On the title track, as well as several others like “Sweet Eileen” and “Hero” Rawhoof plays with little or no accompaniment, giving the songs a warm, traditional folk sound. He is really at his best, however when he is with a band, as he is on songs like “Little Treva,” “Pennies In The Well” and “Build My Boat.” The difference is subtle, since these excellent musicians never intrude on Rawhoof’s performances, but blend into the background with perfect clarity and nuance. Of particular note is Daniel James McMahon who plays piano, electric guitar, bass and drums on different tracks on the record and really does a remarkable job of filling out the material. Michael Gilbert Ronstadt’s cello on “Children Play” and “Magda Holds Her Guitar” is brilliant in providing rich harmony with an Americana resonance.

The best thing about this record is all the eclectic influences that Rawhoof brings into both the music and lyrics. “Little Treva” has a New Orleans jazz sound in part due to clarinetist Adam Plaman, who vaguely recalls Johnny Dodds on the Louis Armstrong discs from the 1920’s. Plaman also plays on “Pennies In The Well” which has a more modern, coffee house jazz sound. “Build My Boat” has a country tinge courtesy of its use of pedal steel guitar, and Rawhoof’s protean voice adapts to the genre quite well. On “Pandora” there are times when Rawhoof’s ukulele lines border on an eastern sound. And lyrically, while many folk singers use Biblical references in their music, Rawhoof shows there are other sources of strength and inspiration. On “Auf Wiedersehen” he sings “I’ve seen the world in a book of Zen” and in “Children Play” “You will find in the Koran the souls of all our children.” The title track “Too Much To Lose” is about a disabled veteran who is rejected by a society he fought to protect. The breezy, folk sound of acoustic guitar and piano contrast sharply with the desolate lyrics about sacrifice, betrayal and redemption. It’s a strong song that illustrates a stark reality without preaching or taking sides. Like many of the other songs here, it’s a story sung by a voice that is at turns wise, humorous and world weary.

Too Much To Lose is a strong first release for this local musician, and while it doesn’t blaze any new trails it does do a fine job blending many traditional influences into Rawhoof’s distinctive sound. The album is available on Spotify, iTunes, Amazon, CDBaby, and on Ron’s website ronrawhoof.com.

Sock Monkey Sound

Kris (Lightning Thunder Fox), Jason SSG, Jason Beatty

There are times in my life where I have been completely oblivious to the goings on around me. Like many people I get wrapped up in my own shit: family, work, Game of Thrones, music, podcast, Sock Monkey Sound crap. This is pretty common when you submit yourself to the grind of life, the day-to-day minutiae that can affect us all. It’s easy for me to fall into place with this general malaise and for me I can tune the important things out very easily. Unfortunately, I only realize I’m tuning things out when serious shit happens.

Someone I know passed away Sunday May 19th in his sleep. He was a friend to music, art, and film in Rockford, Illinois.

The man called Jason SSG

The funny guy in the hat.

That was my first impression of the guy called Jason SSG. I didn’t even know his last name for a couple of years, he was always just ‘Jason SSG’. I have no idea what SSG stands for either. When I say funny I don’t mean humorous, I mean funny in that awkward sort of way, to me anyways. I’m a dick sometimes.

I don’t recall the exact moment I met Jason but I’m pretty certain it involved booking a show at CJ’s Lounge or maybe the (now gone) Little Italy’s 503 bar in downtown Rockford. For many years he was the go-to guy if you wanted to book a show there, as he ran sound and booked bands under the moniker Raging Pervy Gear (RPG) Productions. He also promoted shows at other venues as well around town but CJ’s Lounge was his home base and over the years he and his RPG partner George cultivated a reputation amongst bands as being nice dudes to work with. (Although, I’ve known many a musician to complain when Jason would leave the soundboard during the middle of the set for a smoke. I remember him running back into the bar when the P.A. started squealing when one of the bands I played in started a song.)

Sock Monkey Sound’s Mark Gustafson and Jason SSG

I’m sure there are many people who were closer to Jason than I was but for a few years he and I always seemed to rotate around an axis of a few different groups of friends. Whether it be all the bands he worked with that I was friends with, the book club group of friends we shared, or the quasi business meetings slash artistic endeavors we were both a part of when discussing “the future” of Rockford. Either way, Jason SSG was there and I was there. Needless to say, we had conversations about a few different topics, music mostly, books, films, Rockford… I got to know him pretty well I guess, at least through the gilded lens of pop culture tinged glasses.

Our Mr. Roper

Later, Jason and his wife Cat became downstairs neighbors to my girlfriend and I for a year from mid 2010-2011. At this point I started to hang out with him on a less frequent basis but when we did see each other we always chatted, albeit briefly,  about Sock Monkey Sound, music, movies, or mutual friends. He would pop by every so often at first but I think that his illness was starting to become more serious or at the very least was taking more of a toll on him. He talked about being more of a recluse and had pretty much stopped booking and promoting on a weekly basis. I didn’t see it at the time but in retrospect I think this was the beginning of his long and winding road towards the end.

He was heading up the OTW Film Festival and he seemed to be more into film making than music promotions; he was also at the initial meetings for the Green Light Nights that Chris Wachowiak from Kryptonite Bar was starting to put together. Actually, I think he dropped out of working on Green Light to spearhead the OTW Film Festival in a more focused fashion.

So Long, Neighbor

My girlfriend Carly and I decided to move out of that apartment after learning that we would be having our first child (it wasn’t baby friendly at all) and I suppose that over the last 2 years Jason and I lost touch. I don’t think we really talked much at all actually even when we did run into each other. Like I said before, I can become oblivious to what’s going on around me at times, even with people I’ve connected with and care about. I’m a dick sometimes.

There was no animosity or any bad blood whatsoever between the two of us at all but I think that life just got in the way (like it has with so many other people I know) that prevented us from connecting in a meaningful way once again.

We didn’t always agree on things but our conversations would have never been educational for me had we just kissed each others ass.

When I found out this past Sunday that Jason SSG had left the building, I was stunned and upset with myself for not keeping in touch with him. He was a good guy and had a true love of music – a deep fascination with things both commercial, artistic and the intersection of the two. He liked some weird shit sometimes. We didn’t always agree on things but our conversations would have never been educational for me had we just kissed each others ass. He wanted to promote local bands as much as possible and turn others onto music he discovered from other places by trying to bring them here: The Saps, Nathan Kalish and The Wildfire, Mike Got Spiked, Egon’s Unicat, The Handcuffs, Lucrezio, Elsinore, Papillion, The Cartridge Family, We the Trees, Wolf Nation, Cruiserweight, Tremendous Fucking, Butt Funnel, The Projection People and many, many, many, many more.

All of these bands have one thing in common and that is Jason SSG.

Although we never officially had Jason on Sock Monkey Sound (something I regret very much now), I did happen to find 5 minutes of Jason and I discussing the good and bad of Rockford’s now defunct On the Waterfront festival during the 2009 event. I was interviewing folks outside of Kryptonite Bar with a shitty little Nikon camera that could record audio while knocking back drinks. Jason SSG was one of the people I happened to speak with and he delivered some intelligent, measured, and diplomatic responses to my questions; much more diplomatic than my drunk ass. I think some of his opinons and thoughts on Rockford’s music scene are well represented here in this short audio clip.

For those who know him, I hope you enjoy this interview. For who never had the pleasure, I hope you enjoy it also. While not a complete picture of the man by any stretch, it’s a valid little piece of his brain in words.

Jason SSG, I’m glad I could call you friend and thank you for being a believer.

Sock Monkey Sound

This episode of Sock Monkey Sound is roundtable discussion featuring Jim Hanke, David Pedersen, Sam Rashid, and Chip Copeland.

Main topics include North by Northeast, Canadian Music Week, Record Store Day 2013, Milwaukee, summer music festivals, the music scene in Dekalb, Ill.; becoming old, jaded, and cantakerous at shows, the thankless job of a concert promoter, and how friends influence your music choices when you’re young.

Add to those topics the odds and ends of a few dudes talking about music and you get a roundtable SMS style (i.e.- all over the place).

Music by Geronimo!

Sock Monkey Sound

This weeks guest on the show is Carl Palmer, legendary rock drummer and founding member of progressive groups Emerson Lake & Palmer, Asia, psychedelic pioneers The Crazy World of Arthur Brown and Atomic Rooster. Palmer’s drumming early on was influenced by Jazz artists such as Gene Krupa, Art Blakey and Buddy Rich, going so far as to incorporate trademarks of their styles into his own.

His recent endeavors have included a revitalized Asia as well as touring the world with the Carl Palmer ELP Legacy on their “Twist of the Wrist” tour.

Add fine artist to the growing list of achievements as well to his career as he exhibits his “Twist of the Wrist” artwork on gallery row at the Annapolis Collection Gallery (Annapolis, MD) from May 6 through June 4, 2013. Check out the work at CarlPalmerArt.com.

Keep up with Carl Palmer at on his website carlpalmer.com.

Sock Monkey Sound

Repping Montclair

Montclair, New Jersey’s Pinegrove have self released a new single titled “V”. Fans of Rockford’s Joie De Vivre and the Count Your Lucky Stars roster will appreciate this short, sweet, and mildly anthemic track by the band. If you like this track you should also check out their full length release Meridian, also available on their Bandcamp page, in which they live up to what their bio states as “Polyrhythmic and Heartfelt Cerebral-American Indie-Rock“.

After listening to this a few times, songwriter Evan Stephens Hall seems quite steeped in the emo/indie rock genre while embellishing tunes with a hint of R&B- which sounds like an odd combination but works nonetheless. Comparisons to bands like Dirty Projectors and Clarity-era Jimmy Eat World come to mind while listening but with hints of the vocal tonality of Craig Wedren (Shudder to Think). Driving drums, tight vocal melodies and good songwriting make for a satisfying and deep listen all around.

You can name your price for all their material on Pinegrove’s Bandcamp page.

Sock Monkey Sound

Music in this episode by Fable and the World Flat

Dowload their music on Bandcamp at fableandtheworldflat.bandcamp.com

Follow the band at:

http://twitter.com/fableworldflat

http://www.facebook.com/fableandtheworldflat

Sock Monkey Sound

Let’s assume Don Henley and Glenn Frey –and to some degree, Timothy B. Schmit–carry the brunt of the weight with pop culture’s opinion that (the) Eagles suck–they do not. They have written some mighty fine American tunes.

I willingly viewed part one of the recent documentary film on (the) Eagles expecting to hate more about Henley and Frey’s egos.  Instead, I viewed them as focused individual artists  in tune with the times to survive based on their surroundings and opportunities to succeed.  Eagles’ musical roots are traced direclty to that era’s peers: Linda Ronstadt, Jackson Browne, Warren Zevon, and country-rock’s trailblazers, the Flying Burrito Brothers and The Byrds–which the documentary clearly outlines.  Each helping and working with one another to bring Californian cosmic Americana, country-rock, to the 1970s mainstream from hard work and determination.

Part one focuses on (the) Eagles ascent, beginnings, successes, and their amazing six record run from 1972-1980.  Included is a ridiculous, eye-opening account by the two artists responsible for (the) Eagles self-titled debut in 1972 for David Geffen’s first label, Asylum Records.  The screw-up by Geffen and the press operators, along with Geffen’s shrug of “whatever” is worth the film’s price of admission.   There is no love lost between Geffen and Frey and Henley which each era of the film hops within and dances around to a larger degree.

Part two of the documentary focuses on 1994 to present, when hell froze over and they regrouped. That era is a business write off and a capitalist gain for (the) Eagles.

If I were to include the latter half’s greedy actions by Frey and Henley to seize majority control on (the) Eagles while shorting Don Felder, Joe Walsh, Timothy B. Schmit and anyone else along for their reunion rides, it would chop this documentary’s important aspects about their ascent to bits.  Part two confirms and loosely dances around whatever we have been led to believe about the Eagles.

Don Felder is at legal and emotional odds–lawsuit speaking–against Glenn Frey and Don Henley.  Randy Meisner, one of Eagles’ founding members, could give a shit–can you blame him?  Joe Walsh–once a sidekick to Keith Moon and John Belushi (some of part one’s funnier moments as well)– is now sober; to some degree it’s because (the) Eagles demanded he get clean for their second act.   Bernie Leadon, another founding member responsible for their truer country-folk touches on the first two records, regrets pouring a beer on Glenn Frey’s head in the 70s before quitting.  Don’t worry, Bernie, no one really cares about the Eagles from 1980 to present.  And Timothy B. Schmit… why must we listen to him say anything about his role in Eagles?  Too much of Schmit in part 2 for my liking.

What anyone might learn once again from another entertaining rock documentary is that there are no closures in rock n’ roll aside from death, lawsuit judegments, reunion tours, and taxes.  In (the) Eagles case, man, they did write and record some killer songs from 1972 til 1980 to turn your bullshit indie nosed poor ass up to.

I want all of you to eat a Rockford, IL, sized dick.

“Eagles” rock.

AW  |  Andy Whorehall

Download my one-man podcast show, Songs About Stuff And Things.  Available on iTunes as well.

____________________________________________________

Andy Whorehall (SM)
All rights reserved. Use with permission only.
> Listen, Download, Free on iTunes: Songs About Stuff And Things
> Official Show Site: SongsAboutStuffAndThings.com
> Presented by SockMonkeySound.com
> Sponsored by Thom Derby, CEO & LORD of all at Derby | Reynolds

Sock Monkey Sound

The debut from Schwitters new project, La Historia, includes Goudreau, Carmona, and newcomer, Luke Kramer.  The Awake Enough EP‘s five songs are inspirationally rooted in a time and place that predates the internet and digital music.  Which makes this release all the more special since it’s a digital only release with no fanfare or label support aside from four guys who want to make music together regardless of time, place, modern obstacles, and adult responsibilities.

”Wrong Things Right” is one of the best rock songs you’ll hear from an American rock band in 2013.  The EP was recorded with Mike Hagler (Wilco, Neko Case, Liza Phair, etc.) in Chicago during the winter of 2012-2013 but it’s influences run 20 years deep. I sit, listen, and wonder as to when everyone else will catch up with the past.  Maybe with a full length, La Historia has tomorrow under wraps already.  Here’s hoping based on this twenty minute teaser.

Buy it here, or do exactly what my friend Andy would tell anyone in the YOU$A™ to do if you don’t believe a word I’ve written above or a song you’ve previewed from La Historia’s debut EP:  Eat a Rockford sized dick.

Lord Thomas Derby |  C.E.O. and LORD of ALL

Sock Monkey Sound

Dane Penn

We also threw in some songs by Death Cab for Cutie, the aforementioned David Bazan, and Billy Joel.

Download Red Pearls at Noise Trade dot com

You can find Dane Penn & All The Reds at the following links:

http://danepenn.bandcamp.com

http://www.facebook.com/danepennmusic

Sock Monkey Sound

This is due largely in part to producer Richard Swift, who has helped release / produce some of the better pop records I’ve heard being made in the last 3-4 years by Matt Hopper, Mynabirds, Damien Jurado and others. The modern day sound architect is also a recent part-time player in the revamped Shins lineup, though the work he’s done for himself and others is leaving a larger imprint.

It helps that Foxygen came to Swift’s table with pop songs most bands would die to wake up and write, with a producer to handle them the right way.  Lyrical flashes of Dylan, Reed, and Malkmus dosed with enough venom, humor, attitude, and nonsense flow throughout Sam France and Jonathan Rado’s compositions which helps set the young musical thieves apart from their peers.

“We Are the 21st Century Ambassadors of Peace & Magic” is loaded with snide one liners and melodic hooks that’ll loop around your subconscious for days.  Try to locate the influences on “We Are the 21st Century Ambassadors of Peace & Magic,” they’re there.  Everything from psychedelic blues to British pop, American folk, soul, swagger, sex, religion and 90′s lo-fi indie are tossed in the blender for good measure.

In lesser hands, these songs might not come off as anything else than highway robbery and copyright infringements. In the hands of Richard Swift’s musical genius, Foxygen has made one of the best records of 2013 released so far.  ”We Are the 21st Century Ambassadors of Peace & Magic” is a complete 36 minute pop-treasure-testament to the past that also serves as another loud declaration of Swift’s musical talents as a producer, composer, and 21st century pop historian.  However Foxygen establishes their own identity might not be so important with records under their belt as strong as this.

Lastly and once again. Eat my d!ck, Rockford, IL.

AW  |  Andy Whorehall

Download my one-man podcast show, Songs About Stuff And Things.  Available on iTunes as well.

____________________________________________________

Andy Whorehall (SM)
All rights reserved. Use with permission only.
> Listen, Download, Free on iTunes: Songs About Stuff And Things
> Official Show Site: SongsAboutStuffAndThings.com
> Presented by SockMonkeySound.com
> Sponsored by Thom Derby, CEO & LORD of all at Derby | Reynolds

Sock Monkey Sound

–e

Sock Monkey Sound

Some of you stumbling onto this article are thinking, “What the f*ck are the RAMIs?”  We’ve covered them a bit on our podcast show in the last 4 years, click here for an entire lesson.  Start there, and return for a little more regional venom.

Sock Monkey Sound is located in Rockford, IL; a poor, corrupt, culturally tasteless city located between Chicago and the Pacific Ocean.  The RAMIs stand for: The Rockford Area Music Industry.  For 22 years the RAMI committee has been handing out awards.  It started off as a great, music community-minded thing, opening up this region’s bright, rising talent to the rest of the country; but like many organizations around Rockford and other American cities suffering from the same social diseases that cause cultural tastelessness, it’s turned into a joke of itself.  A joke on our community, and in many cases, an offense to many making music that deserve your attention.

Note, this is of no slight to the winners listed.  This is based on mentioning what the RAMIs ignored, choose to ignore, will claim that no one nominated who I’m about to mention, or were unaware of existing.

Here are a few community peers of interest who are connected by one goal, making music.  Some have been creating nationally recognized work from within our ignored music community for quite awhile. Especially in 2012, and to be ignored regionally by our region’s media outlets and music industry organization is pathetic and downright offensive.

Mark Gustafson:  Producer, engineer, working and touring musician, as well as being a full time dad in-between working for Cheap Trick as a live sound engineer.  When time permits, he also runs his own recording studio, MIA Studios, where much of the 100+ Sock Monkey Sound episodes were recorded.

(Full disclosure; Mark works for Sock Monkey Sound and helped establish it.  He has no idea I’m irritated and entertained about the RAMI’s ignorance for him.  It’s my duty to express as much bias as the RAMIs–and all of the ignorant Rockford area media outlets–has done over the years. How many times can y’all shove something that’s Cheap Trick related in our faces with pithy commercials, radio, and news paper articles? Get with the times for Christ’s sake.)

Mark produced and engineered “We’re All Better Than This,” the 2012 full length release by Joie De Vivre–a Rockford area band with a decent fanbase that’s growing outside of the region. They made their European touring debut last summer.  Their record–along with any mention of the band–and Gustafson were slighted  by the RAMI’s.  (Let’s assume it’s the record’s title.  There’s a pro-feel-good-think-positive-Rockford campaign going on to cover up the city’s hard economic facts and the community’s frustration and apathy towards it’s internal decay.  Eat dick, Rockford.)

Gustafson has also worked on a few records from this region that I have enjoyed immensely in the last two years; particularly, The Pimps‘ swan song, “Fuck This Shit, We’re Outta Here“.    A band that knows more about the modern day decay of the music industry than any band to come out of Rockford since Cheap Trick.  (They don’t count.  They called Chicago home on their PR releases for the first 25-30 years of their career. For good marketing reasons of course.)  Joie De Vivre and The Pimps are used to being ignored by it’s own region, like many.  (We get used to it. Eat another dick, Rockford.)

Both records mentioned express the drive and regional emotions to get the hell out of dodge or to acknowledge the wanting of a life better than this Rockford area sh!t.  I hope Gustafson, Joie, and The Pimps pause for one second to observe the respect they get elsewhere before whatever work comes next.

Secondly. Jesus Correa’s 2012 release under the name, Los osos voladores, produced by Micky Rosenquist at Underground Squirrel Studio, deserved more than this sh!tty mention.  One of the best releases I heard all year in 2012, and to think that the rest of the city, state, and country have heard barely a murmur of it is bullsh!t.  I blame Rockford.  The voice of the people have no voice here.  Everyone is used to being lied to, “things are on the up!”  The local media rags, radio stations–all of you with the power to reach and pollute the community’s minds–are f#cking garbage.  Biased, one side of the story, garbage. You have no idea what kind of talent is in your own back yards because you’re all looking to keep a job you’re going to lose no matter what–that’s the Rockford way.

If I were mayor or the director of some bullsh!t, city driven, tax-payer paid for, penny pinching, arts organization (PICK ONE, WE HAVE MANY SH!ITTY ARTS ORGANIZATIONS DIRECTED BY NON-ARTISTS), I’d do what the western world did for the great artists of history’s decrepid past:  Patronize an artist like Jesus Correa. Employ him full time with the city’s arts organization pennies to create, create, create–versus handing those pennies to a non-artist to direct another fundraiser (for what again, artist loft spaces in a building our mayor or one of his friends owns that we can’t afford to live in to begin with?).

Let Jesus document Rockford and America’s own decay through his eyes, ears, mouth, hands.  Start there; there are a few other regional artists I can count on three fingers who deserve the same treatment.  In a thousand years, aliens will sit around and laugh at the work most of you won’t figure out.   There is no need to think deeper, enjoy it while you can. Correa’s work can’t be fully described in one sentence, from music to multi-media, performance art, stand-up, illustration, painting, and beyond, his work goes where his muse must.  He would receive all of my mother f#cking tax dollars to create on a whim, versus wherever those pennies are going–the same scumbags, marketing firms, and friends of a friend of a friend.  (TIF district exemptions? You bet.) Claim Jesus as your city’s artist, Rockford, or another city will. (Watch, wait, listen, you’re welcome. His work is the mother f#cking sh!t.)  I can guarantee whoever is reading this on the inside counting out pennies is laughing at the mere suggestion of patronizing a local artist because you, Rockford, are sh!t. Again. Eat. My. Dick.

Third and egotistically (Rockford loves overtly proud, optimistic, delusional people), I am the mother f#cking shit too, Rockford. I have been raising musical spirits from the dead while documenting your decay from within for almost two decades. Your pathetic, culturally tasteless, and overtly proud ways–you’re going to miss me when I’m gone. How much do I loathe our city, it’s leaders from government to businesses?  If I were a ten story tall giraffe, I’d definitely take a sh!t on city hall and piss on the surrounding areas. I am bigger than you, Rockford. I created something out of nothing when I realized I wasn’t good enough for a job in my own town. I couldn’t compete with scumbags, that’s for sure.  I am a reflection of your shitty, pathetic town and most of it’s leaders.  There’s a different (wrong) way to do business in Rockford, and I found a reflective way to recreate that opposition.  These words, Andy Whorehall’s, are all yours; your voice, thoughts, unfiltered–look in the mirror.  Do you see a giraffe laughing back at you? I bet you do. Welcome to the rabbit’s hole, scumbags. I mean that with all of my heart–my fictional, empty, ten ton heavy heart.

Fourth and short:  Learn how to spell “NIELSEN” and “STAAS” correctly.

Lastly:  EAT. MY. DICK. ROCKFORD.

EL OH EL™!

YOU$A™!

AW  |  Andy Whorehall

Download my one-man podcast show, Songs About Stuff And Things.  Available on iTunes as well.

____________________________________________________

Andy Whorehall (SM)
All rights reserved. Use with permission only.
> Listen, Download, Free on iTunes: Songs About Stuff And Things
> Official Show Site: SongsAboutStuffAndThings.com
> Presented by SockMonkeySound.com
> Sponsored by Thom Derby, CEO & LORD of all at Derby | Reynolds

2013 – 22nd Annual RAMI Awards Winners

Acoustic Rock/Folk – Three Good Men

Album of the Year – Miles Nielsen

Blues – Lizzi Neal Band

Christian/Gospel – Epiphany

Classic Rock – AUDIODRIVE

Composer of the Year – Starlite Radio

Country/Bluegrass – Jamie Campbell & the Redneck Romeos

DJ – DJ Jordan Chance

Female Lead Vocalist – Amy Nickel

Funk/R&B – Can’t Touch This

Hard Rock/Metal – Pulse-18

Indie/Alternative – The Poets Dance

Jazz – After 5

Jazz – Dean Moriarity Jazz Band

Latino – Escape

Lighting Engineer – Erik Myles

Live Sound Engineer – Paul Macaluso

Live Sound Engineer – “Johnny B” MacDowell

Male Lead Vocalist – Dan Curington

New Act – Pablo & the Rhythmix

Oldies – Vintage Vinyl

People’s Choice – Artist of the Year – Beyond Threshold

People’s Choice – Radio Station – 96.7 The Eagle

People’s Choice – Special Event – Phantom Regiment Show of Shows

People’s Choice – Venue – Whiskey’s Roadhouse

Pop – Sweet Lucy

Rap/Hip Hop – Static

Recording Studio – Midwest Sound

Rockabilly – Dirty Fishnet Stockings

Song of the Year – Silver

Song of the Year – Kelly Steward

Stage Hand/Rigger – Ryan Tomkus

Stage Manager – Chuck Whitmore

Studio Sound Engineer – Jeramy Engler

Tribute Band – Rubik Steel

Sock Monkey Sound

After that, however, the record gets stuck in a lull, with most of the songs sounding contrived and repetitive. Vocalist/guitarist Zimlinghaus, who writes all of the songs as well as sings them, has a punk rock ‘don’t give a damn’ attitude to his lyrics and how he sings them. Unfortunately, it tends to work against him because he doesn’t have the moxie of a great punk singer like Joe Strummer who could sing that way and pull it off. On some songs he tries too hard, like on “Cock Monocle” a social criticism where he shouts himself hoarse but without any feeling that makes you think he believes what he is saying. On others, like “Spanish Grammar” or “Little Reminders” he doesn’t sound like he’s trying at all. “Life Out West” is the only other track that sticks out on the record, with its criticism of democratic social upheaval. Zimlinghaus sings of felling ambivalent about all the political changes taking place in the world and the United States role in these changes, at point singing “Nothing makes me sadder than a soldier with a smile.” I believe the line is one of the few sincere lines on the record, and not just something he sings to get a rise out of the more patriotic members of our population. “Life Out West” is a strong track about the price of freedom that American society sometimes chooses not to see.

There is something amateurish to a lot of this record, and I mean the songwriting, not the production. The lyrics to almost all of the songs could have been written by any moody 15 year old, whining about the problems of the world, the emptiness of life, and how there’s nothing to be done about it. There’s nothing wrong with adolescent lyrics if the band can package them the right way, but many of these songs sound monotonous. Jordan Schneider holds down a solid bass line on most of the tracks, but the rest of the instrumentation is mediocre, although I do like the funky drum beat on “Little Reminders.” I also understand that an indie band with limited resources doesn’t have the luxury to go into a studio and work out the best arrangements or track listings, but the problem is that some of these songs are not new. In order to review this record, I listened to it on bandcamp.com and there was a link for a 5 song EP the band released in November 2011 called “Annyong.” 5 of the tracks on this album where on that EP, but with different arrangements that sounded closer to folk rock that modern punk. Simply said, these aren’t songs that the band wrote and recorded on the fly, they have been worked on for some time.

On the whole I’m not saying the “Pain Waves” is a bad record, but it’s not one of those debut records that set the world on fire. I do think it has its moments and is not a bad starting place for this band to work on album number 2.

Sock Monkey Sound

Daft Punk Return

Daft Punk are set to release Random Access Memories on May 21, the real “Get Lucky” has been leaked, replacing the hacked up and stitched together faked versions. The song is a collaboration with Pharrell and Nile Rodgers from the upcoming album that also features collaborations with Panda Bear, Julian Casablancas, Paul Williams, Todd Edwards and more.

Be sure to check out The Collaborators video series produced by The Creators Project interviewing the artists teaming up with Daft Punk on the upcoming album. Much of the conversations revolve around hyping (ass kissing?) Daft Punk and their genius (they have cool helmets). The episode featuring Nile Rodgers is a good watch because he is a bad ass!

The track will finally be available for legal download to the world at 12:01 tonight.

What do you think of the return of Daft Punk?

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All said, Alkaline Trio’s new record My Shame is True is essentially a breakup album. Having recently gotten engaged and being happier than I’ve ever been in my life, I need a breakup album like Wayne needs a gun rack. And yet, I still love this record, in which Trio deliver their most pared down, straight pop-punk/rock record since probably 2003’s Good Mourning.

While My Shame is True may lack the (arguably excessive) production of recent Alkaline Trio records, there is no shortage of catchy melodies. Album opener “She Lied to the FBI” is pretty much as pop as a pop punk song can get and captures a youthful exuberance that I was honestly not expecting from the band at this stage in their career. The song also introduces the prominent theme of the album, at least with guitar/vocalist Matt Skiba’s songs, which is shame resulting from an unfortunate, yet amicable, breakup. Allegedly inspired by Skiba’s relationship with the woman who dons the cover of the record, the breakup serves as the catalyst for some of his absolute best lyrical imagery. One particularly striking moment comes in “Midnight Blue,” in which Skiba sings You cried out your fucking eyes / before you sang me ‘Happy Birthday’ one last time.

Tracks like “I Wanna Be a Warhol” and “One Last Dance” add to the narrative, but it’s in “Kiss You to Death” where Skiba actually comes very close to nailing the intimate lyrics that caused countless 19-year-olds to get Trio skull-heart tattoos in the early-2000s. Lines like I miss taking out the trash / I miss your face / I miss your cat / I miss your smile / I wanna kiss you to death tonight are delivered with such unironic sincerity, it’s tough not to feel it.

Bass player/vocalist Dan Andriano’s output is a bit subdued on the record. Only four of the twelve songs on the album proper are his, but they’re no less poignant, eschewing Skiba’s relationship woes for more existential and spiritual ones. The songs range from rager “I, Pessimist,” (featuring Rise Against’s Tim McIlrath) to the introspective “Only Love.” Clocking in at about four and a half minutes, “Only Love” is the longest song on the album, and with its chorus of At the end there is only love it has the potential to dovetail into dopey sentimentality, but it’s actually quite stirring, and one of my favorite songs Andriano has ever written.

It seems like many people who grew up with Alkaline Trio have written them off in recent years (upon expressing my enjoyment of this record on Twitter when it came out, the first response was “Is it actually good???”). You may have broken up with the band, but they want you back, and My Shame is True is about as good of a plea as it gets. To quote Skiba once again, Now I want you back and waiting there for me / I won’t hold my breath, I don’t expect a thing / But a boy can dream.

My advice? Give ‘em another chance.

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The Strokes – Comeback Machine
The falsetto chorus on “One Way Trigger” is killer. Julian Casablancas may be singing about beautiful women breaking his heart or bombing North Korea for all I care, I don’t know because it moves.  The Strokes actually sound like they give a shit throughout the entire record.  Something to dance and bob your head to.

BeeGees – 2 Years On
The brothers Gibbs’ pre-disco era and post-60s boy band masterpiece.  Rooted in strange folk rock and classical pop.  Anyone dares to tell you how fucking gay the Bee Gees are, punch them and put on “2 Years On.”

Phosphorescent & Bill Baird
Find and buy everything that Matthew Houck (Phospherescent) and Bill Baird (Sound Team, Sunset) has written, recorded, produced, and released in the last decade. I’m telling you, do it.

Caitlin Rose – The Stand-in
Sweet, sweet, sweet, sweet, soulful Caitlin Rose.  Sugary and silky like a modern day Linda Ronstadt; a little bit of country, a little bit of rock n’ roll, a whole lotta heart you won’t hear on the radio.  God damnit, I want to drink beer with her.

La Historia – Self-Titled E.P.
Kevin Schwitters (The Braves, Haunted Hayride, Sa Yes To The No-Nos, Table and Chairs)  is the best songwriter from the midwest  many haven’t latched onto for the better part of 12 years at this point.  For a brief moment–and not many from Rockford, IL would know or give a shit because Rockford, IL is shit–Schwitters was a key member  of The Braves with another under-appreciated, midwestern songwriter, Joe Reina (Wire Sparrows).  They, with the the equally under-appreciated Shawn Ross and Jesse Carmona, released a few regionally-influential records as The Braves.  The debut from Schwitters new project, La Historia, is rooted in a time and place that predates the internet and digital music.  ”Wrong Things Right” is one of the best rock songs you’ll hear blasting light years past anyone in America 2013. The ex-Braves  and Tables and Chairs member teams up with familiar friends from each band to record five 90s influenced  songs with Mike Hagler (Wilco, Neko Case, Liza Phair, etc.) and again, I sit, listen, and wonder as to when everyone else will catch up with the past.

My God, The Heat – Beautiful Men in an Ugly Town
Stuart Johnson is a fucking asshole and here’s why.  He turns 40 in the last two years, temporarily breaks up  The Pimps whenever he feels like it–a midwestern punk band that was one of the first, young, major label victims of hard cuts in the late 90s to turn the situation into their own DIY advantage–and to top it off he typically stores his best songs on the back end of every record.  He’s calls them “turds”! Come on!  My God, The Heat‘s debut is a raucous reminder of how fun, absurd, and necessary rock n’ roll should always be.  ”The Continuing Decline Of Customer Service In The Food And Beverage Industry” and “The Number Six Dance” prove once more that the best songs are buried in the back of the record, in true Stu Johnson fashion.  However, it’s the shake and shimmy of songs like “I Actually Think This Mark Of The Beast On My Forehead Looks Pretty Cool” that sounds like long lost guitar lines that The Strokes and Ramones never wrote. Another win for the midwest.

Borgata Mob – Just Like Heaven from the Whiteboy Wasted EP
More wins for the midwest. The Whiteboy Wasted EP came out in 2012 and features midwestern hip-hop artists, Black Lung and Fresco Clean.  I stumbled into it circa February 2013 because I live in a shitty fucking city where good, regional, music takes longer to circulate to ears that give a shit–especially hip-hop.  Just Like Heaven, a track from the EP came on my iPod one day and was followed by “Whitechocolatespaceegg” by Liz Phair.    Everything was right in the universe, try it.

Cameron McGill - Gallows Etiquette
The first few listens of the Chicago songwriter’s upcoming 2013 full length comes across as a warm, soulful record; but underneath the initial vibe are literate explorations of temptation, darkness, and common struggles of the human spirit.  McGill’s characters are never pretty when you break them down and separate the image of them from the music.  The band–like many of his past records–is in top form, offering up a soundtrack for McGill’s scenes, shadowing him and taking the lead as if this were a one many play.  ”Gallows Etiquette” is a drive through Chicago at night, 4 a.m., and out into the big bad world; a whole lot of silence veiled by the threat of mankind’s inner demons.

Camper Van Beethoven – La Costa Perdida
“La Costa Perdida” is no random rehash-the-past college rock affair, it’s a reminder that some of that era’s best bands are still going sans R.E.M.-esque drama, reunions, and reissue affairs. David Lowery continues to spike his catalog with cleverly written folk rock songs whether he’s performing with the 80s college rock icons, Camper Van Beethoven, or the 90s MTV era stars, Cracker.  (Don’t forget his recent solo work either.) 2013′s CVB is not a college rock reminder of days gone by, instead it’s a solid bunch of songs made by old friends still making music on their own terms.  Lowery’s lyrics and cracked delivery still remain the focal point by always being funny, witty, and romantic.   Let it be formally said once and for all:  David Lowery deserves to be included in the same class music lecture talk as Paul Westerberg and Alex Chilton. If I have any say so, repeat it to the kids.

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Nick Krill of The Spinto Band is our guest and Chip talked it up with him about the bands latest release Cool Cocoon, available on the bands own label Spintonic Recordings. Other topics this episode include SXSW, video games, and Nick’s thoughts on success. Thanks to Nick Krill for taking some time to speak with us!

You can check out The Spinto Band live this summer at the Firefly Music Festival June 21-23 in Dover, Delaware.

http://www.facebook.com/SpintoBand

Thank you for listening!

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But I found myself in the basement of the Dakota Tavern, pint in hand and ready to rock (a friend had mentioned an all girl band called Boy were playing and there was no way we could miss the show).

So there I was, waiting and ready in one of the most grungy places I have ever stepped foot in, even with the lovely Christmas lights dangling from the low ceiling.

And the second Boy came on stage and began their set, I knew this was the only place in the entire world I needed to be.

The vocals were care free and the guitar was soothing. And these elements combined were nothing short of euphoric.

It was one of those rare moments you hear about, when the band starts playing and everyone actually stops what they are doing and stares at the stage, mouths gaping and feet stuck to the floor and  you’re left with your hips grooving.

The set wasn’t energetic, and it didn’t have to be. The songs were simply beautiful, well-crafted, lyrically smart and enticing. The fact that there were maybe 40 people in the audience made Boy’s set super intimate and inviting.

And like everyone within a 10 metre radius of an FM radio, I like Lonely Boy by The Black Keys. But guess what, Boy did it so much better. I managed to pull up my jaw from the beer-sticky floor and capture the magic of it in a video, check it out below.

So there you have it, the perfect way to end Canadian Music Week 2013. The fact that their music is amazing should be enough of a reason to dig this band, but in addition, the group is comprised of the nicest individuals, like ever. I got a chance to chat with guitarist Sonja Glass, check it out below.

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Written by: Irving Washington

I’ve been to Strumbellas shows before and have never had a bad experience, but last night at the Horseshoe Tavern these young folk folks definitely brought their A-game for CMW.

Having heard their songs before, I was of course singing along throughout the show. However, the real magic of a Strumbellas song is that even some friends of mine, who also came along and had never heard (or even heard of) the band before, were almost immediately picking-up on the sing-along choruses.

As always, The Strumbellas managed to not only deliver a stellar musical performance, but also ignite a sense of communal relationship with their audience.

Frontman Simon Ward provided a well-balanced dose of both deeply moving lyrics and vocals, as well as genuinely entertaining comedic between-songs banter with fellow bandmates and audience members.

Each time Ward begins to sing the soothing chorus of ‘Sailor Blues’, I’ll admit that a small part of me is nervous, anxious, excited… whatever, that his voice will crack on one of the notes. Amazingly, I can’t say that I’ve ever heard him do so during live performances, and last night’s was no exception.

Instrumentally, all six members are as tight as a nun’s vagi…. they’re extremely tight.

From the first note to the last, its clear that this arrangement of strings, percussions, vocals, and keys has been practicing and playing together relentlessly for a long time.

Some bands need to be seen live, not for a lack of excellence regarding their recordings, but because their live shows present the listener with an altogether different (though equally enjoyable) experience.

The Strumbellas certainly fall into this category, and in my opinion deserve every bit of praise and recognition they’ve received thus far in their career, if Juno-what-I-mean (not my joke, I stole it from one of Ward’s funny rants).

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Written by: Elijah Clarke

Ben Caplan and his band The Casual Smokers took the late slot for this Thursdays CMW showcase.

Hitting the stage at just after 1:30 am, many members of the audience didn’t have the energy to tough it out for his set. However sticking around with the smaller late night crowd, with sore feet and the burning of sweat filled eyes was well worth it.

Caplan and his monstrous beard stole the show. His unique writing style combines the sounds of Tom Waits, with the melodies and instrumentation of a band of gypsies. Just a stripped down acoustic set, which Caplan is known for, would have been great; However the addition of his full band really made it a fantastic show.

Referring to his band as a “super group” was an accurate description. The impressive musicianship and energy of his band, coupled with Caplan’s huge rumbling voice made for a truly memorable ending to the night, and definite highlight of the whole week.

With a series of crowd sing-alongs, or better yet “yell-alongs”, and mind blowing violin solos, I doubt anyone regretted their brutal Friday mornings that must have followed.

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Written by: Irving Washington

Poor Young Things? More like poor young me for having to listen to this shit.

Last night’s ‘performance’ at the Horseshoe Tavern was quite possibly the dullest show I’ve ever had to sit through. In all seriousness, I envied my friend who went to the bathroom and missed the fist half of the set, because he got to instead listen to the sounds of toilets flushing and hand dryers buzzing (and most likely drunks barfing in the neighbouring stalls).

Technically speaking, while the band’s instrumental performance was relatively tight, their vocals were horrendous.

In terms of musical substance… I’m drawing a blank. Poor Young Things played a series of arguably the most generic sounding rock music imaginable. The entire set sounded like the electric guitar equivalent of elevator music: its on in the background essentially just so that there isn’t an awkward silence.

This felt like the longest elevator ride of my life.

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Last night was the start of Canadian Music Week 2013 and to get the ball rolling, I hit up a garage/surf/punk show at Toronto’s Silver Dollar. Check out the above photos to see what went down!

The Rathburns sound was unreal – the lead singer had the most powerful voice I’ve ever heard live, and it really sounded like apple sweet goodness.

Brave Little Toaster had a very diverse sound – at times, they were a little hard to handle though (vocal and attitude wise)

Brews Willis was fucking sweet! They are funny dudes, and dig surf rock and take shots on stage. Cool dudes.

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Almost 1000 bands, films, comedy and just good times all around.

Tomorrow night, I’ll be checking out an imtimate 200 person garage/surf/punk show at Toronto’s Silver Dollar.

The bands on the bill are Spectre, Brews Willis, Brave Little Toaster, The Rathburns and Wilmott Redd.

Now, I actually hadn’t heard of any of the bands until recently when I was browsing through the CMW schedule and thought that Bruce Willis was going to be playing – upon further investigation, I figured out that it wasn’t the actor but was actually a band from Toronto who are sponsored by Pabst Blue Ribbon (I think).

I then typed their name into YouTube and boom! I was hooked. Summer grooves, beer, girls in bikinis and skateboarding. It doesn’t get much better than that. Check in tomorrow night for some photos, videos and crazy tweets from the garage/surf/punk show that will kick off CMW 2013 for me, and you!

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If you’re not familiar with SXSW, it’s one of a few Austin festivals that the capital city of Texas economically benefits from. That is, everyone but the artists and musicians that live there 24/7.  (It’s a lot like Rockford, IL–Sock Monkey’s HQ– in many ways minus the major music festivals.)

Today’s state of rock n’ roll address summary from Austin’s commercial enterprise, SXSW, was provided by Dave Grohl; appointed the keynote speaker for the 2013 SXSW Music Convention (aka, another party to allow the born-again suits, critics, bloggers, veteran rockers needing a refuel, and cultural tastemakers an extended weekend bender with society’s best drinkers and drug addicts).  If you haven’t heard Grohl narrating or providing commentary to any rock documentary made in the last 5 to 10 years, well, you haven’t realized how far and wide that ‘Nirvana’ card can earn a nice guy with a career in mediocre music making more cards to talk about whatever next great thing he’s done in his garage or on that new video camera he bought at Best Buy.

Here’s a reinterpretation of today’s Grohl speech.

Rock n’ roll’s an extension of high school. Difference is, 25 years later the nerds who hated everyone at one point are the jocks that people look to for attention and satisfaction, and the high school jocks are now cops and roadies or that one guy you don’t like to stand near in the P.E. shower or at a show.

It all comes around and it’s not cool or lame no matter how you look at it. None of it matters.  Rock n’ roll is either the lie you didn’t want to hear the truth about later on in life or a catalyst for homelessness, addiction, and self destruction.  It is a lie.  Rock n’ roll is a lie that can’t save you from the inevitable truth.

Some of music’s brightest quarterbacks make the shittiest music because they can and because they sell–Dave Grohl. Look there, in the crowd!  The young rookie smoke monsters, corrupt and corrosive to everyone around them; and over there are the cry babies and cheerleaders;  oh, how we love the sluts and the wide receivers; don’t ignore the back-up quarterbacks.  The music industry’s brightest bench players are as meaningless as a high school football team’s coaching staff.

Home is where the dog is at and a volume knob.  Nice guy or not, power off, Dave; and lose the glasses.

Power off.

AW

____________________________________________________

Andy Whorehall (SM)
All rights reserved. Use with permission only.
> Listen, Download, Free on iTunes: Songs About Stuff And Things
> Official Show Site: SongsAboutStuffAndThings.com
> Presented by SockMonkeySound.com
> Sponsored by Lord Thomas Derby, CEO & LORD of all at Derby | Reynolds

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Bad Brains, from Bad Brains: A Band In DC.

So not only is Canadian Music Week a music festival, it’s also a film festival.

And this year especially, the film festival is looking pretty awesome.

About nine films are being screened at the TIFF Bell Lightbox from March 21 – 23.

The ones I’m most looking forward to are:

Spring Breakers (James Franco, Selena Gomez and Vanessa Hudgens)

The Last Pogo Jumps Again (About the Toronto punk scene in the 1970s/80s). Check out http://www.thelastpogo.net/ for more information and some trailer action.

Bad Brains: A Band in DC (About Bad Brains! Who else?)

So there you go, check out http://cmwfilmfest.com/ to see the rest of the films at the festival and to find out more information.

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– e

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Steve Warrenfeltz (via http://www.foxvalleyvoice.com)

I chatted with Steve Warrenfeltz, the owner of my local record store Kiss The Sky in Batavia, IL, the other day. They had moved to their new location last summer and being that the store is about three blocks from my front door, I informed him I was excited to be able to walk to his location for Record Store Day, even late at night for their usual midnight sale. “No midnight sale this year,” Steve replied. He explained that it was part of each store’s pledge (an agreement made with RSD in order to participate and carry several RSD-sanctioned releases), and that although he disagreed with the policy, Kiss The Sky would not be a participating RSD store if they didn’t oblige.

Having interviewed Carrie Colliton (co-founder of Record Store Day) on an episode of the Sock Monkey Sound podcast prior to RSD 2012, I reached out again to her via a message on Facebook; wanting to refrain from posting my questions as comments, which I felt would lead to a long back-and-forth between commenters (or even between commenters and Carrie) and I didn’t feel it was my business to “announce” this change publicly before RSD did, if they choose to.

RSD has its detractors, especially from those who actively shop in physical record stores every day of the year. The complaints are often same (limited releases create over-crowding and scalpers; “I don’t need a special day to support my local store”) but for me, I use a probably somewhat-broken analogy of attending a sporting event: Scalpers may take the best tickets and hike up the prices, but I still am going to buy a ticket to the game. I still want to participate. I just don’t let it ruin my outlook. Unless they’re doing something illegal or that could be perceived as soulless, attempting to get more bodies in record stores is something I can always get behind.

Here’s what I said about the experience of midnight sales in my recap of RSD 2012:

Even without midnight sales, RSD is pretty much the only time you’ll stand in line to purchase music these days. With the digital revolution, there is a severe lack of chances for people to await similar, or the same, releases in the flesh at one time. I enjoy pretty much everything about RSD, from the lines to the new releases to the general joy everyone seems to exude in a store that day. And this year in particular, they’ve made a perfect choice in Jack White as their ambassador, inarguably the biggest artist doing the most to keep physical vinyl media alive.

But I wanted to know the reasoning behind this change, and why stores that want to open early, like Kiss The Sky, can no longer do so without breaking the RSD pledge.

Record Store Day 2012 at Culture Shock, Rockford, IL

Despite all the work that goes into organizing a national event like Record Store Day, Carrie found time to reply – something she didn’t have to do – and her points are well-made.

Here is Carrie’s reply to me, which she has given me permission to post:

I can see the points made about “new” customers, but like anything, it’s a shame that a few bad apples – primarly folks snatching up releases only to sell them immediately for inflated prices – had to spoil an aspect of record shopping that others look forward to. Luckily, it’s just an aspect, and I’ll still be shopping on RSD, and every other day of the year.

Record Store Day is Saturday, April 20, 2013. You can find your participating stores via the RSD website, and follow them onFacebook and Twitter. You can listen to my interview with Carrie prior to RSD 2012 here.

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Each year Canadian Music Week brings in so many different bands. Most often, the bands featured in the music festival are young, up and comers. Some are from the city of Toronto while others are from half way across the world where temperatures rarely dip under 70 degrees (I think).

But in this diverse mix of local and international bands that make up CMW, there are some surprises.

This year, it’s the punk surprise to end all punk surprises.

The Ramones and Sex Pistols will be in town, playing a show together. Well, not really. But sort of.

More like a member from each band will be in town to showcase their music on the last day of the festival, which is still pretty cool.

From the Ramones, Tommy Ramone. And from the pre Sid Vicious Sex Pistols, Glen Matlock.

You might know the Ramones from such tunes as Blitzkrieg Bop, Pet Cemetery or like below, I Wanna be Sedated…

And you might know the Sex Pistols from such tunes as Pretty Vacant, Holidays in the Sun or like below, God Save the Queen…

But I am not quite sure what will go down at this show. Will they play original tunes from the bands that once were? Or will they play some new material they have been working on? Will Mick Jones join Matlock on stage for some Rich Kids songs? And will Tommy pound the drums while some punks jump up on stage and strum some fuzzed out guitars?

Or will they just play some soothing acoustic songs?

I’m not sure. But I will be there and I will find out and then I will pass it on to all of you.

Punk meets Canadian Music Week on Sunday March 24 at the Rivoli. Get there!

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The annual music, film and comedy festival will hit Toronto in just under a month and with it will come over 950 bands. Again, that’s 950 bands!

The festival takes over venues all across the city of Toronto, starting on March 19 and going until the 24.

Among the hundreds and hundreds of bands, here is who I am most looking forward to seeing:

Metric, Boy, USS, Diamond Rings, Monster Truck and my favourite thrash punk sweat show rockers, The Dirty Nil.

See, it gets filthy…. and loud. It’s awesome.

You can check out http://canadianmusicfest.com/artists/ for the other 944 bands.

So as an avid music fan and music journalist, this festival for me is the festivals of all festivals. Where else in the world can you see hundreds of bands in your home city and drink until the wee hours of the morning? Nowhere, that’s where.

Sock Monkey Sound followers, get ready, we have a team of about eight writers (including myself), photographers and videographers to bring you the best of the festival. We wont’ sleep, and neither should you.

So remember to check out our coverage during the festival. You won’t be disappointed. We might though, when our ears bleed and livers explode.

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with multi-colored handles

inner child grips tight

Austin, Texas indie rock heroes Sound Team released this vibrant, urgency laced five song EP in 2005, before their self-noted disastrous full-length affair with Capital Records in 2006.  The intro and second song punch of “Fastest Man Alive” to “It’s Obvious What’s Happening Here” will burn your ears to a repeat. “Orange Bird” is the best song that no one in a rock band from New York City in the 2000s had the balls to write– see The Strokes.  The 3:00 mark of “In The Dark No One Can Hear You Sweat” might prove one human or not. Goosebumps certified when the band shifts gears to a two minute rocking build of an outro.

Sound Team was one of indie rock’s ‘Next Big Band’s in the 2000s, highlighted by the fact they were invited to open for Arcade Fire and David Bowie in Central Park.  They broke up in 2007 but not without leaving behind some of the 2000s most vital unheard-of rock music. Start here with the Work EP and then dive deep into the rabbit hole with Bill Baird, one of the band’s founding members who’s still recording and releasing brilliant music on his own terms.  It’s beautiful stuff that time is going to be very kind to.

I feel ashamed for not having heard the Work EP sooner in life.

AW

____________________________________________________

Andy Whorehall (SM)
All rights reserved. Use with permission only.
> Listen, Download, Free on iTunes: Songs About Stuff And Things
> Official Show Site: SongsAboutStuffAndThings.com
> Presented by SockMonkeySound.com
> Sponsored by Lord Thomas Derby, CEO & LORD of all at Derby | Reynolds

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