Anne Castellano and The Smoke are releasing their debut LP
entitled Electric. Recorded by
the band’s drummer, Tony Castellano, (also Anne's brother), Electric is 13 tunes of swirling
melancholy with an early alternative backbeat.
Front and center is Anne’s voice - whether strong and
scornful like on the opening track “Enough” or calm and learned on “Listen”, she
makes you believe every word she sings.
Right behind her is a mist of chorus and flanger soaked guitars. Vince’s icy lead lines leans towards the right
speaker and Anne’s steady rhythm in the left.
The separation spreads the sound out and allows the rhythm section to
anchor the songs in a very direct way.
CD Review by Adam Wujtewicz
2013 has been a pretty good year
for metal of all kinds in my humble opinion.
The new Inter Arma, Kvelertak and Vhol records make that a true
statement. There is, however, another
band that is putting out an album that I think is on par with, but completely
unlike any of those records. Drifting
Towards the Edge of the Earth by Preston/Norwich natives When the Deadbolt Breaks, is a
masterful 120 minute voyage into the depths of the darkest parts of the human
psyche. Sprawling doesn’t even come close to doing this album justice. Doom
cannot begin to encompass the feeling you get when you listen to this album.
The album’s opener “The Woods are
Full of Killers” begins with a dark, minimalist (though thoroughly fuzzy)
guitar lead that drones through the entrance of a super melodic and lyrical
bass line. The hints of feedback between
the hanging notes add tension until about 3 minutes in when the lead line turns
into a torrent of distorted guitar chords.
The song moves at a glacier’s pace; adding in more pronounced feedback
between chords and morose vocals that are reminiscent of Nick Cave on “Red
Right Hand” or Layne Staley on “Angry Chair”.
When the original lead line returns, this time more menacing and with
full band behind in tow, it is offset by unearthly howling that is bound to
make you look over your shoulder. Eight
minutes in, the whole song hits the wall and completely breaks down to nothing
but feedback and guitar that sounds like a car made of evil concrete revving
its engine in slow motion. After another
minute the bass and drums join in the assault further grinding your spirit into
the dirt. Some more melodic notes are
peppered in between the chords, drums come in and out along with layers of
guitar to give you a slight reprieve and then take it away. Finally, at 12 minutes the beast collapses
into feedback and allows the next song to start.
by this point possibly prepared yourself for another slow motion assault of
deceivingly melodic funeral doom, “The Scavengers Daughter” kicks in with a
solid stoner rock riff, complete with wah pedal and driving up tempo rhythm
section. This is no Fu-Manchu, dune-buggies-in-the-California-desert stoner rock, this is more Acid Bath style,
NOLA sludge. This song just throws you
over its shoulder and runs away with you.
Nothing like the first song but after a verse and chorus you are
completely on board running right alongside, rather than letting it carry you. Then about halfway through, the song halts
back to a stuttering crawl, this time with death metal growls and dissonant and
unsettling guitar leads. That ugliness
is only multiplied when they turn around into a straight ahead hardcore
breakdown to carry the song out into samples of random and scary conversations.
my play by play of the first 2 songs you might be thinking to yourself that
this album is going to sound disjointed somehow. You’d be wrong. Through careful building and deconstructing
of layers, the use of space and the sheer patience of the rhythm section WTDB
are able to pull together an incredibly cohesive album. The variety of sounds both in the music and
in the tone of vocalist Aaron Lewis’s voice, allow them to move seamlessly
between sub-genre’s of metal and beyond.
“Sleeps in the Burning Hills” has splashes of Isis and Mogwai, “Gunswallower”
has shades of early 6 Feet Under, and “California Comes Rain” hints at Tool as
well as Mark Lanegan’s solo work. The
entire second disc, a 5 part single song entitled “My Coffin is Loaded with
Sand and Fire”, plays the more ambient moments of Wolves in the Throne room
against the progressive and story conscious elements of …And you will know us
by the Trail of Dead.
Despite the comparisons and genres that I’ve
hinted at, Drifting Towards the Edge of the Earth is a devil like I’ve
never seen before. It comforts you with
one hand while the other picks your pocket and its foot kicks you square in the
ass. The places between quiet and loud,
fast and slow, melodic and atonal is not where WTDB live but they are well
traveled paths they use to get from one extreme to another. Whether it’s during the crushingly heavy
parts or the mellower interludes the musicians are working at creating a mood
and atmosphere. This is something that
metal by and large was missing for a very long time but that WTDB are doing
like pros. They are leaving no stone
unturned and are putting their all into every second.
One day. Five stages.
Over 25 bands. Dozens of DIY and indie craft vendors. One of
Connecticut's biggest indie music festivals returns to downtown New
London on September 7th. The festival is FREE for all to attend. Acts
will take over five stages throughout downtown New London on the
Parade, at Hygienic Art Park, and Oasis Pub, 33 Golden, and The
Telegraph with music running from 1pm to 2am. Our
INDIE MARKETPLACE will return extending up the Parade along State
Street. Please note that performances at Oasis Pub and 33 Golden are 21+ only.
Make sure to tag your twitter & facebook posts and pics #iamfest2013
Stereogum premeired Slander's newest video "Device" earlier this week - directed by Serena Reynolds. Stereogum recently named Slander "band to watch" and describes the video as: "ditching black-and-white and opting to use a similar
dingy locale for something a little saucier, splicing select scenes of
salaciousness with ones of the band playing a sunny outdoor set". The video has also been tagged "NSFW" or "Not Safe For Work" in internet slang... steamy!
WC: So, it’s the 4th years of the Whalies! Can you believe it? What do
the Whalies mean to you? Why do you keep putting them on every year? SM: I
cannot believe it's the fourth year. Seems like yesterday when I was
talking about how much I'd love to throw an award show. Now, it's a
reality. And a four-year one at that! The Whalies were created with
one goal in mind: fun. I didn't start the Whalies to stroke egos or to
have a mass pat-on-the-back session. I did it because I love award
shows, plain and simple. I'm starting to find a routine of doing things
that I love, even if they stress me out for a considerable part of the
year. I love New London Main Street. I love marketing this city. I love
having a music festival that benefits the city. I love award shows. It's
taken me a long time to carve out a niche where I can truly say I'm
doing stuff that I love and I think that's a momentous thing for any
person to say. I understand why people see this as self-righteous and
somewhat masturbatory and, frankly, I'm not offended. There will always
be those that think there's some kind of buddy-buddy system going on
here. Well, there's not. I nominate the bands and songs based on a few
things: how much they promote themselves, the quality of the music, the
production value and various other criteria. I double and triple check
release dates and other things with Meghan at Wailing City (the greatest
local music site ever!) and a few other locals that may be more
knowledgeable in other genres.
WC: If you could walk down the Red Carpet with anyone/thing who/what would it be? SM: Well,
I don't know if I'd want to walk the red carpet with her, but I might
actually say my mother. She's a Seventh Day Adventist, so her Sabbath
falls on Saturday. That means she's never been to an event I've thrown
in over a decade. I'm not religious at all, but I'm glad that her
religion makes her happy and who am I to stand in the way of that. Not
to mention, she is a pretty fabulous dresser (but don't tell her I said
WC: Are there any surprises in store for the audience tonight? SM: The
only surprise I'm ever concerned about is how surprised I'll be if we
pull this thing off again. There will be a big surprise at The Oasis
afterwards, but that's for me to know.
WC: Are there any favorites you’re rooting to win tonight? SM: I
try not to play favorites. I think you could make a case for any of the
bands nominated to win something. That said, I will say that I'm a fan
of bands and artists that are smart and know how to keep people
interested in them - something that's very difficult to do at the local
WC: Where will you be celebrating post-Whalies? SM: The Oasis Pub is a pretty obvious answer. The biggest surprise of the night
happens there. But I tend to get in a weird headspace after an event
I've put my heart into is over, so maybe a beer and shot at Ernie's is
in store before the Oasis.
WC: You do so much for New London but is there anyone you’d like to thank? SM: Wow,
where do I start? Oh yeah, Meghan and Joe! Meghan and Joe from
WailingCity are the unsung heroes of the entire event. Joe is the man
behind the people's choice voting system and Meghan is basically the
backbone of this thing. Any time there's a conflict, question,
anything... Meghan has a solution. Rich and Daphne, the other unsung
heroes. They are the ones that push me to get the job done. Rich and I
have been partners on events since 2003, when Station 58 was around, so
he knows all my quirks and hasn't killed me yet. Daphne is the one who
has mastered how to deal with my ADHD. She will call with the sweetest
voice ever saying "Hey Sean, we should grab a bite... annnnd finish the
Whalies schedule." I don't know. Somehow it works. The list just goes
on and on though... Andrew Camacho, who is busting his ass to make the
video montages this year. Val, who selflessly dedicated her time to
design the beautiful stage. Todd, who does an amazing job doing all the
audio and visual displays at the event. You, Corrine, for taking the
time out to interview so many artists and bands. My bosses for
understanding the level of pressure I'm under. All the volunteers. All
my friends who tolerate my frustrating moments. And all of you that
support an event meant to be lighthearted and fun. Thanks. Also, to Rogue Hazelnut Brown, Jameson and the haters. Couldn't have done it without you.
WC: If you could say anything to the fans/voters and the NL scene, 10 words or less, what would you say? SM: Thank you. I love you. Stop hatin. New London forever.
Formed in 2009, the ToneShifters energetic live show melds
their individual musical tastes into a danceable freestyle fusion of blues,
rock, swing, rockabilly and honky tonk, otherwise known as
“Swinginrockabluesabilly.” They released
the single “Lena” on the Good Sponge label “Good Sponge Volume 1” compilation
in March 2012 followed by a full length debut “Picture on the ‘Fridge” in April
2012, which will be re-released in a new format this spring. Most recently
their single “Go Speed” was released on the Good Sponge label “Volume II”
compilation, which is now available for download and will be available as a
hard copy shortly.
Anyone interested in casting a vote or checking the band out
can follow the links to both websites at www.nemusicawards.com and www.toneshifters.com.
Saturday April 20th is Record Store Day, which celebrates the culture of the independently-owned record store! The Telegraphwill be open from 10am to 10pm and will have very special limited
releases, special in-store performances, and
lots of free stuff while it lasts!
2pm: Sam Perduta (of Elison Jackson)
3pm: Goodnight Blu Moon
4pm: Isaac Young Dup
5pm: John Fries & Corina Malbaurn 6pm: Sidewalk Dave 7pm: Horns of Ormus 8pm: Fatal Film 9pm: Bedroom Rehab Corporation
79-83 Bank Street - New London, CT. 06320 6pm red carpet 7pm show
Beer & Wine available for purchase - 21+ w/ ID
*absolutely NO outside containers permitted! Facebook Event Page
PERFORMERS: Camacho/Gramz/Hayze Nancy Parent Empty Vessels Matt Gouette BandDaphne Lee Martin Suicide Dolls with Erik Lamb Street People Bedroom Rehab Corporation Slander Fatal Film
The event is the kickoff
for the summer season at the Hygienic Art Park and is the major
fundraiser in support of I AM Festival which returns this year for its seventh installment on September 7th, 2013.
Good Sponge Records
is pleased to officially announce the release of the Good Sponge
Sampler Vol. II, a compilation of 18 freshly-minted songs from 18
southeastern Connecticut-affiliated bands/artists.
be a CD release party Friday, March 29 at The Bulkeley House (111 Bank
Street, New London, CT 06320, 860-444-7753) beginning at 7:00 pm,
featuring many of the artists from the comp performing live. The CD
release party will feature two showcases: an acoustic-leaning
"dinner set" downstairs, followed by a more rocking "dessert set"
upstairs. CDs and other merchandise will be available for purchase. Facebook Event Page
About the Good Sponge Sampler Vol. II:
Following up on last year's Vol. I, the Good Sponge Sampler Vol. II offers a diverse sampling of roots rock/Americana/singer-songwriter/rock
artists associated with the region. From the opening New Orleans-fueled
blues of the Sue Menhart Band, to the warm country lilt of Hannah Fair,
to the groovy, theremin-tinged space rock of the album's closer by Dave
Rave, the Good Sponge Sampler Vol. II offers a consistently solid
musical ride throughout. The individual tracks stand on their own, but
are also meant to work together as a whole. The overall listening
experience is not unlike coming across your favorite FM station on the
dial: you may not know all the songs or artists, but it's all music you
should enjoy listening to.
The Good Sponge Sampler Vol. II features new or current tracks from:
Singer-songwriter Nancy Parent (also from The Rivergods) released her first solo record Vision of Angels in October 2012. While scheduling conflicts made it so I couldn’t
do a review then, she has a solo show which will be broadcast live from the Mohegan Sun Cabaret
Theatre this Friday night on radio 94.9 FM - so now is as good a time as any.
Produced by Hugh Birdsall (Reducers, Dogbite) Vision of Angels
is chock full of neo-folk and mellow pop tunes that sparkle and
showcase super lush instrumentation. Along with Nancy’s guitar and
pedal steel there is quite a bit of violin, piano, upright, electric
bass and drums on the record. If you’re honest with
yourself though, it's Nancy’s angelic voice you’re really looking forward to
when you go to listen to Vision of Angels. The studio
not only allows her voice come through with dazzling clarity but it also
allows there to be many Nancy’s singing along with each other which
turns into a very comforting and relaxing sound. There is an airiness
and tenderness to her voice, never forced, but you can still very easily
be overtaken by it. Like being surrounded by mist while working through
Nancy doesn’t stray too far from the Rivergods formula of folk and country infused pop on Vision of Angels.
She more or less takes it down a notch, mostly out of the “rock” genre,
and makes the sound more personal and perhaps more moving. There is no
doubt that this was in incredibly introspective album for Nancy, as most
solo outings are. The soul searching she did to write these songs
comes through in spades. All the words she sings seem to have been
meticulously chosen for flow and meaning. She sings them all with the
utmost conviction and confidence. This confidence never diminishes the
vulnerability that much of her lyrics represent but in a way makes it
more believable. Like overcoming a long time phobia or telling someone
you’re in love with them, you must be firm and confident even though
you’re really going out on a limb. Nancy walks that limb with grace and
are some jumpier more driving moments on the record - the title track
“Visions of Angels” and “Memo” come to mind right away. With the use of
electric guitar and steady drumming these songs serve to break up the
quiet folk that makes up the bulk of Vision of Angels.
The quiet is where the magic lies however - “Ten Thousand Things” with
its finger-picked guitar, subtle keys and slow bowing violin is brimming
over with beauty and melody. Nancy is allowed to simply float along
that river and sing her story. Times like these are when she’s at her
Vision of Angels
has a beauty that cannot be overlooked. There is no better way to sum
it up. It’s one of the most intimate and personal sounding records to
come out of this area in years.
written by Luke Hunter, Grayson Connelly, and Julia Farrar w/ Slander
directed by Ellery Twining
filmed by Andrew W. Proctor
story by Twining, Gemma, Farrar
filmed at Stardust Motel N. Stonington, CT. 26 & 27 january 2013
a Portfire/MysticMusicArcv release c. 2013
CD review by Adam Wujtewicz The Evolution of Love, the new album from Josi Davis, is a
marathon run through from the catalog of Americana music styles. Transitioning from Jazz, Blues, Country, Soul,
Roots Rock N’ Roll - back and forth - and blending all of them together,
Josi’s using the whole color palette on this one. While this approach might seem haphazard, the
order in which the songs are arranged smooths out all of the sharp corners
that can be created by putting that many different genres on one record.
While Josi and her splendid vocal range take
center stage there is a very accomplished group of musicians behind her,
including: John Van Ness, Rufus “baby grand” Davis, Carl Franklin and William
Light to name a few. Recorded at Carl
Franklin’s PWOP Studios here in New London, there is sheen to the production but still a very
natural and live tone to The Evolution of Love. The vocals and drums sound like the rooms
they were recorded in and the mix is one you’d expect more from a professional
live show than a record.
While I’d say that
the album on a whole is pretty mellow and introspective my personal favorite
moments are the more upbeat and jumpy.
The slide guitar soaked “Another Saturday Night” and “Ivy Grows” are
great dance numbers a real showcase for the musicianship on the album. So if you are into taking a musical journey
across the Americana landscape, The Evolution of Love by Josi Davis
should be your roadmap.
Meghan Killimade and Adam Wujtewicz are not
only one of the coolest couples out there; they also make up the hard-hitting,
rock-heavy duo Bedroom Rehab Corporation. Fronted by Adam on bass and vocals,
he is joined by his long-time girlfriend Meghan on drums. Both are talented
musicians who have played in a plethora of local bands over the years, and also
avid supporters of the New London music scene; running the online zine www.wailingcity.com. What? That’s this site,
you say? Yeah, and that is why they were both hesitant to talk about themselves
and their own project with me. But after a little (a lot of) harassment,
pleading, and threatening they finally agreed to an interview and found some
time away from their busy lives to talk about BRC, they’re debut album Red
Over Red, and our little scene.
tell me how Bedroom Rehab Corporation started? MK: We
always thought it would be fun to play together, and when Adam parted ways with
Hand Grenade Serenade in 2007 it seemed like the perfect time to try it. I
still remember the first song we jammed on/wrote together, which turned into
our song “The Corinthian”.
There were also a number of long hiatuses
for BRC from 2007 until 2011. We had a lot of other stuff going on in our
lives, and my other band Paul Brockett Roadshow plays often, especially during
the summer months, so we were definitely “on and off” as a band for awhile. We
didn’t have the “fire” under our butts enough to really work at it back then,
like we do now.
made you two keep BRC a duo? MK: I
don’t think we were ever really hell-bent on keeping it a duo just to keep
other instruments or people out, it just happened that way. Believe me, many of
our guitar player friends STILL offer to come in and jam with us but it’s just
been something we enjoy doing together. We now know how special it is to be in
a relationship and be in a band together and are truly lucky that it works so
well. It’s so easy to just get in one car with all of our gear and just go. I
can’t say we haven’t thought about having another person come up and play with
us on a song or two live, and that may still happen down the road, but it will
always be the two of us for the long haul. Plus, it would be silly of us to say
that we weren’t heavily influenced by other bass and drum duo bands like Big
Business, Death From Above and Om. AW: For
me the duo thing has always been a sort of personal challenge. How much space
can I fill up with just bass? How many different tones can I bring to the table
and keep it sounding full? Can I actually play and sing at the same time? I’d
done very little of that with Hand Grenade and I knew that it would be pretty
constant thing in BRC.
And Meg’s right, it’s easy to play in a
band with one other person. Especially one you are in a relationship with and
live with. We don’t pull punches during song writing because we know each other
too well. We can book shows very easily because we don’t have to coordinate
schedules with everyone else. We have a lot of fun together and adding in a
permanent 3rd member would make things much more complex. Besides,
unless it was another bass player, I really think it would throw the sound
we’ve worked so hard at creating right out the window.
would you classify your sound? MK: That’s
always been a tough one. We’re kind of all over the place, haha. We adopted our
own classification as “post grunge doom rock”. When we first started we had a
very heavy late 90’s garage/grunge rock sound and then we moved into a very big
blues phase. You can still hear those sounds there, but over the last few years
it’s definitely progressed into a more doom and stoner rock sound. Adam has a
ton of pedal effects too and he’s also really into noise and psychedelic. I
think we’re more into our own sound now than ever before, whatever you want to
classify it as… but we’re definitely still growing… and we’re always surprising
ourselves at the sounds that come out.
people ask I usually say stoner rock or heavy psyche. The psychedelic and
stoner genres have always been terribly close sounding to me. I think because
we do a lot of quiet parts and because I tend to use a lot of delays and more
and more flanger in my bass tone we have a definite psychedelic element to us.
Also, the noise factor is something that puts us a little more in that realm.
The stoner rock side is just our love for a big riff and playing heavy music.
We’re never going to be a straight metal band because we don’t have a guitar
player and we’re never going to be a punk band because we play too slow and
we’ll never be a psyche band because we’re too heavy. We have those influences
for sure but they’re never genres that we’ll fit into nicely. I’m all over the
spectrum as far as my music tastes and I think that only helps a band keep
things interesting. A band like Slint may not be the first one you think of when
you hear BRC but if you listen to “S.O.S.” you’ll hear a lot of Slint. The
“chorus” part to that song also has a nice little walking bass line that has a
clear jazz/blues influence. Then there are songs like “Captain Damnit” that is
a pretty straight hardcore punk song with some high-end noise sprinkled on top.
I don’t like to sound like we’re a more complex band than we are; we’re a heavy
rock that has some quiet moments. That’s how all the rock bands I listened to
as kid were. You knew when a Pearl Jam or Soundgarden song came on but the
songs all sounded different. I want BRC to be the same way.
been lucky enough to play shows with other bands that aren’t exactly the same
genre, of course we don’t really know what ours is, so we fit well with a lot
of different types of genres – metal, rock, stoner rock, doom, punk. I grew up going
to very diverse shows: punk, ska, hardcore, indie bands all on the same bill. I
miss those days and I’d love to see that diversity come back. With BRC, it’s
been a lot of fun playing different types of bills.
influenced you when you wrote your new album, Red Over Red? AW: Living
in an old whaling town is a huge influence for this record. It’s a concept album
that involves the paranormal and the ocean. I’ve always been into monsters and
mythology and I’ve always lived near water so it seemed like a smart match to
apply to my lyrical concepts. I was an avid writer of fiction in high school
but since then I haven’t had the time or muse to write like that. When we
realized that a lot of the titles we were coming up with had a sort of maritime
theme to them I saw it as a good way to use that part of my brain again. Granted,
the story is pretty loose and even though I think the album has a great flow to
it we didn’t write the songs in order trying to link them. There were some very
“happy accidents” when we started to assemble this record and it was our job to
make sure we took advantage of them.
Those kinds of things have also always been
present in heavy music. Led Zeppelin wrote songs that went along with the Lord
of the Rings stories, Black Sabbath were obviously into some dark mystical
stuff. The current metal bands I listen to are no different. The Sword has
written songs that follow Game of Thrones and there are all sorts of
monsters in High on Fire songs. I’ve never been one for bands with a real
political stance or tend to write topically. This is an escape for me and while
certain things in life do frustrate me I’m not going to burden my listener with
that. I’m going to vent my frustration with a loud bass and a scream. I just
hope that the listeners get the same sense of relief as I do from it.
there any musical influences for, Red Over Red? AW: Musically
for me a big inspiration for this album was the Japanese rock band Boris (if
you are into rock music of any kind, and I mean any kind, go check them out). They are a band that has absolutely
no rules when it comes to style or songwriting. I wanted to be able to put out
whatever was coming out of us at the time on this record and not feel the need
to explain myself. There are some pretty conflicting styles on ROR and I
think that we’re able to pull it all under one umbrella of BRC. I never want to
stifle our sound; I want both of us to feel free to try whatever we want with
went into writing the first single, “Gone by the Boards”? AW: It
all started, as a lot of things do, with beer. I brew beer with a couple of
buddies of mine at my parent’s house (Creature Brewing Co) and it’s also where our studio/practice
space is. After a night of beer prep and the drinking that goes along with that
I decided to go into the studio and play around with my musical equipment.
Being a little on the inebriated side, the riff I came up with was slower and I
think because I was working in a very stream of conscience sort of way the riff
was longer from start to finish. When we first started jamming on that primary
riff the song wandered in a heavier direction that was more in line with “Down
with the Ship” (the B-Side to our 2009 Cosmo Single). Meghan didn’t want to
revisit that so much and the slowness of the riff was a pretty big change for
us so we shelved it for a while. When we came back to it I tried to take a bit
more of a thematic approach to the music by taking the main riff and altering
it slightly to create different parts of the song. It was Meg’s idea to throw
the noise solo in the middle; it was also her idea for me to use a slide to
give it more movement while we were in the studio. It’s truly our most
traditional arrangement we’ve ever had for a song; intro, verse, chorus, verse,
chorus, solo, bridge, chorus/outro. Although it may seem silly it became almost
a challenge to see if we could do something that traditional and pull it off.
as Adam said, I was definitely hearing a very traditional arrangement for this
song. I was looking at arrangements that some of my favorite bands were doing;
songs that I thought were written and put together really well. I would be
lying if I said The Reducers didn’t come into play here – they are such a huge
influence on us. I especially had been listening to a lot of ‘ducers around the
time we were finishing up the writing for the album. Even though their songs
have guitars and such, their arrangements are really awesome. I wanted to try
to apply that to at least some of our song writing to see if it worked. The
pedal noise and bass slide part being where a guitar solo might sit. It
certainly doesn’t, and won’t apply to every song for us, but for “Boards” we
The funny thing about this song is that it
almost didn’t make it on the record! We had been working on another song at the
time that just wasn’t going where we wanted to go and we decided to put it
aside for a while and try working on “Boards”. It just fit together in the nick
of time and wound up on the record instead of the other song. It’s the longest
and probably the heaviest song on the album!
you guys excited for the first listen party at The Telegraph on the 17th? MK: YES!
I can’t even begin to tell you how stoked we are! This is huge for us and we’ve
worked SO HARD on this record. We rehearsed for months and actually demo’d the
entire album ourselves in our home studio first before going into Sonelab with
Justin (Pizzoferrato). We are so proud of the way it came out and I can’t wait
to unleash it!
We are incredibly grateful to Rich and
Daphne Lee Martin (Telegraph Recording Company), for all their continued
guidance and support. And also for our best friends, Michelle Montavon and
Brian Albano (The Suicide Dolls), who really inspired us to work hard and keep
at it. Without these four people, I’m not sure this record would have happened.
think this really is the best and most honest way to release a record. So many
times you see a band live and they’re great and then you buy the record only to
find they did a half assed job or the other way around. This gives people a
chance to hear the product and decide if they want it based on the content of
the record. I also just want to see people’s reactions to the record. We did do
a lot of work to get this album just the way we wanted it and Justin brought
the whole thing to another level. The man knows what he is doing and we feel
very lucky to have worked with him. Not to mention the fact that some of the
“ear candy” on this record was his idea and he just made us feel very
your experience here in the NL scene? MK: I
think the scene here is awesome and so unique, I probably love New London more
than most people, haha. I do think that there aren’t enough people going out to
shows like it was five or so years ago, but of course every scene/city changes
and goes through its ups and downs. We talk to a lot of out of town bands and
it’s also like this in other cities right now, not just here. I can’t say it enough
– support local music because if you don’t go to shows and support what bands
in your town are doing, none of this can grow and continue on for the next
As a band, we’ve definitely had a rough
time with getting folks down to our local shows. I respect that some people may
not be into what we’re doing and that’s totally cool but we’re hoping folks
will support not only us (and other New London bands too) but the out of town
bands we work so hard to bring down to New London. I think it’s incredibly
important as a scene to work together and support what other bands are doing
even if you’re not 100% into it.
are there any local bands you’re into? MK: There’s
a bunch of local bands I’m digging lately: Daphne Lee Martin’s new stuff is
absolutely awesome. I've been really into When The Deadbolt Breaks, Modern Primates,
Street People, Horns of Ormus, Slander. Also love New Haven’s Lost Riots and
Easthampton’s Problems With Dragons and we just played with Black Pyramid from
the Boston area – holy amazing!
AW:Horns of Ormus for sure. I’ve liked Gregg’s stuff since Los Diablos
Charcoles and HOO have a sound that all three members seem to be excited
about and comfortable with. Daphne Lee Martin is doing new and
interesting things. Moxie shows such a huge amount of
sonic growth for her. She’s always been a hard worker and it’s great to
see her work as hard on moving forward musically as she does booking
and playing shows. Of course my perennial favorite band in New London
is The Suicide Dolls. Their music speaks to me. I love their use of
feedback and noise within the structure of a rock n’ roll song. They
also work extremely hard. I don’t think people realize how many bands
from NY, Boston and beyond they’ve brought to New London. So let me be
the first to thank them publicly for introducing us to so many great
bands. WC: What
advice do you have for up-and-coming bands, musicians, etc. out there? MK: Work
hard, get yourself out there and meet new bands. Play as many shows out of town
as you play in town.
to as much different music as you can. If you’re in a metal band and all you
listen to is metal, your music will suffer for it. If you’re in a country band
and all you listen to is country your music will suffer for it. All my English
teachers always said that in order to be a good writer you had to be an avid
reader. I believe that’s doubly true for music; if you’re going to be a good
player you have to be an avid listener.
Also, Meg’s right, play outside where you
live. Playing to your friends is great but they won’t be honest all the time.
Challenge yourself by playing outside your comfort zone. If you can play in
front of a crowd of strangers in Boston, NY, or Phili like you would in front
of your friends, then you’re on your way. If you don’t challenge yourself as a
band your music will suffer for it.
There is a theme to what I’m saying here in
case you haven’t caught on.
And honestly, you have to love what you’re
doing and the people you’re doing it with.
Your band is like your second family and you have to accept their flaws
but your happiness is just as important as theirs and you don’t have to let
them make you miserable.
the soundtrack to the annual Hygienic Art show on January 26, The Rock Fix is a
showcase of some of the area's most exciting developing acts in the
musical community. Presented in association with New London independent
label The Telegraph Recording Company, the concert in the historic
Crocker House Ballroom is a must-see for music lovers.
Selections for this year's Rock Lobster Band-O-Matic will be announced at the Rock Fix at approximately 10pm. Beer and wine and other refreshments will be available for purchase.
The event is all-ages (ID must be presented to purchase alcoholic
libations). There will be a merch table featuring releases from participating acts and others in the community.
Red Over Red CD's will be available for
purchase at the first listen party, (which is before the actual street
date on Jan 22), for all who attend. The band decided on the listening
party as a way to give locals "first dibs" on purchasing the record
before it's street date, as well as a chance to mingle with friends and
listen to the record without the volumes of a live band release party.
The album was recorded and mixed in October by
Justin Pizzoferrato, (Dinosaur Jr, Sonic Youth, Black Pyramid), at his
new studio Sonelab, (Chelsea Light Moving, Black Francis), in Easthampton, MA. The LP was mastered by Carl Saff of Saff Mastering in Chicago, IL and will be released with help from local independent record label Telegraph Recording Company. The first single, "Gone by the Boards" was released in December, and is streaming or available for purchase and download here.
Following the first listen party, the CD will be available through
the band at shows, in local record stores and online starting January
22nd. For more info please visit www.bedroomrehabcorp.com.