CD Review: John Fries - U.S. 50

Published May 21, 2012
By Adam Wujtewicz

 U.S. 50 is no longer just a highway that spans the country from Ocean City Maryland to West Sacramento California.  It’s now an EP from long time New London guitar guy John Fries.  For those of us familiar with John’s work U.S. 50 is a nice mix of new songs and old favorites.  For those unfamiliar with John, I suggest you buckle up, sit back and enjoy the ride.  While the highway gives a feast for the eyes U.S. 50 the album is a feast for the ears.

While John has a very distinct style of singing and playing the guitar, he does one like he does the other.  There is similarity in the runs in his solos and the runs in his vocals.  There is a certain amount of tremble and quiver in his voice when he’s drawing notes from within.  The long high notes on the guitar come from the same place and end up having a similar sound.  John isn’t a virtuoso that plays or sings the way he does to impress, he does it because it comes out of him that way whether it be presented by his hands or by his voice.

John’s virtuosity doesn’t get in the way of his song writing either.  Instead of long drawn out “progressive” songs with multiple arbitrarily placed solo sections and countless different time signatures, Mr. Fries and Co. stick to 4 to 5 minute pop songs with hooks so big they could pull swordfish from the water.  The chorus has always been more important to the masses than the guitar solo.  Sure the musician has more fun doing the solo and there are fans that love them but you can’t sing along to a guitar solo.  You can, and should, sing along to the choruses on U.S. 50.

“My Dearest”, the album’s 3rd track, showcases what makes this album great all in one song.  Granted it’s one of the longer songs on the album but the flow of the song makes it seem shorter.  The rise and fall of the volume from verse to choruses is always a good way to break up a song and keep people attentive.  The choruses are 4 lines with an easy melody for singing along with enough volume and energy to carry a crowd.  The use of the guitar solos as building blocks of the song rather than just a place to showcase talent is key to the song.  They cause the song to build and to retreat never leaving the song in the same state it was in before the solo started.  “My Dearest” is a clinic in songwriting.  Even if you’re not a fan of the sound, the arrangement and the craft would work in any genre.
Even though John is the man in the spotlight he’s far from the only great musician on the album.  The Heat, John’s regular backing band, is complrised of Pat Perry on bass and Ron Lewis on drums and percussion.  Both of these guys are accomplished players and keep this recording tight and grounded throughout.  There are also a few guest apperances on the album.  Most notably Curt Ramm on trumpet during “We Can Lie”, who was on Bruce Springstein and the E Street Band’s latest album Wrecking Ball.  Local favorite Nancy Parent plays pedal steel and sings sweetly on the album’s title track.  The contribution she makes to this song is no small one; her voice along with Johns and the immediate sadness that is portrayed with her pedal steel bring this song to a completely different level.
John Fries & the Heat’s U.S. 50 is what I’d call roots rock.  While influenced by the blues, country, the 60’s and 70’s it is none of those things.  It’s schooled in what made “classic rock” classic and what made “pop music” popular but with an identity that is it’s own.

For more info:













CD Review: Good Sponge Sampler

Published March 27, 2012
By Adam Wujtewicz

"I like to think of Good Sponge as more of an umbrella than a label; no one's release is exclusive to Good Sponge; it's more a 'strength in numbers' kind of thing to help folks get a bit more exposure.” says Ben Parent, the brains behind Good Sponge Records. 

While it may not keep you dry in a storm, the forthcoming compilation album would certainly make a good rainy day listen.  The primarily Roots Rock/Americana release boasts some of the best musicians that South Eastern CT has to offer.

While Good Sponge Sampler Vol. 1 may boast 15 tracks from different artists, or combinations of artists it feels like a very cohesive unit.  The 60’s hippy pop of bands like Moby Grape and Love, along with softer side of Neil Young are things that all of these artists have in common. The image of a group of friends sitting around a fire with a menagerie of acoustic instruments, passing the bottle, and singing songs is undeniable.  So if you like great harmonies, thoughtful lyrics and short jumpy acoustic songs you’ve hit the jackpot.

While the color palate on this compilation definitely is heavy in the yellows and oranges it only makes the deep blues and reds pop that much more.  John Fries & the Heat’s "U.S. 50" is a heartfelt tearjerker of a tune that, for my ear, boasts the best production out of all 15 tracks.  Anne Castellano & Hugh Birdsall do a sort of morbid-space-folk song, "Every Time You Cry", which is probably the most stand out thing on the compilation.  While that’s charming in and of itself, the way that Anne and Hugh’s voices compliment each other in constant harmony is what makes the song stand on its own.
The bright colors are not without their stand outs.  Dave Rave’s "Looking out My Front Door" is probably my favorite track of all them.  It’s a standard blues riff with an interesting vocal melody and a familiar lyrical concept.  There is hardly a better recipe for success in pop rock.  Amalgamated Muck’s "In Spite of Me" is a solid little bluegrass ditty that has such a lush instrumentation that you can’t help but listen intently.

There are 11 other tracks on Good Sponge Sampler Vol. 1 from bands like Dirt Road Radio, Sue Menhart Band and The Rivergods who will all be performing at the Eugene O’Neil Rosebarn in celebration of this compilation.  If you’ve tested the waters of the southeastern CT Americana scene then this is the perfect opportunity for you to dive in head first and learn what you really need to know.




 
For more info on the Good Sponge Sampler Vol. 1, visit:
http://www.goodsponge.com/





FEATURE INTERVIEW with Ferocious Fucking Teeth

Interview by Corrine Jensen
February 28, 2012
Ferocious Fucking Teeth is the kind of band you don’t forget. From their name (shortened to FFT for those easily offended), to their ear-ringing, head-pounding sound, to the way they challenge their fans to “come out and face them” at their energetic live shows. This five-man band is led by the vocals of Daniel S. Boroughs with Brian P. Smith on baritone guitar, Joshua M. Houser on guitar and Sgott Mackenzie and Steven K. Buttery on drums. Yes, you read correctly, FFT has two hard-hitting drummers and no bass. It’s hard to put them into a genre but what can be said is that these guys know how to be loud, how to rock, and how to entertain a crowd. Recently, Daniel, Joshua and Steven took some time from touring, preparing for their LP release show (March 3rd at Café Nine) and working on a future full-length album to talk with WailingCity.com.

WC: How did Ferocious Fucking Teeth (FFT) come to be?
DSB: It happened in the winter of 2009.
SKB: We all had bands that were kind of failing on us. We were all friends anyway, we all played music and there was a place at 420 Williams St. where we could play music, like a practice space.

DSB: It was very organic in a way because we didn’t really discuss it. We didn’t say one drummer one day and one another day. We wanted to make a combine force of sound. We just started jammin’.

WC: So, your sound is definitely unique. How would you classify it?
SKB: The sound at the beginning was inspired by everything we had previous done in other bands. Total Bolshevicks was a very minimal type band, they did all improv noise stuff. Brava Spectre was pretty chaotic, noisy, loud, fast-paced. Then Mike Slyne (original FFT member) did A Trillion Gallons of Gas, which was super punk. We knew we wanted to do something of a combination, something straight forward and meaningful with big riffs but we also wanted to have that element of feedback noise and all while making the loudest, heaviest thing around.
DSB: We definitely wanted to use all of the noise elements and chaos of previous bands and find a way to stream it and contain it. Not rein it in but streamline the sound and make it even more powerful. We’re like filthy, sludgy stoner jams.
SKB: It sounds like we’re wearing dirty jeans.
DSB: Yeah, it does sound like we’re wearing dirty jeans! I never wash my jeans by the way. I just wear them all the time and they’re filthy, sludgy stoner jeans.
JMH: Even before I was in the band, I really, really loved the band. And when I go see bands or hear bands play I try to really pay attention to what the band makes me feel, what mood it puts me in, what scene or location the music puts me in. FFT always made me think of being lost in the desert and having absolutely no hope and knowing you are going to die. So for me, I would call FFT ‘desert metal’.
DSB:: Desert stoned out blues-rock!
SKB: But we’ve got drone elements and noise elements too.
JMH: I think the most important thing when you’re playing music is to not be able to explain what your music sounds like. I’ve never been in any band that has sounded like another band. I think one of the most important things is to have your own sound and not rip someone else off.
DSB: And that translates with other art forms too. When you do visual art or writing or poetry, you want your own voice, which is like having your own sound in a band. I think that is key with us.
SKB: No matter what style of music you play one of the most important factors is make it believable and make it worth your time. I’m not going to be in a band that is playing half ass. You have to be believable and really appreciate what you’re doing. Playing music is supposed to be about doing it as well as you can, playing your heart out.

 WC: How did you each get involved in the New London music scene?
SKB: I played a lot of shows as a teenager in Norwich and Willimantic area. My first show in New London was with Brava Spectre at I AM Fest. We had never played New London before and we refused to play on the stage and started playing on the ground and we actually started playing while the previous band was still performing. We ended up with about 200 people surrounding us and somehow bees got released.
JMH: Yeah, I hit one of the poles on the pier and released some nests of Mayflies and they attacked Sean Murray. Ha! That was pretty cool.
SKB: That was our first welcome into New London and I thought we would never be asked to play here again.  But we got invited to play the Oasis because I guess we made a big splash.
JMH: My first band was a Band called Ladykillas and my first show in New London was at the El-N-Gee in about 2007. Nothing became of it and I didn’t really get into the New London music scene until after I was in Brava Spectre.
DSB: I have an awesome memory of seeing Total Bolsheviks at O’Neill’s Brass Rail and they had the techno duo Hnatiw play as well and I got a shirt and everything. I met Mark, who was in Total Bolsheviks and I helped try to book them shows. I became more and more acquainted with living in the New London scene, kind of as an outsider and not being totally accepted. Eventually, I was slapped with a bass and told I was the bassist for the Total Bolsheviks. I played very minimal, sparse chords all by ear. Thru Mark, I met Brian (the baritone guitar player for FFT).

WC: How has your experience been with FFT and the local scene?
SKB: It’s been great. It’s been a lot more supportive than we thought it would be.
DSB: Definitely started out here in New London. Our first shows were The El-N-Gee and The Eclectic (now Pigeon Hole Gallery) and a couple things in Willimantic. I really enjoy playing around here. I like The Oasis and the El ‘N’ Gee; actually the last time we played there it was really fun. Also, The Backstage has a really good size stage and a really good sound system.
SKB: We hang out in New London at night and you can frequently find us at places like The El ‘N’ Gee, The Oasis, The Dutch Tavern and The Telegraph but FFT can’t play New London all the time.

WC: You guys do tour a lot.
JMH: It’s the only way to survive as a band. It’s the only way to go anywhere if you’re serious about it. You can’t over saturate one area and play the same venue twice a month and expect to extend your fan base.
DSB: You need to expose your sound to new people.
JMH: I was just natural for us to be out playing shows in other cities.
SKB: As for the previous bands we were all in, none of us played New London extensively. We’ve been playing Brooklyn, Philly, Providence, Boston, we’ve all played those places a million times. We had those connections to get out of town. When you quit a band or a band breaks up you don’t loose those contacts.
DSB: You just join forces.

WC: Tell me about some of your best shows, either locally or on tour.
SKB: New York is really good to us and fun to play. We’ve played with a ton of friend’s bands in New York and elsewhere. There are so many bands that have helped us out or played with us. Locally, our last Oasis show was really solid and sounded good.
DSB:We also played Don Pedro’s in Brooklyn recently and that was wild. I had a good time playing that show. I had a long working week and I let a lot out during that show. Having a band like this is really cathartic. And I really enjoyed an older show where we played with the Body. We’ve also played on the same bill as Liturgy at Daniel St. and that was fun and even for a sparsely attended show, I still got really wild and felt the music and I fell off the stage.
JMH: You never know who is going to be in the crowd. It could be 200 people or it could be 2. You still have to give it your all and play like it is your last show
SKB: We’ve played some cool shows in New Haven too. Elm Bar was fun and Café Nine was really fun.

WC: Okay, so tell me about your new LP from Safety Meeting Records.
SKB: The LP was actually recorded in November 2010 during Thanksgiving weekend in Chicago with Steve Albini. We toured out, 2 days of actual recording and 1 day of mixing sound with Steve Albini and then we toured back home. It was really intense.
DSB:Sgott called and woke him up in the morning and asked if he had any dates open and rates and such. We like Steve Albini, he has a certain ethic where he records for a cost effective rate and it’s still pricey but for an independent band its very reasonable. He’s so well known in the music industry. He’s recorded Nirvana and The Pixies and so many bands.

WC: What advice do you have for musicians/singers/bands out there who want to break into the scene or are just getting started?
DSB: When I’m in this band I’m doing it like it’s my job but it’s work that I love. I’m passionate. You’ve got your 9-5 and then you have your 5-9. I go to work, I’m an artist and that’s my job. I still feel like I’m in training but the advice I would give is you gotta love what you are doing and you have to do it as if it’s your job. Also, Albini said something along the lines of the only one who has to be satisfied with the way the record sounds like is the band. Audience or no audience you gotta live with what you record and play.

SKB: Yea, you have to live with what you record and if you don’t love it that’s a problem. As for advice, logistically here is how you do it, use technology to your advantage. You have more places than ever to host your music for free. No matter if you’re going to break it with the band you’re currently in or the next one, you need to build up the fan base. Bandcamp is a really good thing. Realistically, write good music, write what you think is good and believe in it. And if you’re in a band with people you don’t like, get out of that situation. You’re going to spend a lot of time with people you don’t like and that’s going to suck and you’re going to be turned off from music forever. Play a lot of shows for free and don’t expect to get paid. We spent a really, really long time where we didn’t get paid either. And the cruel side of everything is you’re going to be spending a lot of money getting to shows, buying a van possibly, buying the gear, buying gas.
DSB: Don’t expect to break even when you’re in a band.
SKB: And think creatively about how to actually physically put out music too. Don’t depend so much on demos online all the time. If you have something that you are really proud of you should present it physically in some format. You can burn some CD-Rs but if you package them really beautifully, you can charge a couple bucks for them.
JMH: First thing, you have to be serious to be a musician on any level but especially in an assigned band and in a touring band. It isn’t something you do “whenever”. If you want it to be successful it has to become your life, needs to be your life. It’s so emotionally, physically and spiritually consuming that you should be ready for that if you want to make it.

For more info:

Check out Adam's review of the LP here:


CD Review: Ferocious Fucking Teeth - Self Titled

Published February 28, 2012
By Adam Wujtewicz

 New London’s own Ferocious Fucking Teeth are releasing their long awaited, self titled, Steve Albini recorded, LP on Saftey Meeting Records Tuesday February 28 with a celebratory release party at Cafe Nine in New Haven on March 3.  This doom/sludge quintet has been garnering a lot of attention lately and with good reason.  Not only did they record with one of the most respected names in the industry but with their unorthedox lineup, (2 drummers, guitar, baritone guitar and vocals). Making enough noise to be heard easily within a 4 state radius and playing music that runs the gammot from slow melodic drone of Earth to the breakneck speed and big riffs of Buzzo*ven this is a band to watch for sure.

FFT’s instrumentation makes for a very polarized sound on record.  With each drummer and each guitar hard panned to a specific side, the only thing heard in both headphones is Danny’s voice screaming out from what sounds like the 4th demension.  It’s a crushing feeling being in the middle of that sound but it’s a feeling most coinesuers of heavy music have grown accostomed to.  The tonality of the guitars isn’t all that different being that it’s usually a big distorted chord but they are distinguishable.   When they’re playing different things the polarized nature of the recording comes back into full view.  This technique makes FFT sound almost like 2 bands that are playing off each other.  Neither side is leading this dance and without one side the sound would be thin.
Another striking thing about the songwriting is changes in speed throughout the album and even in single songs.  A song like "Don’t Go" seems like it would be building to a breakneck almost grindcore pace but instead after 2 big buildups breaks down to a mid tempo stomp.  The opening track "One Bright Light" has the almost the oposite effect going from very quick but distant guitar hits to a rocket powered noise fest with an ending that almost crawls to the completion of the song.   My personal favorite track on the album "Daytona" is a semi melodic dirge from beginning to end but grows in and shrinks in volume rather than speed.

Despite the noisey nature of the members previous bands (Brava Spectre, Total Bolshevicks, Trillion Gallons of Gas) the noise on this record is much more of a texture rather than a selling point.  This causes FFT to be far heavier than all of the other projects.  While noise is good for grabbing attention and abrasiveness it doesn’t give you the thud and bang required to bring home a heavy sludgey riff.  FFT’s self titled LP is well worth listening to if you’re a true fan of heavy music or casual fan of the big riff.  There is more there then a cursary listen will allow you to hear so strap on your headphones turn it up and brace yourself.
For more please visit:

Check out Corrine's interview with the band here:








FEATURE INTERVIEW with Pocket Vinyl

Interview by Corrine Jensen
January 9, 2012

 Pocket Vinyl has certainly evolved over the years. Originally a three-man group based out of New York, going by the name The Series, the band now calls Norwich home and features a married couple performing on stage. Meet Eric Stevenson and Elizabeth Jancewicz, they are Pocket Vinyl and they’re adding a new dimension to New London’s already diverse music (and art) scene. Eric sings and plays the piano as his wife Elizabeth paints original artwork, which is then won, a la silent auction style, to the highest bidder at the end of every show. These two recently took time from touring in support of their newest album, Monsters Talking, to be ridiculously cute together and chat with Wailing City about their music, touring and being the new band in New London.

WC: You’re Pocket Vinyl and the concept of your show is very unique, how did that come together?
Eric: Well, I didn’t want to tour by myself.
Elizabeth: And I’m not musical. What can I do? I’m a painter. I’ll paint because in Cloud Cult they paint. It all accidentally fell together.
Eric: Cloud Cult is one of our favorite bands.   
   
WC: It’s just the two of you on stage and you’re both doing very different things, how do you make sure you’re putting on a good show for people?
Eric: It’s hard to put on a live show for people. Sometimes you see a band that’s been doing it for years and they just know what they’re doing and it’s a great show. We’re always asking how can we make it better? I want to keep it spontaneous and mix up what I say every night but you need a little bit of structure and a style of how you compose yourself. It’s all about creating small moments on stage. On our song "My Brother’s Time", there’s a pause and Elizabeth does a ‘Woo’. She wasn’t in the studio for the album so we recorded her ‘Woo-ing’ over the phone. At the live shows she’ll turn around and let out a big ‘Woo’ and go back to painting and it’s great because a lot of people always smile at that.
Elizabeth: It’s a moment. You need something to stand out in your songs so people remember and it doesn’t all flow together.
Eric: Yeah, I feel like we need to come up with more moments like that.
Elizabeth: I don’t want it to be me doing my own little thing over here and he’s doing his own thing there. We try to somehow have a connection to each other.

WC: How did you two meet and how did you wind up in New London?
Elizabeth: I was born in Norwich but moved to Northern Canada when I was a baby. You drive North for two days to the end of the road and then take a train for a day. I mean, like, really Northern Canada. I moved back here for my last year of high school and went to Norwich Free Academy.
Eric: We met at Houghton College in Houghton, New York and I grew up in the town my entire life. In college I did a lot of stage stuff and there was a variety show every semester and a buddy and me would always make up skits. She kind of knew me from seeing me on stage.
Elizabeth: Yeah, you would be making fun of people and I didn’t want anything to do with you! I thought he was a complete jerk and I didn’t want to get to know him. He graduated the year before me and at my senior year art show he showed up and we clicked. We moved back down here in July 2011 about 2 weeks before our wedding.

WC: What do you think of New London and the local music scene so far?
Elizabeth: We really like New London. It’s way cool. Our first exposure to New London was The Telegraph because as soon as we moved here we needed to find a record store. Immediately we were talking to people in there and we met Daphne (Martin) and Karrie (Bulger).
Eric: We did our CD release show there.
Elizabeth: We’ve been to the co-op and walking up and down the street and…
Eric: Sarge’s! I’ve gotten into comic books recently.
Elizabeth: We saw a few of the films in the summer at the Hygienic. It’s just a nice art community and area. I want to help it and be a part of it as much as we can be.

WC: You’ll be playing at The Bean and Leaf on January 11th again, looking forward to it?
Elizabeth: It’s a cozy little place and they feed us. My grandmother always comes and everyone is always really nice to us.
Eric: This will be our third time at The Bean. We really want to build our local fan base and be a presence in New London and to add to the rich musical community already. I don’t think anyone really knows us yet.
Elizabeth: We’ve had small crowds here because we’re local but nobody really knows us yet. The people we have played to have been super welcoming and nice and want to help us out. I feel like a lot of times we need to prove ourselves so we’ll talk to people and tell them to let us play a show for them and make their own decision but usually people like us.

WC: I heard you guys do house concerts, what is all about?
Elizabeth: House concerts are nice. People invite their friends and they come over to listen to us. It’s a lot of fun. The most important part of any show is getting to know the people we’re playing for, from the audience to the sound guy. I guess some call that ‘networking’ but for me it’s just building relationships and getting to know people and making friends and we don’t really know people here and we want friends, so we play. We’re interested in doing more house concerts, we’re small, it’s just the two of us.

WC: So do you bring your own piano or do they have to provide one?
Eric: I never want to use anyone’s equipment because I like to bang on it and hit it. One time we were playing at The Buttonwood Performing Arts Center in Middletown, CT and they have a grand piano and asked if I wanted to use it. I was like “No, I don’t. I mean, well, I do but I really for sure don’t want to break it!”
Elizabeth: Our stuff it bangs around in the car and we bring it everywhere and we won’t feel as bad if it breaks.

WC: You just came off a 2-month tour all over the East Coast and Midwest, how was that?
Eric: It was "The Synesthesia tour". I feel like we need to bring back naming tours because bands don’t do that enough anymore. I think it romanticizes it a bit. The tour was a good learning experience.
Elizabeth: It was really good to get out there and we received a really good response in some places. We went to parts of the country I’ve never been to and there was a point we kind of just realized that we were so far from home, from anyone we know, out in the middle of the Midwest with fields everywhere.
Eric: The Midwest was tough, we had a lot of great adventures and the road trip was fun but some of the shows were tough. Our 75th show, in Iowa, was our first show where we didn’t sell the painting. It worked out well because we gave that painting to my aunt in Indianapolis who we spent Thanksgiving with. We still met some good people there.
Elizabeth: Also, he got sick 3 times on this pass tour. Every place we went we asked do you have tea or lemon water or something?
Eric: I could hardly sing. At a house concert in Toledo a friend gave me a bottle of Jim Beam and after every song I’d do a shot and keep going and each swig would last for a song. I don’t remember getting too tipsy and at the end of the set I was actually feeling ok.
Elizabeth: Thankfully, we were staying there and didn’t have to drive.

WC: You’re starting "The Sister Tour 2012", what else is going on for Pocket Vinyl?
Elizabeth: We’re going to take half of February off so I can work on art but we’ll probably still do a few local shows.
Eric: We’ve played with some great bands and I’m trying right now to make a charity album with them. I always thought about maybe doing this when we became bigger and have more fans but then I thought ‘Why can’t I do that now? What’s stopping me?’ I hope to get 10-15 tracks and put it together for the charity WarChild.Org. They’ve put out several compilations themselves with a bunch of huge bands on them and I always bought those albums and liked them. We’ll release it digitally on bandcamp and it should be coming out pretty soon.
Elizabeth: We definitely wanted to focus on a charity that was kid centered. I grew up with a lot of foster brothers and sisters and it’s really on our hearts a lot because kids can’t stand up for themselves.

WC: What do you hope for Pocket Vinyl?
Elizabeth: Biggest goal would be that we could live off this and have a steady income and pay our bills and fill our gas tank. We don’t need to be famous. We just want to do art and music full time and continue to constantly enjoy doing it.

WC: Last question, any advice for bands, musicians, artists just starting?
Elizabeth: Definitely be grateful for every little blessing you get. Savior it.
Eric: Yeah, if someone buys a CD, be thankful because they really didn’t have to or even come out to your show.
Elizabeth: And be a nice person. I’ve talked to so many bands on our level that are grumpy and I don’t want to talk to them. Remember that people came out to see you so be nice and friendly and make them want to keep talking to you and come out and see you again. It’s funny to realize that in this business, there really aren’t big breaks and no one is going to find you and make you. It’s really just so much more talking to people and then they talk and then they talk. I feel like I just realized recently it’s really the people at shows talking to their friends. It’s hard work and a whole network of friends.

More at:
http://www.pocketvinyl.com/

CD Review: The Suicide Dolls - Prayers In Parking Lots

Published December 7, 2011
By Adam Wujtewicz

Having been raised on a steady diet of classic rock and having forged my own musical identity with the grunge movement of the 90’s I have come to miss rock and roll.  I feel like I’ve been forgotten.  There is just something missing in a lot of bands today.  Perhaps it’s the fact that genres like “classic rock”, “grunge” and “alternative” don’t actually have anything to do with the sound of the music. They are all just flowery ways of saying ROCK.  In a day and age where bands have pigeonholed themselves into super specific genre’s, bands like The Suicide Dolls are now having to cope with being called rock bands. Prayer’s in Parking Lots revels in the fact that you can’t stick it in a box but never lowers it to being a “genre crossing” experiment.  The punk rock clang bass gives the songs speed and movement, the drums range from a hardcore thump to psychedelic cymbal wash and guitars soar over the rhythm section covering the whole thing in a blanket of buzz saws and dope smoke.  There is an unmistakable intensity and paranoia to the sound of this record.  Prayer’s in Parking Lots is a wild animal that has been backed into a corner which has forced it to lash out.  The guitars at the end of “Drive” go from a melodic single note melody to crushing chords on the verge of massive feedback that are only accented by the near constant crack of the snare drum.  The noise soaked bridge section of “Smash” builds to out of control only to recoil perfectly back into the verse readying to strike at you again.  The explosions of sound you hear on this album do not come from an artsy abstract place but from the hands of people that feel looked over and are trying to grab a hold of your attention at all costs, even if they have to be loud and mean.

Through all this the Suicide Dolls never alienate their audience.  The chorus’s are prevalent and hooky which always gives the listener an anchor when they feel like the song might leave them stranded.  There isn’t a single scream on the album either.  While the singing sometimes goes more towards talking or reciting and isn’t the most melodic part of a song the vocals wouldn’t be considered offensive.  These are things that keep Prayer’s in Parking Lots from being pigeonholed as a “noise rock” or “post hardcore” record.  It may not be pop sensitive in style or subject but it is a pop sensitive structure that they’re building from.

The Suicide Dolls draw from a lot of bands that people now take for granted; The Pixies, Joy Division and Sonic Youth are the first 3 that come to mind.  These bands that once saturated the hearts and minds of rockers everywhere are now going extinct.  Prayers in Parking Lots will force you to remember what it was that drew you to these bands.  Not because it sounds like them, but because it has the same quality you can’t quite put your finger on... because it’s something that can’t be summed up in a 2 word genre.

For more info:






CD Review: Skobie Won - Bedlam and Squalor

Published December 1, 2011
By Adam Wujtewicz

Is "space rap" a genre?  If it's not then I am coining it and putting Skobie Won in there.  If it is a genre... than Bedlam and Squalor should be one of its shining stars.  Categorized by a sound that’s bright and vast, it allows you to sink into the album as a whole, but with enough thumps and cracks to blow up a star destroyer.  The balance between a slowly rising tide of synth sounds and drum beats that sound like over clocked Rock'em Sock'em robots is what elevates Bedlam and Squalor above the heard.

Having reviewed 2 Erik Lamb albums, both of which are heavily produced by Skobie Won, I feel like I'm familiar with Skobie's work.  There's a dance music vibe to the beats.  The sounds are reminiscent of Nintendo noise only rounder and clearer.  Listen to it on headphones and you'll be much more captivated by the panning.  Whether it's Bedlam and Squalor or Shoot Everything (Erik Lamb) all three of those statements are true.  Bedlam and Squalor just sounds bigger.  It surrounds you in a ball of neon glowing circuitry and bounces you around a room made completely of subwoofers.

Purposeful is the first word I would use to describe the vocals on this album.  There is a quiet anger in Skobie's voice.  He speaks as if yelling would be too cheap.  He annunciates like he was smacking you with syllables.  There are no tricks in his cadence; it’s the steady barrage that keeps you on your toes.

The beats being what they are Skobie could load his songs with short simple choruses to anesthetize a crowd and keep them moving.  That would be too easy.  Skobie jams lyrics between shout along phrases in his choruses and keeps them spread out so they don't become monotonous.  He also likes to throw Tom Waits references in his lyrics.  If you were to drink a shot of Bourbon for every lyrical reference and sample you’d be good and drunk by the end of the album.

Bedlam and Squalor is enough of beats you know from previous Skobie Won productions to feed your craving but enough improvement on previous techniques to keep from being stagnant.  The strings and guitar sounds in the title track are plenty of evidence of that.  If you keep your ears open you’ll hear things that you wouldn’t expect but will end up falling in love with.





FEATURE INTERVIEW with Sean Spellman of Quiet Life

Interview by Corrine Jensen
November 22, 2011

Quiet Life emerged onto the New London music scene in 2004 and soon became a local favorite. In 2009, the then quartet packed up and moved to the other side of the country where they’ve been living, creating, and performing up and down the West Coast.
Over the years, the group has featured a variety of talented musicians with it’s current line-up featuring original members Sean Spellman (vocals, lead guitar), Ryan Spellman (drums), and Craig ‘The Rupe’ Rupert (guitar), now joined by Thor Jensen (guitar, bass) and Jesse ‘The Ozark’ Bates (steel guitar, bass).

Quiet Life is in the middle of a jam-packed tour (17 states in 33 days!) in support of their latest album Big Green and they’re doing it all gasoline free in a converted Ford Diesel Van appropriately named 'Greasy Pete'. The local rockers will be home in Connecticut later this week with multiple shows throughout the area and two in New London.
Somewhere outside Chattanooga, TN., easy-going front man Sean Spellman charmed WailingCity.com while talking about Quiet Life’s "ultimate road trip", going gas-free as an economical choice and his memories of New London.

WC: You grew up in New London. Tell me about the music scene from back then. Any memorable stories? Bands? Shows?
Sean: Yeah, actually, I used to work at the El ‘N’ Gee when I was about 17. Yeah. (Laughing) It was great. I was the runner. I was the dude who went and bought all the all the energy drinks and backstage food, like veggie lasagna, for the bands. It was cool. I got to go into all the shows for free and I hung out with all of my favorite bands at the time. There were a ton of emo, punk and hard-core bands. I saw a ton of hard-core shows there. I also used to work at The Oasis. I bartended and my brother, Ryan, used to work the door. We were there all the time and one of my favorite shows there was definitely the Justin Townes Earle show. One of the best shows at the Oasis.

WC: In 2009, the whole band decided to move out to the West Coast and now live in Portland, OR. How has the music scene been for you guys out there?
Sean: It’s been great. There are a lot of bands and a lot of places to play. There are a lot of great bands. Some of my favorite bands that are well known all over the country live in Portland and we get to be a part of that whole music area which is really inspiring. It pushes us to do more and be more productive and work harder so that’s the most beneficial thing about living there. There’s always room to grow.

WC:  Now you’re on a pretty intense tour with some very talented bands in support of Big Green. How’s that going? Enjoy being on the road and playing and seeing the country?
Sean: Yeah, we’re opening for a few bands. We did 2 weeks with Dr. Dog and then rode up to Philly and met up with Sallie Ford & The Sound Outside for a few shows with her. Now we’re doing about a week of shows on our own before meeting up with Cotton Jones for a few days. It’s kind of a hodge-podge of bands for the tour. Being on the road has been pretty great. Just getting to see places is the added bonus to getting to play music every night. Discovering new bars and restaurants and meeting people in different towns that want to show us the things that they enjoy about their city because they know we’re out of towners, it’s like the ultimate road trip really.

WC: Let’s talk about why your band decided to convert your tour van to run on used vegetable oil vice gasoline?
Sean: We’ve been trying to do the conversion, running on grease, for a long time. Really, it’s the only way we can actually tour because it’s unaffordable to pay for gas. We’ve only spent $160 bucks on diesel so far on this tour and we’ve been out for 3 weeks and driven from Portland to Cleveland, down to New Orleans, over to Charleston and back up to Tennessee, we’ve been all over the place. We actually just filled up. We got 60 gallons of used vegetable oil here in Chattanooga and that’s probably gonna get us up to Philly.

WC: So, what does it smell like?
Sean: Right now it smells like a mix between garbage, egg rolls and french fries. (Laughing) We got some stinky grease a week ago and it still smells a little funky. I think we all get used to it though.
WC: I read that you guys are taking donations. Are there restrictions or a minimum? Sean: We’re just looking for used vegetable oil that’s golden and clean and doesn’t have a bunch of sediment in it. We’re trading people tickets into shows for some fuel. It’s cool. We’ve had people in different states come up to us and give us grease and it’s working out pretty nicely. We’re hoping people will continue to do that so that we don’t have to search everyday for hours. It’s nice to get about 5 gallons but there’s no minimum. What we’re really hoping for is somebody will say "Oh, I work at this restaurant" or "My friend owns or manages this place and they have a grease trap and you should come get our grease" that means we can get a lot of grease. We are trying to spread the word so that people can get in touch with us. They can email us at quietlifeband@gmail.com

WC: So this week you’ll be back home in New London. Are you excited? 
Sean: I’m stoked about that. We’re doing two shows in New London and I don’t think we’ve done that since... I don’t even know when? We’re playing The Bank Street Café on Thanksgiving and then we’re playing The Oasis the next night. We’re going to get to see a bunch of old friends. It’s going to be great.

WC: This is where it all started for you guys 7 years ago; you have to have a good Quiet Life and New London story from back then.
Sean: Basically, what happened was Quiet Life needed to book a show with this band called The Only Children from Lawrence, Kansas and we had booked the gig at this place called Heroes, which is this old bar on Golden St., but it actually closed down and we wound up doing the show at the Oasis. From then on out, Sean Murray pretty much started working as the promoter at the Oasis, I got a bartending job and my brother started working at the door and we had such a great little scene happening. There were so many local bands coming out at the time and we booked as many shows as we could and had as many out of town bands come through as we could. I think it was great for all the local bands, especially for us, to play with them. It was just a really awesome time. I think New London’s definitely changed a little bit but I think hopefully there’s a new breed of younger bands that are going to do that because that’s what it takes. It takes people like Sean Murray to book the shows and bands to get out and play the shows.

WC: What is Quiet Life going to do after the tour is all over?
Sean: Oh, we’re going to relax for a little bit and then we’re going to hit the road again in February. We’ll go home and try to finish the record in January and we’re still trying to figure out the tours but ultimately we’ll do a full U.S.

WC: Last question, do you have any advice for singers, bands, or musicians out there who want to get into the business or are just starting to emerge?
Sean: Work your ass off and play as much as you can. Play wherever you can and keep doing it. We’ve been a band for almost 7 years and we’ve played at all sorts of places, everywhere from H.S. football fields to bars that fit literally 15 people. We just played as much as we could and I think you just have to do that. Have the motivation to play wherever you can because if one person likes your band and that one person buys a CD, then it’s worth it and it’s a step up.




FEATURE INTERVIEW with Barefoot Truth

Interview by Corrine Jensen 
November 20, 2011

First performing as an acoustic duo, Barefoot Truth was born on the summer beaches of Mystic, CT., and has grown over the years into a dynamic 5-man multi-instrumented line up led by co-founders Will Evans (Lead Vocals, Drums, Guitar, Didgeridoo) and Jay Driscoll (Weissenborn Lap Guitar, Acoustic & Electric Guitars), and joined by Andy Wrba (Electric & Upright Bass) Garrett Duffy (Harmonica,) and John “Wayno” Waynelovich (Pianos, Organs).
 
Together they’ve created a distinct sound that is a blend of root-rock, jazz, folk and reggae. Their shows are high energy and filled with fans singing and dancing to catchy songs filled with lyrics that are both meaningful and uplifting because as Evans puts it "People have enough to deal with in their lives. When they go out to a show, let them be happy."
 
Barefoot Truth remains an independent band that continues to take a grassroots approach to the music scene. Through hard work, planning and the strength of their music they’ve created an impressive resume: their latest album Carry Us On shot to #10 on the iTunes rock album chart, they recently hit over 8 million plays on Pandora Radio, and their song "Threads" was featured in the game ‘Rock Band’.
 
Recently these 5 guys, who refer to each other as "brothers" and are as close as family, took time out of their busy touring schedule to speak with WailingCity.com.


WC: Will, you grew up in the area, how did that influence you getting into music and what experiences did you have here?
Will: I grew up in Mystic but for a few years my family moved to Burlington, VT and I went to a very liberal school where music was very encouraged. We moved back to Mystic and I went to Cutler Middle School where I started playing trumpet in Jazz, which was actually my first instrument. I was also in choir, where I was the only boy.

WC: I bet you got all the girls...
Will: Far from it! (Laughing). But then I went to Fitch and I continued in Jazz, but to be in Jazz you also had to be in Marching Band and ultimately I didn’t like the structure of it all and it was stifling creatively, so I quit. But in the summers I would go to Esker Point Beach with my friends for the concerts and I remember watching all the great shows like The Sugar Daddy Band and I really liked watching the drummers and would think ‘I can do that.’ So, during my sophomore year I picked up my dad’s guitar and he and I kind of taught me how to play. That’s also when I started playing the drums. I played in a rock and roll cover band called Overdrive for a while but that got frustrating and I wanted the freedom to express myself musically. That’s kind of the time I met Jay and we started jammin’ together.

WC: Jay, you grew up in Massachusetts but met Will down in Connecticut, what brought you to the area?
Jay: I have cousins who live in Groton Long Point and I spent every summer there. I still have lots of family in the area and it’s basically a second home for me. Will and I were introduced through a mutual friend the summer between High School and College and I remember going out and watching him perform in Overdrive. During college we kept in touch and visited each other and kept making music.
 Will: I remember going to UMASS, where Jay went to school, and we would jam in the stairwell of his dorm and it was about 26 floors and all cement. It had great acoustics. We then played casually in some bars along the Connecticut shoreline and in Rhode Island as a duo.

WC: So, then you went from 2 to 5. How did each of you guys (Andy, Garrett and Wayno) join Barefoot Truth?
Andy:  Before I knew who they were, I was at a Jurassic 5 concert and a mutual friend told me they were looking for a bassist. I contacted them (Will and Jay) and we talked but we were all busy and things didn’t work out. A few months later I went to one of their shows and I liked their sound and introduced myself and shortly after I was part of Barefoot Truth.
Garrett: I met Will in college (St. Michael's) and wanted to jam with him and other friends so I started playing the Harmonica because no one else did and also, because my older brother used to play it. I remember my first official show was at the Coast Guard Academy in New London in 2006.
Wayno: Andy and I were in Jazz Studies together at Westfield State and I was incredibly intimidated because he was such a monster on the bass. At his final Jazz Studies recital he transformed the Barefoot Truth song "Reelin" into this huge 18-piece jazz composition and all the guys from the band were there and I was played piano for it. Later, I played on two songs for their Walk Softly CD. It was an interesting time because I would play some shows with them but I still had 2 years of college left and the guys were already out there doing their own thing. I grew up listening to and playing Dixie and Swing and I’m super proud of that but I’m most proud of what I’ve done with Barefoot Truth. These guys already had their own sound, their own product, and I had to figure out my place in all that.
  
WC: So you’re not only the newest but you’re also the youngest, how’s that?
Wayno: I do feel like the youngest but we’re all equal. I’m a little more different, from my hobbies to what I eat, but being with these guys has opened me to so many interesting things and ideas. It’s neat. 
Jay:  Wayno is an oddball.

WC:  Barefoot Truth was officially born in Mystic, Ct what experiences have you guys had living and performing in the area?
Garrett: We lived in Mystic, as a band, for 3 years and we hung out when we could. There’s not a lot of our style, our sound, in the area but we’ve played locally at places like The Bean and Leaf and The Hygienic Art Park, which was a great show and we had a great response.
Andy: I remember the Hygienic. We were playing outdoors and it was just a beautiful night.
Wayno: I only lived in Mystic with the guys for a year but it was a great place to be a band and create music and provided a solid home base to come home to. I love that area. It’s where we met Raise the Rent and allowed us to play with them and other bands.
Garrett: We love Raise the Rent, they’re cool!

WC: Barefoot Truth is playing at The Garde Arts Center Thanksgiving weekend on November 26th. How does it feel to be playing such a large venue so close to home?
Andy: We love playing there. Will and Jay both have family in the area and it’s nice to catch up and when you can incorporate that love into a show, that’s always a good thing.
Jay: It’s really special to come back and play for friends and family. When we see how excited they are at our growth as a band, it keeps us excited.
Will: Yeah, there’s always a thrill when playing big venues like The Garde but there’s also something special about playing small venues or even in a barn like here (Holcomb Farms), it’s so vintage. But we’re definitely looking forward to the show because we appreciate local shows and it is a Homecoming for us.
Garrett: It’s more or less home for us because that’s where everything started.
  
WC: You guys have been called the ‘symbol of independent music success’, how do you feel about that label and why are you unsigned?
Jay: That really is a big title and it’s amazing, sometimes we’re blown away from it. As for why we’re not signed? It has never been a priority for us. If that’s why you’re in it, then you’re probably in it for the wrong reasons.

WC: What do you guys do outside of Barefoot Truth?
Will: I’ve been doing some solo shows on the Cape, where I live now, and it’s liberating because there’s no set list and I just play off of the vibe of the crowd. But playing with the guys, there is the warmth of a family behind you. It’s nice to have when you’re having a tough night. It’s nice to know you can rely on your brothers.
Andy: I do some funk/jazz jammin’ on Monday nights with a rotating group of musicians in Pittsfield, Ma. It’s a little more song base and loose and intimate. I’m also big on family and I spend time working on my family’s orchard (Riiska Brook Orchard) whenever I can.
Wayno: I’m currently training for a marathon and eating lots of candy. Yep! I’m also a musical theatre geek and occassionally do a production in my town with my family who owns a performing arts building. I also try to keep busy musically. (Check Wayno out on Raise the Rent’s album Dig & Be Dug)
Jay: Today I was actually helping Wayno’s family build a set for a performance. Other than that I keep busy with Barefoot Truth and friends and family.
Garrett: I’m an avid practitioner of Yoga and I do many other outdoor activities. I’ve also started to write and compose songs.

WC: What advice do you have for musicians/singers/bands trying to make it?
Will: We’re still trying to figure it out! We’re still very much grassroots but I would say it’s all about balance. You gotta find the happy medium of not driving yourself crazy on the road. Play less shows but make them better shows. It’s easy to burn yourself out trying to play everywhere. Picking when to play and where is important. Be cautious and smart with touring.
Andy: It’s hard work. I would say practice and persistence. And practice doesn’t necessarily mean shredding the bass, it could mean actively listening to music or studying music theory. It helps to set realistic goals and learn about yourself and what you want.
Jay: If you’re playing in a band it’s more important to base it on friendship and not to let music get in the way of that. Play with people you like.
Wayno: I have a lot of respect for these guys. It’s amazing. I’ve made four best friends.
Subscribe to: Posts (Atom)