Yes, the above photo is real. I have been told it looks fake, but I assure you it's real. It was taken by Ajay Miranda in the green room at Emo's. I got to interview the guys from Anvil when they came through Austin recently. I saw the movie, own This Is Thirteen on vinyl now and I am still looking for the Japanese Anvil t-shirt Lips was wearing the day of the show/interview. I even captured a video of Lips rocking the guitar with a dildo and put it on YouTube. It was quite the experience to say the least. This was definitely one of the best times I've had during this ride.
The Double Stereo Day party line up and details were announced this week and I couldn't be happier about what my Double Stereo compadres over there were able to pull off. This is going to be one sick party!
Austin’s new blogger buzz band, The White White Lights (TWWL), have just released their new EP, Medium Head Boy. The EP is a six song gem that gives fans that have seen them live in Austin for the past year or so something they can finally put in their iPod or car stereo. Medium Head Boy is serves also as their gift to new listeners who are tired of the endless stream of samesy indie bands talked about on every popular music blog. The new EP is a clear sign that The White White Lights are indeed this year’s new “it” band to come out of The Live Music Capital.
Most know Adam Green from his Moldy Peaches association. As put off as I was by that, I still opened his new Minor Love album and gave it a chance. After a handful of solo albums he released post Moldy Peaches, Green finally comes into his own on Minor Love. It was not the album I expected.
In lieu of one of my favorite new bands coming to town this month, I just published my interview with Mike Hranica of The Devil Wears Prada on Double Stereo. Shortly after my interview, Alternative Press announced them as their "Band of the Year" for 2009. Check out the sweet cover.
The guys from The Devil Wears Prada will be back in Austin again to play at Stubb's with Kill Switch Engage on February 24th. You can purchase advance tickets HERE. Their live show is sick I tell you! Sick!
Read my interview to learn about what's coming up and to hear why Mike thinks his early records are "dumbed down". I also posted some great live video from Roxwell in the interview. Check it out:
I recently uploaded an interview I did for Double Stereo with a cool young band from New York called Lights Resolve. Maybe you caught them with The Used or saw them last year during SXSW. These dudes are good. I think they are going to step up their game this year and put out a hot record. Check out the interview:
To many, Sara Lov is known as the female voice behind Devics. Now both Lov and Dustin O’Halloran have solo projects of their own worth listening to. Sara Lov’s current album, Seasoned Eyes Were Beaming, gives fans a new sound from Lov that has received critical acclaim by tastemakers everywhere. After capturing live footage and talking to Lov, it is easy to understand what the buzz was all about.
The other talk about Lov this year has been about her childhood. After an LA Weekly interview, it seems that every interview or write up about Lov after that interview focused heavily on it. It is not that there isn’t a story there, because Lov is a victim of childhood kidnapping. Too often with Lov this year, her childhood story was too much of the focus and her music seemed to play second fiddle.
Lov’s got quite the story in itself when it comes to her album, Seasoned Eyes Were Beaming. It was originally released in spring on Nettwerk, but Lov left the label shortly thereafter. She later re-released it through Filter in August. I caught up with Sara Lov when she was in Austin and spoke with her about her live show that features a record player and what’s behind her new album.
How did it feel to play in Austin again?
Sara: I felt great. I’ve only been here with my old band, Devics.
I can’t believe it has been that long since you played in Austin. Usually indie singer-songwriters do well here and love to come tour through Austin.
Sara: I just started though as a solo artist. I was supposed to come for South By Southwest. The label I first signed with, didn’t want to pay for it so I couldn’t afford to come. I ended up leaving that label and that’s why Filter re-released my record.
How has it been for you touring as a solo artist?
Sara: Again, my solo thing is still pretty new. I just put my record out originally in April only to get it released later on in the year. All the shows I had been doing before were with a band. When I went to Europe I did it with me, a cello and a piano. I did that on the West Coast as well. I just did my first full U.S. tour as a solo artist. Since I’d open on a tour with three bands, it made sense that it would be just me. I don’t like playing by myself. I feel that I am not good enough of a guitar player. I’m more of a singer but I knew I needed the music. I was trying to figure out a way to do that and then the record player idea came up.
It was a very cool idea. I saw it and looked vintage, nothing like high end DJ turntables.
Sara: Actually, it’s not. It’s kind of a trick. Originally I really did want a vintage record player because I thought it looked cool. I almost did it because I found a guy who was going to loan me one with an XLR, which would allow it to go into the P.A. It was going to be perfect I thought. Then he told me that once he understood what I was actually trying to do, I learned that it was a bad idea. The old record players are not perfect in terms of speed. They can slow down and speed up. He told me that if I was playing an instrument to it, and if it speeds of or slows down while I was playing, it would be out of key. Plus they weren’t reliable enough to tour with. I had to use a new record player in order to get the reliability and sound quality I needed, but I didn’t want it to look like that. I ended up finding this old vintage suit case and went and had foam cut to fit in it. I traveled with a super fancy DJ record player and it traveled in a flight case. Every night I put it into the vintage suitcase. I made a hole in it so the cords can go in the back. I put some lights around it and stuff to make it look warm. In fact, I made a video about it on YouTube. It has made me a better guitar player in the sense that I have to play perfect to be on time with the record.
Has it ever skipped on you?
Sara: There were a couple funny incidences where it skipped or did weird things, but it made for a good joke on stage.
So the entire set was performed with a record player?
Sara: I had a couple of Sea Wolf’s members come out and play two songs with me. Ted, who was in Divecs with me, played bass. Lisa played piano. With them, it was like a whole new world and sounded so much better.
Let’s chat about your album, Seasoned Eyes Were Beaming, for a bit. I would love to know about a couple of specific songs, starting with the song “New York”. What’s the story behind that song?
Sara: I don’t really love to talk too much about lyrics because I feel when I listen to songs, I create a story in my head and I don’t want to take that away from people. I think it builds a story for you.
Well if it is based on the stuff I read in your bio, specifically the moving around and all the difficult events in your childhood, it could be anything from that really.
Sara: It’s not an early memory. My childhood, even though it was really talked about, is not something I write about that much anymore; maybe every now and then sure. In the song “Seasoned Eyes Were Beaming” there might be hints of my past. I wrote a lot about my childhood in Divecs. I tend to write about what I’m going through so stuff is a little more current.
So then what is the meaning behind the album’s title?
Sara: For me that is basically the idea that as you get older you are trying to maintain your idealism as you let go of your innocence. It is a really easy to lose because when you’re young, everything is beautiful, exciting and brand new. As you get older and more jaded, it is harder to feel that way. When you find those moments and you feel like you are looking through young eyes again, that is what it means or is referring to.
Tell me a little something about your former band Divecs for those who don’t know.
Sara: I have been doing music for a long time. In Divecs we made five records and three EPs. We started when I was in my early twenties. We played at Emo’s in Austin with Live To Experience in 2002, if you can remember that band.
So do you think you’re childhood, other than the Divecs connection, is what drives media and fans to give you a listen?
Sara: It seems like it. That’s fine. I don’t have a problem talking about it.
Do you think after this album the questions or talk about it will fizzle away and focus on your music more?
Sara: I don’t know. To me, it’s been around so long and people are still talking about it. Maybe I’ll have a different story or tell my later in life story for my next record.
Will it be a happier record? Maybe less dark? I mean you fooled me into thinking Seasoned Eyes Were Beaming was going to be happier record based on the cover.
Sara: I did the artwork like that so it would not be so dark because I felt like the music was. I thought it brought a nice balance to it. Dark is the kind of music I make and I always have, but you never know. I don’t know if I’ll ever be happy pop songs kind of person. I like a lot of that stuff, but it isn’t what inspires me to write.
Speaking of music you listen to, what is something you haven’t told people yet or something that people might be surprised to hear?
Sara: I started out on the Beatles and Beach Boys. My first discovery was the Grease Soundtrack and Abba. That’s pretty cheesy. One of my first real loves were The Smiths.
What is it about The Smiths that speaks to you?
Sara: I was probably about fifteen years old when I got into The Smiths. At that time I thought I had an idea of what the lyrics meant, but when I got older they meant something different. I think for me it was his voice, lyrics and I got to meet Johnny Marr (Smiths/guitar) a few times.
Do you ever think of writing your own autobiography one day?
Sara: I’d like to. I thought about it a lot lately. I get so many questions. I’d like to try and I think I will. It’s just a matter of me doing it. I’d also like to write it because it will be good for me to get out. Then there’s also people getting facts wrong and when I’m read it I get frustrated. I’d have to figure out what parts to write and what not to.
Is there anything we should know about you as a solo artist that I didn’t touch upon?
Sara: I’m really into the whole YouTube thing. I have a YouTube channel because I have three amazing videos that I had amazing people help me make. One is for “A Thousand Bees”. It was done with a photographer named Noah Webb. It was his first time directing a video. We did all of it with still photographs. The other song is “New York” which was the first video I did. That’s based off my drawings and was directed by Marco Mirandi. The other video is for “Fountain” which features some amazing illustrations by my best friend, Seonna Hong. Check out the covers too that are also on there. They came from fan requests.
So does this we can expect an acoustic cover album from you in the future?
Sara: I do want to do more covers on YouTube. I still have a ton more that I want to do. I love doing other people’s songs for fun. It’s easy to do. What kept me from doing more was I started touring. If I ever did a cover album, it would be with a band.
**Currently Sara Lov is preparing for a January tour overseas in Italy to support Seasoned Eyes Were Beaming. In the meantime, check out this Double Stereo exclusive of Sara Lov performing “Touched” at Emo’s in Austin, Texas.**
Who says people don’t watch or listen to commercials anymore? Pish posh. Commercials for iPods and automobiles have propelled unknowns or revived classics with one thirty second television spot. Recently AT&T featured a virtual unknown singer-songwriter based out of Tennessee, Landon Pigg. After AT&T used Pigg’s single, “Falling In Love In A Coffee Shop”, a lot more people noticed Pigg than before.
What also grew Pigg’s visibility this year was his co-starring role as Oliver in the major motion picture, Whip It. Directed by Drew Barrymore, Pigg’s character was the love interest of Ellen Page’s character, Bliss Cavendar. Playing the role of musician on the big screen wasn’t too much of stretch for Pigg, but the star treatment and lifestyle during the time the movie was filmed was new for Pigg. So was being recognized from his big screen debut.
More importantly Pigg released his second studio album, The Boy Who Never. That is the album that his worldwide hit calls home as well as other songs that are in a different direction for Pigg musically. We caught up with Landon Pigg while in Austin and chatted with him about the album, how his life has changed and what was up with Oliver not calling Bliss while on tour.
Tell me what is special for you about The Boy Who Never.
Pigg: It’s my second full length. It houses the song “Coffee Shop” which is nice. Before it was a bit of an orphan with no home expect for digitally. I love the fact that it’s half and half. It’s kind of moody. It has some slow songs on it which wouldn’t have even been considered for our first album. The fact that I made an album where I can write those kind of slow songs feels good. The other half is really fun and sunny. It was recorded in California.
So do you think “Coffee Shop” sort of set that up for you to do more ballads like that?
Pigg: It did. It set the tone to be able to express this other part of me that I didn’t really get to showcase before. I had to make sure I had my upbeat songs as well because I didn’t want to lull people to sleep on tour.
Did you get more a “star treatment” on this album compared to your previous recordings?
Pigg: Um, no. The other one is where I was flying around to all sorts of different places: London, Memphis, Canada and L.A. It ended up being sporadic and didn’t have a lot of continuity.
Does The Boy Who Never feel like more of your own to you then?
Pigg: It does. The way I see it, an artist is like an onion and has a lot of layers to them. What the public gets to see isn’t necessarily the core, but it’s just a matter of how many layers can be peeled off in front of the public. Catalysts that keep layers on can be major labels that can maybe pressure you to write a hit radio single or something. It’s more my own in that more layers have been shed since LP, but they are both my own.
Is there a significant meaning or story behind the album title?
Pigg: It absolutely does. It’s all within the lyrics in that song. I’m struggling to overcome that way off life, that paradigm.
Let’s go back to talking about “Coffee Shop” for a second. How did that change your life and in what aspects exactly? I take it that it wasn’t an overnight thing.
Pigg: It hasn’t been overnight, that’s for sure. There were countless club tours that people don’t know about. The cool thing about it is my career was kind in lull after the first album. I wasn’t really talking with the label that much, nor did I have management. I was actually wondering if I should get a job at a coffee shop. I was honestly considering it. I got together with some friends in Nashville one night, one of them being Peter (keyboard). He asked I was up to do some recording. At that time it had been a while since I recorded anything, so I said “sure”. We recorded the song and we really liked. We recorded it on a day.
“Coffee Shop” was recorded in just one day?
Pigg: Just one day. We really liked it and over time I had people to play it for. I never thought while recording it that anyone would hear it. I was just coming off this uber catchy chorus, repeat chorus at the end, upbeat and all sorts of that stuff. I didn’t think my label would like the song. It’s funny when a song like that becomes your flagship song. It has changed my world in a way. I’m on more people’s radar whom I haven’t met before.
Are you at point where you are kind of getting tired of talking about it yet?
Pigg: I still don’t know how to talk about it really. I’m not very objective about them. I’m not sick of playing it. It is very subtle, not trying to beat anyone over the head. I just kind of enjoy that melody.
That’s interesting to hear you say that. So many artists, when they have a break out hit or flagship song as you referred to it, get to a point where they get frustrated by the same questions. They feel that after their flagship song, if they still have a career after it, that they are more than just that song.
Pigg: I think it may be one of those rare cases where it represents me pretty well. It has a lot of things I like. I grew up listening to George Gershwin and Frank Sinatra, people that really love melodies. I’ve heard a string arrangement of that song that I played at a friend’s wedding. It sounded nice. It’s just a luxury and an honor to hear it in a couple of different ways.
Does that make you consider recording it that way perhaps?
Pigg: I’ve thought about it. One of my friends’ dad s is a producer and he does strings at Abbey Road a lot. He’s mentioned stuff in passing about me wanting to do instrumental versions before. If I make an extra couple hundred thousand dollars, I’ll call him. In fact, if anyone wants to chip in to get a recorded version of that song, I’m going to start an Abbey Road fund.
What would you like new listeners to know about the album beside it being home to “Coffee Shop”?
Pigg: I want people to give it a chance after Coffee Shop. Listen to maybe something less obvious like “A Ghost” or “Rooftops”. I don’t know what else I could say about the album except for it has some horns in it and some wings-esque solos.
So it’s not all coffee shop? No pun intended.
Pigg: There’s a little something there for everybody. I like to call my music “mom rock”. A lot of moms seem to like my music.
While we're talking about family, I understand connection to Austin?
Pigg: My brother and sister-in-law live here. I have three beautiful nieces that I’m visiting. My mom comes to visit them. Now all the little girls (referring to his nieces) are wearing my t-shirts and asked to get on stage with me. I don’t even know if they’re allowed at these clubs or venues. They did make an appearance with me at Stubb’s before. They’ve lived here for about five years.
Where do you hang out when in town?
Pigg: Peter and I have to go have a dirty martini at The Driskell. We try to coax any employees into letting us play songs on the piano there. It’s full of magic in that room.
Ellen Paige and Landon Pigg in the movie Whip It
How has being in the movie Whip It changed your life?
Pigg: Not too drastically. It’s funny going from extremes. Actors get treated really well. The funny thing is flip flopping between those lifestyles. When I was doing the movie, there were things that were hard to get used to, like having my own driver to the premiere. It was then that I started to love it, but then I was back in the van on the road. I was once again my own personal driver.
You mean sort of like Oliver?
Pigg: Very true. My favorite juxtaposition that I had after the Toronto Film Festival when everything was so hyped up. Then on Labor Day, I was playing horseshoes with my grandparents in Tennessee. The crickets were chirping. It was two different worlds.
My last question is not for you, but for “Oliver”. The question we all want to know is, why didn’t’ you call?
Pigg: Good question. I’m still answering as Landon here, but I would have texted. That would have been the easiest thing to do. The director created this movie in a kind of timeless era. They never showed what kind of phones they used. The characters were even using payphones, so I don’t even know if Oliver could have texted. I will say that I know how hard it is to make these private calls in a van. It is weird to do an interview like this in the van when I am saying things about me, while I feel everyone in the van is getting so mad. My keyboard player, Peter, likes to listen to music while he makes his private calls so it dulls the conversation. I think Oliver didn’t call because he was preoccupied with the tour, maybe doesn’t like cell phones and lives in the moment. For the record, I personally think he didn’t do anything too compromising. His aloofness just hurt people more than he knew.
Friday night I found myself once again at Mohawk, one of my favorite Red River hangouts here in Austin. Headlining was Austin’s own Balmorhea, whom I heard on the local tastemaker radio station earlier in the day. As brilliant and symphonic as Balmorhea may be, the attraction for me was their label mate, Ola Podrida. I was actually looking forward to seeing both bands, as this bill sounded like something worth seeing live underneath the night sky at Mohawk’s outdoor stage.
Unfortunately due to the cold weather (cold for Austin anyway) and the chance of rain, Friday’s show had to be moved into the smaller indoor stage. The indoor stage isn’t the outdoor stage by any means, but at least it’s intimate and everyone was warm. It just tends to be too crowded indoors for a show that draws a crowd the size of Friday’s.
As I walked inside, Martin Crane of the Austin based indie band Brazos, was performing some solo stuff he’d written. It was just Crane and his electric guitar. I caught the last couple of songs from Crane and it was literally over in a flash. Shortly thereafter, Ola Podrida took the stage for the first time in Austin this year. Ola Podrida, which translates in Spanish as “rotten wave”, is fronted by Dave Wingo. Wingo is an Austin based singer-songwriter who has spent the last year receiving great critical acclaim for Ola Podrida’s latest album, Belly of The Lion.
As Ola Podrida got started, Wingo introduced new band mates Colin Swietek (guitar) and David McComb (bass). Wingo also introduced his drummer, who he told everyone was with him since the beginning, Matthew Frank. After a couple of sips of the Lone Star to his side, Wingo and company started playing songs from Belly of The Lion.
From the get go, the band had to deal with sound issues. Their faces showed them trying to play through it, but it was clear that it was bugging them. It wasn’t anything terrible, just an annoying little buzz coming through the speakers for all to hear in between songs. Once Ola Podrida started playing a song, the buzz was hardly noticeable. I only heard it because I was front and center to the stage.
As much as I like Ola Podrida's albums, it didn’t start translating live until they picked up the indie shoegaze. The first couple of songs were acoustic guitar driven and when the buzzing sound was at its worst. Come the third song, the electric guitar and the drums woke up with “Roomful of Sparrows”. Watching Colin Sweitek strum away at light speed and hearing Wingo turn up his internal vocal volume woke us all up.
Right after, Wingo put his guitar down and picked up the banjo to start playing “Donkey”. On “Donkey” Wingo had to start that over a couple of times as he pulled the cord out of his banjo only to create more of that darn buzzing noise. Having made a full recovery from the small hiccup, they went on to play “Donkey” and nailed it. That was a nice gift for me as it is my favorite slow song on Belly of The Lion.
The other highlight of the set for me was “This Old World”, also off Belly of The Lion. Wingo had his banjo again and the buzz almost wasn’t there. I think because their music is so good, there wasn’t anything that could have kept me from enjoying Ola Podrida’s set. There was just something about being there for their first live show that added something special to the evening.
(Review written for and published on Double Stereo.com. All live photos by Mark Rehak).
Smile Smile live at Emo's (photo by Sarah Vasquez)
Thursday night at Emo’s, in the midst of all the Red River history performing that night, was a quiet young indie duo no one seemed to recognize. Dallas, Texas’s Smile Smile was the indie pop break between a line-up of power pop heavy hitters like Cruiserweight, The Riddlin’ Kids and their touring mates, Bowling for Soup. It was all an interesting experience to say the least.
As I arrived at Emo’s local pop punk and Red River icons, Cruiserweight, were finishing up their set. I know Stella Maxwell’s voice anywhere, as I have seen them so many times over the years here in Austin. They did a great job of pumping up the crowd only for Smile Smile to bring them down shortly thereafter.
As Smile Smile took the stage, I wasn’t surprised to see the teeny pop punk kids give them funny looks, as if they were thinking “Where’s the rest of the band?” or “Are these the kids from Juno?”. What they didn’t know, besides who they actually were, is that the two have an interesting history which would come out in the music they were about to play.
Smile Smile lead singer/guitarist Ryan Hamilton and pianist Jencey Hirunrusme were in a relationship when they started the band. They recorded their first album, Blue Roses, when they were still together. Their relationship eventually lead to an engagement and then to a break up. Despite the break up, the two carried on with Smile Smile and have a new album coming in February of next year. The duo’s music they performed Thursday night reflected all that.
They opened their set with the upbeat “Anymore”, perhaps as an inside joke amongst each other. Hamilton’s indie rock angst mixed with Hirunrusme’s sad sweetness make for an interesting dynamic on stage. Can you imagine writing songs about an ex, singing them to her and then performing with them in front of hundreds of strangers? I can’t. You’d understand if you knew my exes. My break up songs would be totally post-rock or punk.
All of their songs pretty much had that ended relationship sort of theme. After Anymore, they went into “Beg You to Stay” and “Sad Song” towards the end of their set. Both tracks belong in a heart wrenching break up scene on a CW show or a Focus Film. That Ryan Hamilton is a sad dude, or was when he was writing.
His hurt and sadness still shows a little here and there on stage, as Hirunrusme had to have the audience tell Hamilton to stop yelling at her. The young girls standing in the front gladly abliged. She may have been playing around, but underneath it all was a plea to stop the hurt. It was in her eyes even though she tried to hide it with a smile and her hair. Being so close to the stage, it was plain as day to me. Hamilton even snapped back just a little, just enough to not sound like an angry jerk. He said something to her about going too fast or her impatience as she hit her iPod, which was attached to her keyboard, too early.
Smile Smile live at Emo's (photo by Sarah Vasquez)
Other than that, they nailed their set without being booed or having people walk away. Sure some were talking and texting during their slower stuff, but the pop punk crowd was won over with Smile Smile’s indie version of the classic Blink 182 cover, “Dammit”. It was the most memorable moment for me other than their little lovers quarrel. The only thing I was left wondering is whether or not the duo will sustain long enough to support their album, “Truth On Tape”, which is being released on February 16, 2010. I hope they do. Even though I wasn’t too crazy about them personally, I can see a lot of people really liking their music as a way to help cope with the rough relationship patches in their life.
To better understand this dynamic and check out a couple of live clips, watch this video:
Smile Smile set list from their Emo's Austin show on December 3, 2009:
Anymore
Beg You to Stay
Tempo Bledsoe
Dammit
Cancer
The Attic
Sleepwalking
Sad Song
Truth on Tape
For more on Smile Smile, visit the following links:
I remember getting Rolling Stone Magazine in the early part of the decade, which is where I first heard of the Omaha, Nebraska indie band, Cursive. I remember that same day I found a used copy of The Ugly Organ at the now defunct neighborhood CD Warehouse. With used copies, they used to let you listen to it in one of their store stereos with headphones on before you bought it. I know I’m dating myself here, but I miss that experience. The instant after “Some Red Handed Slight of Hand” came on through my headphones, my music collection had a new permanent addition. Saturday night at Mohawk, Cursive finally took to the stage in front of me after all these years of waiting. I remember that feeling I got years ago when I first heard The Ugly Organ in CD Warehouse. That’s the feeling I got from Cursive Saturday night at Mohawk.
As I arrived at Mohawk I caught the set of Cursive’s current touring mate and fellow Omaha brethren, Capgun coup. I thought it was an interesting paring to say the least. I think the hundreds of Cursive fans at Mohawk felt differently. While Austin indie crowds always clap politely, very few people in attendance were feeling these guys. It was evident from the band member’s faces that it was the vibe they got as well.
I think they really lost the crowd when they introduced their song, “Wish I was a fag”. The word “fag” regardless of meaning or connotation is not something that will go over with the open minded, liberal hipster audiences in Austin, Texas. If you listen to the song, it’s not meant to be used with a homophobic connotation, but it was just not a good idea to perform it when that audience was on the fence about you to begin with. I didn’t think they were all that terrible. I enjoyed their last song, not because it was their last song but because it was entertaining. It was called “Bad Bands”. The lead singer even introduced the song by saying “this is about bands like us” and got a laugh out of the audience. It was very basement party rock and the only song I’d actually download from them.
After what felt like a short set from Capgun Coup, the band we all came to see was setting up. It was a trip because it was only 10:50pm and the headliner was almost ready to go on. Gone are the days of late outdoor shows on Red River. I keep forgetting about that stupid noise ordinance, or I keep trying to anyway. Still, with perfect weather on a Saturday, Cursive going on earlier than I expected was just fine with me.
After they started off the set with “The Martyr”, a rush really took over me as started to perform “I Couldn’t Love You”, my favorite song off their current album Mama I’m Swollen. Lead singer Tim Kasher almost sounded like the CD itself, except he brought the high notes a little higher and threw in some more angst. The trumpet/organ player was great in that his trumpet playing didn’t overpower Kasher’s vocals. Again, it was all very close to CD like quality.
Shortly after, Cursive broke into The Ugly Organ album with “Gentleman Caller” and later “Butcher The Song” much to the diehard crowd’s appreciation. My favorite song from The Ugly Organ didn’t come until toward the set’s end with the ever-so angsty “Sierra”. It was nice to be around other people who scream “Sierra” out loud. I thought I was the only person who did that while alone in my room at two in the morning.
The most enjoyable part of the set for me was everything from Mama I’m Swollen, Cursive’s latest album. I think it because that is the Cursive album that reminded me how much I enjoy their music, because it had been since The Ugly Organ that I really liked something from them. Also, it is the album I have been listening to all year since I reviewed it. Being that it was all fresh in my head, I was more than ready to hear those songs live. I thought they were going to end the night with “From The Hips” as it would have been my choice for a closer. Instead they went with “Big Bang” from their Domestica album. Hearing how good “Big Bang” sounded live actually got me thinking about revisiting that album. What more can be said really? What an experience.
Cursive live from Mohawk (photo by Mary Rehak)
After their set lead singer Tim Kasher made sure everyone in attendance knew that their friends and Saddle Creek Records label mates, The Old Canes, were playing at Emo’s. Being that it was only around midnight, off we all went.
Cursive's set list from Saturday's concert:
The Martyr
I Couldn't Love You
Gentleman Caller
Dorothy at 40
Mama I'm Swollen
Butcher The Song
A Red So Deep
Retreat!
The Recluse
Mama I'm Satan
Mothership Mothership Do You Read Me
Sierra
What Have I Done
Art is Hard
The Casualty
From The Hips
Big Bang
Ocote Soul Sounds is the combined musical genius of Adrian Quesada and Martin Perna. Both come from big bands, as in bands with lots of members and popularity, while coming from different worlds. Many of you may have seen them live recently with their friends, Thievery Corporation. They’ve played with some of the biggest names and most talented of musicians known and less known. With Coconut Rock, Ocote’s third release, they may have created something unique that holds its own that will make people forget about all of that.
Tonight there are quite a bit of choices for excellent rock shows. The Bravery headline Emo's outdoor with The Dustys. There's local indie goodness with Quiet Company and Morakestra at The Parish and The Blackheart Procession at Mohawk. My personal, expert recommendation for tonight is the show at Emo's inside stage, which features headliners The Subjects. Tickets are $8, maybe a couple more at the door which opens at 9PM.
The real treat and reason for making that show my pick is not for the headliner, but for the band Bad Veins. They came through Emo's last month when they played under The Black And White Years and after Built By Snow. Their self titled album came across my desk earlier in the year and has been one of my absolute favorite albums of the year. It is very Killers-esque, but much more eclectic in terms of instrumentation and sound. Their music sounds like it's an eight member band, but it is indeed only two dudes. The two dudes, Ben Davis and Sabstien Schultz, hail from Cincinnati, Ohio. I used to live in Cincinnati before moving to Texas in 1995. It was cool reminiscing for a bit.
Me with Bad Veins at Emo's in Austin, Texas
I got to chat with them last time they were Emo's and catch their live show. It was totally bad ass to say the least. It was the first time I got to see someone singing into a box with a telephone as a voice encoder. They sound just as good live as they do on CD and won over the audience in attendance. I'm glad to see them come back again and hope they always come around. I love this band. Go check out Bad Veins tonight and check out this new video interview Ajay and I did for our good friends at Double Stereo.
When L.A. based Killola came through Austin last month, I was lucky enough to catch up to them for an interview. I saw them last year with The Action Design at Red 7 and have been a fan ever since. There in the picture you see me with Lisa, lead singer and soon to be movie star? Check out my interview with Killola to find out what's coming up for Killola in the coming year. I also posted the craziest music video for their song "Cracks in the Armor".
The Swellers have just released what will be their most commercial album of their career, Ups And Downsizing. While still sounding very much like The Swellers of old that I loved so much; the Flint, Michigan punk rockers softened up a bit. Don’t worry Swellers fans, like I said….it was only a bit.
First let me get straight to the stuff I did not enjoy and am disappointed in. There’s not much, but I have this need to put it out there. “Stars” is really bad attempt at a ballad. It starts off acoustic and then leads into a ‘80s hair band metal electric guitar solo. I get it Swellers, you have a cheesey and sensitive side. I’m just not feeling it on that one.
There also some fillers that were okay, but not what I feel is their best work. The ‘90s style pop punk track, “Do You Feel Better Yet”, sounds very generic. I can’t pinpoint what it lacks, but something’s not there to give it the punch it needs. “Feet First” is another album filler that reminds me of something on an Offspring album. Perhaps if you love Offspring, you’ll enjoy it. Again, being that I am an old fan of The Swellers, I am used to better efforts.
All that being said, the rest of Ups And Downsizing is fantastic. My biggest fear that The Swellers would sound like a male fronted Paramore when signed to Fueled By Ramen were put to rest. They did not lose their punk rock sensibilities, nor did they stay away from harder punk as evident by “The Iron”. It is a quick two and half minute Rancid meets Rise Against punk rock gem. It follows the theme of nothing is hopeless and anything can be overcome, which is actually the theme of most of the songs on Ups And Downsizing.
Another fast, old school 90s punk rock style track on the album that I absolutely loved is “Dirt”. It is the sound that I have always loved from The Swellers. It’s hardcore punk meets the rock stylings of bands like Rise Against, while being just unthreatening enough for Paramore’s audience not to be afraid of it. The Swellers may also be the only Fueled By Ramen band to use the lyric “Motherfuckers” in a song. I love it.
The same great pop meets punk balance can be can found on “Fire Away”, their first single off Ups And Downsizing. It is hard enough for the old Swellers fans, but once again approachable enough for new fans. You will love the punk rock like breaks and the catchy chorus you can sing along with. Speaking of pop punk, “Sleepers” is the best pop punk track on Ups And Downsizing. Just give it a listen and you’ll hear. You will catch yourself singing along like a thirteen year old girl at her first Warped Tour.
Current Swellers fans, you probably already have this album and are going to love it no matter what a review suggests. For those not familiar with The Swellers, know that Ups And Downsizing is their more pop album in comparison to their 2007 release, My Everest. I still prefer My Everest, but am not disappointed with their new album and the new heights Fueled By Ramen will undoubtedly take them to. Be sure to check their Myspace page for tour dates with Paramore.
Review originally published on Double Stereo. For more great music, blogs, videos and downloads, check outwww.doublestereo.com
This summer my good friend Ajay Miranda and I went to San Antonio to check out Mayhem Fest. We had to go to San Antonio as it does not stop in Austin unfortunately. Mayhem was also Ajay's first real metal experience outside filming local metal bad asses, Pack of Wolves in March. We were there for Double Stereo with press passes and got to be up close and personal, right at the front of the stage in the photo pits. The only artist that couldn't be filmed was Marilyn Manson. No big deal, I was there for Slayer and the other great bands. Manson was quite the live show though. I will say that.
Slayer's Tom Araya
It was a dream come true for me as I finally got to see Slayer for the first time and be right up front against the stage. It was the closest you could could get without actually being in the band on stage. The AT&T center was packed as I looked behind me and saw a sea of people. The upper level seats were full as well. They performed all their classics, stuff from the early records and later stuff.
Black Dahlia Murder
The best part of the day during Mayhem was getting to check out some of the lesser known bands coming up in the metal world. It was really cool for me as we don't often get these type of metal shows in Austin like Dallas or San Antonio do. Austin is getting better about it lately, but metal still gets put to the back burner behind indie, modern rock and other genres. I'll do my best to be part of the solution and change that.
Cannibal Corpse lead singer George Fisher
Some bands I got to see for the first time included Cannibal Corpse, All That Remains and my favorite of the day part of Mayhem Fest, Black Dahlia Murder. I got an interview with new guitarist, Ryan Knight and just launched it. Surf through my blog or check out Double Stereo to check that out.
All in all, it was one of the best memories of my summer and my life. I rocked with Slayer and can die happy now. I can't wait until next year's Mayhem Fest to see what Kevin Lyman pulls off. In case you were one of the unfortunate ones who didn't catch Mayhem this year, check out this amazing promotional montage Ajay shot and edited for Double Stereo.
In the latter part of 2008, melodic death metal group The Black Dahlia Murder received word from then lead guitarist John Kempainen that he was quitting the band. At the time, they were on tour and had to continue as a four-piece band instead of the usual quintet. But filling in the gap didn’t take long. Former Arsis guitarist Ryan Knight was recruited with the help of a friend of the band, and the rest is history. Double Stereo caught up with Ryan Knight recently to introduce him to the fans and talk about what’s new with The Black Dahlia Murder.
Not just anyone can join The Black Dahlia Murder. How do you know the guys? What was it like to join the band?
Ryan: The way I knew the band was through my old band, Arsis. We toured with Black Dahlia last year. It was a like a B-markets tour before Summer Slaughter. The guy who we just recorded our album with, Jason Suecof, has a partner that engineers with him. His name is Mark Lewis. I had known them both for two or three years. One day I call mark and told him I could not be in Arsis anymore. I knew he worked with a lot of bands, and asked him to put the word out. A couple of months later, I got a call from Mark telling me Black Dahlia was looking for a new guitar player. I told him I’d totally do it. I had just gotten through touring with those guys a few months before. Brian Eschbach called me that same day and that’s how I’m in the band.
So how has your life changed since being in Black Dalia Murder?
Ryan: It is just another level, comparing the band I was in to Black Dahlia. Obviously we are doing bigger tours and just traveling everywhere. My first show with them was actually in Iceland. I have been to Europe for six weeks with them. It was a really big step, but it’s been fun.
How has Mayhem Fest been for you guys this past summer?
Ryan: This past summer for us has been amazing. The exposure you get from Mayhem is incredible. We played in front of our fans, Slayer’s fans and even Marilyn Manson’s fans. You had this big melting pot of people that are into all types of stuff. People go crazy every day. But some days, when it was really hot, like a show in Florida, they were like a stone wall. I can’t blame them though. The heat was brutal that day.
What’s going on with you guys now that Mayhem is over? I know your new album, Deflorate, just came out on September 15th.
Ryan: Yup, it came out on Metal Blade Records. Now we are starting our tour with Children of Bodom and Skeletonwitch. After that we will be around playing everywhere.
Tell me something you liked about this year’s Mayhem Tour. Is there anyone you discovered or liked checking out live?
Ryan: Touring with Slayer is a lifetime dream come true for anyone on this tour. I haven’t watched them every night, but I’ve watched four or five times. All the bands on our stage were label mates. We’ve toured with a lot of them before. It was fun though, like touring with our friends.
Did you catch Marilyn Manson?
Ryan: I have a couple of times. I am not that big of a fan, but he brings people. That’s cool. I never thought I’d be on the same tour with him back in seventh grade when I first heard him.
Right on. So I imagine there will be no sleep for you guys the rest of this year at least?
Ryan: Sleep? Not happening. We have a lot of touring going on.
Besides it being the first time where you have been on the actual album, what is different about Deflorate in comparison to the previous Black Dahlia Murder albums?
Ryan: This record is definitely a step up from the other albums. It is still a Black Dahlia record, but at the same time there are some new things like new time signatures we haven’t experimented with before. I’m the new lead guitarist, so when you change lead guitarists then obviously the leads are going to be different. They’re cool though.
Any different themes to any of the songs on Deflorate that Black Dahlia hadn’t done previously?
Ryan: I know on some songs Trevor had done maybe a sci-fi sort of thing. The last album had sort of a night feel. Deflorate’s cover art has sort a “deserty” sort of space theme. It has a big moon. It’s not a spaced theme album though.
It’s not a Pink Floyd cover by any means?
Ryan: Oh no. From the lyrics I’ve read, and I have read quite a few, it does have kind of a sci-fi theme. I know Trevor is into older mid ‘90s death metal. Sometimes there is a lot of gore in there. He is all into that so that is all there still. There is still Black Dahlia.
Tell me a little about the Majesty DVD.
Ryan: It has 2 discs. One disc is live footage. It has a documentary of how we are as a band. It goes from our life in the band. A lot of the band smokes weed and there’s some of that in there. It is not like an in-depth history, but more like a day in the life of the band. It was shot over the course of a couple of years. I’m on it for the last twenty minutes. It does have some really good live footage, but it isn’t just the run of the mill live DVD. Kids who have seen it come up to the guys and ask about their shoes and stuff that they saw them wear on the DVD.
Does that sort of thing surprise you?
Ryan: Not really. Brian, our other guitar player, wears these all white New Balance shoes. It’s like a funny thing that kids notice that.
Funny but I don’t think that fans see that as very metal. Now a Revolver Magazine cover…that’s metal. How has the Revolver Magazine cover changed things for you?
Ryan: The Revolver cover was cool. Revolver is like everywhere. I could tell my mom to go get one at like, say, Kroger’s and it will be there. That’s how big it is. It’s cool. We all felt honored as a band to be in it, especially Trevor having the cover. It is a step that says, “We’re here.” It helps us carry the torch for death metal. In a lot of ways I think this band is sort of a gateway band.
In what sense?
Ryan: It is a gateway into the realm of more extreme stuff. I hope we can continue being that. A lot of kids are already into Slipknot, Disturbed and bands like that. That is what’s good about us being in Revolver. They do a good job of not only taking stuff people know about and putting out there, but also cover some of the up and coming smaller bands.
I’d be interested to see in about a year what level you make it to, especially after a Revolver cover. In terms of what I will refer to as the “Mayhem bands,” you guys aren’t quite a headliner yet. You’re mid level right now. I’d love to talk with you later on about how your life has changed once again.
Ryan: We will definitely keep trying to bring blast beats and fast music to more people.
With all the exposure, do you ever see yourself breaking through to mainstream rock radio the way Slipknot or Disturbed have? Or do you think that you will remain off the air?
Ryan: Well, I don’t know. I can see us on maybe satellite radio maybe. Mainstream radio? I don’t know if we will ever be on mainstream rock radio like Slipknot. We won’t ever sell a million records or anything, even though selling albums is like a thing of the past. We’re just going to continue to push it and see where it takes us. We’re not too worried about it. You don’t join metal bands to hit it rich or anything. You join because t is what you love to play and listen to.
Any last words before we wrap up?
Ryan: Thanks always to fans. We wouldn’t be here without you. Be sure to get the new CD, Deflorate, on Metal Blade Records.
Ian is a graduate of Round Rock High School and attended St Edward’s University in Austin, Texas. In 2008 he joined the team at Double Stereo (formerly CD Fuse) as their Blog editor where he reviewed concerts, albums, and did interviews for the popular music site.In January 2009, he became the Editor in Chief for Austin Vida. In 2010, with the help of some of his most talented friends, he launched Red River Noise. "Ian's Music Blog" is also one of the few blogs selected to be a Do512 All-Star.
On any given night of the week he can be found in downtown Austin on 6th Street and the Red River live music district.
