Comment" button and unleashing a diatribe in which Trey, Dave, or-- God forbid-- Jerry, could become casualities at any moment. Or maybe not, because if you don't know I love hippie jam bands, you have no business here.
Just kidding. But seriously.
Anyway, Umphrey's. The two shows Umphrey's played at Waka did not satisfy, but only stoked, my desire to go to Umphrey's shows. All. Summer. Since I first saw them last summer at Rothbury, my heart had ached to be at another Umphrey's show. I don't know what it is about their live show, but like I say, there's one main word that comes to mind: addicting. And if you ask anyone who's ever been to an Umphrey's show, they will say the same thing. Not to mention, almost anyone I've ever played Umphreys' music around has asked who they were and if I could burn them some. So anyway. I'm just saying, don't knock it 'til you've heard it. And seen it.
But, in my observation, Umphrey's is more popular EVERY SUMMER, playing more shows on a wider plane to bigger, and more enthusiastic, audiences. And to be honest, I love it. But to be just as honest: in a selfish way, I kind of wish they were still the Midwest phenomenon that they used to be; I wish they still played Papa Pete's and needed couches to crash on in Kzoo (!). I wish I could walk up to them after shows and ask them if they wanted to hang out and talk and listen to Frank Zappa records on vinyl and drink tea in my living room. But, alas, they are far too cool-- and I am far too uncool-- for that to happen. But I can dream.
Alas, I caught them twice at Waka; once in Ohio; and once for a VERY crunchy and extremely beautiful double-set at Frederik Meijer Gardens in Grand Rapids. All were incredible, my favorite of which was the latter. On a hot, windy, gorgeous night, right at sunset, they threw down a truly unstoppable set, including one of my all-time Umphrey's faves, "Gulf Stream" (which, though it's not one they play very often, I called in the requisite drive-up-to-the-show set-prediction game) and a soul-satisfying cover of Toto's "Africa" which still makes me smile when I think about it.
-Land of Nod
Ah, Land of Nod. If you read my rundown "Going Gonzo in the Land of Nod" on my MySpace (friends only; sorry! friend-request me if you wanna read it and can't.) then you already know everything that happened in those crazy, crazy 5 days I was involved with/ attending the fest.
Unfortunately, there isn't a whole lot about music mentioned in that piece (I know; what?). It was really more about the experience. Which is really what Nod was to me. The lineup was so-so in the first place (aside from some killer headliners) and one of my most anticipated acts, Boombox (who we caught at Waka) was CANCELED. Bummer.
However, I got to see not one, but TWO, sets by the incomparable Big Gigantic! The synth/ horn electro act (the brainchild of Dominic Lalli, aka my dream man) blew my mind on the Saturday of the fest, backdropped by the most glorious sunset I have ever seen in my life. If you are into electro at all and don't know Big G, please oh please check him out. It'll be so worth it.
For me, the highpoint of the music at Nod was noneother than Kool Keith. Another show for which I was determined to be front-and-center (although there were probably only 500 or so people in attendance, so it was all too easy), KK (who moonlighted as his trippier alter-ego, Dr. Octagon) was everything I'd always imagined a Kool Keith show to be like.
So, yes, realistically, the summer is almost over. BUT: as always, there's plenty more to come. From up-and-coming local bands, to some big acts we're anticipating in Kzoo (for one, Ali Baba's Tahini; if you haven't heard of them, please search; I would just tell you but wouldn't that be anti-climacitc?) we are sure to be in the presence of some really amazing music in the coming days and months.
See you out there,
Meg [thevolumejunkie]
Monday, August 16, 2010
Tuesday, July 20, 2010
Hello Victor: "Whatever You Want" Review
Nearly a year after they released their debut LP, Hello Victor has unveiled their first full-length, “Whatever You Want.” The Kalamazoo band has dusted off the tracks from the LP and coupled them with its brand-new material, making for an unexpectedly fresh album. Hello Victor’s sound on “Whatever You Want” is like the soul of old-timey bayou blues reincarnated in the body of emo-indie, and smoothed over by the catchy sensibility of pop music: think Wilco meets Brand New. The unlikely juxtaposition of country and country-indie against emo and melodramatic pop allows the band to explore limitless creative territory and experiment with sounds and ideas seldom brought to the table in the realm of modern “pop music.”
From the bleary-eyed blues of the opening track “Good Fish” through to its electrified doppleganger, album closer “Gold Fish,” Hello Victor leads us on a self-reflective rollercoaster ride through late adolescence and that awkward time that comes after it: recalling the carefree days of youth, while delving into the frustration, uneasiness and fear that adulthood presents. This notion is perhaps best presented on the album’s second track “Really Me,” which awakens listeners from the twangy opener with vocalist Eric Martin’s jaded proclamation of “Well I missed you for days and days/ but now all I miss is the days that I wasted/ while I was wasted, passed out in cold basements…” and continues to build tension as Martin’s voice rises, eventually releasing into one of the biggest and most memorable choruses on the album.
Bounding into the playful “Is There a Man in That Couch?” --the obligatory pop-sing-a-long and quite possibly the “catchiest” song on the album-- and then powering through the next few tracks, the album continues to roam every corner of indie-pop terrain, reaching an apex in the final moments of the single-y “Put Your Head On Straight,” whose pop-blues guitar riff and kitschy, honky-tonk piano seem less concerned about genre-defying experimentation and more about… well, in a word: fun. From there, it’s a sullen trudge through broken-down ballad “KVK,” which , after the suicidally beautiful verses, erupts into a climactic bridge in which a chorus backs Martin’s emotionally-exhausted lamentations of “I need a break!” while the guitar part soars above it, like a soloist ad-libbing vehement hallelujahs over a gospel choir. The album’s only instrumental track, “1492” features ambient, echoing instrumentation for a foggy, spooky feel, before melting seamlessly into the noir mania of “Mermaids Are Ugly,” which vaguely recalls the percussive-sounding guitar from the verses of “That’s Typical Chelsea.”
From country to indie to emo and back again, “Whatever You Want” is indeed that: a bona fide crowd pleaser. The album’s examination of the harsh realities of life, its throwbacks to times past, and even its good old-fashioned fun make for an interesting journey for the listener, and it seems that Hello Victor is reaching out-- and while the all-over-the-map nature of the album begs the question of whether there’s an end goal to be grasped, or if they’re just grasping at straws, this is an undeniably promising release, lightyears ahead of their own fairly recent debut work-- and, in spite of its complexity, “Whatever You Want” really asks only one question in the end: what’s next?
An alternate version of this review will appear in the August 2010 issue of Recoil Magazine.
From the bleary-eyed blues of the opening track “Good Fish” through to its electrified doppleganger, album closer “Gold Fish,” Hello Victor leads us on a self-reflective rollercoaster ride through late adolescence and that awkward time that comes after it: recalling the carefree days of youth, while delving into the frustration, uneasiness and fear that adulthood presents. This notion is perhaps best presented on the album’s second track “Really Me,” which awakens listeners from the twangy opener with vocalist Eric Martin’s jaded proclamation of “Well I missed you for days and days/ but now all I miss is the days that I wasted/ while I was wasted, passed out in cold basements…” and continues to build tension as Martin’s voice rises, eventually releasing into one of the biggest and most memorable choruses on the album.
Bounding into the playful “Is There a Man in That Couch?” --the obligatory pop-sing-a-long and quite possibly the “catchiest” song on the album-- and then powering through the next few tracks, the album continues to roam every corner of indie-pop terrain, reaching an apex in the final moments of the single-y “Put Your Head On Straight,” whose pop-blues guitar riff and kitschy, honky-tonk piano seem less concerned about genre-defying experimentation and more about… well, in a word: fun. From there, it’s a sullen trudge through broken-down ballad “KVK,” which , after the suicidally beautiful verses, erupts into a climactic bridge in which a chorus backs Martin’s emotionally-exhausted lamentations of “I need a break!” while the guitar part soars above it, like a soloist ad-libbing vehement hallelujahs over a gospel choir. The album’s only instrumental track, “1492” features ambient, echoing instrumentation for a foggy, spooky feel, before melting seamlessly into the noir mania of “Mermaids Are Ugly,” which vaguely recalls the percussive-sounding guitar from the verses of “That’s Typical Chelsea.”
From country to indie to emo and back again, “Whatever You Want” is indeed that: a bona fide crowd pleaser. The album’s examination of the harsh realities of life, its throwbacks to times past, and even its good old-fashioned fun make for an interesting journey for the listener, and it seems that Hello Victor is reaching out-- and while the all-over-the-map nature of the album begs the question of whether there’s an end goal to be grasped, or if they’re just grasping at straws, this is an undeniably promising release, lightyears ahead of their own fairly recent debut work-- and, in spite of its complexity, “Whatever You Want” really asks only one question in the end: what’s next?
An alternate version of this review will appear in the August 2010 issue of Recoil Magazine.
Saturday, June 26, 2010
Maps & Atlases @ the Strutt [6/24/10]
I'm back from the dead once again; this time with with an epic tale. It's the tale of a show the likes of which I have simply never experienced.
It started simply enough. Jurassic Five was thumping through the speakers as Maps and Atlases loaded in; it was a fucktrillion degrees and there was already a crowd of anxious, sweaty hipsters building at the foot of the stage. The anticipation was palpable when J5 droned into a quick soundcheck.
M&A hit the ground running, with fans cheering from the very first soulful notes that fell from frontman Dave Davison's beard-shrouded visage. They proceeded to weave an unbelievable set, marked by a subtle complexity: a mosaic of folk, rock and indie sounds that cascaded through the body like drops of rain on a sunny day. The watertight drum and guitar syncopation, adorned by Davison's heartfelt, Caleb Followill-esque vocals, blew threw the Strutt like a cool breeze and everybody seemed to forget the asphyxiating heat, set aside their Soft Parade drafts and sang, clapped and danced the rest of the night away. It ended in an explosive 3-song encore, one of maybe 2 or 3 encores I have ever seen at the Strutt (and the only indie-pop show at which I have ever seen anyone slam-dance).
My crew and I sought refuge after the show on the patio of the venue, cooling off and exchanging various show-related nerdery. M& A was loading out and we stopped band members as they walked by (bass player Shiraz Dada and drummer Chris Hainey) saying hi and thanking them for the awesome show. They were not only graciously un-annoyed by our bugging them, but when my friend expressed wanting to have heard "The Ongoing Horrible" during the set, Dave Davison grabbed his Takamine out of their van, and played the song (for an audience of myself, two of my friends and two other fans) as well as a Cast Spells (Davison's solo project) tune, right there on the patio of the Strutt.
Given my fixation on music-writing, I couldn't help but see this moment as an opportunity for an interview. I felt somewhat guilty for this inclination for a couple reasons-- one, because as a musician myself I felt bad for taking him away from his bandmates, who were in the grueling process of van-loading; two, because he was already giving us a once-in-a-lifetime acoustic/ solo mini-set AFTER playing an hour-long show with his band-- but could simply not help squeezing in a couple subtle questions (that's ok, right?).
Davison ruminated on songwriting, giving a nod to their artful and quirky approach to lyrics: "I think there's like a balance of having a raw idea that's more abstract, rather than the idea itself being how raw [the song] is." This "raw-ness" and lyrical honesty is a large part of Maps & Atlases' prowess in the indie community, with lyrics (predominately on their latest release, "Perch Patchwork") that contain colorful imagery and abounding "that's fun to say!" wordplay (see: the Shins; Fruit Bats). Davison first picked up a guitar when he was seven, hasn't really put it down since: "It's hard to say [how much I play.] I pretty much just play all day. Just hang out." Must be nice.
After many promises that we wouldn't put my friend's phone videos of Davison's performance on YouTube (despite voices of skepticism from certain bandmates), we bid Davison and the rest of Maps & Atlases adieu and moved on into the night, with the muffled modulations of J5 still thudding, echoing like footsteps behind us.
Maps and Atlases will be playing Aug 5 in Ann Arbor.
It started simply enough. Jurassic Five was thumping through the speakers as Maps and Atlases loaded in; it was a fucktrillion degrees and there was already a crowd of anxious, sweaty hipsters building at the foot of the stage. The anticipation was palpable when J5 droned into a quick soundcheck.
M&A hit the ground running, with fans cheering from the very first soulful notes that fell from frontman Dave Davison's beard-shrouded visage. They proceeded to weave an unbelievable set, marked by a subtle complexity: a mosaic of folk, rock and indie sounds that cascaded through the body like drops of rain on a sunny day. The watertight drum and guitar syncopation, adorned by Davison's heartfelt, Caleb Followill-esque vocals, blew threw the Strutt like a cool breeze and everybody seemed to forget the asphyxiating heat, set aside their Soft Parade drafts and sang, clapped and danced the rest of the night away. It ended in an explosive 3-song encore, one of maybe 2 or 3 encores I have ever seen at the Strutt (and the only indie-pop show at which I have ever seen anyone slam-dance).
My crew and I sought refuge after the show on the patio of the venue, cooling off and exchanging various show-related nerdery. M& A was loading out and we stopped band members as they walked by (bass player Shiraz Dada and drummer Chris Hainey) saying hi and thanking them for the awesome show. They were not only graciously un-annoyed by our bugging them, but when my friend expressed wanting to have heard "The Ongoing Horrible" during the set, Dave Davison grabbed his Takamine out of their van, and played the song (for an audience of myself, two of my friends and two other fans) as well as a Cast Spells (Davison's solo project) tune, right there on the patio of the Strutt.
Given my fixation on music-writing, I couldn't help but see this moment as an opportunity for an interview. I felt somewhat guilty for this inclination for a couple reasons-- one, because as a musician myself I felt bad for taking him away from his bandmates, who were in the grueling process of van-loading; two, because he was already giving us a once-in-a-lifetime acoustic/ solo mini-set AFTER playing an hour-long show with his band-- but could simply not help squeezing in a couple subtle questions (that's ok, right?).
Davison ruminated on songwriting, giving a nod to their artful and quirky approach to lyrics: "I think there's like a balance of having a raw idea that's more abstract, rather than the idea itself being how raw [the song] is." This "raw-ness" and lyrical honesty is a large part of Maps & Atlases' prowess in the indie community, with lyrics (predominately on their latest release, "Perch Patchwork") that contain colorful imagery and abounding "that's fun to say!" wordplay (see: the Shins; Fruit Bats). Davison first picked up a guitar when he was seven, hasn't really put it down since: "It's hard to say [how much I play.] I pretty much just play all day. Just hang out." Must be nice.
After many promises that we wouldn't put my friend's phone videos of Davison's performance on YouTube (despite voices of skepticism from certain bandmates), we bid Davison and the rest of Maps & Atlases adieu and moved on into the night, with the muffled modulations of J5 still thudding, echoing like footsteps behind us.
Maps and Atlases will be playing Aug 5 in Ann Arbor.
Saturday, May 22, 2010
"Shaken Daddy Syndrome" Premiering This Weekend
Filmmaker and Kalamazoo native Kevin Park will be premiering his film, "Shaken Daddy Syndrome" tonight, soundtrack of which is comprised exclusively of selections by local bands. With songs by MESA, Nobody's Favorite, Chris Voss, Blue Dahlia, Ghosts of the Great Lakes, REA, Aaron Young and his Night Jars, and more, this film show cases some great music from the Kalamazoo scene's past and present.
In an interview, writer/ director Park, who has been filming area bands for years, described the film to me as "a father/son Odd Couple." The story is about Wayne and Tristan Banks, an estranged father and son. "After years of not caring, [Wayne and Tristan] finally come to amends when the father, Wayne, disowns Tristan, hoping to never see him again. Within days, Wayne is kicked out by his wife and is forced to move in with Tristan and his roommates," Park explained.
With the hilarious and bizarre premise, a "deadbeat sister" and "overly religious mother" thrown into the mix, and considering Park's admiration of classic comedic genius (he cites Mel Brooks, Bobcat Goldthwait, and John Candy as influences) you're sure to get plenty of laughs. But, you'll get a good dose of great local music, hand-picked by someone who really knows his stuff: Park has been active in the Kalamazoo scene for long enough to know exactly who's who on the scene, both then and now. "When I turned 21," he says, "I would say [my friend] Chad Houts and I were at the old Harvey's six nights out of the week seeing live shows. Most of the music in the movie is of older bands that may not exist anymore, but their albums are always near the player and I never grow tired of them." Classics from now-defunct bands like MESA, Nobody's Favorite and others, aside more current tunes from Ghosts of the Great Lakes' first album "The Death of the Party," and others exhibit Parks' eclectic taste. Park also digs King Tammy, Lint, Lo Fi Scorpio, Their Teeth Will Be of Lions and Fiona Dickinson.
The film was partially shot in Kalamazoo, but the music selections were about more than just local color. "The music in the movie is half the movie. You take away these songs and you're left with a shell." Park says. "The movie is still good, but the music is the soul of the film.
It's premiering tonight (5/22/10) at the Riviera Theatre in Three Rivers, and will begin playing tomorrow night at the Rave in downtown Kalamazoo (visit the Official Press Page, or ShakenDaddySyndrome.com for more info) but expect to see Park around the scene in the future: "I would love to do music videos. That would be a dream job. There's so much talent around here, not just with the bands, but with artists and designers that could go into making killer videos."
But Park is about more than just filmmaking; his history in the scene gives him valuable insight that I think we can all learn from: "We could be doing a lot more for the artists and arts in town if we were working together more. When I say that I mean the artists working with other artists, not this humdrum Art Hop and events like that where the city makes it look like we're doing more than what we really are. We should have Art Hop crowds for all arts all the time, not just one day a month."
Well, you heard the man.
See you out there this weekend.
* * * *
Shaken Daddy Syndrome is presented by Campaign Pictures, LLC.
In an interview, writer/ director Park, who has been filming area bands for years, described the film to me as "a father/son Odd Couple." The story is about Wayne and Tristan Banks, an estranged father and son. "After years of not caring, [Wayne and Tristan] finally come to amends when the father, Wayne, disowns Tristan, hoping to never see him again. Within days, Wayne is kicked out by his wife and is forced to move in with Tristan and his roommates," Park explained.
With the hilarious and bizarre premise, a "deadbeat sister" and "overly religious mother" thrown into the mix, and considering Park's admiration of classic comedic genius (he cites Mel Brooks, Bobcat Goldthwait, and John Candy as influences) you're sure to get plenty of laughs. But, you'll get a good dose of great local music, hand-picked by someone who really knows his stuff: Park has been active in the Kalamazoo scene for long enough to know exactly who's who on the scene, both then and now. "When I turned 21," he says, "I would say [my friend] Chad Houts and I were at the old Harvey's six nights out of the week seeing live shows. Most of the music in the movie is of older bands that may not exist anymore, but their albums are always near the player and I never grow tired of them." Classics from now-defunct bands like MESA, Nobody's Favorite and others, aside more current tunes from Ghosts of the Great Lakes' first album "The Death of the Party," and others exhibit Parks' eclectic taste. Park also digs King Tammy, Lint, Lo Fi Scorpio, Their Teeth Will Be of Lions and Fiona Dickinson.
The film was partially shot in Kalamazoo, but the music selections were about more than just local color. "The music in the movie is half the movie. You take away these songs and you're left with a shell." Park says. "The movie is still good, but the music is the soul of the film.
It's premiering tonight (5/22/10) at the Riviera Theatre in Three Rivers, and will begin playing tomorrow night at the Rave in downtown Kalamazoo (visit the Official Press Page, or ShakenDaddySyndrome.com for more info) but expect to see Park around the scene in the future: "I would love to do music videos. That would be a dream job. There's so much talent around here, not just with the bands, but with artists and designers that could go into making killer videos."
But Park is about more than just filmmaking; his history in the scene gives him valuable insight that I think we can all learn from: "We could be doing a lot more for the artists and arts in town if we were working together more. When I say that I mean the artists working with other artists, not this humdrum Art Hop and events like that where the city makes it look like we're doing more than what we really are. We should have Art Hop crowds for all arts all the time, not just one day a month."
Well, you heard the man.
See you out there this weekend.
* * * *
Shaken Daddy Syndrome is presented by Campaign Pictures, LLC.
Saturday, May 01, 2010
Can't Make It To Your Favorite Band's Show This Summer?
Well, my friends, all you need is a new favorite.
Stuck in Kalamazoo for another summer? Looking at all the killer festivals and shows for the summer, but can't quite cut it on part-time minimum wage and milking the last few leftover student loan dollars? With declining revenue from album sales, EVERYONE is hiking up ticket prices (even DMB's lawn tickets are $40 and up this season... it seems like just yesterday I paid $24 to sit in the rain and jam out to "One Sweet World..." Oh, to be young.)
No worries! As we all know by now, there are plenty of outrageously good bands right here in K Town. Just because you didn't make it to Coachella and are "trying" to get your tix to Bonnaroo (c'mon) doesn't mean you can't rock out and have a really spectacular night.
[Dying to see...] [You should check out...]
Phish? DMB? The Ragbirds. This chick-fronted folk band plays a funky
repertoire of roots-folk and world music. The MI natives
have carved out a significant place in the regional folk scene
and are embarking on a summer tour that will take them all
over the Midwest... including right here in Kzoo. With a
wide range of sounds for a beautiful-- and fun, if you wanna
get your dance on-- and always-changing sound, The
Ragbirds offer up a sound that will surely leave you wanting
more. With artful and clever lyrics ("Honesty is following
your demons/ to the place that they reside/ and then you
pot some plants outside their windowsill/ to let you crawl
inside") as well as sounds from the Carribbean, Romania,
and beyond, this is one "hippie jam band" that definitely
breaks the mold.
Jay Z? Gorillaz? M.E.D. Just because you're in Kalamazoo doesn't mean
you can't get your hip-hop fix. M.E.D. (Mental Elastic
Dynasty) mixes infectious beats with a wide range of verses:
the three MCs of MED-- the "level-headed and serious"
Anagram; the stylistic chameleon Philosophy; and token
wiseguy L-C.I.D.-- blend together to create a multi-faceted
feel, with rhymes that would appeal to even the most
seasoned hip-hop aficionado (check out "There They Go"
and "Money;" both available on MySpace).
Weezer? Tom Petty
and the Heartbreakers? Vampire
Weekend? Dead Scene Radio. Known for their pop sensibilities and
choruses so sweet you just might get a toothache, these
Kzoo-scene bigwigs are the first word in pop-rock (be on
the lookout for a full-length from them this summer!).
The Black Keys? Kings of
Leon? The Raconteurs? Elm Street Riot. After blowing the roof off a show at
Corner Bar last weekend with A Friend Called Fire, and
rocking out Kalamazoo Noise Convention this Thursday,
Elm Street Riot have been pretty busy dudes lately... and,
lucky for us, there's no end in sight. With their bluesy
garage-rock, ESR just might be on their way to ruling the
Kalamazoo Scene.
Jeff Beck? Robby Haas Trio. While Robby Haas Trio might not quite
stack up to The Loner himself, they do just fine at
embodying the freewheeling blues style to get you grooving
this summer. While they currently do not appear to have
any shows scheduled, keep your eye out for these dudes
this summer if you're into a good crunchy blues jam every
now and again (and who isn't).
Steve Martin and the
Steep Canyon Rangers?
The String Cheese Incident? Rootstand. Summer is, indeed, the very best time to check
out one of my very favorite bands in Kalamazoo...
Rootstand! With a unique, "swashbucklin'" style of
bluegrass, Rootstand is sure to get you steppin' in the very
best way. Their hypnotizing, roots-oriented jams are
enough to convert even the most staunch naysayers into
bluegrass junkies... and, hey, what goes better with a
delicious Oberon than a sweaty hippie dancefest?
Welcome to Michigan, ya'll (check out the absurdly-good
"River Blues" on their MySpace). Oh, and of course,
don't forget about Greensky Bluegrass, who require neither
introduction nor explanation.
John Mayer or JM3? Four Finger Five. Those active in the jam scene in
southwest Michigan are probably already familiar with
FF5. Known for killer shows and facemelting blues
jams, FF5 epitomizes the perfect summer gig. Their
smooth funk/ jazz/ blues, polished by buttah-smooth vocals
reminiscent of the J-man himself, is sure to induce
involuntary booty-shaking all over the state... and
beyond... this summer (check out their groove "Giving It
All Away;" be careful, it's known to be habit-forming). If
you read this TODAY (5/1/10) they will be playing a set at
Bell's... what better way to kick off the summer?
Jason Mraz? Jack
Johnson? We Know Jackson. Ok, admit it. You loooove acoustic/
piano driven melodies, girl-I'll-be-your-best-boy-ever
motifs and catchy choruses aplenty (complete with "la-da-
da"s). Hey, I'm not telling. This jazz-pop trio, fronted by
boyband-ready Chris Janowiak, has been around in
southwest Michigan for several years, leaving no schoolgirl
uncrushed ("crush" figuratively, natch). With impressive
musical chops that set them apart from much of the "pop"
crowd, We Know Jackson prove they're more than just
pretty faces (check out "The Way,"available on MySpace).
Hot Chip? Imogen Heap? Juliana Stein. Did you think you weren't going to get your
electro-pop on? Relax; don't get your American Apparel
pants in a bunch. Juliana Stein-- a newcomer on the
scene-- weaves cool electronic tunes and remixes that will
either get you on the dance floor, or reignite your creative
fires... up to you. With her artfulness and indie aesthetic,
Stein stays grounded by a sense of humor with her music
and would likely put on a show this town wouldn't soon
forget. If you like Juliana Stein, check out DUDE aTOMic!
The Flaming Lips? Crash City Saints. These artisans of ambient guitar-rock
have been on the Kalamazoo scene for years, taking
listeners on a sonic journey with every release and every
show (most recently, they rocked the Strutt for Noise
Convention!). With their signature guitar sound
(heavily-distorted, layered and ambient for a lush, unique
feel) set off by haunting, mysterious-sounding vocals and
relentless but subtle percussion, Crash City Saints is like
the soundtrack to a daydream.Striking the perfect balance
between raw alt-rock and fuzzy swirls of ambient sound,
Crash City Saints is the perfect band to check out
when you need a vacation, but only have an hour or two...
hey, it's ok to space out and just enjoy the show. So go
ahead... close your eyes and lose yourself in the swirls of
beautiful chaos and enjoy your journey down the rabbit
hole.
Stuck in Kalamazoo for another summer? Looking at all the killer festivals and shows for the summer, but can't quite cut it on part-time minimum wage and milking the last few leftover student loan dollars? With declining revenue from album sales, EVERYONE is hiking up ticket prices (even DMB's lawn tickets are $40 and up this season... it seems like just yesterday I paid $24 to sit in the rain and jam out to "One Sweet World..." Oh, to be young.)
No worries! As we all know by now, there are plenty of outrageously good bands right here in K Town. Just because you didn't make it to Coachella and are "trying" to get your tix to Bonnaroo (c'mon) doesn't mean you can't rock out and have a really spectacular night.
[Dying to see...] [You should check out...]
Phish? DMB? The Ragbirds. This chick-fronted folk band plays a funky
repertoire of roots-folk and world music. The MI natives
have carved out a significant place in the regional folk scene
and are embarking on a summer tour that will take them all
over the Midwest... including right here in Kzoo. With a
wide range of sounds for a beautiful-- and fun, if you wanna
get your dance on-- and always-changing sound, The
Ragbirds offer up a sound that will surely leave you wanting
more. With artful and clever lyrics ("Honesty is following
your demons/ to the place that they reside/ and then you
pot some plants outside their windowsill/ to let you crawl
inside") as well as sounds from the Carribbean, Romania,
and beyond, this is one "hippie jam band" that definitely
breaks the mold.
Jay Z? Gorillaz? M.E.D. Just because you're in Kalamazoo doesn't mean
you can't get your hip-hop fix. M.E.D. (Mental Elastic
Dynasty) mixes infectious beats with a wide range of verses:
the three MCs of MED-- the "level-headed and serious"
Anagram; the stylistic chameleon Philosophy; and token
wiseguy L-C.I.D.-- blend together to create a multi-faceted
feel, with rhymes that would appeal to even the most
seasoned hip-hop aficionado (check out "There They Go"
and "Money;" both available on MySpace).
Weezer? Tom Petty
and the Heartbreakers? Vampire
Weekend? Dead Scene Radio. Known for their pop sensibilities and
choruses so sweet you just might get a toothache, these
Kzoo-scene bigwigs are the first word in pop-rock (be on
the lookout for a full-length from them this summer!).
The Black Keys? Kings of
Leon? The Raconteurs? Elm Street Riot. After blowing the roof off a show at
Corner Bar last weekend with A Friend Called Fire, and
rocking out Kalamazoo Noise Convention this Thursday,
Elm Street Riot have been pretty busy dudes lately... and,
lucky for us, there's no end in sight. With their bluesy
garage-rock, ESR just might be on their way to ruling the
Kalamazoo Scene.
Jeff Beck? Robby Haas Trio. While Robby Haas Trio might not quite
stack up to The Loner himself, they do just fine at
embodying the freewheeling blues style to get you grooving
this summer. While they currently do not appear to have
any shows scheduled, keep your eye out for these dudes
this summer if you're into a good crunchy blues jam every
now and again (and who isn't).
Steve Martin and the
Steep Canyon Rangers?
The String Cheese Incident? Rootstand. Summer is, indeed, the very best time to check
out one of my very favorite bands in Kalamazoo...
Rootstand! With a unique, "swashbucklin'" style of
bluegrass, Rootstand is sure to get you steppin' in the very
best way. Their hypnotizing, roots-oriented jams are
enough to convert even the most staunch naysayers into
bluegrass junkies... and, hey, what goes better with a
delicious Oberon than a sweaty hippie dancefest?
Welcome to Michigan, ya'll (check out the absurdly-good
"River Blues" on their MySpace). Oh, and of course,
don't forget about Greensky Bluegrass, who require neither
introduction nor explanation.
John Mayer or JM3? Four Finger Five. Those active in the jam scene in
southwest Michigan are probably already familiar with
FF5. Known for killer shows and facemelting blues
jams, FF5 epitomizes the perfect summer gig. Their
smooth funk/ jazz/ blues, polished by buttah-smooth vocals
reminiscent of the J-man himself, is sure to induce
involuntary booty-shaking all over the state... and
beyond... this summer (check out their groove "Giving It
All Away;" be careful, it's known to be habit-forming). If
you read this TODAY (5/1/10) they will be playing a set at
Bell's... what better way to kick off the summer?
Jason Mraz? Jack
Johnson? We Know Jackson. Ok, admit it. You loooove acoustic/
piano driven melodies, girl-I'll-be-your-best-boy-ever
motifs and catchy choruses aplenty (complete with "la-da-
da"s). Hey, I'm not telling. This jazz-pop trio, fronted by
boyband-ready Chris Janowiak, has been around in
southwest Michigan for several years, leaving no schoolgirl
uncrushed ("crush" figuratively, natch). With impressive
musical chops that set them apart from much of the "pop"
crowd, We Know Jackson prove they're more than just
pretty faces (check out "The Way,"available on MySpace).
Hot Chip? Imogen Heap? Juliana Stein. Did you think you weren't going to get your
electro-pop on? Relax; don't get your American Apparel
pants in a bunch. Juliana Stein-- a newcomer on the
scene-- weaves cool electronic tunes and remixes that will
either get you on the dance floor, or reignite your creative
fires... up to you. With her artfulness and indie aesthetic,
Stein stays grounded by a sense of humor with her music
and would likely put on a show this town wouldn't soon
forget. If you like Juliana Stein, check out DUDE aTOMic!
The Flaming Lips? Crash City Saints. These artisans of ambient guitar-rock
have been on the Kalamazoo scene for years, taking
listeners on a sonic journey with every release and every
show (most recently, they rocked the Strutt for Noise
Convention!). With their signature guitar sound
(heavily-distorted, layered and ambient for a lush, unique
feel) set off by haunting, mysterious-sounding vocals and
relentless but subtle percussion, Crash City Saints is like
the soundtrack to a daydream.Striking the perfect balance
between raw alt-rock and fuzzy swirls of ambient sound,
Crash City Saints is the perfect band to check out
when you need a vacation, but only have an hour or two...
hey, it's ok to space out and just enjoy the show. So go
ahead... close your eyes and lose yourself in the swirls of
beautiful chaos and enjoy your journey down the rabbit
hole.
Saturday, April 24, 2010
The Best (and Worst) of Grand Rapids' Electro and Hip-Hop
Grand Rapids has always been a hot spot of the Michigan music scene... dominated by ska, punk, and hardcore, occasionally a band of a different persuasion will rise to the top. After the rise of hyphy (E40 anyone?), electro-dance (Daft Punk, I see ya'll), and, of course, a million DIY beatmaking programs, electronic music and hip-hop scenes everywhere are thriving right now, and the Murder Mitten is never one to be the exception. However, like any scene, GR hip-hop has its ups and downs. Here's a little bit of what's going on in the scene right now...
(For fun, there's going to be a point system, from 1 to 10:)
1 (they straight triflin') - - - 5 (they aiight) - - - - 10 (DAYUMN!)
[A.B! and Coconut Brown]
My official favorite band today.
This funk-hip-hop 6 piece (guitar, bass and synth filled out by a horn section) led by GR-area MC Adrian Butler plays hook-heavy, dance floor-ready hip-hop jams. With fearless, intelligent and articulate rhymes alongside smooth, funky hip-hop a la the Roots (see "Astro-Cool," available on their Myspace), these guys are a breath of fresh air in a scene crowded with indie and rock bands (both locally and nationally). While their strongest work lies in their fresh style of party-starting, warm-summer-night-driving hip-hop, AB&BC at times borrow from rap-rock ("The Breaks") and straight-up ska (the quirky, wake'n'bake-y "Apricot") with impressive competence and versatility.
Song pick: "Japanese Denim." This surprisingly simple gem, built around a classic hip-hop beat (complete with a Sugar Hill Gang reference) and set off by a horn-based hook as well as AB's memorable rhymes (it's probably the only hip-hop song to ever contain the totally un-"street" phrase "Quality control: the thread count is too low!") would be worth a trip to one of their shows in and of itself.
Honorable mention: "E Squared." AB shows off his rapping skills; he is undeniably impressive, if not a little cocky ("Am I the only black dude/ in Advanced Placement?"). This one also highlights guitar player Biggie G with (SPOILER ALERT) a killer solo.
Alas, we leave AB&CB with my favorite rhymes from their MySpace selections (from "Astro-Cool"):
"I'm an astronaut, baby,/ wit astronaut boots/ chocolate ice cream I got astronaut scoops/ The dude gets sick, I got astronaut soup/ Astronaut warfare wit astronaut troops./ Astronaut pimps and astronaut coops/ Astronaut beats wit astronaut loops/ Astronaut cufflinks wit astronaut suits/ Your girl wants to play the astronaut crew."
[Editor's Note: In case you get the feeling these guys know how to party (I sure do) they are playing a Cinco de Mayo show at the Intersection if you feel like putting the "rage" in "outrageous."]
POINTS: 10 (DAYYUUUMMN!)
[Almost Famous]
This GR duo (comprised of rappers "Goob" and "J-Zav") brings white-boy hip hop to a new low. With a conspicuously homemade sound, andlaughable humorous rhymes, these guys are following in the Puma-laden footsteps of LMFAO and other such novelty rappers. But, hey, at least they're memorable: in a song directly addressing their haters, "Don't Kid Yourself," contains not only an obscure "Family Matters" reference ("And my flow, you can't step on/ You're Steve Erkel/ and I'm fuckin' Stefan") alongside unabashed spoiled-suburban-kid cliches: "I'd rather kill myself than sell out like Cobain/ For every single person weeping over my grave/ I'd raise from the dead and I'd slap 'em in the face/ I'd tell em they should be ashamed, cause the pain of being lame is worse than worms in my brain." They even flex their Autotune muscles on "I'd Rather Have Nightmares."
Through Almost Famous' lackluster beats and monotonous vocals don't stoke the hip-hop fires in my soul, their sense of humor shines through their rhymes and they are definitely good for a chuckle or two...
Song pick: "Party Dudes." "P-A-R-T-Y, cause we got to/ well, we don't have to/ but we really ought to/ Booze in the glasses, beer in the bong/ Dude, fill up the cups, we're gonna play pong." Oddly, I can see this song catching on...
POINTS: 5
[SuperDre]
What might be more accurately described as trip-hop, this experimental DJ weaves simple beats with trippy loops that would be just as at-home in a nightclub as the soundtrack to a black-lighted, at-home chill sesh... a "just-sit-back-and-enjoy-the-ride" kind of vibe. Experimenting with a mindblowing range of sounds-- from the spaced-out "A Lot On My Mind" to the porn-y "Bouncy Spacekids" to the mod-disco and then highly-psychedelic "Down Below," DJ SuperDre takes her listeners for a mind adventure the likes of which the world just might be ready for.
While SuperDre certainly holds one's attention, I couldn't help but feel that a lot of her beats would be more satisfying if they were complemented with a consistent rapper or vocalist (rather than mostly beat-oriented work with a few featured vocalists). Alas, for those of you with a taste for instrumental electro/ trance and/or slightly "weirder" musical palates, this is guaranteed to hit the spot.
Song Pick: "With A Certain Style." This song is the musical embodiment of a sweaty basement rave... in a good way. With echoed, spoken-word-poetry vocals over an absolutely hypnotizing beat, this song is a psychedelic journey grounded by thought-provoking insight-- think of it as a 60's Greenwich Village poetry slam from inside the mind of an acid-tripping Beatnik. But don't panic. As one of my most notorious heroes once said, "Buy the ticket, take the ride."
We might even have something to learn from SuperDre's guest poet-vocalist on this track: "So people, I want everybody to come together, come together, come together/ under the roof/ of a funky sky."
POINTS: 8
***
Well, that's all for tonight, folks... it's Saturday night; hope this post made you want to get your groove on. I know I do.
XOXO
--Meg (thevolumejunkie)
(For fun, there's going to be a point system, from 1 to 10:)
1 (they straight triflin') - - - 5 (they aiight) - - - - 10 (DAYUMN!)
[A.B! and Coconut Brown]
My official favorite band today.
This funk-hip-hop 6 piece (guitar, bass and synth filled out by a horn section) led by GR-area MC Adrian Butler plays hook-heavy, dance floor-ready hip-hop jams. With fearless, intelligent and articulate rhymes alongside smooth, funky hip-hop a la the Roots (see "Astro-Cool," available on their Myspace), these guys are a breath of fresh air in a scene crowded with indie and rock bands (both locally and nationally). While their strongest work lies in their fresh style of party-starting, warm-summer-night-driving hip-hop, AB&BC at times borrow from rap-rock ("The Breaks") and straight-up ska (the quirky, wake'n'bake-y "Apricot") with impressive competence and versatility.
Song pick: "Japanese Denim." This surprisingly simple gem, built around a classic hip-hop beat (complete with a Sugar Hill Gang reference) and set off by a horn-based hook as well as AB's memorable rhymes (it's probably the only hip-hop song to ever contain the totally un-"street" phrase "Quality control: the thread count is too low!") would be worth a trip to one of their shows in and of itself.
Honorable mention: "E Squared." AB shows off his rapping skills; he is undeniably impressive, if not a little cocky ("Am I the only black dude/ in Advanced Placement?"). This one also highlights guitar player Biggie G with (SPOILER ALERT) a killer solo.
Alas, we leave AB&CB with my favorite rhymes from their MySpace selections (from "Astro-Cool"):
"I'm an astronaut, baby,/ wit astronaut boots/ chocolate ice cream I got astronaut scoops/ The dude gets sick, I got astronaut soup/ Astronaut warfare wit astronaut troops./ Astronaut pimps and astronaut coops/ Astronaut beats wit astronaut loops/ Astronaut cufflinks wit astronaut suits/ Your girl wants to play the astronaut crew."
[Editor's Note: In case you get the feeling these guys know how to party (I sure do) they are playing a Cinco de Mayo show at the Intersection if you feel like putting the "rage" in "outrageous."]
POINTS: 10 (DAYYUUUMMN!)
[Almost Famous]
This GR duo (comprised of rappers "Goob" and "J-Zav") brings white-boy hip hop to a new low. With a conspicuously homemade sound, and
Through Almost Famous' lackluster beats and monotonous vocals don't stoke the hip-hop fires in my soul, their sense of humor shines through their rhymes and they are definitely good for a chuckle or two...
Song pick: "Party Dudes." "P-A-R-T-Y, cause we got to/ well, we don't have to/ but we really ought to/ Booze in the glasses, beer in the bong/ Dude, fill up the cups, we're gonna play pong." Oddly, I can see this song catching on...
POINTS: 5
[SuperDre]
What might be more accurately described as trip-hop, this experimental DJ weaves simple beats with trippy loops that would be just as at-home in a nightclub as the soundtrack to a black-lighted, at-home chill sesh... a "just-sit-back-and-enjoy-the-ride" kind of vibe. Experimenting with a mindblowing range of sounds-- from the spaced-out "A Lot On My Mind" to the porn-y "Bouncy Spacekids" to the mod-disco and then highly-psychedelic "Down Below," DJ SuperDre takes her listeners for a mind adventure the likes of which the world just might be ready for.
While SuperDre certainly holds one's attention, I couldn't help but feel that a lot of her beats would be more satisfying if they were complemented with a consistent rapper or vocalist (rather than mostly beat-oriented work with a few featured vocalists). Alas, for those of you with a taste for instrumental electro/ trance and/or slightly "weirder" musical palates, this is guaranteed to hit the spot.
Song Pick: "With A Certain Style." This song is the musical embodiment of a sweaty basement rave... in a good way. With echoed, spoken-word-poetry vocals over an absolutely hypnotizing beat, this song is a psychedelic journey grounded by thought-provoking insight-- think of it as a 60's Greenwich Village poetry slam from inside the mind of an acid-tripping Beatnik. But don't panic. As one of my most notorious heroes once said, "Buy the ticket, take the ride."
We might even have something to learn from SuperDre's guest poet-vocalist on this track: "So people, I want everybody to come together, come together, come together/ under the roof/ of a funky sky."
POINTS: 8
***
Well, that's all for tonight, folks... it's Saturday night; hope this post made you want to get your groove on. I know I do.
XOXO
--Meg (thevolumejunkie)
Tuesday, March 30, 2010
Announcements, etc
Hello everyone.
I thought it might be time for a bit of an update since the Bird Rights feature was my 40th post and, no, that's not a huge number, but it's a little bit of a milestone (kinda). Espect somethin' cool for the 50th ya'll. Just sayin.
I just want to thank all of my readers for coming to the site; those of you who send encouraging words, feedback, etc are very much appreciated. Those of you will less-nice things to say are appreciated as well. It's true what they say: a handful of "haters" and critics (or even just one) makes you stronger and teaches you more than a million fans, even if it hurts at first. (As Nick Flora says, "Everyone's a critic with a sharp tongue/ I, for, one have been stung/ One too many times/ It's hard to fake a smile.") But you just have to keep on truckin'! Controversies in the greater Kzoo music scene, often in the form of blog-bashing, have been going around... whether you're a musician or a writer, just keep it up-- art is art, and criticism is at the heart of being any type of artist. My hope for all artists who are part of Kalamazoo media/ culture continue to love, support, and constructively criticize one another in the hope that we will all find our voices and create some amazing legacies to leave behind, in whatever medium we so choose.
Without further ado, a couple exciting news tidbits:
[NOISE! Convention]
When I first launched TVJ, I had an idea to have a big show with some of my favorite local bands to promote the site. That never occurred, since I have no idea how to go about booking a show... alas, the intervention of Fate brought two lovely young men into my life with their lovely new site, Kalamazoo NOISE!. As a contributing writer for KN, I'm pleased to announce that we will be hosting a HUGE bash, coined "NOISE! Convention." I believe I've briefly mentioned it previously, but I wanted to reiterate: this is a HUGE-ASS SHOW (16 bands will be playing) to which you and ALL of your friends are more than invited!! (Check out the Facebook invite here.... go ahead, RSVP, you know you wanna.) This is, no doubt, better than anything I could've cooked up. I am SO excited for this and I hope all of you guys will be there. It's going to be amazing. Here are the deets:
What? Quite possibly the most incredible show of all time. Ever.
Who? The Hex Bombs, Ghosts of the Great Lakes, Ender, Hello Victor, Please Promise, Branden Mann and the Reprimand, Elm Street Riot, Brena, Trixy Disco, The Sedgwyck Agent, Sara Never Loved Me, Dead Scene Radio, The Post Addition, Crash City Saints, Dunktank, and Kathryn Tapper. And me of course (and the other KN! boys and gal). And most importantly, YOU!
When? April 29th... the last day of exams for all you WMU folks!!! What a killer way to unwind!
Where? Both stages of The Strutt at the corner of Stadium and Academy.
To date, we've got exactly 400 confirmed guests on Facebook... just sayin', all the cool kids will be there. No pressure or anything. Come on out! Bring your friends! This will be a night none of us will forget! Please be sure to introduce yourself... I can't wait to see your beautiful faces!
[Upcoming Publications]
RECOIL: Check out the April '10 issue for an article by "yours truly" (I hate when people say that) which will hit newsstands (not so much newsstands as countertops in various music-peopley places like Fourth Coast, Guitar Center, and many other places in the greater Kalamazoo/ Grand Rapids area) April 1st... no foolin'!
REVUE: I've got a pending article for this which may or may not run. Long story...
KALAMAZOO NOISE!: As always, keep checkin'.
[Cool Upcoming Stuff]
April 7th at The Strutt: Koji, Ender, and Kevin Devine. AMAZING AMAZING AMAZING AMAZING AMAZING. Also be on the lookout for my coverage of this show via KN!
If you're not excited right now, check your pulse homey. For reallz.
XOXO
--Meg Alexander (thevolumejunkie)
PS: Don't forget to add me on Facebook and MySpace for any and all blog updates and other related matters. Big hugs to all of you who have already :) Later days!
I thought it might be time for a bit of an update since the Bird Rights feature was my 40th post and, no, that's not a huge number, but it's a little bit of a milestone (kinda). Espect somethin' cool for the 50th ya'll. Just sayin.
I just want to thank all of my readers for coming to the site; those of you who send encouraging words, feedback, etc are very much appreciated. Those of you will less-nice things to say are appreciated as well. It's true what they say: a handful of "haters" and critics (or even just one) makes you stronger and teaches you more than a million fans, even if it hurts at first. (As Nick Flora says, "Everyone's a critic with a sharp tongue/ I, for, one have been stung/ One too many times/ It's hard to fake a smile.") But you just have to keep on truckin'! Controversies in the greater Kzoo music scene, often in the form of blog-bashing, have been going around... whether you're a musician or a writer, just keep it up-- art is art, and criticism is at the heart of being any type of artist. My hope for all artists who are part of Kalamazoo media/ culture continue to love, support, and constructively criticize one another in the hope that we will all find our voices and create some amazing legacies to leave behind, in whatever medium we so choose.
Without further ado, a couple exciting news tidbits:
[NOISE! Convention]
When I first launched TVJ, I had an idea to have a big show with some of my favorite local bands to promote the site. That never occurred, since I have no idea how to go about booking a show... alas, the intervention of Fate brought two lovely young men into my life with their lovely new site, Kalamazoo NOISE!. As a contributing writer for KN, I'm pleased to announce that we will be hosting a HUGE bash, coined "NOISE! Convention." I believe I've briefly mentioned it previously, but I wanted to reiterate: this is a HUGE-ASS SHOW (16 bands will be playing) to which you and ALL of your friends are more than invited!! (Check out the Facebook invite here.... go ahead, RSVP, you know you wanna.) This is, no doubt, better than anything I could've cooked up. I am SO excited for this and I hope all of you guys will be there. It's going to be amazing. Here are the deets:
What? Quite possibly the most incredible show of all time. Ever.
Who? The Hex Bombs, Ghosts of the Great Lakes, Ender, Hello Victor, Please Promise, Branden Mann and the Reprimand, Elm Street Riot, Brena, Trixy Disco, The Sedgwyck Agent, Sara Never Loved Me, Dead Scene Radio, The Post Addition, Crash City Saints, Dunktank, and Kathryn Tapper. And me of course (and the other KN! boys and gal). And most importantly, YOU!
When? April 29th... the last day of exams for all you WMU folks!!! What a killer way to unwind!
Where? Both stages of The Strutt at the corner of Stadium and Academy.
To date, we've got exactly 400 confirmed guests on Facebook... just sayin', all the cool kids will be there. No pressure or anything. Come on out! Bring your friends! This will be a night none of us will forget! Please be sure to introduce yourself... I can't wait to see your beautiful faces!
[Upcoming Publications]
RECOIL: Check out the April '10 issue for an article by "yours truly" (I hate when people say that) which will hit newsstands (not so much newsstands as countertops in various music-peopley places like Fourth Coast, Guitar Center, and many other places in the greater Kalamazoo/ Grand Rapids area) April 1st... no foolin'!
REVUE: I've got a pending article for this which may or may not run. Long story...
KALAMAZOO NOISE!: As always, keep checkin'.
[Cool Upcoming Stuff]
April 7th at The Strutt: Koji, Ender, and Kevin Devine. AMAZING AMAZING AMAZING AMAZING AMAZING. Also be on the lookout for my coverage of this show via KN!
If you're not excited right now, check your pulse homey. For reallz.
XOXO
--Meg Alexander (thevolumejunkie)
PS: Don't forget to add me on Facebook and MySpace for any and all blog updates and other related matters. Big hugs to all of you who have already :) Later days!
Monday, March 29, 2010
Bird Rights: a Phoenix Rising (artist feature)
Warning: checking out this new Grand Rapids-area band may cause a mild case of déjà vu. If seeing the basketball-jersey-clad Boyea brothers onstage, crafting a unique brand of indie rock based on love, life, and wonder induces that woozy-wonderful headrush, don’t worry; it’s not you, or your memory-- Bird Rights is the reincarnation of the brothers’ former band, the Flowbs-- or, it could just be a side effect of their dreamy, melodic, indie-meets-shoegazer tunes (think an indie-er Snow Patrol, or a chilled-out Bloc Party).
The Boyeas, rounding themselves out to a trio with drummer Spencer Engler, have traded the more hyper façade associated with the Flowbs-- with their tendencies towards uptempo rock, at times leaning toward ska and pop-punk-- for stripped-down balladry, characterized by a delicious subtlety and a haunting ambience, underscored by flawless melodies and thought-provoking lyrics. Their lyrics, based on introverted reflections on life-- particularly transition (look out for their first single as Bird Rights, “Nightmare”) and reinvention, a very real theme for the band at this point-- tend to be at once brave and vulnerable; juxtaposed against lightly-distorted guitars and shimmery, gentle percussion, the combination is haunting, undeniably radio-ready and likely destined for solo sing-a-longs on lonely drives home and sober mornings-after.
Like the proverbial phoenix, Bird Rights confidently rise from their former rocker selves into the mature, thoughtful crew we see today: amazingly unpretentious and humbly self-assured. The evolution is duly reflected in their newly-released material; for example, on the aforementioned single “Nightmare,” singer/ principle songwriter Luke Boyea proclaims “I’m gonna climb these castle walls/ I don’t care if I fall/ I’m not gonna die here,” and continues throughout the band’s new material to evoke feelings of determination, frustration, and, ultimately, confidence; there is certainly a palpable sense that these guys have found their stride. And it seems rightfully so: according to the band, singer Luke Boyea has “developed the swag and appropriate ego of a great front man,” and, alongside his brother Eric’s “imaginative guitar playing” and Engler’s “groove-based beats” the trio seems poised for greatness; Bird Rights have settled softly into their newfound niche as not just musicians, but craftsmen: gloriously reviving the lost art of the ballad, most effective on the lovelorn gem “Owl Man,” whose twinkley guitar parts alongside the depth of a striking piano melody makes for a listening experience you won’t soon forget.
With their feet squarely in the door of Grand Rapids’ music scene, Bird Rights have had no trouble setting up shop as the new band on the block, and will begin playing shows as early as April 9th (at Brewstirs) and May 7th (at the Intersection).
[Editor's Note: look for this review in the April '10 issue of Grand Rapids' Recoil Magazine!]
Addendum: this is my 40th post!! Now go crack a frosty Oberon.
The Boyeas, rounding themselves out to a trio with drummer Spencer Engler, have traded the more hyper façade associated with the Flowbs-- with their tendencies towards uptempo rock, at times leaning toward ska and pop-punk-- for stripped-down balladry, characterized by a delicious subtlety and a haunting ambience, underscored by flawless melodies and thought-provoking lyrics. Their lyrics, based on introverted reflections on life-- particularly transition (look out for their first single as Bird Rights, “Nightmare”) and reinvention, a very real theme for the band at this point-- tend to be at once brave and vulnerable; juxtaposed against lightly-distorted guitars and shimmery, gentle percussion, the combination is haunting, undeniably radio-ready and likely destined for solo sing-a-longs on lonely drives home and sober mornings-after.
Like the proverbial phoenix, Bird Rights confidently rise from their former rocker selves into the mature, thoughtful crew we see today: amazingly unpretentious and humbly self-assured. The evolution is duly reflected in their newly-released material; for example, on the aforementioned single “Nightmare,” singer/ principle songwriter Luke Boyea proclaims “I’m gonna climb these castle walls/ I don’t care if I fall/ I’m not gonna die here,” and continues throughout the band’s new material to evoke feelings of determination, frustration, and, ultimately, confidence; there is certainly a palpable sense that these guys have found their stride. And it seems rightfully so: according to the band, singer Luke Boyea has “developed the swag and appropriate ego of a great front man,” and, alongside his brother Eric’s “imaginative guitar playing” and Engler’s “groove-based beats” the trio seems poised for greatness; Bird Rights have settled softly into their newfound niche as not just musicians, but craftsmen: gloriously reviving the lost art of the ballad, most effective on the lovelorn gem “Owl Man,” whose twinkley guitar parts alongside the depth of a striking piano melody makes for a listening experience you won’t soon forget.
With their feet squarely in the door of Grand Rapids’ music scene, Bird Rights have had no trouble setting up shop as the new band on the block, and will begin playing shows as early as April 9th (at Brewstirs) and May 7th (at the Intersection).
[Editor's Note: look for this review in the April '10 issue of Grand Rapids' Recoil Magazine!]
Addendum: this is my 40th post!! Now go crack a frosty Oberon.
Their Teeth Will Be of Lions "True Stories Are Harder To Make Up" review
Kalamazoo indie rock seven-piece their Teeth Will Be of Lions is back and better than ever, taking their already larger-than-life sound to even greater heights than expected.
True Stories Are Harder To Make Up-- specifically designed to be listened to on vinyl-- “forc[es] us to use our time wisely,” proclaims the album’s liner notes. And time is, indeed, a very conspicuous force on this album: with genre-spanning tempo changes from song to song (and, often, within the songs themselves), Teeth’s sonic repertoire ranges from melodic vocal parts, decorated by piano, acoustic guitar, and even Sufjan Stevens-esque banjo, into Aeolian bursts of sound, at times channeling the arena-rock intensity of Muse, Coheed and Cambria, and the Foo Fighters.
With a risk-taking exploration of new themes and ideas alongside a wider range of tempos, genres and sounds than we ever thought possible-- and, of course, the unforgettable theatricality for which Their Teeth Will Be of Lions has become known-- True Stories are Harder to Make Up smashes expectations and firmly re-establishes their place in the local (and statewide) scene. The A-Side flows from an instrumental hard-rock intro, to the frustrated yawp at capitalist culture that is “Nickels and Dimes,” and through the epic “I Went To Minnesota Not To Be Alone (I Lost My Way Home),” pushing through every conceivable tempo and song structure, and creating a mosaic of concept-driven art rock (think an indie-rock "Bohemian Rhapsody"). The B- Side, in turn, does not disappoint: at first appearing to shift gears from the A-Side completely, the dance-floor-ready “Everyone Made It Out Alive” (an apparent homage to their 2007 debut album Everyone Made It Out Alive… Almost!) kicks it up several notches with 21st century-style disco, moving unexpectedly into the bounding rock of “Brown Sugar Body Bags” and, eventually, into the haunting last track, on which half-spoken vocals decorate a melancholy piano melody, creating a pleasingly suspenseful feel, leaving listeners simultaneously satisfied and wanting more.
In short, True Stories contains every ounce of energy found on Everyone Made It Out Alive... Almost!, but with none of the silliness, and the depth they exhibited on The Death... The Reincarnation...And The Unfamiliar Tales Of:, but with more urgency, showing off their ever-growing confidence and the chops they’ve earned as indie veterans of the Kalamazoo scene. Teeth takes their sound to new heights, proving themselves in the face of new expectations, and leaving listeners with only one question: where will Their Teeth Will Be of Lions go next? There’s simply no telling… and it seems that‘s exactly the point.
True Stories Are Harder To Make Up is to be released at The Strutt in Kalamazoo on April 17th, 2010.
[***Editor's note: press copy of "True Stories Are Harder to Make Up" courtesy of Glen of TTWBOL; who now has a solo project you can find here***]
True Stories Are Harder To Make Up-- specifically designed to be listened to on vinyl-- “forc[es] us to use our time wisely,” proclaims the album’s liner notes. And time is, indeed, a very conspicuous force on this album: with genre-spanning tempo changes from song to song (and, often, within the songs themselves), Teeth’s sonic repertoire ranges from melodic vocal parts, decorated by piano, acoustic guitar, and even Sufjan Stevens-esque banjo, into Aeolian bursts of sound, at times channeling the arena-rock intensity of Muse, Coheed and Cambria, and the Foo Fighters.
With a risk-taking exploration of new themes and ideas alongside a wider range of tempos, genres and sounds than we ever thought possible-- and, of course, the unforgettable theatricality for which Their Teeth Will Be of Lions has become known-- True Stories are Harder to Make Up smashes expectations and firmly re-establishes their place in the local (and statewide) scene. The A-Side flows from an instrumental hard-rock intro, to the frustrated yawp at capitalist culture that is “Nickels and Dimes,” and through the epic “I Went To Minnesota Not To Be Alone (I Lost My Way Home),” pushing through every conceivable tempo and song structure, and creating a mosaic of concept-driven art rock (think an indie-rock "Bohemian Rhapsody"). The B- Side, in turn, does not disappoint: at first appearing to shift gears from the A-Side completely, the dance-floor-ready “Everyone Made It Out Alive” (an apparent homage to their 2007 debut album Everyone Made It Out Alive… Almost!) kicks it up several notches with 21st century-style disco, moving unexpectedly into the bounding rock of “Brown Sugar Body Bags” and, eventually, into the haunting last track, on which half-spoken vocals decorate a melancholy piano melody, creating a pleasingly suspenseful feel, leaving listeners simultaneously satisfied and wanting more.
In short, True Stories contains every ounce of energy found on Everyone Made It Out Alive... Almost!, but with none of the silliness, and the depth they exhibited on The Death... The Reincarnation...And The Unfamiliar Tales Of:, but with more urgency, showing off their ever-growing confidence and the chops they’ve earned as indie veterans of the Kalamazoo scene. Teeth takes their sound to new heights, proving themselves in the face of new expectations, and leaving listeners with only one question: where will Their Teeth Will Be of Lions go next? There’s simply no telling… and it seems that‘s exactly the point.
True Stories Are Harder To Make Up is to be released at The Strutt in Kalamazoo on April 17th, 2010.
[***Editor's note: press copy of "True Stories Are Harder to Make Up" courtesy of Glen of TTWBOL; who now has a solo project you can find here***]
Bomb Diggity (Hex Bombs set 3/13)
So if you read my post a few weeks ago, you might have known how excited I was about the Mustard Plug show on 3/13 (although I incorrectly dated it in that post... my bad). And, seeing as you already know that I am a fan (and, of course, that I left halfway through their set for a late-night jam session; that's a different story for a different day) it would be redundant to review their set and perhaps a bit annoying and what some Kalamazoo NOISE! anonymous commenters might find fellatious. Instead, I'm going to focus on a Kzoo band who played alongside them, one we know and love: the Hex Bombs.
[Hex Bombs set, Papa Pete's 3/13/10)
The first thing I notice is that-- 20 or 30 minutes late-- I am still awkwardly, embarrassingly early and there are awkwardly, embarrassingly few people. The crew I had agreed to meet at doors (9 pm) is conspicuously absent.... and now is the perfect time to observe (and, as always, eavesdrop). I'm in the middle of several groups, and am more or less camouflaged; with everyone assuming I'm part of at least one of these conversations, I am, effectively, not here at all, and simultaneously, a part of every single conversation.We they discuss details of their bands' recording progress, and collectively harsh Guitar Center, hipsters, and rockabilly kids while old-school Mitten Ska scene kids loiter and mingle over well-whiskey mixers. What sounds to me like Flashlight Brown is blasting from the speakers, which wait patiently beside the completely empty stage, before the mostly-empty room, like a well-meaning teacher trying to amp up an unenthusiastic class of mostly-present students. Building suspense? Winning them over? We'll see in... well, whenever Hex Bombs are ready. Because "[THEY] ARE ROCK'N'ROLL!!!!" dammit!
The half-silence that fills the room makes my identity increasingly conspicuous-- an awkward girl with a cup of pop and a notebook-- I am, indeed, a writer. The Enemy. I shed my hoodie-- the other (5 or so) girls aren't wearinghoodies much at all-- and try to relax a little... quando a Roma.
Beneath the hovering green lights above the pool tables, shaggy-haired misfits in Bush-era slogan t-shirts ("Not My President".. you're goddamn right he's not; get a new t-shirt) lean low over the tables and dreadlocked girls in too-tight pants look on.
I impatiently tap my toes to Hex Bombs' soundcheck and wonder what happened to the ska scene as a boy nonchalantly and inexplicably moons the stage.
They finish soundchecking; Social Distortion throbs through the speakers and I can sense that the time is near.
I immediately realize it's going to be a great show as the Hex Bombs tear into their set with the anthemic "This is My Life," and the house comes to life with the Bombs' unique brand of proletariat punk. With a classic punk-revival attitude, Hex Bombs play with a Rancid/ NOFX-rendered swagger that is part passion, part defiance, part... pirate (?) and a whole lot of fun. And for all of you who miss the aforementioned skate-punkers-- as well as Mad Caddies, Dropkick Murphys, the Misfits and the rest of the crew-- rest assured: punk rock is alive and well. Their old-schoolishness is quite what I like about the Hex Bombs: half throwback, and half novelty; either way, props for stickin' with it. They have a legitimacy that you can't fake, even if you try: these guys truly fucking believe in what they do... bonus props for being real in a decreasingly-authentic world and a decreasingly-authentic scene.
Not to mention, I would like the Hex Bombs anyway if only for the fact that I can't get enough pirate in my life, being a landlocked Midwesterner and all. But, somehow, they pull it off. The mix between their inexplicable seadoggishness and their uniquely Michiganian brand of punk rock strikes a comfortably familiar and, at once, bravely novel, chord in all of us ex-teen-punkers out here.
After Hex Bombs' whirlwhind of a set was the Cin-city ska band called The Pinstripes... if you're into soulful, reggae-influenced ska, these dudes are magically delicious... check 'em out here!
Oh yeah, and Mustard Plug was good too...
Later days.
--thejunkie
[Hex Bombs set, Papa Pete's 3/13/10)
The first thing I notice is that-- 20 or 30 minutes late-- I am still awkwardly, embarrassingly early and there are awkwardly, embarrassingly few people. The crew I had agreed to meet at doors (9 pm) is conspicuously absent.... and now is the perfect time to observe (and, as always, eavesdrop). I'm in the middle of several groups, and am more or less camouflaged; with everyone assuming I'm part of at least one of these conversations, I am, effectively, not here at all, and simultaneously, a part of every single conversation.
The half-silence that fills the room makes my identity increasingly conspicuous-- an awkward girl with a cup of pop and a notebook-- I am, indeed, a writer. The Enemy. I shed my hoodie-- the other (5 or so) girls aren't wearing
Beneath the hovering green lights above the pool tables, shaggy-haired misfits in Bush-era slogan t-shirts ("Not My President".. you're goddamn right he's not; get a new t-shirt) lean low over the tables and dreadlocked girls in too-tight pants look on.
I impatiently tap my toes to Hex Bombs' soundcheck and wonder what happened to the ska scene as a boy nonchalantly and inexplicably moons the stage.
They finish soundchecking; Social Distortion throbs through the speakers and I can sense that the time is near.
I immediately realize it's going to be a great show as the Hex Bombs tear into their set with the anthemic "This is My Life," and the house comes to life with the Bombs' unique brand of proletariat punk. With a classic punk-revival attitude, Hex Bombs play with a Rancid/ NOFX-rendered swagger that is part passion, part defiance, part... pirate (?) and a whole lot of fun. And for all of you who miss the aforementioned skate-punkers-- as well as Mad Caddies, Dropkick Murphys, the Misfits and the rest of the crew-- rest assured: punk rock is alive and well. Their old-schoolishness is quite what I like about the Hex Bombs: half throwback, and half novelty; either way, props for stickin' with it. They have a legitimacy that you can't fake, even if you try: these guys truly fucking believe in what they do... bonus props for being real in a decreasingly-authentic world and a decreasingly-authentic scene.
Not to mention, I would like the Hex Bombs anyway if only for the fact that I can't get enough pirate in my life, being a landlocked Midwesterner and all. But, somehow, they pull it off. The mix between their inexplicable seadoggishness and their uniquely Michiganian brand of punk rock strikes a comfortably familiar and, at once, bravely novel, chord in all of us ex-teen-punkers out here.
After Hex Bombs' whirlwhind of a set was the Cin-city ska band called The Pinstripes... if you're into soulful, reggae-influenced ska, these dudes are magically delicious... check 'em out here!
Oh yeah, and Mustard Plug was good too...
Later days.
--thejunkie
Friday, March 05, 2010
Pop Is Not a Four-Letter Word: Dead Scene Radio: 3/3/10 Interview
Only seconds into meeting Dead Scene Radio, I do something I never set out to do: blatantly embarrass the band.
In an honest effort for accuracy, I ask that they wear nametags (which are actually mailing labels-- all together now, “amateur”); I’m not too worried about it until our self-proclaimed “80’s hair metal freak” waitress (more on that later) calls out Aaron.
“Can I just say that I love that you’re wearing a nametag?” she says in blatant, but clearly flirtatious mockery.
Before I can jump in and explain, Aaron (bass) proudly pats it even more firmly into place, and offers an interesting factoid, launching us into the first of an unknown number of side-tracks: apparently, the upper right-hand side of one’s shirt is the “correct” place to wear a nametag, because it’s easier to see when you extend your right hand in a handshake. Unaffected by the helpful networking tip, the waitress bounces off to retrieve our first of several pitchers of Rolling Rock.
All the while, three fourths of Dead Scene Radio (Aaron, bass; Matt, guitars; and drummer Jeff]; second guitar player Jake is yet to show up) are cracking jokes, quoting everything from Zoolander ("How do you spell eu-google-y?") to Coffee and Cigarettes to The Office; each, in turn, interjects random references and sends the other two into a fit of laughter; they are the conversational equivalent of an Asian sibling acrobatic team in Cirque du Soleil, reading each other in a near-telepathic manner, appearing as appendages of one entity.
Jake shows up in time; we revert, almost immediately, to the past. The boys met in high school, and apparently, principle songwriters Matt and Jake didn't get along; the reasons for which, like so many great human mysteries, have been lost to time. Matt smiles and shrugs off discussion of the rivalry, but Jake, ever his counterpoint, offers an explanation: "You [hadn't] grown into your glasses yet, and your hair was short as shit!"
Almost immediately, it becomes apparent that though they are tight-- almost frighteningly so-- the guys really couldn't be more different. A juxtaposition of musical influences from MXPX, Our Lady Peace, and the Supertones, to the Beatles and Elvis Costello, to 1930's blues and Motown, makes for a unique final product: everything we love about rock and roll with a healthy dose of all the fun, catchiness, and charm of pop: think Weezer and latter-day They Might Be Giants, proudly clinging to the "four-letter word" that "pop" has become in a world of groups selling out of the pop styles that have nurtured generations of music geeks into sleeker, more (superficially) cerebral "indie."
But make no mistake: these guys aren't just fucking around. In fact, their level of seriousness and commitment both surprises and impresses me; these are good (and rare) qualities in a local band. With a full-length in the works, the guys are calling on their years of music training and experience-- which stems from their days in high school choir, but has since been elevated to the point that, at one point, Jeff identifies the note of a glass-clink-- to produce a what will likely be a very memorable debut album.
The album began to take shape over a year ago; the EP they have since released was, according to Matt, "what didn't fit" in with the album. In fact, Matt says, "The difference [between the EP and the album] is astronomical. You won't hear another song like 'White Flag,'" he promises, alluding to the band's more punk-rock tendencies, and although the EP was "more fun," Matt states, "To me, the album is more meaningful."
"It's a lot sexier!" Jake blurts.
"I feel sexier when I play it!" Aaron interjects, without missing a beat.
Among other things, we can also expect their full-length to contain a wider variety of sounds than their EP, which featured a more straightforward pop sound, like the novel, Beatle-rendered "Fuck The Times" (whose adorable chorus refrain is "fuck the times/ let's dance the world away").
The Beatles' influence is a nearly palpable force on the band. This fun foursome of high-school mates plays material primarily composed by Jake (who has a propensity for all things "catchy") and Matt (whose musical style is a bit more serious, and a lot more complex). Does this dynamic sound familiar? And while most of the parallels to the boys from Liverpool might seem to be only skin-deep, their influence is undeniable: with favorite albums ranging from "Please Please Me" and "the early stuff" (Aaron) to "Revolver," and "Abbey Road (aka "which one has 'Oh! Darling' on it?")" (for Jake and Matt) to "Let It Be" (Jeff), Dead Scene Radio has it down. Catchy, but oh-so-carefully drawing a line in the sand against the wolfbane/ Kryptonite/ taboo "too catchy;" the dichotomy that separates "boys in a band" from "boy-band."
But to be fair, there is a distinct boy band quality about Dead Scene Radio-- "quality" being the operative word. This was thrown into amazing relief when Jake sauntered in to the interview, a half an hour after we had begun (with a bevy of apologies met with resounding cries of "don't worry... we're having a blast!"), with a Kirk Cameron half-grin and a sheepish admission that "My hair usually looks more fly than this. Like Matt. Matt has the cuteness going on."
By the end of the interview, the band and I have shared information-- musical, personal, and nearly everything in between-- laughs, and inside jokes. Hell, we even find out (I'm still not sure how) that our waitress has two Motle Crue tattoos and that Nikki Sixx is "her idol." How, you might ask, did you happen upon this information without a "real" conversation?
Well, that's just the kind of guys they are.
Oh yeah, and one more thing to look out for from Dead Scene: "The Pet Sounds EP." Pet Sounds... sound familiar? Yes, of course; but, oh wait. "Each of us is going to write a song about one of our pets," Jeff explains. Weird, but cute, and-- all at once-- stubbornly interesting, it sounds about right for Dead Scene Radio.
Dead Scene Radio is to release a full-length album, the date of which is TBA.
In an honest effort for accuracy, I ask that they wear nametags (which are actually mailing labels-- all together now, “amateur”); I’m not too worried about it until our self-proclaimed “80’s hair metal freak” waitress (more on that later) calls out Aaron.
“Can I just say that I love that you’re wearing a nametag?” she says in blatant, but clearly flirtatious mockery.
Before I can jump in and explain, Aaron (bass) proudly pats it even more firmly into place, and offers an interesting factoid, launching us into the first of an unknown number of side-tracks: apparently, the upper right-hand side of one’s shirt is the “correct” place to wear a nametag, because it’s easier to see when you extend your right hand in a handshake. Unaffected by the helpful networking tip, the waitress bounces off to retrieve our first of several pitchers of Rolling Rock.
All the while, three fourths of Dead Scene Radio (Aaron, bass; Matt, guitars; and drummer Jeff]; second guitar player Jake is yet to show up) are cracking jokes, quoting everything from Zoolander ("How do you spell eu-google-y?") to Coffee and Cigarettes to The Office; each, in turn, interjects random references and sends the other two into a fit of laughter; they are the conversational equivalent of an Asian sibling acrobatic team in Cirque du Soleil, reading each other in a near-telepathic manner, appearing as appendages of one entity.
Jake shows up in time; we revert, almost immediately, to the past. The boys met in high school, and apparently, principle songwriters Matt and Jake didn't get along; the reasons for which, like so many great human mysteries, have been lost to time. Matt smiles and shrugs off discussion of the rivalry, but Jake, ever his counterpoint, offers an explanation: "You [hadn't] grown into your glasses yet, and your hair was short as shit!"
Almost immediately, it becomes apparent that though they are tight-- almost frighteningly so-- the guys really couldn't be more different. A juxtaposition of musical influences from MXPX, Our Lady Peace, and the Supertones, to the Beatles and Elvis Costello, to 1930's blues and Motown, makes for a unique final product: everything we love about rock and roll with a healthy dose of all the fun, catchiness, and charm of pop: think Weezer and latter-day They Might Be Giants, proudly clinging to the "four-letter word" that "pop" has become in a world of groups selling out of the pop styles that have nurtured generations of music geeks into sleeker, more (superficially) cerebral "indie."
But make no mistake: these guys aren't just fucking around. In fact, their level of seriousness and commitment both surprises and impresses me; these are good (and rare) qualities in a local band. With a full-length in the works, the guys are calling on their years of music training and experience-- which stems from their days in high school choir, but has since been elevated to the point that, at one point, Jeff identifies the note of a glass-clink-- to produce a what will likely be a very memorable debut album.
The album began to take shape over a year ago; the EP they have since released was, according to Matt, "what didn't fit" in with the album. In fact, Matt says, "The difference [between the EP and the album] is astronomical. You won't hear another song like 'White Flag,'" he promises, alluding to the band's more punk-rock tendencies, and although the EP was "more fun," Matt states, "To me, the album is more meaningful."
"It's a lot sexier!" Jake blurts.
"I feel sexier when I play it!" Aaron interjects, without missing a beat.
Among other things, we can also expect their full-length to contain a wider variety of sounds than their EP, which featured a more straightforward pop sound, like the novel, Beatle-rendered "Fuck The Times" (whose adorable chorus refrain is "fuck the times/ let's dance the world away").
The Beatles' influence is a nearly palpable force on the band. This fun foursome of high-school mates plays material primarily composed by Jake (who has a propensity for all things "catchy") and Matt (whose musical style is a bit more serious, and a lot more complex). Does this dynamic sound familiar? And while most of the parallels to the boys from Liverpool might seem to be only skin-deep, their influence is undeniable: with favorite albums ranging from "Please Please Me" and "the early stuff" (Aaron) to "Revolver," and "Abbey Road (aka "which one has 'Oh! Darling' on it?")" (for Jake and Matt) to "Let It Be" (Jeff), Dead Scene Radio has it down. Catchy, but oh-so-carefully drawing a line in the sand against the wolfbane/ Kryptonite/ taboo "too catchy;" the dichotomy that separates "boys in a band" from "boy-band."
But to be fair, there is a distinct boy band quality about Dead Scene Radio-- "quality" being the operative word. This was thrown into amazing relief when Jake sauntered in to the interview, a half an hour after we had begun (with a bevy of apologies met with resounding cries of "don't worry... we're having a blast!"), with a Kirk Cameron half-grin and a sheepish admission that "My hair usually looks more fly than this. Like Matt. Matt has the cuteness going on."
By the end of the interview, the band and I have shared information-- musical, personal, and nearly everything in between-- laughs, and inside jokes. Hell, we even find out (I'm still not sure how) that our waitress has two Motle Crue tattoos and that Nikki Sixx is "her idol." How, you might ask, did you happen upon this information without a "real" conversation?
Well, that's just the kind of guys they are.
Oh yeah, and one more thing to look out for from Dead Scene: "The Pet Sounds EP." Pet Sounds... sound familiar? Yes, of course; but, oh wait. "Each of us is going to write a song about one of our pets," Jeff explains. Weird, but cute, and-- all at once-- stubbornly interesting, it sounds about right for Dead Scene Radio.
Dead Scene Radio is to release a full-length album, the date of which is TBA.
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