“Loose Tooth” can be found on 2010′s Deserters E.P., which is the official companion piece to Cameron McGill & What Army’s 2011 full-length beauty, “Is A Beast.“

AW | andy whorehall

Video Credits

MONKEYEATSMONKEY PRESENTS:
Cameron McGill – “Loose Tooth”
08.19.11 at The White Rabbit, Indianapolis, IN

Cameras: Derik Savage, Christina Reid
Audio: Derik Savage
Booked and Promoted by: Josh Baker and MOKB Presents

Sock Monkey Sound

{Photo of Richard provided by Megan Connelly; All other photos courtesy of Dr. Erik Kang except for photos of rich athletes or world leaders– those are used without permissions because, c’mon, this is the internets. Illustrations and other nonsense by Fr. Andrew Whorehall}

Richard Edwards, singer/songwriter of Margot & The  Nuclear So and So’s is an Indiana native. Many people in other states believe people from Indiana are basketball lovers by default, but is Richard?  The forthcoming 2012 record, “Rot Gut, Domestic,” features a rock song tribute to basketball’s, Lithuanian big man, “Arvydas Sabonis.”  {Sabonis entered the NBA late in his life, 1996, winning rookie of the year while playing for the Portland Trail Blazers.  He was originally drafted by the Atlanta Hawks in 1985 but faced many era-related obstacles; NBA age requirements, Soviet Union laws, and horrible injuries to overcome before finally ending up in the NBA in 1996.  In 2003, he left the NBA to return home to finish out his professional career in the Euroleague with the BC Žalgiris, based in Kaunas, Lithuania}.  Do you feel better knowing this now?  We hope so.

“Rot Gut, Domestic” isn’t out until March 2012- it’s a vicious collection of rock songs dressed up in bleeding bass & guitar tones. Inspired by repeat listens to “Arvydas Sabonis” from the forthcoming LP, Andy talks to Richard about basketball and other stuff, but mainly basketball because winter is cruel and dark– and we all need something to make it to spring once again.

Enjoy.

________________________________________________________

"Rot Gut, Domestic" by Margot & The Nuclear So and So's, due March 2012

{Andy}
On the forthcoming “Rot Gut, Domestic” (2012), you’ve written a song about NBA/Euroleague professional ballplayer, Arvydas Sabonis.  Of all the great, ex-professional ballplayers, why Sabonis over, say, home state heros, Steve Alford and Lawrence Bird?

{Richard}
Stephen Alford and Bird came along just before I was of an age to form emotional connections with ball players. Besides, they are not the kind of players who generally spark my interest. A bit too pale.

Very pale, blinding even. Being from Indiana, did you like Michael Jordan (Michael Horde-it) growing up?

What the f*ck is Michael Jordan wearing?

We loved Michael Jordan, we even saw him play at Market Square Arena once. We rooted for him to beat the Pacers, but now I feel ashamed of that. Jordan seems like a grade A asshole, doomed to a loveless life by his obsession. Conversely, Reggie Miller and Rik Smits seem like real cool guys. How could you not root for Smitty as a kid? It boggles the mind. I was even sad when Smits hit that last second shot to beat the Magic in ’95, because my little brother loved Penny Hardaway.

I was a huge fan of Reggie Miller, loved his outside game.  I know a few Reggies but he may be the first Reggie I ever knew about in life. Enough, I failed to ask you this question ahead of time but have you seen what the fuck Michael has been wearing? My friend, Pablo, pointed out MJ’s attire but I failed to share it with you before now.  Let’s talk about some Bobby BasketBallers. What is it about Bobby Hurley that many people couldn’t stand as a ballplayer?

He looked like Bobby Hurley and he went to Duke.

Bobby Hurley

Such a big basketball heart for such a little man that Bobby Hurley is.  Would Bobby Knight be able to handle the modern day ballplayer’s ego coaching in the NBA today- or ever?

I think Bobby Knight’s ego would be, and has always been, the problem. I like Bobby, alright, but I would have no problem defending anyone, pro or otherwise, for Sprewell-ing his pale ass. Basketball is a game of poetry and finesse, you keep that Bobby Knight shit on the football field.

I’d like to see Mr. Knight as the new governor of Illinois. Speaking of, Illinois has corruption, California has porn, and Indiana’s tagged with the hoops stigma.  Being an Indiana native yourself, is this stereotype true or are politicians in Indiana looking for new safe ways to hide corruption and porn in the state of Indiana by using hoops as an eternal, positive foil?

They’re looking for a way to hide meth and crack. I cannot, and not for lack of trying, see any evidence of this ‘Indiana as basketball mecca’ mythology. Certainly not of this good ole’ boy, short shorts, pale variety that gets thrown about. That’s a thing of the past, if it ever existed at all. IU had a lot to do with that image, and they have (had?) been bad for some time, so I’m sure that had something to do with the degradation of the myth.

American myths are like finding available jobs anywhere in the states, or those weapons of mass destruction we heard about 10 years ago.  Just myths! Let’s say Dick Cheney was the same age and height as our president.  Can we pretty much assume that President Obama would destroy Mr. Cheney in a 1 on 1 basketball match?  Would Dick pay off the refs ahead of time to assure his escape from defeat, and then easily deal with the fines later that one of his defense contracts will cover for him?

Obama would beat his ass.

The Chief goes for the block on Shaq-Fu's son, Jim O'Neil.

YES, HE CAN.  Do you think the NBA was ever scripted like the WWF / WWE was in the 80s and 90s?  (We all know that wrestling and basketball are all real now.)

I think if the NBA had been scripted, at least in the recent past, we wouldn’t have gotten all of those Spurs championships and Pistons finals appearances. Although, that referee who went to jail supposedly screwed Phoenix and Sacramento out of some playoff series’. And it is well documented that the refs used to gang up on Iverson. So maybe the NBA is just the most ineptly scripted sport in history, and they just manage to cheat it into being way more boring than it would if they left it alone.

It’s still hard to comprehend how dull those Spurs teams were.  Suiting up Detroit’s  fans would make for some good games however.  Ron Harper, ex-Cavalier/Clipper/Bull/Laker, is a legend in his own time. Should he be considered for the NBA Hall of Fame for easily managing to be the teammate of so many jerks on championship teams at a pivotal time in the history of the NBA between 1994-2001?

I think if you managed  to put up with Jordan during those years, you should get some sort of prize. If Hall of Fame induction is what you propose, I will defer to you on the matter.

I’m genuinely sorry to say I have never met another Reggie.

Mr. Reynolds enjoys phone calls from strangers seeking advice, or to order a delicious pizza. He can be reached at 815-570-9866

Here’s your chance, Richard, meet my friend Reggie– he is very tough and can help you with anything. If you order a pizza at 4am, he’ll deliver it. 815-570-9866. Anyway, what else is there to do in Indiana besides play basketball?

Shit, lots of people snort cheap stuff they shouldn’t. People used to watch the Colts. That’s all over now. I believe there are rock shows for the young people, but no film scene. The kids just bum around when they’re not shooting hoops. A lot of playing hard, very little working hard. Alright place to live and to play basketball.

Sounds much safer than Sock Monkey Sound’s homebase. I’m sure you are aware of the rap records and video games Shaquille O’ Neal put out when he became a famous, large basketball man.  Do you own any of his recordings?

Yes, I own all the rap recordings; and I re-downloaded “Shaq Fu” when I was somewhere in Texas with the Twilight Singers. I bought all the cassettes when I was a kid, at a local flea market where I also bought basketball cards. When I was young, my favorite was “shoot, pass, slam” and we used to taunt each other with it’s chorus (“do you want me to shoot it? Nooooo.. do you want me to pass it? Noooooo… Do you want me to slam?? SLAM!) while we were playing each other in basketball. Now I’m more into “Biological (didn’t botha)”, because it’s more personal. I like it when he says, “Phil is my father!”

Shaq has had a few Phils for fathers.  My favorite, Sir Phil Jackson, the George Martin of Basketball! What is life for you like without basketball during this NBA strike? Do you miss it?

It fucking sucks. When I first started living in Chicago, I had a little disposable income, and I discovered that you could buy this “league pass” thing, where you can watch every game. It was the greatest year of my life. I just drank beer and watched a few games, then maybe a movie or read a little. It actually changes my brain chemistry when I know basketball will be on TV at night, and it gives me something to live for. I don’t feel as depressed. This lockout is affecting me really negatively.

I hear ya there.  I’ve tried watching college basketball games but there’s something unsatisfying about watching them play for free. Do you have any advice for the poorer NBA basketball players as to what they could be doing with their time? Which books they may want to read; or which records they should be listening to as well?

Probably Shaq’s records. They should watch movies like Patton and shows like Friday Night Lights to get inspired for the season, whenever that may be. There used to be a football show called Playmakers, and they should watch that, too.

Christmas Day 2011 is almost here, Richard!  5 games are scheduled to ease the holiday stress.  If push comes to shove and the NBA needs teams to entertain people, is your band, Margot and The Nuclear So & So’s, ready to suit up?

My band would embarrass themselves, but I could come in as a ringer and be a good team player who likes to shoot first and throw passes later. I have a saying, “I’d give it all up for one day of glory on the field”, but field could also be “court”.

Chris Fry & Cameron McGill discuss the alley-oop option fake pass to Richard, 3 point attempt play.

Who would play what positions; and what color uniforms would Margot prefer to sport on the court?

I want black uniforms with red trim, but like I said, most of my band mates would make fools of themselves on the court, so I would trade them all, except for maybe Chris, for the guys from Black Eyed Peas or LFO. I would play point guard, and the Black Eyed Peas would be my decoy players.

Chris Fry of Margot & The Nuclear So and So's suits up for some hoops

Will I Am is NASTY; his layups make millions and his half-court lob is a thing of beauty. What will your team eat before the game that will allow them to perform their best?  Keep in mind, that vegan shit don’t fly on a basketball court so well, and you’re the coach, you are the decider- what do you force them to eat?

You must be mixing me and Cameron up. I don’t do that vegan jive. Hot Dougs will get them operating at maximum capacity.

Hot Dougs is delicious but your guys might need potty breaks at half time, and many vegetables do not agree with sweat or pork these days.  Who in Margot has the best chance of dunking a ball through an orange metal rim?

I used to dunk the shit out of a basketball when I was 18. I think Chris gets the closest now. My body doesn’t work anymore.

Mine either, life is too short, we need that energy for later.  We started this conversation with Sabonis, who you’ve written a great rock song about, it’s due out on “Rot Gut, Domestic” in 2012.  It had me thinking of other great, rock song, tributes named after performers like “Alex Chilton” by The Replacements.  What are your favorite rock song tributes?

“Dear Prudence” is way up there, but it’s obviously a bit more covert than the two songs you mentioned. I don’t know a whole lot about this young band of Wavvvvvvvves, but I heard a song by them about Dave Grohl that I thought was fun and catchy.

The great Canadian baller, Bill Wennington

Dave Grohl has a decent beard; and so does my personal basketball hero, Bill Wennington.  One last question, is there any chance the great, bearded, Canadian gets his own song one day?

Let’s say, absolutely.

Thank you, Richard, can’t wait for people to hear “Rot Gut, Domestic.” Happy holidays and here’s to safe travels on the road, and the court.

AW | andy whorehall

Prozac Rock / Fingertips 7", by Margot & The Nuclear So and So's, available 12.31.2011, limited copies available.

Margot & The  Nuclear So and So’s will be performing at the Deluxe @ Old National Centre, New year’s Eve, 2011.  Also that night, the band will be releasing the advance single from “Rot Gut, Domestic”;  ”Prozac Rock” with b-side, “Fingertips.”  Limited edition copies will be available that night as a 45, vinyl. Keep up with up to date news about future shows and releases at their Facebook page, click here.

Sock Monkey Sound

This begins the first in a series of best of 2011 entries by our writers and contributors.

Andy’s Best of 2011

Girls – Father, Son, Holy Ghost

Girls – Father, Son, Holy Ghost
No other record brought me back repeatedly, swearing at its core simplicity, simple pop melodies and universal message– the wanting of love in any form. The love of a woman, mother, friends. The record’s haplessly divided by an epic centerpiece, Vomit, that wanders for the first four minutes until it’s spiritual climax. “Come in to my heart,” the band’s principle songwriter, Christopher Owens, proclaims above the gospel choir joining him in a Pink Floyd-esque crescendo. So goes the rest of the record; beautiful, devastating, pop music unafraid to pose it’s influences, with autobiographical lyrics coated in killer choruses . There’s an unbelievable amount of conviction within the performances, production, and songwriting, that elevates these eleven songs together. Father, Son, and Holy Ghost is an intense, religious-like, pop-rock listening experience that I turned to more than any other record in 2011, and will continue to.

Anna Calvi

Anna Calvi – Self Titled
An evil twin sister recording to Jeff Buckley’s “Grace.” If the devil has a voice and can play guitar, she’s it.

Paper Towels – Today We Eat, Tomorrow We Fight, Tonight We F*ck
A large, lo-fi, middle finger to boring, domestic life, technology, and the death of the traditional family unit. Recorded with archaic, analog devices near (what appears to be under) a bridge in a large city– according to the notes accompanying this recording. At times sounding like 1,000 homeless men singing in mono on “Click, Click, Click” (track 11) segways to humorous – if not scientifically correct – warnings to mankind’s most irresponsible kine, “Husbands and wives, your children are getting fatter and not for the better. Click, click, click.” The most baffling, scientific, and politically-prophetic recording I’ve heard this year. Here’s hoping the mailman is as good to you as he was to me this year when this cassette-only release arrived with a PR kit loaded in rock n roll mythology and threats to my personal existence.

Francis Goes Solo {L>R}: Darren Garvey & Daniel McMahon are caught thinking about stuff- beer, monkeys, Mister Meerasaké and melodies.

Francis Goes Solo – Self-Titled E.P.
Daniel McMahon and Darren Garvey, servants of the studio and the road to many Midwestern bands, serve up 3 cover songs by artists they’ve recorded and performed with. Songs by Cameron McGill, Cory Chisel and Miles Nielsen are turned into Bob Dylan’s wild mercury sound in the hands of Francis Goes Solo. 8 minutes 38 seconds caught within one night of recording. Here’s hoping they drag these simple, bombastic, trash-can-glam-folk-rock-pop-punk tribute performances out for 35-37 minutes next. Garvey & McMahon’s Francis Goes Solo debut E.P. is what the true spirit of rock n roll should sound like- lighting in a bottle.

Smoking Popes – This is Only a Test
Josh Caterer composes a teenage rock symphony to youth and longing, and it’s not annoying! In the hands of other pop-punk bands (think anything Blink 182 or a lead singer that sounds like a crying goat- most of the emo rock genre) this would be a terrible, simple, idea- and unlistenable. The Popes prove they’re back full-force, whether anyone else is still listening to them doesn’t matter. The Midwest-pop-punk formula they introduced to the rest of the rock world in the 90s, that many bands emulated poorly, never tires in the hands of The Smoking Popes. “This Is Only a Test” is the most surprising rock listen of the year. Younger, wanna-be-post-emo-punk-whatever they call themselves, bands should take notes here; it starts with writing great songs, then, sing your hearts out. Something Josh Caterer & Co. still do better than most, including their own 90s, commercially successful, peers.

More 2011 Listens

• David Bazan - Strange Negotiations
  

  David Bazan – Strange Negotiations

• The Roots – Undun
• Cameron McGill What Army – Is A Beast
• Tom Waits – Bad As Me
• Bright Eyes – The Peoples Key
• Cass McCombs – Wit’s End / Humor Risk
• Trapper Schoepp The Shades – Run, Engine, Run
• Lydia Loveless – Indestructible Machine
• Fleet Foxes – Helplessness Blues
• Miles Nielsen – Presents The Rusted Hearts
• Wilco – The Whole Love
• Boys Like Jason – I Hope It Never Stops Raining
• Gillian Welch – The Harrow The Harvest
• A.A. Bondy – Believers
• Noel Gallaghers High Flying Birds – Self-Titled

Trapper Schoepp & The Shades – Run, Engine, Run

• The Decemberists – The King of Death
• Yuck – Self Titled
• Jay-Z Kanye West – Watch The Throne
• Stephen Malkmus The Jicks – Mirror Traffic

Records from other years I listened to a whole bunch

• The Moondoggies – Tidelands
• Chuck Prophet – ¡Let Freedom Ring!
• Bryan Adams – Reckless
• Harry Nilsson – Nilsson Sings Newman / and Knnillssonn
• Rolling Stones – Tattoo You
• Glenn Gould – The Goldberg Variations
• Kathleen Edwards – Asking For Flowers
• Margot The Nuclear So Sos – Buzzard
• Beach Boys – Smile Sessions
• Trevor Menear – Some Kind Of Sunshine
• George Harrison – All Things Must Pass

Live Performances

Bon Iver, The Long Center, Austin, TX, September 13th, 2011

Kathleen Edwards &  Bon Iver
The Long Center, Austin TX, 9-13-2011
Edwards’ haunting version of The Flaming Lips’ “Feeling Yourself Disintegrate” to close her opening set silenced the theater as it was still filling in. It was the most memorable single, live performance of the year in a year of many.

Kathleen Edwards, The Long Center, Austin, TX, September 13th, 2011

What’s a list without my worst rock n’ roll related items of the year?
This is the only area of the post many will unfortunately read and offer commentary on– like bread on a stick, feed the pigeons and wait.

AW  |  Andy Whorehall

Sock Monkey Sound

Francis Goes Solo is Daniel James McMahon and Darren Garvey. It was never planned that way but it accidentally happened one night in Rockford, IL– August 29th at Underground Squirrel Studio between 12am and 6am, to be exact. McMahon and Garvey had finished up day 2 of tracking for the forthcoming Micky Rosenquist & The Black Squirrels album project when ‘Francis‘ showed up.  Most of the day’s performers had gone home, with another day of work ahead.  McMahon and Garvey decided to keep working on another 12 pack of beer, which led to a 3 song E.P. they had magically recorded by dawn. Showing up at 10:30am to continue day 3 of production, they shared with me what they had done a few hours earlier.

Choosing 3 great songs by Midwestern songwriters that McMahon and Garvey have supported as recording & touring members over the past few years, Francis Goes Solo was born– with limitations, the rock n’ roll kind.  Every song was recorded in the key of E at 165 bpm, with 1 take, guitars, vocals, percussion, bass.  Overdubs allowed by each were minimum throughout– Darren’s tambourine, Dan’s harmonies.  That’s about it.  Francis Goes Solo covers, in order: “Not On My Side” by Cameron McGill & What Army, originally released on the beautiful 2009 release, “Warm Songs for Cold Shoulders”;  ”Tennessee” by Cory Chisel & The Wandering Sons, off of 2009′s “Death Won’t Send a Letter”; and “Dear Kentucky (You’re Killing Me)” by Miles Nielsen from 2011′s “Presents The Rusted Hearts.”

Francis Goes Solo {L>R}: Darren Garvey & Daniel McMahon are caught thinking about stuff- beer, monkeys, Mister Meerasaké and melodies.

McMahon leads the vocals on all except for “Not On My Side,” providing harmonies to Garvey’s lead.  All three originals by each songwriter are turned inside out; what are fragile, soft, contemplative pop-folk performances by the composers become trash-glam indie rock anthems, amps turned to 10, with feedback and harmonies bristling together with monster drum-fills and cymbal crashes.  Never lost in the sonic rash are each song’s lyrics and perfect pop melodies.  An honor to the songs’ craftsmen, while also serving up more reasons why McMahon and Garvey are in high demand by many bands to provide their services on the road, and in the studio.

Bob Dylan once proclaimed that he sought ‘that wild mercury sound,’ or lighting in a bottle, during the recordings of “Blonde on Blonde”,  and I’ve searched for this mercurial sound my entire life from recordings I stumble upon- and here it is, in all of it’s E chord glory. Daniel McMahon and Darren Garvey found it here, channeled through their peers’ songs, as Francis Goes Solo. This is as close to the sound of being punched in the face repeatedly, and loving it.

Turn this fucker up loud, fist the air or play the air drums, and sing along– then, bow to Francis Goes Solo like you just don’t care.

AW  | Andy Whorehall

Listen to the originals, here:

Sock Monkey Sound

An interview with Cameron McGill and What Army? feat. Cameron McGill, Rodrigo Palma, Darren Garvey, And Daniel McMahon recorded at Middlewest Festival 2011 in Dekalb, Illinois on September 10th. Topics include: music, making music, marketing music as an independent musician, trains, hobos, and current events.

Visit CameronMcGill.com for all your CM+WA? updates.

This episode was sponsored by Kickstand Productions and Audio Theme

Kickstand Productions is northern Illinois première concert promoter. Visit them at KickstandProductions.net for all their upcoming shows.

If you are a band, artist, photographer or WordPress Developer – Visit AudioTheme.com and join their mailing list so you’ll be the first to know when new and exciting WordPress themes designed specifically for artists are available. Websites for musicians just don’t get any easier than AudioTheme’s for WordPress.

Sock Monkey Sound

L>R: Rosenquist, Ropp, and Garvey

Micky Rosenquist, Rockford, IL area musician, instructor and drummer for many midwestern bands (Cameron McGill & What Army, Miles Nielsen & The Rusted Hearts, Cory Chisel & The Wandering Sons, & more) has launched his his own solo project. Production on “Micky Rosenquist & The Black Squirrel“ record began in late August at Rosenquist’s own studio space, Underground Squirrel Studio in Rockford, IL.

The record will feature Rosenquist’s songs with many musicians he’s played with or befriended over the years making appearances throughout.  Rosenquist is taking the reigns on many instruments while handing off the rhythm duties to session drummer/percussionist, Darren Garvey (Cameron McGill & What Army, Andreas Kapsalais Trio) & bassist, Karl Ropp (The Snaggs, Das Boton, The Gomows).  Appearances by Cameron McGill, Miles Nielsen, Kevin Schwitters (The Braves), Barrett Martin (The Gomows), and many more are planned to flesh out a full-length album by 2012. The Black Squirrel Project is being co-produced by Daniel McMahon, Andy Whorehall and Rosenquist.

For now, enjoy 2 Rosenquist originals (“A Song”, and “Your Blood”) below that were recorded by Barton Bishoff, hootenanny style, last winter at his studio (featuring many past SMS podcast guests).  They’re anticipated for a formal release on Rosenquist’s debut record, due in 2012.

> To follow “Micky Rosenquist & The Black Squirrel” project as it unfolds, click here.
> For more info on Underground Squirrel Studio, click here.

SMS

Sock Monkey Sound

Below you’ll find a short list selection of releases (albums & songs) that have caught our staff & contributing writers ears more than once during the first half of 2011.

STAFF

Alex Danger Stewart

Albums
1. Yuck- Yuck
2. Smith Westerns-Dye it Blonde
3. The Pains of Being Pure at Heart- Belong
4. Radiohead- King of Limbs
5. Dum Dum Girls-He Gets Me High EPSongs

Songs
1. Mountain Goats-Liza Forever Minnelli
2. Smith Westerns-Weekend
3. Telekinesis- Car Crash
4. Warren Franklin-You Get Weary
5. Yuck-Suicide Policeman
5 1/2. The Pains of Being Pure at Heart- Heart in Your Heartbreak
6. Dowsing-Amateur Cartography

Chip Copeland

Albums
Wye Oak – Civillian
Sebadoh – Bakesale (Reissue)
David Bazan – Strange Negotiations
Cameron McGill & What Army – Is A Beast
Yuck – Yuck
German Error Message – After the Warmth

Songs
New Terminus – Where We Meet
German Error Message – We Arose
Cameron McGill & What Army- Michelangelo’s Blue Period
Yuck – Shook Down

Andy Whorehall

Albums
David Bazan – Strange Negotiations
Cass McCombs – Wit’s End
Cameron McGill & What Army – Is a Beast
Kurt Vile – Smoke Ring For My Halo
Fleet Foxes – Helplessness Blues
Recent Releases/Many Listens:
Old 97s – Grand Theater Volume 2
Bon Iver – Bon Iver
Raphael Sadiq – Stone Rollin’
Gillian Welch - The Harrow & The Harvest

Songs
Cass McCombs – County Line
Foster The People - Pumped Up Kicks
Cameron McGill & What Army – Sad Ambassador
The Boxer Rebellion – Doubt
Arctic Monkeys – Suck It And See
Recent Repeat Song:
Old 97s – Perfume

In between the newer releases I’ve spent a great majority of 2011′s first half revisiting:
Chuck Prophet, Harold Faltermeyer, Warren Zevon, Loudon Wainwright, Kathleen Edwards, The Commodores, Bert Jansch, Bryan Adams, and The Kinks.

CONTRIBUTORS

Rebecca Williams

Albums:
1) Bon Iver: Bon Iver
2) Cults: Cults
3) The Rural Alberta Advantage: The Departing
4) Radiohead: King of Limbs
5) Handsome Furs: Sound Kapital

Songs:
5) Her: Tyler, the Creator
4) Calgary: Bon Iver
3) Barnes’ Yard: The Rural Alberta Advantage
2) Lorelai: Fleet Foxes
1) Fragile Bird: City and Colour

Sam Rashid

Albums
1) Black Lips – Arabia Mountain
2) Cage The Elephant – Thank you, Happy Birthday
3) Arctic Monkeys – Suck It And See
4) The Airborne Toxic Event – All At Once
5) Ty Segall – Goodbye Bread

Songs:
1) Pumped Up Kicks by Foster The People
2) My Body by Young the Giant
3) Bone Marrow by the Black Lips
4) Around My Head by Cage The Elephant
5) Changing by The Airborne Toxic Event

Sam Gordon {www.reviewsic.com }

Albums
Little Hell- City and Colour
Priory- Priory
Showroom of Compassion- Cake
Hardcore Will Never Die, But You Will- Mogwai
Helplessness Blues- Fleet Foxes

Songs
Fragile Bird- City and Colour
Around My Head-Cage the Elephant
Sick of Your-  Cake
Rope- Foo Fighters
Blackberry- Devin Townsend Project

Lindsey Bakker

Top 5 Movies So Far:
1. Hanna
2. Attack the Block
3. Super 8
4. X-Men First Class
5. Win Win

Sock Monkey Sound

Fans Funding The Chicago-Based Band’s Next Record Receive the First of Many Pledge Rewards

Record labels struggling for marketing ideas should talk to Margot & The Nuclear So And So’s.  After experiencing the major label, marketing fiasco that became 2008′s “Animal” / “Not Animal” (Epic), frontman/singer-songwriter, Richard Edwards, relocated his operation to the Windy City. After restructuring the band lineup in favor of a new musical direction and fresh start, the Chicago band self-released 2010′s greatly overlooked “Buzzard“ (Mariel Recordings) on vinyl and CD.  Foregoing the need for old-school label support, distribution and financial backing like many artists today, Margot’s operation took to the internet and touring for funding on an immediate follow-up to 2010′s release. Counting on the generosity and continued interests of a die-hard, fanbase, Margot’s camp has done more to keep fans interests with pledge promises & follow-throughs than any labels would ever fork out or hand over for an artist’s continued support and career development.

The first of many pledge rewards (different pledge amounts result with different audio & video rewards) were released on June 14th, 2011, as “Record Club Exclusives Week 1“. Amongst the MP3 goodies received were demos, alternate versions, b-sides and videos of Margot’s first show as a band. “The Bubbleprick”, “Blue Collar, Red Letter” and “Lost At Sea BB” are worth the price of a pledge upgrade alone for those reading that are indecisive about spending a few extra dollars. ‘Bubbleprick’ a drugged-out, country-folk confession many unemployed, Midwesterners could connect with, casually proclaims, “There’s no jobs anymore, why should I give a damn? It appears that I need one.”; while  ”Somewhere The City Lights Leave Us Blind” and “Front Porch Song” shows off a side of Edward’s writing, younger with a sparse band in tow, that could’ve ended up as Ryan Adams’ Whiskeytown 2.0 instead. The obscurities show off an artistic shift that took shape over the last decade in phases, leading to chamber pop, psych-folk, and old fashioned rock n’ roll.  Also included in the 2 dozen plus goodies pledged on is a live show from Schuba’s, Chicago, 01/23/2009, with Edwards, solo and working out newer songs with Cameron McGill and Ron Kwasman; many which became the core to “Buzzard”. Production notes were released with the week 1 exclusives as well, containing track-by-track descriptions.

NOTE: There are different tiers of pledging, 19, and not all guarantee what’s mentioned above here, but all are affordable.  Each fan pledge goes towards the production of the band’s next record, still untitled, and being handled by producer, John Congleton.  More importantly, funding for the record is still open for pledging,and yes, the Record Club Exclusives mentioned above are available as pledge rewards–along with more to come.

There’s something pure here for any DIY music fan to invest in; and for those unaware of Margot’s music, pledging blindly, you’re in for a treat.  For this fan’s monies worth, I’ll await the new record’s completion, patiently– but after receiving Margot’s Week 1 exclusives, it’s already paid off.

Help make a record and receive rewards. Please pledge now.

AW

Sock Monkey Sound

TV On The Radio
Nine Types of Light
TOTR’s latest is softer than previous releases.  Beautiful emotional introspection dressed up by soulful, electro-pop production, “You” and “Will Do” anchor a record that’s carefully crafted and performed.  “Killer Crane” with it’s beautiful wandering arrangement could have been made in a bedroom around sun-up; this record emotional gravity lets me believe that. Take Prince, and Peter Gabriel’s heavy influence, toss them in a TOTR blender and the results are all their own.  Punk soul rockers are still present-and danceable-with “Caffeinated Consciousness”, “New Cannonball Blues” and “Repetition”; but overall, TOTR has channeled into something deeper.  “Nine Types of Light” is an adventurous, soulfully rewarding pop record that will work its way into many peoples heads and hearts. This one will love, fuck, and hold you tight every time.

Jonny
Jonny
Debut indie supergroup release by Teenage Fanclub and Gorky’s Zygotic Mynci, Norman Blake and Euros Childs, contains exactly what you’d assume based on your prior knowledge and enjoyments of each artist’s respective bands.  Sunny, sombre melodies, tight harmonies and 70s A.M. pop/folk influenced songs like “Candyfloss”, “Circling the Sun” and “English Lady” work better than the band’s attempts at nostalgia rock in “Goldmine”. Jonny nods to the Kinks/Zombies/Who with the one-two song punch of “Bread” into “Cave Dance”; but it comes off to be more annoying than enjoyable after repeated listens.  For as many golden moments such as the country-folk rock flavored “I’ll Make Her My Best Friend”, there seems to be plain aftertaste left by song moments that don’t always work. Two words I regret using to describe any band’s record come to life more often than I’d them too- this is a nice, safe debut. Do it with caution, but don’t feel bad if you accidently fall asleep trying to find the right groove.

Cameron McGill & What Army
Is a Beast
Manic, fierce, fragile and literate rock n’ roll. “Is A Beast” is McGIll’s 5th release, and first full-on with this band lineup.  Every song packs a poet’s twisted pop-punch with a lyrical left hook. The record’s heartbeat (one of many that come in the shape of horns, strings, and more) comes sans band on IAB’s centerpiece, “Sad Ambassador”.  12 solid songs that live up to and beyond it’s own title. McGill’s classy compositions deserves to be heard by more, so do it, listen; then hold it, let go, and share. This beast needs to go viral, shared and enjoyed by all.

AW

Sock Monkey Sound

“Is a Beast” took a few years to make and complete. You being a writer-observer always in motion, at any point did you want to move on and work on newer material?

CM: Our records always take longer than I would ever want them too, but it’s mostly a function of my neurosis and spacing out the spending of money and my neurosis across a greater period of time. On the money end, as I make it, I spend it on recording records. Actually, total time spent in the studio making this record was only about a month’s time (maybe about 20 sessions), but yes, we did start tracking in November 2009 for about a week’s time. We then started up recording again in February 2010. Had a few sessions in February and March and did some mixing even I believe in late March before our April tour. After touring we returned to the record, did some final mixing and mastering in the fall of 2010, and the record went to duplication in December 2010. Thus, the April 2011 release. U.N. mandates take less time to legislate. In our defense, if we’d have put all the individual sessions together, the album didn’t take very long to make.

I am always trying to work on new material even when I’m the process of recording an album. That satisfies the want to move on. I never consciously tried to move on from IAB, just wanted to keep making it better… to find what it was at it’s core, a drastically different expression for me and the band. Working on new material just keeps up the fix, the record is the marriage.

So much more responsibility seems overtake the creative process; has the decline of the recording industry’s standards & practices put more burden or blessings on your craft?

CM: A blessing for us in that we have always worked with the burden. We never had a golden calf, so when the idol was smashed, we didn’t really miss it. Yes, there is the burden of the business side, but it has to be done if you want to own yourself, release records in any public way, promote them, effectively tour, handle distro, copyright, perf. rights, placement, etc. We have several people who graciously help us along the way. If I am not on tour, it’s usually 12-14 hours days working from home, between band-related scheduling/interwebs, working on songs, phone calls, listening to records, reading, etc. I spent most of 2009, tracking down people who were fucking us over and ending it. No one will do that for you. Begrudgingly, I care about the business side, because I REALLY care about the music side.

Are there days you want to toss it all in because being a songwriter has become more than that? (I.e., Facebook updates, html code tweaks on WordPress-things songwriters were never expected to know before the ascent of technology.)

CM: Toss the computer, not the piano.

5 full lengths in, are you comfortable enough to say you have a career making records now? Is it anything close to what you may have dreamt of doing as a kid?

CM: I am a career musician in the sense that I will continue to make records at any cost. Not sure I have a career yet in terms of people buying those records. Am not sure what I dreamt of doing as a kid. I think I always hoped there would be professions of compassion available to me outside of being a doctor or something. Wondered if you could get by being sensitive or if you were doomed to the torture you received for it as a kid. I think once I realized that I wanted to spend my time in the world, trying to explain my time in the world, it was easier to make peace with. I sometimes wonder what other people care about, but why does that matter? That’s the thing about passion, it only has to matter to you.

Do you feel like a Chicago veteran at this point?

CM: I don’t really feel like a veteran, as that implies some kind of veneration or something. I think if you’re somewhere as long as I’ve been in Chicago, and still fighting it, you are more likely to be looked over than considered a veteran. To be a veteran I think implies a catalog of great work as well. I’ve tried to make myself new on my own terms and if I keep my bed in Chicago, it’s only because it’s what’s convenient for me now, ie. my band is there and a few close friends. I like aspects of Chicago and probably always will, but I can’t say I’ve ever felt comfortable there.

How has the scene changed during your stay- for better or for worse?

CM: How has the scene changed? Hard to say, as I’ve never felt a part of it. Next big things have come and gone I suppose. Lots of the cool venues are still cool venues, some are gone. I used to love seeing Tweedy solo @ Lounge Ax. Can’t do that anymore unfortunately. I still feel funny when I go into Rainbo Club and still feel relief when I go into the Art Institute. The record store I worked at closed, but other good ones remain open. I think people always have this “golden-era” syndrome when they refer to their time somewhere; when the parties and shows and drugs were good to them, etc. I’ve been trying to feel in the middle of one of those for some time, but am not sure it’s my place. The scene aches on, and you just give and take to and from it as you please I guess. Other people keep track.

“Is a Beast” is a very emotional record. The song that lingers with me the most is “Sad Ambassador.” Is it true this wasn’t going to make the final cut?

CM: There was a possibility. I was trying to choose between Sad Ambassador and Loose Tooth (which ended up on the Deserters EP). I wanted one stripped down song in the middle of the record, but was having a hard time deciding. Sad Ambassador was the first song written for IAB, and I couldn’t make myself cut it, as to me it informed a great deal of the emotion that was wrapped up in the record.

Your mates in the ‘What Army’ perform and produce recordings with many other Midwestern area artists. You yourself play with Margot & The Nuclear So and So’s (pictured below). Everyone is making ends meet for one vision or another, has this affected or influenced your creative process?

© Photo by Stephanie Bassos

CM: Yes. I miss the days of being in a band that could get together on a regular basis as friends and just play music. I don’t have that luxury as much anymore. No one has time for that if it’s not working towards something, so it becomes me at home by myself imagining the band song and playing it solo. I can understand that, none of us is 20 anymore. Being a full-time musician unfortunately means being a full-time hustler. It compromises things, but everyone learns/benefits from playing with multiple bands and songwriters. I learn a hell of a lot from being in Margot; being close to great songs is never a bad idea. I’ve seen people squander the luxury of time and money and players, and that doesn’t work either, so, I think we’re all doing it the only way we know how.

There’s a few projects that haven’t seen the light of day.  The ‘strings’ record for one, will that see the light of day?

CM: Yes. Nathan Swanson and I have been working on it on and off this year, and we hope for a release later this year. It was tied up in many things over the past two years, most of which has been unraveled for good. I look forward to it greatly.

Studs Terkel (L) & Mike Royko (R)

Switching gears. We’ve touched briefly on this in passing but Chicago loves their Mikes (Ditka, Jordan, Singletary). I disagreed then, and now. Dare share with everyone (and Chicago) who the greatest Mike is?

Royko.

Yes. Hopefully the readers takes note. During down time and in-between tour stops, what favorite records, artists, authors of late do you find solace & inspiration in?

CM: Jack Gilbert always. Charles Simic. Mostly listening to Harry Nilsson, Warren Zevon, and Nick Cave these days. And Paul Simon’s Graceland has re-appeared in my life to great effect.

There’s overwhelming elements of emotional conviction in your songs, and performances (with or without the band) that makes believers out of each new listener and fellow peer. These are professional victories you have over many others whether you know it or not–you truly were born to do what you’re doing. Having said that, where else, and what else, would you be if you could do it all over?

CM: I hope I can have professional victories ‘with others’. To me it’s easy for songs to house emotional conviction truthfully, because real-life is sometimes so devoid of it. The old Woody Allen-ism that, and I’m paraphrasing, you try to get things right in art because it’s so hard to do in life. I find that to be true. It’s much easier for me to be myself in songs than it is in everyday life. But that’s my short-coming, trying to find some peace between the two. Especially because when you deal with people, it’s in real life, not song world. At times I’ve given up accommodating what passes for meaningful interactions of daily life in America, but that alienates people, which can be fine, but sometimes you have to act a bit.

If I could do it all over, I’d live more remotely, in some other part of the world, maybe be a farmer, something more simple, speak more languages. Maybe enjoy music as someone who doesn’t write or play it?? Not have so many passwords.

To rid our lives of such said passwords and source codes, yes. Are there two performances, one old and one new, that changed your life and affected your craft?

CM: The first time I saw Dylan, even though it wasn’t the Dylan I was in love with, it was still the man, who had been the kid. I sat 4th row center at the Auditorium Theater and tried to follow his painting’s eyes to see if I could get a glimpse of something about him. I, like millions of others failed, but to me it was a right of passage, a demarcation in the world of song, even though the 60s were old and gone, that’s the beauty of music, it can make any time your time, and your time the only time.

I saw the Arcade Fire at Coachella 2007 and was made a believer. I love when band’s don’t give you a choice.

You’ve seen a few states, countries, by now with a few artists you’ve toured with. You and the ‘What Army’ are heading out again to tour behind “Is A Beast” and then off with ‘Margot‘ again for a stint with The Twilight Singers. Is there one place you never tire of visiting?

CM: I like the places in between the places the best, all the small towns you’d normally miss. Love being out west, long stretches of nothing, where it seems impossible to live, yet people do. On the other hand, NYC is always open and I enjoy having time to go to museums and bars.

Last one and thanks for your time; another place you look forward to the next great meal?

CM: I always look forward to eating at Punjabi on Houston (New York, NY), twice.
Thank you.

SMS  |  AW

Sock Monkey Sound

By Andy Whorehall

"Buzzard" by, Margot & The Nuclear So and So's

There should be no questions by now that Margot & The Nuclear So & So’s is Richard Edwards‘ band.  The singer-songwriter from Indianapolis, IN, now calling Chicago, IL home, has taken his art project rock band to the major label and back with artistic defiance over the course of 3 intelligent, rock records.  With “Buzzard,” he’s stripped down ‘Margot’ to a fat-free, indie rock lineup capable of pulling off Alex Chilton-like fat riff arrangements, circa Big Star, while also being able to nod a glass to the softer side of Chilton and Bell’s compositions.

Edwards is no idiot when it comes to band additions & talent; he got one of the last decade’s finest aged wine’s for a Chicago songwriter in Cameron McGill, playing keys- and barely noticeable on “Buzzard.”  For the better though, “Buzzard,” is a new beginning on old grounds, guitar rock, the bends.  New waters for diving deep for the young Edwards and his Nukes.  There is no treading water on “Buzzard.”  This is guitar rock 101 pretty reminiscent in emotion to Radiohead’s “The Bends.” As if there is something larger to prove, the search for a new beginning and just maybe, finding it by record’s end.

Big Star’s influence is pretty prevalent too throughout album #3 for Edwards and the new mashup version of ‘Margot.’  If the previous ‘Margot’ was a wandering, loaded fat-filled potato, with horns and strings, capable of breathtaking, psychedelic-folk moments.  This version of ‘Margot & The Nukes’ is the gurl next door version, grown up, sans zits, a touch of left over baby fat and beautiful–  but silently vicious, capable of breaking your f*cking heart into 12 pieces as each song dares to do on “Buzzard.”

Many of Edwards’ compositions poke between domestic settings and killer melodies. “Tiny Vampire Robot, forget the place you’re leaving;  but no one ever does.  Tiny vampire robot filled the dance floor with blood.” Eternal questions & tele-toned fenders blasts a darker side of the 70s under-appreciated rock.  Those influences are promoted to songs like, “Will you love me forever?” “I Do,” and “Birds.”  A love song in disguise, “My Baby (Cares for the Animals)” could contain the first pro-vegan bridge to date;  ‘If you love me, don’t eat me.” Mid-80s college rock;  Morrissey & Stipe would be proud;  or something like that.

Margot & The Nuclear So and So's, 2010 (Photo by StephanieBassos.com)

Chicago producer, Brian Deck (Engine Studios / of Red Red Meat / Califone), has had a great influence on many Chicago area artists and those that passed through to work with him (Chris Mills, Modest Mouse, Josh Ritter, Iron & Wine, many more).  His work on “Buzzard” is a testament to guitar rock records in the 70s that never made the commercial grade then, yet lived on to become touchstones for younger artists of today.  This is a beautiful, guitar rock record that Deck has made with the band of new ‘Nukes.’

One can’t help but feel that the late Alex Chilon’s spirit infiltrated the making of this record.  Even Marc Bolan’s hippie-glam-rock soul (T.Rex) makes a few influential appearances.  Queen-esque arpeggios dance around songs like, “Earth to Aliens,” and “Your Lower Back.”  The songs are raw, beautiful, and lyrically frustrating as well.  The characters  in Edwards lyrical world often tinker on domestic, self-destruction;  like ‘Alison’ does on the song,  “Lunatic, Lunatic, Lunatic.”

“Alison’s a parable for the risks of being terrible.  She’s four foot two and crazy as a loon.  She hops the bar and keeps her cool.  She sheds her top at Marshalls Pool.” Edwards pleads for the girl’s health, “Someone save her from herself, someone save her from herself;  and get her home.”

Helplessness solidifies the song’s un-ignorable & childishly, proud fact, “She’s a lunatic.”  Nothing more, nothing less.  This is what makes Edwards’ songs powerfully memorable and different than the next.  They’re rooted in strange midwestern soil few dare to dig deep through, often finding more of nothing and then coming back up for air to somehow share something special they creatively found.  That midwestern thing others search for  creatively is rooted in deep, dark soil;  nothing and then something.  Shh, a farmer’s secret.

Edwards characters are either coming of age, or going mad, searching for a restart button.  A nod, possibly, to becoming a young father himself during the making of this 3rd record.  A rebirth of sorts in all realms, creative and personal, are felt throughout “Buzzard.”   It is the sound a baby makes when it enters this world as another’s has left.  Beautiful and brutal, just like Edwards announces on the first track, “Let’s make a baby, let’s make it evil.” #3 is the smartest record ‘Margot’ has made to date.  It’s sexy and I’d f*ck it if I could;  it’s the gurl next door all grown up, inviting you to dinner;   September gurls, yep, and “Buzzard.”  (November, not ‘December boys got it bad.’)

Here’s to a large family, ‘Margot.’  There’s no need for condoms, please, keep on f*ckin’– especially if conception & rebirth sounds this good.

aw  |  andywhorehall.com

Sock Monkey Sound

Joie De Vivre "The North End"

Joie De Vivre
“The North End”
Young, intelligent, college kids playing off of punk emotion, setting the pace slow, early and exploding;  midwestern mood rock a decade later.  Spring love, Summer arguments, Fall heartbreak, Winter recovery,  The midwest for many of our youth growing up here.  That is “The North End.”  Joie is completely out of step with today’s youth rock, they’re too smart for any scene anywhere– and all for the better.  Sit through one listen and you’ll know right away that seeing them live will be no different than putting on their record.  No pretending.  “The North End” secretly implies they have no aspirations to entertain you with a light show or fancy new outfits from Hot Topic–  just empty cans of beer.   Honest brooding, rock n’ roll high on emotion and slow, steady delivery.  “The North End” owes as much respect to other regional indie acts that inspired their teen listening years, The Braves, as it does to other regional & national acts that has defined the midwest underground, Mike Kinsella projects (Joan of Arc/American Football/Owen).   ‘North End’ serves as a soundtrack for trying to live through your early 20s in the midwest with limited opportunities and personal heartbreak.  It’s a solid declaration from a young band that is only going to get louder, funnier, darker, softer and wiser with each new letdown & recording to follow.  Here’s hoping they keep it together long enough before becoming sick of each other.

Lizard Skynard – Self titled

Lizard Skynard
Self-Titled
Lizard Skynard, despite having a perfect frontman (Lizardman) for the kids are a monstrous rock band.  Imagine part Rollins/ part Deftones / meets Kevin Shields with the boys from Kyuss in a train station to make space metal.  The Skynard boys (Chicago/Austin/Vancouver) feed off of lead guitarist, Jason “Mossy” Vaughn’s wall of guitar nob turning and pedal shifting theatrics.  Vaughn’s playing is mesmerizing, turning speed metal riffs into reverb, delays, morphing into small, well-intended melodies– no different than a Shostakovich film production gone wild, chaos amidst the darkness and then drifting into melody.  With or without Lizardman reciting monologues on top of the band, this is the sound of life on earth coming to a loud, water-washed, horrific & beautiful end.

Produced by Greg Norman @ Electrical Audio in Chicago over the course of 1 week this past winter, this self-titled debut by a band that started as a ‘what-if’ idea in the back of a Jägermeister bus between Mossy & Lizardman is anything but a ‘what-if’ idea.  Every member plays as if their lives, and that of  Planet Earth’s, depends on these 30 minutes put to record for a listener’s lifetime.

Staasuhnator Rex | "62: Volume 1 Tracks 1-8" {E.P.}

Staasuhnator Rex
62 (V1: Tracks 1-8 E.P.)
Staasuhnator Rex “62″ is the brilliant, brainchild debut E.P. / song project by Zach Staas (Joie De Vivre, Donkey Boy (USA)); a young songwriter, multi-instrumentalist, engineer. 62 songs are planned for release non-ironically;  8 at a time (yes, he knows there’s a math problem, it’s been discussed and nothing is changing the count from 62 to 64).  All songs are planned to be recorded under a minute and a half if possible. Each song featured here is an appetizer for bizarro pop perfection– genius.

Staas manages most of the instruments himself mixing in domestic observations that are beautifully sung, tongue in cheek and still managing to be awfully heartbreaking & brilliant– in a span of seconds.  “Pound that pussy good, just like you should,” sticks out as a key line on the 56 second long song, “Meownepaws.”  When lines just appear to be lewd, Staas’s delivery reminds you they’re anything but.  The cats in the alley are keeping him awake as he imagines what he wishes he could do to end their midnight whining.  It’s the way the line is sung at the :31 to :36 mark that seals the deal on short moments that will make you laugh, cry and come back to for repeated listenings.

Staas’s vocal inflections rise when they need to perfectly to remind you he is dead serious.  Songs end when you think there’s going to be more.  Nope;  just a few seconds of what could be, cut, next.  ”Please Pay By”  is the peak of this, the first 8 songs of an amazing song project he’s started.  Starting with electric guitar and slowly introducing various keys on top of a subtle amp buzzing while singing about his bills to pay.  The most complete song of the 8 hints slightly at what Rex could be live.  Imagine Jason Lytle or Neil Young jumping off the cliff of creativity looking for something else, John Cale leading the way- and you got Staasuhnator Rex.  A monster of a miniature 1st e.p. from one of Rockford, IL’s most promising young songwriter / multi-instrumentalist & composer.  I await the next 54 songs with excitement.  Download the 1st E.P. of “62″ containing tracks 1-8 for FREE, here, limited time only.

Crankupmadonna "Hit The Sound"

Crankupmadonna
“Hit The Sound”
Shawn Ross, singer-songwriter/guitarist, has spent most of his life playing bass for local area band, The Braves- a very respected, midwestern, indie 4-piece.  After years of supporting Joe Reina & Kevin Schwitter’s songs, Ross takes the helm on his own project bringing along with him 2 former Braves (Jesse Carmona & Phil Goudreau) plus newbie, Christoper Johnson, to take over on bass duties for him.  “Hit the Sound” was recorded by veteran Chicago engineer, Mike Hagler (Wilco, Neko Case, The Redwalls, Mekons, Jon Langford) who helped tap Ross’s manic pop-punk song style into a personal sound oweing tribute to the likes of great 90s bands like Dinosaur Jr., Tommy Stinson’s ‘Perfect’ phase and the Foo Fighter’s first 2 records.  Every song is perfectly crafted and performed by the band, owing as much respect to Ross’s musical roots but also to the road traveled to get to this point, running his own ship.  “Not This Town” wails and splashes between vocals, drums and guitar feedback. “Anyone Can Die” and “Burn this Scene” fist the air for attention;  awesome pop-punk meets classic rock choruses are scattered throughout the record.  Key track defining Ross’s new direction with this band in tow happens on “Golden Hands;”  the guitar build outro, bass, drums, all kick in for a band in the studio moment that pays dues to everything that has made 90s American indie rock so influential.  It also defines Ross as a writer now, guitarist and band leader.   A defining midwestern debut record by 4 guys from Rockford who sound like they’re from anywhere else but here;  full of life and miles to burn.

Cameron McGill & What-Army "Deserters." EP

Cameron McGill & What Army
“Derserters.” EP
Let’s keep this one short:  Billy Ocean wrote a tune and in that tune he said, “Simply awesome.”  He was talking about McGill’s Army preview for 2011′s “Is A Beast” which is a 5-song teaser properly titled, “Deserters.”  Two new songs from ‘Beast’ start off “Deserters,” giving ya that awful feeling you gotta hear more and you can’t wait.  “Dead Rose” is nasty;  bassline so nasty, guitar tones so nasty, McGill’s voice unlike previous recorded outputs, nasty awesome not simply awesome.  “I Don’t Believe in Magic (But All My Friends Just Disappeared” is as simply awesome as the title implies.  Billy Ocean would be proud too.  Pop perfection, Chicago intuitions, guests and all Army.  Standout performances by Rockford, IL’s own, Daniel J. McMahon, all over the E.P.  Garvey & Palma (Drums/Bass) form one nasty backbone on record and Justin Perkins’ production hints greatly at what’s to come.  The last 3 tracks are b-sides but should not be ignored- especially “Loose Tooth.  “Deserters” E.P. is a nasty, awesome, 5-song teaser hinting at what may become 2011′s finest midwestern offering to a majority of undeserving & misunderstanding humans who tend to crave crap in this day and age.  Here’s hoping otherwise.

dD  | aW

Sock Monkey Sound

by Andrew Whorehall

Matt Hopper & The Devil Whale | Kryptonite, Rockford, IL 08.25.2010 | Photo provided by Chris Wachowiak at Krypto

Matt Hopper (& The Roman Candles) is a singer-songwriter from Hatcher Pass, Alaska (at least that’s what he’ll tell ya).  He’s lived everywhere it seems in the last 10 years, documenting his tales, characters from places he’s been to, places he’s from and places he’s going to next.  He’s released a few records on his own, as well as under the band name, The Roman Candles earlier in the last 10 years.

Brinton Jones is the lead singer songwriter of The Devil Whale; home base, Salt Lake City, Utah.  The band has self released a full length and their newest e.p. while opening for the likes of respectable artists like;  Cold War Kids, the Autumn Defense, Glen Phillips, Richard Buckner, Damien Jurado, the Band of Annuals, Mike Doughty, Rocky Votolato, Richard Swift, David Dondero and many more.

They recently passed through Rockford, IL, on, August 25th, a Wednesday night.  Usually a ‘staying in night’ for most, they arrived opening for a few of their midwestern friends;  Chicago’s, Cameron McGill & What Army.  3 great bands from all over the U.S. on one night, in Rockford, IL.  The amount of talent in the room may have been the most overwhelming aspect of the night for an informed witness/listener.

"Young Wives" E.P. – The Devil Whale

The Devil Whale opened first, convincing a small crowd unaware of their music to turn to their friends and ask, “Who are these guys?  They’re great.”  The Devil Whale played songs off their newest e.p. “Young Wives” and a few selections off their full length, “Like Paraders.” Rock, folk, harmonies slippin’ in and under classic pop arrangements with the right amount of feedback when needed, Kryptonite via Salt Lake City.  Jones’ songs, the band, on record are subdued, well crafted and produced- live, they explode.  The band supports Jones’ lead like a rock machine should.  There’s something going on in Utah;  there would be no surprise to see the ‘Whale’ sign with a respective indie label in the near future and accidentally open for the likes of indie giants while forging their own path to headline.  Catch them now;  an amazing, live band, great players in control of beautiful pop-folk arrangements that explode with color.

Hopper joined the Whale for the 2nd set performing his own set of tunes rooted in ‘Crazy Horse’ delivery and Americana stories of the road, people.  The first thing you’ll notice is Hopper’s voice, a commanding wail from a tiny frame that can hit some bar room falsettos and yelps from deep below.  A great story teller / band leader took control of the room with his own catalogue of songs, many from his recently released beauty of a record, “Jersey Finger.”  The  Devil Whale served as his, ‘Roman Candles,’  following Hopper’s emotional delivery and dressing up standard rock songs with Americana inflections and punk instincts.

Cameron McGill & What Army | Kryptonite, Rockford, IL 08.25.2010 | Photo provided by Chris Wachowiak at Krypto

Cameron McGill & What Army had to close the night after all that;  and they did mightily.  The Army this time around featured Adam Plamann (The Wandering Sons / Miles Nielsen) on keys and sax, and newly hired touring bassist / songwriter, Miles Nielsen (Harmony Riley / The Wandering Sons / Miles Nielsen & The Rusted Hearts).

What’s most ironic about this night of  great talent is that it could have been billed as “Cameron McGill & The Wandering Sons.”  Luckily the midwest irony only went as deep as the eye would allow incestuous, midwest, musical thoughts & connections.  Cam’s songs are musically monstrous regardless of presentation, trampling such thoughts.  The Army and their Rookies took the bar that Hopper and the Whale raised and dismantled it, playing songs from their newest, e.p., “Deserters” and previewing songs from their  finished full-length, record, “Is A Beast” (Due in 2011).

"Deserters." E.P. – Cameron McGill & What Army

Older cuts from “Hold on Beauty” and “Warm Songs for Cold Shoulders” fleshed out a majority, electric set.  Cameron’s voice was in majestic, vicious form and the Army with their newbies in toll proved why they are one of the midwest’s finest going right now;  giving character and weight to McGill’s fragile, honest, emotional songs while playing their own hearts out.  The band is oiling up for a fall tour with Margot & The Nuclear So & So’s where McGill will be doing double duties, keys and what nots for Margot’s gang and then leading his own mates through the east coast and back.  Do what you can to catch this band.

The amount of talent in that room that night has left a mark on me for days. Each band brought their A+ game to an F+ city in the middle of nowhere.  Just another night in Rockford, IL, that I, and many others who were lucky enough to be there to listen, won’t forget soon.

Thank you to Chris & Kryptonite for another great, irregular night of music by 3 of  America’s great bands in one spot.

aw  |  andywhorehall.com

Sock Monkey Sound