CD Review: Anne Castellano and the Smoke - Electric

CD Review by Adam Wujtewicz

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 - When the Deadbolt Breaks - Drifting Towards the End of the Earth

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.

Having 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.

 After 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.

I AM Festival Info & Schedule

*Last Updated September 6 - 8:22pm

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


The Day will be streaming live video from The Parade,
Hygienic Art Park, and The Telegraph!



12:30 The WTO Dance Crew
1pm Anderson Family Picnic
2:15 Straight To VHS
4pm Fatal Film
5:30 Camp
7pm Echo & Drake
8:30 Cymbals Eat Guitars
10pm DEATH (headliner)

6:25pm Slander
7:30pm Slim Wray
11:15pm Pretty & Nice
12:20am Ava Luna

33 GOLDEN (21+)
6:30pm Camacho / Skobie Won / Erik Lamb
11pm Empty Vessels
12am New Highway Hymnal
1am Horns of Ormus

Save this stage schedule to your smart phone
OR print it out!!

Finalists Announced For CT Music Awards

Finalists for the Connecticut Music Awards have just been announced! LOTS of New London acts!!! Camacho, Daphne Lee Martin, Suicide Dolls, Chumzilla, Bedroom Rehab Corporation, John Fries Band, Frank Lo, Hempsteadys and MORE!!!!! Winners will be announced at an awards ceremony on Tuesday September 17th at the Bushnell in Hartford. Tickets go on sale Monday August 5th at 10am.
Check out the list of finalists here:,0,4659198,full.story

Sailfest Info & Schedule

 This article will continued to be updated as new information becomes available.
Check back often!
Last updated July 13- 12:01pm

Sailfest Hours:
Friday - July 12  (5pm to 11pm)
Saturday - July 13  (10am to 11pm)
Sunday - July 14  (10am to 6pm)

Street Closures: (Sat & Sun ONLY)State Street
(from Eugene O'Neill Drive to Bank Street)
Bank Street
(from Tilley Street to State Street)

Slander Releases Video for "Device"

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!

2013 Whalie Award Winners



The Suicide Dolls

Folk Y'all 

John Fries Band

DJ Chumzilla

Raise The Rent

Brazen Hussy

Bedroom Rehab Corporation


 Pocket Vinyl

 Straight To VHS

Live Lunch Break / The Day

Wrist Like This

The Hempsteadys

Anderson Family Picnic

 The Weird Beards

Steve Elci

N.M.E. The Illest

Pocket Vinyl "I Hear Colors"



Daphne Lee Martin “Moxie”

Straight To VHS “Rewinder”

Good Sponge Sampler Volume 2

Alumni “First Day Back”

Street People “Dreams”


Slander "Magnets"



Burnouts From Outer Space “Queen Of The Angels”

Daphne Lee Martin “Belly”
 Straight to VHS “It's Not The Money”

Gone For Good “Marvelous Liar”

Dead City Riot “Before The Dawn”

Dirt Road Radio “Cold Hearted Man”

 GraveRobbers “Buried In Burgundy”

The Rivergods “When Times Were Good”

Bedroom Rehab Corporation “Gone By The Boards”

The 17th “No Name”

Camacho featuring Erik Lamb “Hip-Hop-Don't-Stop”

Josi Davis "Ivy Grows"

 Street People "Street 103"

FEATURE WHALIE INTERVIEW: Sean Murray - Producer & Host of the Whalies

Sean Murray
Producer & Host of the Whalie Awards

Interview by Corrine Jensen 
May 25, 2013

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 that).

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 level.

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.

Chris MacKay and the Toneshifters Nominated / Representing New London in NEMA

Chris MacKay & the ToneShifters based in New London County have just been nominated to represent the state of Connecticut at the upcoming New England Music Awards to be held April 13th at the Lowell Memorial Auditorium in Lowell, MA. All nominations can be found here:

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  and

The Telegraph Celebrates Record Store Day Sat April 20

The Telegraph
19 Golden Street
Open 10am-10pm
Live music starts at 2pm

Saturday April 20th is Record Store Day, which celebrates the culture of the independently-owned record store! The Telegraph will 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

4th Annual Whalie Awards @ Hygienic Art Park Sat May 25

Saturday May 25, 2013
@ The Hygienic Art Park 

79-83 Bank Street - New London, CT. 06320
6pm red carpet 
7pm show

$10 cover
Beer & Wine available for purchase - 21+ w/ ID
*absolutely NO outside containers permitted!
Facebook Event Page

Nancy Parent
Empty Vessels
Matt Gouette Band
Daphne Lee Martin
Suicide Dolls with Erik Lamb
Street People
Bedroom Rehab Corporation
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 Releases "Sampler Volume II"

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.

There will 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:

Sue Menhart Band
The Rivergods
Josi Davis
Chris MacKay & The Toneshifters
Hannah Fair
Carl Franklin
Amalgamated Muck
Ken Atkins & Honkytonk Kind
Matt Gouette
Lauren Agnelli
Vincent Tuckwood
Doug Woolverton & Carl Franklin
Nancy Parent
Dirt Road Radio
Black Marmot
Dave Rave

The Good Sponge Sampler Vol. II is also available for digital download at

For more information, and to download songs from the comp, please visit


CD Review: Nancy Parent - Vision of Angels

CD Review by Adam Wujtewicz

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 the woods. 

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 poise.

There 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 best.

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.

Slander Releases Video For "Magnets b/w Ghosts"

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: Josi Davis - The Evolution of Love

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.

Street People Release Video for "Street 103"

New music video for "Street 103" off Street People's debut album Dreams

Street People is:
Jared Horner - Vocals/Guitar
Matt Potter - Guitar
Sebastian Coppotelli - Bass
Jordan Harrelson - Drums
Directed and Produced by Kathleen Burns

FEATURE INTERVIEW with Bedroom Rehab Corporation

Interview by Corrine Jensen
January 16, 2013

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 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.

WC: So, tell me how Bedroom Rehab Corporation started?
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.

WC: What made you two keep BRC a duo?
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.

WC: How would you classify your sound?
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.
AW: When 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.

MK: We’ve 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.

WC: What influenced you when you wrote your new album, Red Over Red?
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.

WC: Were there any musical influences for, Red Over Red?
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 this band.

WC: What went into writing the first single, “Gone by the Boards”?
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.
MK: Yeah, 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 lucked out!
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!

WC: Are you guys excited for the first listen party at The Telegraph on the 17th?
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.
AW: I 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 comfortable.

WC: What’s your experience here in the NL scene?
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 generation!
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.

WC: So, 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?
Work hard, get yourself out there and meet new bands. Play as many shows out of town as you play in town.
AW: Listen 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.

For more info:

Hygienic Rock Fix 2013 Lineup Announced

Providing 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.

This year's acts include:
(11:15pm) Incognito Sofa Love
(10:30pm) Street People
(9:45pm) Fake Babies
(9pm) Bedroom Rehab Corporation
(8:20pm) Brazen Hussy
(7:40pm) Anne Castellano & the Smoke
(7pm) Slander

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.

Bedroom Rehab Corporation Releases Debut LP "Red Over Red"

Thu January 17
The Telegraph

19 Golden Street
7 to 9pm
Facebook Event Page

New London's doom bass and drums duo Bedroom Rehab Corporation, will be releasing their debut LP Red Over Red with a "first listen" party at The Telegraph on Thursday January 17. This event will serve as the band's release party, along with 2 live shows locally: Fri Jan 18 @ The El-N-Gee and Sat Jan 26 @ The Crocker House Ballroom for The Hygienic Rock Fix.  

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



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