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(07/25/02 8:23pm)
Judging from the cover, I expected the Old 97's latest album, Satellite Rides, to sound like something straight out of the 1960s. The album is certainly reminiscent of those times, but it sounds more like an absurd mixture of Superdrag and the fictional The Wonders from "That Thing You Do!"\nPictures inside the album portray the band members as updated mods and gentle guys. These soft-spoken men sing of girls, the heartbreak they can bring and the excitement of new relationships. It's a classic theme for a "classic" band. Undeniably, it accomplishes what it appears to be reaching for. All tracks are solid pop tunes but never become repetitive. \n"What I Wouldn't Do" embodies all these characteristics. Although the lyrics are somber, the music is upbeat, with a solo sprinkled in the middle of the song. The girl trouble enters the picture from the start, when vocalist-guitarist Rhett Miller sings, I'm in love with you, but I don't know why it gets so complicated/though you have not left, you have said goodbye. It's enough to bring a tear to anyone's eye. But the Old 97's pick up the pace with a honky-tonk road song, "Am I too Late?" This time, someone kidnapped the girlfriend, which is not anyone's fault this time. Questions of fault aside, this track is one of many that show the band's versatility, although it never strays from a common theme.\nThe opening lyrics of "Buick City Complex" might startle some listeners, when Miller asks, Do you want to mess around? But don't be fooled; these guys are not sleazy. Sometimes they're hurt and bitter, but usually they need some reassurance. Musically, Satellite Rides doesn't offer anything profound or new. This album gives listeners reliable pop-rock that would be most fun live. People can easily dance to this record and even lean a head on someone's shoulder as if at a high-school dance. It's that fun.
(07/25/02 8:23pm)
Those who have not been exposed to the musical legacy of Wesley Willis might be surprised to see what they are missing. Willis, a 6-foot-5, 300 to 350-pound man living with schizophrenia, has written such classics as "I whooped Batman's ass," "Cut the Mullet," "Rock and Roll McDonald's" and "Alanis Morissette." Many of his songs are about everyday things and some are about losing weight. In addition to a devoted legion of fans, well-known musicians like Eddie Vedder support the Chicago native's music.\nWillis is one of many musicians appearing in Culture Shock, a music festival sponsored by WIUS AM 1570 Saturday in Dunn Meadow. Others bands performing include The John Wilkes Booze Explosion, The Holistic Experience, The Sissies and Little Joe Gould.\nI am a little apprehensive when I first call him, not knowing what to expect. Once we start talking, I know Willis is in a good mood. He asks me if I have heard his music, and I say I have. He asks me if I like it, and I say I do. Then, he asks me how I am doing, and I say I am doing great. The conversation proceeds from that point like this:\n \nWesley Willis: Say rock.\nKatie Cierniak: Say rock?\nWillis: mmm-hmm.\nKC: Rock.\nWillis: Say roll.\nKC: Roll.\nWillis: Say rock.\nKC: Rock.\nWillis: Say roll.\nKC: Roll!\nWillis: AAAAIIIIIIEEEEEE!!!!\n(This scream was one of excitement. Throughout the conversation, Willis mentioned how much he loved rock and roll repeatedly, and this was just the beginning.)
(07/25/02 8:23pm)
Get ready to down some energy bars or at least drink a bunch of coffee in preparation for BloomingtonFest 2001. This year's fourth annual alternative arts and music festival incorporates six venues and more than sixty bands into one weekend. But, it doesn't end there. Throw in two different art exhibits, one film festival and one afternoon game of kickball in the park, and the weekend is set. Steve Duginske put together the first BloomingtonFest four years ago, and since that time, it has grown into an event that includes more than music and more than one person behind the wheel. \nThis year's fest offers two art exhibits, one by Dirty Scarecrow Productions featuring nine different artists. Eric Weddle of Family Vineyard Records gathered a collection of rock posters from Bloomington, ranging from the 1960s to today. Additionally, for the first time, Second Story Night Club, 201 S. College Ave., and the Cellar Lounge, 123 S. Walnut St., are official venues for BloomingtonFest.\n"It all slowly came to together," said Duginske about the events for this year's fest. "I'm doing my part of the music. (Bloomington record label) Secretly Canadian is doing their part of the music. We're all doing it on the same weekend." \nLast year's BloomingtonFest was the first to include a showcase of Secretly Canadian bands in the Rose Firebay room at the John Waldron Arts Center, 122 S. Walnut St. Once again, Secretly Canadian will feature bands on their label. \n "This is pretty much a big family reunion," said Jonathan Cargill of Secretly Canadian records. Almost all the artists featured on the Secretly Canadian label will be at BloomingtonFest. According to Cargill, that means a wide variety of musical styles, from soft acoustic music to rock to jazz.\n"The beauty of it this year is that it's a pretty eclectic mix. Any given night, you're probably going to come across some genre that you really like," Cargill said.\nFor people who might need a break from bouncing between Rhino's and the Waldron or who are simply looking for some movies, Secret Sailor Books, 202 N. Walnut St., is hosting the Lost Film Festival all weekend. Films vary in length and subject, from "Public Weapon," a three minute eyewitness video about police brutality to "Edge of Quarrel," a two hour film about a fictional battle between crusty punks and straight-edge kids. \n"We wanted to show new, uncompromising films to people who wouldn't necessarily see them," said Rebecca Rakstad from Secret Sailor. "There are people making films at a higher level and doing it independently."\nIn the same sense, all the music at BloomingtonFest can be considered a celebration of the independent. All movies, art and music at BloomingtonFest are part of this wide open genre, which is something many venues are excited about.\n"It's a privilege for us," said Brad Wilhelm, director of Rhino's All Age Music Club, 325 1/2 S. Walnut St. about hosting BloomingtonFest. "It's a chance to present the best of the best of underground music." \nSome of the bands featured include Olympia, Washington's Unwound, who will perform on Sunday. Often mentioned in the same breath as underground pioneers Fugazi and Sonic Youth, Unwound is not compared to both bands so much because of their sound, but for their musical impact on the bands of today.\nOther bands visiting this year range from the re-energized New-Wave stylings of The Faint, to the soothing instrumentals of Unwed Sailor, to the moody and distinctive music of Annika Bently. Rapidly becoming Bloomington favorites, Michigan's Small Brown Bike return for their third Bloomingtonfest. \nAs BloomingtonFest becomes a yearly tradition, Wilhelm sees the strong support the fest gets every year, and how audiences anticipate future festivals. \n"Every year, people ask, 'When's next year's fest?'" he said.
(07/25/02 8:23pm)
In kindergarten, Mike Reed met Travis Dopp. Their new friendship was not cemented by crayons and action figures, but rather by a small Matchbox car.\nReed, who is now lead singer and guitar player of Small Brown Bike, remembers a time in elementary school when it was Travis' birthday, and as a last-minute present wrapped a Matchbox car in toilet paper and gave it to Travis.\nFrom there, the friendship was sealed and has since grown into more of a brotherhood, which now includes drummer Dan Jaquint, whom Reed met in fifth grade. Add in younger brother Ben Reed on bass and percussionist Jeff Gensterblum, and the Bike was completed.\n"Being in a band, skating…they're all auxiliary to being friends," Reed says, who added that tight friendships establish the personal and truthful nature of Small Brown Bike's music, which can be heard at this year's BloomingtonFest.\nHailing originally from Marshall, Mich., the members of Small Brown Bike have made a name for themselves nationwide. Though they have toured the country, they still take a certain pride in their Midwestern roots.\n"When we go to bigger cities, we definitely feel like we're from Michigan," Reed says. "Probably at some level it's contributed to the band, but I don't know if it's conscious."\nBecause the band members have a history together, they draw influences from life's experiences. As a result, the music and lyrics reflect this aspect of the band.\n"Lyrically, personal things motivate us. That's what we're comfortable with and that's what comes naturally at this point," Reed says. "The band reflects who we are as people."\nMusically and lyrically, the band tries to avoid planning and refuses to stifle themselves by trying to force their music in any direction. \n"We try to stay away from making conscious decisions toward the band," Reed says. "We don't say, 'Today we're going to write a love song.' It feels 20 times better to just be practicing and see what comes out, see what happens naturally."\nWhat happens naturally is incredibly energetic, honest and open.\nSmall Brown Bike will make its third appearance at Bloomingtonfest this year. Whether 200 people are crammed into True Skateboards or hundreds of people strive to get as close as possible to the stage in Rhino's, the band's shows are always energetic, something Shane Becker, of the local band rise over run, has seen firsthand. He has attended two Bike shows at the old True Skateboards.\n"Imagine over a hundred kids packed into that place, all screaming along like their lives depended on it," Becker says. "I like their CDs, but I don't think they can capture their live shows."\nBrad Wilhelm, director of Rhino's, also attests to the power of their performances.\n"They're an amazing act live," Wilhelm says. "It's almost like the band and the audience are in something together."\nThe source of this energy is the music. But not all performances run like clockwork -- when someone might feel he lacks the energy required to play a show, the music pulls him through.\n"Sometimes on the road or at a local show, you'll think, 'I don't know how the hell I'm going to do it tonight,'" Reed says. "But, once that first note kicks in, I know I can do it." \nAnother motivating force in the band is the deep comfort level that Reed says stems from the members' friendship.\n"It allows you to be more honest when you're practicing, and when you're writing music, it definitely comes out," he says. "If you want to try something in a song, for example, you don't have to worry about what the rest of the band is going to think. You can be totally honest about stuff in a good way or in a bad way."\nBut Small Brown Bike has also encountered several obstacles. Dopp left for about a year, and was replaced temporarily by Scott Flaster. During Dopp's absence, he and Reed remained friends and talked almost every day. Recently, original drummer Jaquint left the band. \n"He was honest with us, and he was honest with himself," Reed says. "Small Brown Bike wanted to do so many things, and it became difficult for Dan to balance with his job. He currently drums in a different band that fits better with his lifestyle.\n"It's hard to watch a friend you've known since you were 11 leave the band," Reed says.\nThe two remain friends with no hard feelings about his departure, and it didn't throw the band off course. With another friend waiting in the wings, Small Brown Bike continued on. Jeff Gensterblum, who also drums for Biddy Biddy Biddy, immediately volunteered for the job.\n"Jeff just offered. He was confident that he could do it," Reed says. "We knew it would work, and he's really creative when he's working with songs."\nCurrently, Gensterblum is working with the band on new material, some of which will appear on a split 7'' with friends the Casket Lottery later in the fall. \nAs with the Casket Lottery, Small Brown Bike has befriended many bands such as Cursive and Hot Water Music. Often familiar with only their music first, through a few strokes of luck Small Brown Bike has been able to meet some of the musicians they look up to the most. \n"Most of these bands I never knew as people first. Just by sheer luck or coincidence we got to meet," Reed says. "Once we get to know them as people, the music becomes that much more amazing."\nWhen Hot Water Music asked Small Brown Bike to tour with them, Reed says it opened their eyes to possibilities of what they could do with the band. He felt confident that they would accomplish a lot by simply doing what they loved. \n"It fired us up to do more touring," Reed says. "We know we have to keep stuff organized. We've all kicked ourselves in the butt and made sure we have all of our stuff together. And then we can have fun." \nSince 1996, Small Brown Bike have been having fun making music and meeting new people. \n"Three years ago, I couldn't have predicted where we are now," Reed says. "We'll know when we've taken it as far as we can go"
(07/25/02 8:23pm)
Sitting in a bright orange booth at Rocket's Pizza, they discussed their goal for Labor Day Weekend: to orchestrate the biggest BloomingtonFest ever to take over the streets of a not-quite-sleepy college town. But still, this town is one that needs a kick every once in a while to get it going. \nIt seems appropriate that with music posters plastering the walls of the pizza parlor, a group of friends coordinating this year's event gathered. They agree that no single person made this year's BloomingtonFest -- it took a small group to bring together a large community.
(07/25/02 8:23pm)
Ask what keeps Mid Carson July going, and you'll hear two simple things:\n"Stubbornness and rebelliousness," says Mike Sullivan, better known as "Skull," a long-time friend who also serves as the band's roadie. "The inability to accept the music scene as it is keeps them going."\nHailing from Central Pennsylvania, MCFNJ said they find the present music scene appalling, with bands like Blink 182 and Sum 41 saturating the market as the only "punk" bands kids know. For drummer Dan Oxford, these bands lack what many bands used to have that made them worthwhile.\n"The bands we grew up with had character; they had ideals; they had values and beliefs," Oxford said. "I don't think these (newer) bands are doing anybody any good."\nThat ideal fuels the fire for MCFNJ. With this distaste for the way things are going, the band is determined make a change. Not only do members want to see a music community full of support for their genre, they also want to people to be aware of their beliefs. This idea motivated MCFNJ to put "Anthem for the Apathetic" on Wessel, their latest release. A song from Eric Lippincott's former hardcore band Watch Dog, it delves into problems that used to exist that they still see today.\n"That's how we feel about what's going on, people not knowing what they stand for," Oxford said. \nMid Carson July can be said to stand for working class ideals and creating a valid place in the music scene by working for it. The band isn't the only form of work for members of MCFNJ; they keep day jobs to pay the bills and cover tour expenses. Although it is sometimes difficult to balance work and music, the blue-collar ethic is a defining characteristic of the band.\n"We're working class schmucks. We're not a band that survives off Daddy's money," Oxford said. "We're doing it for ourselves. The reward is that every once in awhile we get to do what we want to do. It means a lot to us."\nWhile this meaning is different for every member of the band, Oxford finds a certain sense of accomplishment in working as a band to achieve a common goal. As a band, they may simply be trying to get through a show or writing a song. Oxford said they must work together to reach that goal, and that involves making compromises from time to time.\n"We've seen bands who can't do that, whether they're a really good band or a really shitty band," Oxford said. "It's like living in a family. Sometimes it gets hard, sometimes it gets ugly, but you do it."\nWith two brothers in the band, the feeling of being in a family is intensified. Eric and Bryon Lippincott, on bass and guitar respectively, both have strong personalities, Sullivan and Oxford said. Though the sibling rivalry occasionally bursts out into arguments, it always gets worked out in the end, said Sullivan. Arguments are rarely the result of a difference in vision or a goal, but because they have different ways of reaching that goal, said Sullivan. \nDespite the occasional outbreak, members of MCFNJ are very close and dedicated.\n"As a band, they're very tight-knit and very protective of each other," said Sullivan. "They are very loyal to each other. And they're a really unique mix of people to make up a group of friends with."\nMusically, they have a wide array of influences, from punk and hardcore to indie rock and Johnny Cash. Oxford said these influences are too varied to try and meld them into one sound, and that they just let their music happen naturally. \nAccording to a recent press release, their third album Wessel, "is the best representation to date of the band's intensity and songwriting abilities." Sullivan couldn't agree more.\n"I think the new album has a lot of life to it," Sullivan said. "I'm really critical of what they do. I'm a musician too, and I tell them if what they put out is crap. Honestly, I think their music gets better every time they put out an album."\nMid Carson July plays Saturday at Rhino's All Age Music Club, 325 1/2 S. Walnut St.
(07/25/02 8:23pm)
The Bouncing Souls never desired nine-to-five office jobs. Good times and music went hand in hand, and that meant too much for them to trade in their instruments for suits and ties or their BMXs for laptops. \n"It just felt right," said guitar player Pete Steinkopf of creating his sound.\nPlaying music felt right for so long that they decided they didn't want to give it up. From their first shows in 1987 to now, they've never stopped playing.\n"It didn't all come to us at once," said bassist Bryan Kienlen. "We just kept doing it, basically." \nBouncing Souls can be described as punk rock, fueled by power chords, hefty bass lines, speedy drums and hard-hitting vocals. Drawing on the music they grew up with, they created this band, though it runs much deeper than that. This music shaped their lives and who they are today, they said. \n"It was a means to finding who I am," said singer Greg Attonito.\nFor Kienlen, music held just as much importance.\n"It was my religion when I needed it in high school. It was what I needed most when I was growing up," said Kienlen. "Now, to me, it's really different. It's a way of life. It's what I am without thinking about it at all." \nSteinkopf also said punk rock has become a way of living. \n"It's the way that I live my life. It's not just the music," Steinkopf said.\nAs a result of this deep compassion for music in general, Bouncing Souls understand where their fans are coming from. They often meet people at shows who remember the first time they saw the band and every time after that. Bouncing Souls members said they feel comfortable with this level of passion coming from fans, because they can easily relate it to their own love of music.\n"I'm a fan first," said Steinkopf. "I'm the same way about music." \nOn their current tour, this connection with fans will be emphasized when they play at Vans Skate Parks in different locations across the country. These dates are specifically set up to give the band a chance to hang out with their fans and sign autographs. The Bouncing Souls welcome the opportunity to meet all of their fans.\n"I want to meet people and get in their heads and get in touch with what people are thinking. That's pretty important to me," Kienlen said. "You get to share that energy. We give it and we get it back."\nAfter five albums, Bouncing Souls has established a strong foundation, musically and lyrically. They always stay true to themselves, playing music that reflects what is going on in their lives and their view of the world, members said.\n"It's an expression of life and how you see things, and your relationships and something you experience. That's the way it always is," said Attonito.\nKienlen agreed, reiterating that they follow what comes out naturally, instead of trying to force a sound or idea. Some similar themes recur throughout all five albums, including friendship and the joy found in music and live shows. Though these themes are present, each album represents a time capsule of the thoughts and experiences of Bouncing Souls at that particular time.\n"It's not premeditated, it's always spontaneous," Kienlen said. "I can't explain why we say what we say. Each record is a good glimpse of what's on our mind."\nBand members said as long as they feel they are growing and improving their craft, they'll keep at it. They started over a decade ago, a bunch of guys from New Jersey who loved soccer and BMX bikes, who also happened to play music together. Five albums and countless tours later, they still find excitement in getting better and trying new things. \n"I still feel like I'm working on learning to write songs," Kienlen said. "It's that same feeling, like, 'OK. That was cool. Let's try to improve.'"\nRecently, Bouncing Souls decided to give back to their community on the East Coast. Kienlen and Steinkopf currently live in New York, not far from the site of the Sept. 11 attacks. On tour in Europe at the time, the Souls were baffled upon arrival, and like many decided to help in any way they could. Instead of going through the United Way, they decided to donate a percentage of the fall tour money to the Fire Department of New York City's Widows and Children's Fund.\n"When we found out what happened, it was like everybody's reaction, we wanted to help out," Kienlen said. "It's good to be able to do a little something"
(01/30/02 4:08pm)
Nikki Sudden represents rock's underdog, says Jonathan Cargill at Bloomington's Secretly Canadian records. Bands Sonic Youth and Pavement cite the Swell Maps, Sudden's early project with brother Epic Soundtracks, as an influence on their music. Nonetheless, after first releasing music with the Swell Maps and then as a solo artist and later teaming up with Dave Kusworth in the Jacobites, Sudden has not received the same recognition as some of his contemporaries. This is one of the reasons Secretly Canadian has begun rereleasing Sudden's work, both solo and with the Jacobites. There are others too.\n"It's fun to be able to provide a new context for something that's had a life before," Chris Swanson at Secretly Canadian says.\nIn October, Secretly Canadian released Waiting on Egypt and The Bible Belt as one double disc set and then Texas and Dead Men Tell No Tales as another. Beginning this February, Robespierre's Velvet Basement and The Ragged School, his work with the Jacobites, will be released. Most albums contain bonus tracks and all have a booklet, which Cargill saw as a necessity for the rereleases. \n"For this reissue campaign, almost everything has bonus material and the booklets are chock-full of photos and as much information as we could find," Cargill says.\nTen albums will be rereleased in all, bringing a large portion of Sudden's material to one place. Much of this English rocker's work found its home on different record labels, which is another reason the label launched the campaign. Swanson believes that each of Sudden's albums is solid. While there might not be a Sgt. Pepper's Lonely Hearts Club Band of Sudden's work, Swanson says that each album is good and has a certain "Nikki Sudden sound" to it.\n"He's such a personality on record. You hear it and it doesn't like anyone but Nikki Sudden -- kind of like a loner, cowboy, or drifter," Swanson says. "All of his music comes from a very personal place. It's very personal, yet very universal. I think there are a lot of music lovers out there who would be doing themselves a favor by giving him a shot."\nNikki Sudden Interview\nQ:What have you been up to lately?\nA: Well, nothing at all. I've done one gig this month. I've got a French and Spanish tour coming up in March, and hopefully I'll be doing my new album in March. It depends on if Secretly Canadian gives me the money to record it. They're one of the peoples who's interested in it. It'll tie in with the reissues.\nQ: What's it like to have Secretly Canadian re-releasing so much of your material?\nA: I've only got the advance. They seem really nice. I was at the office one day last March, and they all seem like really nice people. They're very enthusiastic. They didn't want to do it in a slapdash way. They wanted to have proper booklets with the CDs and things like that. It means they look good, and they sound really good. I'm pretty pleased with them.\nQ: What's it like to have this stuff that you've had years and years ago in front of you again?\nA: There's some of the outtakes on the albums, and it's good to actually have them out. Some bands, you know their outtakes are better than their official stuff. Possibly that's true of mine as well. There's a lot of more outtakes that I've remastered when I was doing the reissues. I think it's really good that I've done this. I won't have to remaster for another 10 years. It took a whole month of making tapes every night and going in the studio and sorting out all the reels. I've got so much stuff -- actually, I wish I had more. I always think I've only done about half of what I should have done. My last album came out three or four years ago. Four years between albums now is just totally ridiculous.\nQ: Why do you say that?\nA: It's like being the Rolling Stones or U2, do an album every three or four years and do a massive world tour. I like doing an album every year. I've got about 60 or 70 songs for the new album, I've just got to work out which ones are the best to use.\nQ: Is that typically the case, that you would have enough material to put an album out every year?\nA: Oh easily. I (recorded in) the States in December and in both the sessions I made up the songs on the spot. I went into a studio in Bavaria last Friday and the guy said, "What do you want to record?" and I just made up a song on the spot… Someone once said that 20 years experience makes you able to write a song in five minutes. \nQ: Has that always been the case for you?\nA: Yeah, I've never had a problem writing songs. If you're in the studio or whatever, when the red light is on, you come up with your best work anyway, hopefully. Probably because I haven't done an album in so long, I've got so many songs inside me, just kind of waiting to come out. You just have to catch them at the right minute, or else they've just passed you. \nQ: How do you keep improving? How do you keep things fresh?\nA: I mean sometimes if you come up with lyrics over a certain time, over a six month period, you might come up with the same basic lyrics all the time. You've just go get rid of those and think, "No, I can't use those." To me, being creative is like, if you've ever become a grown-up, you've basically given up. I think to be creative, you have to keep that naivete in you, that innocence. You always look for something new, that child-like thing. Too many people want to become grown-ups in this world. \nQ: You're writing two books now, so did reading actually get you started on wanting to write? \nA: My books are half finished. My books are never more than half finished. I'm doing a book on Ronnie Wood. I'm doing an interview in February. \nQ: That has to be amazing.\nA: Yeah, the Rolling Stones are my favorite band ever. \nQ: So, where do you stand on the Beatles/Rolling Stones debate?\nA: I always the thought the Beatles were too groupie, so that put me off them as a kid. I always liked the Monkees better. They had their own TV show and the songs were great. My favorite group is T-Rex. I've seen them a bunch of times and met Mark Burlin a bunch of times. I always think if you want to meet someone, you have to be in the right place at the right time. It's up to you to be in that right place at the right time. If you're introduced to someone you get on a lot better than if you meet them as a fan. I mean I know people come up to me too scared to talk to me. Or they don't come up and talk to me. This friend of mine once asked John Lennon for his autograph, and she was interviewing him at time and said she felt nervous about asking John for his autograph. I said, "Don't be stupid," because I used to wait outside the Liverpool Empire for Little Richard and get Little Richard's autograph.\nQ: So, you've done solo stuff and you've collaborated with a lot of people. What are the advantages of each? What do you like about doing each of those things?\nA: When you're in a band, you like the companionship of the band. Playing in Swell Maps, it was my brother Epic and me, and it was in the blood. He knew if I was going to make a change, I knew if he was going to change a rhythm or whatever. It went together. It was the same with Dave Kusworth and me in the Jacobites. Those are the two people I've played with the most. With Kusworth it's a really good relationship, and he's one of my favorite guitar players ever. We write songs really well together, on the occasion that we do. It's good to have someone to bounce ideas off of. When you're doing it on your own, it's more or less up to you. When the pressure's all on me, I have to come up with my best stuff. It's like when you do an album and you get a really good review, you think, "Well, my next one's gotta be really great, so they keep on saying that"
(01/30/02 5:00am)
Nikki Sudden represents rock's underdog, says Jonathan Cargill at Bloomington's Secretly Canadian records. Bands Sonic Youth and Pavement cite the Swell Maps, Sudden's early project with brother Epic Soundtracks, as an influence on their music. Nonetheless, after first releasing music with the Swell Maps and then as a solo artist and later teaming up with Dave Kusworth in the Jacobites, Sudden has not received the same recognition as some of his contemporaries. This is one of the reasons Secretly Canadian has begun rereleasing Sudden's work, both solo and with the Jacobites. There are others too.\n"It's fun to be able to provide a new context for something that's had a life before," Chris Swanson at Secretly Canadian says.\nIn October, Secretly Canadian released Waiting on Egypt and The Bible Belt as one double disc set and then Texas and Dead Men Tell No Tales as another. Beginning this February, Robespierre's Velvet Basement and The Ragged School, his work with the Jacobites, will be released. Most albums contain bonus tracks and all have a booklet, which Cargill saw as a necessity for the rereleases. \n"For this reissue campaign, almost everything has bonus material and the booklets are chock-full of photos and as much information as we could find," Cargill says.\nTen albums will be rereleased in all, bringing a large portion of Sudden's material to one place. Much of this English rocker's work found its home on different record labels, which is another reason the label launched the campaign. Swanson believes that each of Sudden's albums is solid. While there might not be a Sgt. Pepper's Lonely Hearts Club Band of Sudden's work, Swanson says that each album is good and has a certain "Nikki Sudden sound" to it.\n"He's such a personality on record. You hear it and it doesn't like anyone but Nikki Sudden -- kind of like a loner, cowboy, or drifter," Swanson says. "All of his music comes from a very personal place. It's very personal, yet very universal. I think there are a lot of music lovers out there who would be doing themselves a favor by giving him a shot."\nNikki Sudden Interview\nQ:What have you been up to lately?\nA: Well, nothing at all. I've done one gig this month. I've got a French and Spanish tour coming up in March, and hopefully I'll be doing my new album in March. It depends on if Secretly Canadian gives me the money to record it. They're one of the peoples who's interested in it. It'll tie in with the reissues.\nQ: What's it like to have Secretly Canadian re-releasing so much of your material?\nA: I've only got the advance. They seem really nice. I was at the office one day last March, and they all seem like really nice people. They're very enthusiastic. They didn't want to do it in a slapdash way. They wanted to have proper booklets with the CDs and things like that. It means they look good, and they sound really good. I'm pretty pleased with them.\nQ: What's it like to have this stuff that you've had years and years ago in front of you again?\nA: There's some of the outtakes on the albums, and it's good to actually have them out. Some bands, you know their outtakes are better than their official stuff. Possibly that's true of mine as well. There's a lot of more outtakes that I've remastered when I was doing the reissues. I think it's really good that I've done this. I won't have to remaster for another 10 years. It took a whole month of making tapes every night and going in the studio and sorting out all the reels. I've got so much stuff -- actually, I wish I had more. I always think I've only done about half of what I should have done. My last album came out three or four years ago. Four years between albums now is just totally ridiculous.\nQ: Why do you say that?\nA: It's like being the Rolling Stones or U2, do an album every three or four years and do a massive world tour. I like doing an album every year. I've got about 60 or 70 songs for the new album, I've just got to work out which ones are the best to use.\nQ: Is that typically the case, that you would have enough material to put an album out every year?\nA: Oh easily. I (recorded in) the States in December and in both the sessions I made up the songs on the spot. I went into a studio in Bavaria last Friday and the guy said, "What do you want to record?" and I just made up a song on the spot… Someone once said that 20 years experience makes you able to write a song in five minutes. \nQ: Has that always been the case for you?\nA: Yeah, I've never had a problem writing songs. If you're in the studio or whatever, when the red light is on, you come up with your best work anyway, hopefully. Probably because I haven't done an album in so long, I've got so many songs inside me, just kind of waiting to come out. You just have to catch them at the right minute, or else they've just passed you. \nQ: How do you keep improving? How do you keep things fresh?\nA: I mean sometimes if you come up with lyrics over a certain time, over a six month period, you might come up with the same basic lyrics all the time. You've just go get rid of those and think, "No, I can't use those." To me, being creative is like, if you've ever become a grown-up, you've basically given up. I think to be creative, you have to keep that naivete in you, that innocence. You always look for something new, that child-like thing. Too many people want to become grown-ups in this world. \nQ: You're writing two books now, so did reading actually get you started on wanting to write? \nA: My books are half finished. My books are never more than half finished. I'm doing a book on Ronnie Wood. I'm doing an interview in February. \nQ: That has to be amazing.\nA: Yeah, the Rolling Stones are my favorite band ever. \nQ: So, where do you stand on the Beatles/Rolling Stones debate?\nA: I always the thought the Beatles were too groupie, so that put me off them as a kid. I always liked the Monkees better. They had their own TV show and the songs were great. My favorite group is T-Rex. I've seen them a bunch of times and met Mark Burlin a bunch of times. I always think if you want to meet someone, you have to be in the right place at the right time. It's up to you to be in that right place at the right time. If you're introduced to someone you get on a lot better than if you meet them as a fan. I mean I know people come up to me too scared to talk to me. Or they don't come up and talk to me. This friend of mine once asked John Lennon for his autograph, and she was interviewing him at time and said she felt nervous about asking John for his autograph. I said, "Don't be stupid," because I used to wait outside the Liverpool Empire for Little Richard and get Little Richard's autograph.\nQ: So, you've done solo stuff and you've collaborated with a lot of people. What are the advantages of each? What do you like about doing each of those things?\nA: When you're in a band, you like the companionship of the band. Playing in Swell Maps, it was my brother Epic and me, and it was in the blood. He knew if I was going to make a change, I knew if he was going to change a rhythm or whatever. It went together. It was the same with Dave Kusworth and me in the Jacobites. Those are the two people I've played with the most. With Kusworth it's a really good relationship, and he's one of my favorite guitar players ever. We write songs really well together, on the occasion that we do. It's good to have someone to bounce ideas off of. When you're doing it on your own, it's more or less up to you. When the pressure's all on me, I have to come up with my best stuff. It's like when you do an album and you get a really good review, you think, "Well, my next one's gotta be really great, so they keep on saying that"
(01/23/02 3:49pm)
You've been waiting for this day for weeks. Your favorite band is on tour and has finally rolled into town, saving you the hassle of a drive to Indianapolis or Cincinnati. By some stroke of luck, this artist is right here in Bloomington.\nBut as concert promoters and bookers will tell you, it takes more than luck to get notable bands into Bloomington. The process takes time on their part, but the end result is as rewarding for them as for the fans that attend the shows.\n"There's a certain level of excitement that goes into concerts," says Dave Kubiak, who books bands for the Bluebird Nightclub and Axis Nightclub. "For the people that go to see concerts, it's exciting, and it's a similar thrill putting them on."\nSo, how does this all start? Typically, the process begins in one of two ways: either an artist's agent will contact a promoter, or a promoter wants a particular artist to play a venue and gets in touch with the agent themself. \n"Over time you develop strong relationships with different agents," says Kubiak, which makes the booking process easier. \nSometimes, the first step does not always follow this formula. For Andy Proctor, former Union Board concerts director, the process is more democratic. Each week, different people will come up with proposals and bring them to the board. They outline the factors to be considered, including the break-even point, and submit it. Then, the offer is sent out to the agents. \nAt this point, the bidding process begins. Promoters offer a certain amount of money for a band to come play, and then the promoter and agents work out a definite price and payment process.\n"There can be a lot of problems with that, but it's usually kind of cut and dry," Kubiak says. "We can usually afford an act, but I also try to judge what the band is worth for the market."\nEven if the band would be good for the market in Bloomington, bidding can still be a sticky situation between promoters in the area. From time to time, the Bluebird will get a show that Union Board wanted to do. Some bands prefer to play bars, while others like to play at all-ages venues, Proctor says. It often comes down to the promoter who makes the larger bid, he adds. Despite this fact, he believes competition keeps the Bloomington music scene healthy. \n"The more competition you get it, the better the scene becomes. It kinda feeds on itself," Proctor says.\nOf course, the date must work out for the band and the venue. Another important element, especially for the promoters, is the issue of ticket prices. Keeping ticket prices affordable for concert-goers is a priority, Kubiak says. \nEven once ticket prices are worked out, contracts and the riders are a fact of life for promoters. Sound and lighting can become issues for bands that play at the IU Auditorium, Proctor says. Catering and hotel arrangements also enter into the picture for most of the acts Union Board brings in. Riders in contracts often call for certain foods, supplies and anything else the band might want backstage for the concert. Even in the independent and punk world, contracts are part of the whole process.\n"With just about every band I've dealt with, I've had a contract, I've had a rider, there are sound standards, there are lighting standards," says Scott Gallop at Churchkey Music. "The idea that all these bands are in a van and it's all personalized is all a sham."\nFor Proctor, striking out riders in contracts means not providing alcohol or tobacco for bands, because of the affiliation with the University. On the other end of the spectrum, Gallop strikes many of the riders, only keeping a bare-bones contract with agents. \n"A lot of times I'll tell them 'no' to certain things, and it's fine. They're playing a bluffing game as well as we are," Gallop says. "I only do percentage guarantees. I don't do money; I don't do catering."\nBringing a national act to Bloomington isn't something that Kubiak, Proctor and Gallop do on a whim. Though some of the factors are universal, each promoter considers slightly different things when booking a band. For example, the appeal of the concert weighs heavily into the equation. \n"The first thing you take into consideration is attendance. I try to make the shows a reflection of what people want," Kubiak says. "If people want to see rock shows, I'll bring rock shows. If people want to see cover bands, I'll bring those."\nProctor takes a similar approach, trying to balance what people want with monetary concerns.\n"We try to look at what's going to appeal to the students and the community, what would be a success ultimately, both financially and what people want to see," Proctor says.\nWhile all of this is important for Gallop, he sometimes takes a different approach when bringing bands to town. Though he often considers which bands and what kind of music people want to see, he will also brings in bands that have more of a personal appeal. \n"If a lot of kids like a band and they're good at what they do, I'll book them," Gallop says. "I'm more into booking bands that are building a following, rather than a band you know that's going to sell out. You're serving in the punk genre what's the purpose of shows, not just to entertain but to build a following." \nSome of these bands will play basements or Space 101 and bigger bands will play Rhino's All Ages Music Club. Gallop and friends at Churchkey feel a certain sense of accomplishment booking the bands they like.\n"We actually do better when we're trying to push a band than with bands that are well-known and have a following. Rise Against you think is going to do well; whereas with Army of Paunch, you know you have to put in 200 percent." \nAs for what brings bands here, Bloomington has certain characteristics that make it attractive to some of these national bands, the promoters say. Kubiak believes people in Bloomington show a high level of excitement for live music, and that the Bluebird in particular provides an intimate atmosphere. Gallop says that bands often notice this level of excitement, but that they also see camaraderie amongst the fans. \n"Everybody so far has really loved Bloomington. Most bands that have good attitudes really enjoy playing here," Gallop says. "It just appears that everybody knows everybody else, and it's become a small dysfunctional family"
(01/23/02 5:00am)
You've been waiting for this day for weeks. Your favorite band is on tour and has finally rolled into town, saving you the hassle of a drive to Indianapolis or Cincinnati. By some stroke of luck, this artist is right here in Bloomington.\nBut as concert promoters and bookers will tell you, it takes more than luck to get notable bands into Bloomington. The process takes time on their part, but the end result is as rewarding for them as for the fans that attend the shows.\n"There's a certain level of excitement that goes into concerts," says Dave Kubiak, who books bands for the Bluebird Nightclub and Axis Nightclub. "For the people that go to see concerts, it's exciting, and it's a similar thrill putting them on."\nSo, how does this all start? Typically, the process begins in one of two ways: either an artist's agent will contact a promoter, or a promoter wants a particular artist to play a venue and gets in touch with the agent themself. \n"Over time you develop strong relationships with different agents," says Kubiak, which makes the booking process easier. \nSometimes, the first step does not always follow this formula. For Andy Proctor, former Union Board concerts director, the process is more democratic. Each week, different people will come up with proposals and bring them to the board. They outline the factors to be considered, including the break-even point, and submit it. Then, the offer is sent out to the agents. \nAt this point, the bidding process begins. Promoters offer a certain amount of money for a band to come play, and then the promoter and agents work out a definite price and payment process.\n"There can be a lot of problems with that, but it's usually kind of cut and dry," Kubiak says. "We can usually afford an act, but I also try to judge what the band is worth for the market."\nEven if the band would be good for the market in Bloomington, bidding can still be a sticky situation between promoters in the area. From time to time, the Bluebird will get a show that Union Board wanted to do. Some bands prefer to play bars, while others like to play at all-ages venues, Proctor says. It often comes down to the promoter who makes the larger bid, he adds. Despite this fact, he believes competition keeps the Bloomington music scene healthy. \n"The more competition you get it, the better the scene becomes. It kinda feeds on itself," Proctor says.\nOf course, the date must work out for the band and the venue. Another important element, especially for the promoters, is the issue of ticket prices. Keeping ticket prices affordable for concert-goers is a priority, Kubiak says. \nEven once ticket prices are worked out, contracts and the riders are a fact of life for promoters. Sound and lighting can become issues for bands that play at the IU Auditorium, Proctor says. Catering and hotel arrangements also enter into the picture for most of the acts Union Board brings in. Riders in contracts often call for certain foods, supplies and anything else the band might want backstage for the concert. Even in the independent and punk world, contracts are part of the whole process.\n"With just about every band I've dealt with, I've had a contract, I've had a rider, there are sound standards, there are lighting standards," says Scott Gallop at Churchkey Music. "The idea that all these bands are in a van and it's all personalized is all a sham."\nFor Proctor, striking out riders in contracts means not providing alcohol or tobacco for bands, because of the affiliation with the University. On the other end of the spectrum, Gallop strikes many of the riders, only keeping a bare-bones contract with agents. \n"A lot of times I'll tell them 'no' to certain things, and it's fine. They're playing a bluffing game as well as we are," Gallop says. "I only do percentage guarantees. I don't do money; I don't do catering."\nBringing a national act to Bloomington isn't something that Kubiak, Proctor and Gallop do on a whim. Though some of the factors are universal, each promoter considers slightly different things when booking a band. For example, the appeal of the concert weighs heavily into the equation. \n"The first thing you take into consideration is attendance. I try to make the shows a reflection of what people want," Kubiak says. "If people want to see rock shows, I'll bring rock shows. If people want to see cover bands, I'll bring those."\nProctor takes a similar approach, trying to balance what people want with monetary concerns.\n"We try to look at what's going to appeal to the students and the community, what would be a success ultimately, both financially and what people want to see," Proctor says.\nWhile all of this is important for Gallop, he sometimes takes a different approach when bringing bands to town. Though he often considers which bands and what kind of music people want to see, he will also brings in bands that have more of a personal appeal. \n"If a lot of kids like a band and they're good at what they do, I'll book them," Gallop says. "I'm more into booking bands that are building a following, rather than a band you know that's going to sell out. You're serving in the punk genre what's the purpose of shows, not just to entertain but to build a following." \nSome of these bands will play basements or Space 101 and bigger bands will play Rhino's All Ages Music Club. Gallop and friends at Churchkey feel a certain sense of accomplishment booking the bands they like.\n"We actually do better when we're trying to push a band than with bands that are well-known and have a following. Rise Against you think is going to do well; whereas with Army of Paunch, you know you have to put in 200 percent." \nAs for what brings bands here, Bloomington has certain characteristics that make it attractive to some of these national bands, the promoters say. Kubiak believes people in Bloomington show a high level of excitement for live music, and that the Bluebird in particular provides an intimate atmosphere. Gallop says that bands often notice this level of excitement, but that they also see camaraderie amongst the fans. \n"Everybody so far has really loved Bloomington. Most bands that have good attitudes really enjoy playing here," Gallop says. "It just appears that everybody knows everybody else, and it's become a small dysfunctional family"
(11/08/01 5:14am)
Washington's Fairweather, formed a little over a year ago and recently landing a record deal, toured the country and played at Initial Records' annual Krazyfest. Fairweather burst onto the scene, releasing a full-length album If they move…Kill them on Equal Vision Records and gained a strong following.\n"They have exploded on the scene in a matter of minutes, and if they continue in this fashion, will be one of the bands that take over the world," said Scot Gallop from Churchkey Music, the local group promoting the concert.\nIt all started when Jay Littleton asked Ben Green about being in a band. They played in Littleton's basement for fun, never expecting it to grow into something this big.\n"We were just hoping to have fun and hang out," said Green, the guitar player. After a few different drummers, Pat Broderick joined Fairweather. With this new line-up, Fairweather became more serious and recorded a demo. Equal Vision heard it, and soon they were releasing a full-length.\nGreen felt a certain sense of shock, especially because they were such a new band. Being familiar with some of the bands on Equal Vision and later being in a band that was on the label came as a surprise. \n"EVR's put out bands that I've listened to, so it was weird," said Green. \nBecause of the little experience the band members had, they also struggled to find a way to operate in their situation. They had just begun to function as a band and had to figure out a way to work with people at EVR.\n"We didn't know how to deal with people, a label, a booking company," Green said. "We left a lot of stuff up to other people, when we should have been doing it on ourselves. In the past year, we've taken more initiative to get that done."\nFairweather recently played at Krazyfest in Louisville. Though they were the first band to take the stage around 11 a.m., a large crowd had gathered to see the show. While Krazyfest provided the band an opportunity to play in front of a large crowd, Green felt somewhat alienated playing on a large stage. \n"You're put so far away from them, and you're on this big stage. I like better being able to communicate with the audience on a more personal and intimate level than that," Green said.\nGreen got into punk music partially because of the idea that people in bands are just people and that there should be communication between everyone. \n"What attracted me to movement is that bands are personable and on your level," Green said. Green takes this idea with him, being part of Fairweather. "It's always important to make yourself open -- make yourself approachable."\nFor this reason, Green said house shows are his favorite to play. Not only are the band and audience physically on the same level, but there's often excitement bouncing around the room. \n"It's the whole attitude about being on the same level as the audience and being able to look people in the eye," Green said. "When there's a lot of people there, and they're just psyched to be there, it's incredible."\nMusic has been a part of Green's life from a young age. He's played guitar for nine years and has been interested in music for most of his life.\n"It's the most important thing to me I've ever had. It's kinda taken over," Green said.\nThough elementary and middle school years found Green listening to Slayer and Skid Row, his interest moved away from the metal and towards the independent. Today, the bands Green listens to have an effect on his view of the world.\n"Bands that influenced me have rearranged the way I think about the world," Green said. "I can identify with how intensely they feel about things and how powerful they feel about things."\nAccording to Equal Vision's web site, Fairweather's music is just as powerful. Their first album is "filled with two essential musical elements: energy and passion."\nGreen hopes Fairweather can pass this energy and passion on to other people. \n"We want to make people feel driven about something," Green said.
(11/02/01 4:03am)
One of the first things a person who picks up a Narcoleptics CD might notice is the song titles are humorous, but offbeat enough to make someone wonder. With titles like "You Can't Polish a Turd" and "Kill Your Parents, Eat Your Dog, Do Drugs," the Narcoleptics are sure to spark interest.\nDrummer John Canal says that the titles usually have nothing to do with the content of the songs themselves.\n"We write these song titles just as something to amuse ourselves with," Canal said.\nUsually, the band comes up with the title before the song. On one occasion, this process took an ironic turn. "I'm not going to jail for you or for anybody" started off as just a title, but took on a new meaning when singer Marc Rosato was accused of being the Philadelphia Center City rapist.\n"We actually had that song title, and then the incident happened," Canal said. \nFor about four months, there had been a serial rapist in Philadelphia. For fun one night a few people, including Rosato and bass player Kevin Vicker drove out into Philadelphia. \n"Marc was so loaded, that by the time they got to city, he was drunk and passed out in the car," Canal said. The band left him and wandered the city. When they came back, police officers were yelling at him and showing him the mug shot of the suspect, swearing it was him. As a result of the false arrest, "I'm not going to jail or you for anybody" became one of the angriest tracks on the album.\nFast and loud, the Narcoleptics have a wide range of influences and styles featured on their latest album, "Monkey Steals the Peach." The band has been compared to Quicksand, Tool and even Nirvana.\nCanal said the reason for this is their vastly different tastes in music, which range from indie rock to rap to classic rock. What comes from all these influences is a blend of music that they never premeditated. \n"We were never that band that started off like, 'we're gonna be a hardcore band or punk band,'" Canal said. "We've just worked on it and kind of developed our own style."\nThis style caught the attention of Scot Gallop (better known as Scot Hostile) at Bloomington's ChurchKey Music. Impressed by the first track upon receiving their CD in a promo kit, he took an immediate interest in the band. \n"When I put on the record, 'You Can't Polish a Turd' blew me away, as well as anyone I played it for afterwards," Gallop said. "This band is incredible. They work hard and deserve all the good that may come to them."\nCanal echoes these positive sentiments about Gallop and ChurchKey. The concert promoter is bringing them to Bloomington to play in a basement in a house known as the Octopus Palace at Second and Park Streets. \n"The really cool thing about Scot and ChurchKey is that you go to the shows, and they aren't making much money, but they're so excited," Canal said. He added that playing in basements is like going to a party and hanging out with a bunch of people. \nThe Narcoleptics also make it a point to have fun and keep up a good sense of humor, as evidenced by their song titles. \n"We just like playing and we don't take ourselves seriously," said Vicker. Canal agreed and mentioned seeing bands who use the stage as a soapbox to preach about issues important to them. While he respects that people are passionate about certain ideas, he wonders why some people choose to discuss these things on stage.\n"It's like, 'You're in a band, what makes you qualified to say that?'" Canal said. Rosato agreed, boiling it down to one statement.\n"Just play a song," Rosato said.\n"When we're on stage, we just play," Canal said. "We're the band that just comes out and rocks"
(10/25/01 6:19am)
In its first EP, The Aeffect revitalizes 1980s new wave, joining a number of bands eager to rejoice in retro sounds. With bands like The Faint gaining a considerable amount of attention and success, there has never been a better time for this Gainesville band to emerge. \nThe Aeffect breathes life into independent music, bringing a renewed energy. For people tired of crying along with the waves of "emo" bands, The Aeffect is a welcome change.\nVery New Order, The Aeffect's music would fit snuggly in an 1980s movie. Featuring smooth, electronic beats topped with an American singing in a British accent, it's easy to imagine hearing some songs in a movie about a high school romance. While none of the tracks on A Short Dream would be featured in a club scene or dance sequence, you can almost hear "Oh You Didn't Say," playing as a irritated girlfriend storms out of the prom to escape her misunderstood boyfriend. \nInstead of making A Short Dream a dance record, The Aeffect directs all of its energy into establishing the perfect mood, often falling somewhere between somber and uplifting. "Third Level of Existence, Pt. 1," a piano instrumental, provides the moody interlude and exemplifies this dynamic.\nPart two of the saga, featured as the sixth and last track, revisits the piano featured in part one, but adds a choir-like element. You can almost visualize a gothic chapel-like setting.\n"Insomnia" presents another example of how The Aeffect perfectly sets a mood. The tiredness, frustration and longing to sleep can be felt in the music as well as the lyrics. Anyone who has struggled to sleep in the dead of night can relate when Aaron Feibus sings about "tossing in bed." When Feibus sings, "I can't take the stress/ My brain is not working," he seems to have reached into the psyche of many a college student. \nIf A Short Dream can be considered only the beginning for The Aeffect, the future looks bright. Simultaneously, the band brings back what we loved about synthesizers and new wave without just rehashing the '80s. \nRating: 8
(10/25/01 6:14am)
Wingfoot is one of those rare albums that you don't know what to think of at first. It takes some figuring out. Lyrically intriguing, swinging from deeply symbolic to simple and almost taoist, this album will keep people listening. The album is not complex, yet it's unique in an indescribable way. \nWingfoot opens with a very lounge-like "1,2,3" and establishes a laid-back and inviting mood. Parker Paul relies on his piano to construct songs, which is a welcome relief from today's typical singer-songwriter with a guitar over the shoulder. While the piano melodies bounce along happily, the lyrics paired with them often provide an ironic contrast to the music.\n"Pain Pain Pain Pain Pain" exemplifies this dynamic, with jovial piano and vocal melodies accompanied by lyrics about the pain of pain. Paul states that "Pain is annoying, pain is boring." From the music, any listener might think this is one of the happiest tracks. After listening to the lyrics, it is evident that this song is like a musical version of a dark comedy. \nPaul offers one more insight in "Pain Pain Pain Pain Pain" about different religions. Anyone who attended Catholic school can sympathize when Paul says, "Catholics propose: Pain is the path we all should have chose/ But the Unitarians are much more interested in fun." \nWhile the album generally is upbeat musically, Paul shows his versatility and explores different moods in "Jesus Gave Him Rest" and "Dinner Rush." The former is a moody song about a man who is rejected by everybody, even the jails. The music echoes the story of the main character.\n"Dinner Rush" represents a more sympathetic and reflective Paul. It brings a sense of nostalgia, as he talks about returning home to see if things have changed. He lets us further into his psyche as he talks about being a "hyper-religious, hypo-maniac. Diagnose and/ label my tics. Just please don't call me sick." \nIn this manner, Paul takes listeners to highs and lows and around corners they never expected. His voice is unique and memorable.\nRating: 8
(10/25/01 4:00am)
Wingfoot is one of those rare albums that you don't know what to think of at first. It takes some figuring out. Lyrically intriguing, swinging from deeply symbolic to simple and almost taoist, this album will keep people listening. The album is not complex, yet it's unique in an indescribable way. \nWingfoot opens with a very lounge-like "1,2,3" and establishes a laid-back and inviting mood. Parker Paul relies on his piano to construct songs, which is a welcome relief from today's typical singer-songwriter with a guitar over the shoulder. While the piano melodies bounce along happily, the lyrics paired with them often provide an ironic contrast to the music.\n"Pain Pain Pain Pain Pain" exemplifies this dynamic, with jovial piano and vocal melodies accompanied by lyrics about the pain of pain. Paul states that "Pain is annoying, pain is boring." From the music, any listener might think this is one of the happiest tracks. After listening to the lyrics, it is evident that this song is like a musical version of a dark comedy. \nPaul offers one more insight in "Pain Pain Pain Pain Pain" about different religions. Anyone who attended Catholic school can sympathize when Paul says, "Catholics propose: Pain is the path we all should have chose/ But the Unitarians are much more interested in fun." \nWhile the album generally is upbeat musically, Paul shows his versatility and explores different moods in "Jesus Gave Him Rest" and "Dinner Rush." The former is a moody song about a man who is rejected by everybody, even the jails. The music echoes the story of the main character.\n"Dinner Rush" represents a more sympathetic and reflective Paul. It brings a sense of nostalgia, as he talks about returning home to see if things have changed. He lets us further into his psyche as he talks about being a "hyper-religious, hypo-maniac. Diagnose and/ label my tics. Just please don't call me sick." \nIn this manner, Paul takes listeners to highs and lows and around corners they never expected. His voice is unique and memorable.\nRating: 8
(10/25/01 4:00am)
In its first EP, The Aeffect revitalizes 1980s new wave, joining a number of bands eager to rejoice in retro sounds. With bands like The Faint gaining a considerable amount of attention and success, there has never been a better time for this Gainesville band to emerge. \nThe Aeffect breathes life into independent music, bringing a renewed energy. For people tired of crying along with the waves of "emo" bands, The Aeffect is a welcome change.\nVery New Order, The Aeffect's music would fit snuggly in an 1980s movie. Featuring smooth, electronic beats topped with an American singing in a British accent, it's easy to imagine hearing some songs in a movie about a high school romance. While none of the tracks on A Short Dream would be featured in a club scene or dance sequence, you can almost hear "Oh You Didn't Say," playing as a irritated girlfriend storms out of the prom to escape her misunderstood boyfriend. \nInstead of making A Short Dream a dance record, The Aeffect directs all of its energy into establishing the perfect mood, often falling somewhere between somber and uplifting. "Third Level of Existence, Pt. 1," a piano instrumental, provides the moody interlude and exemplifies this dynamic.\nPart two of the saga, featured as the sixth and last track, revisits the piano featured in part one, but adds a choir-like element. You can almost visualize a gothic chapel-like setting.\n"Insomnia" presents another example of how The Aeffect perfectly sets a mood. The tiredness, frustration and longing to sleep can be felt in the music as well as the lyrics. Anyone who has struggled to sleep in the dead of night can relate when Aaron Feibus sings about "tossing in bed." When Feibus sings, "I can't take the stress/ My brain is not working," he seems to have reached into the psyche of many a college student. \nIf A Short Dream can be considered only the beginning for The Aeffect, the future looks bright. Simultaneously, the band brings back what we loved about synthesizers and new wave without just rehashing the '80s. \nRating: 8
(08/31/01 4:00am)
In kindergarten, Mike Reed met Travis Dopp. Their new friendship was not cemented by crayons and action figures, but rather by a small Matchbox car.\nReed, who is now lead singer and guitar player of Small Brown Bike, remembers a time in elementary school when it was Travis' birthday, and as a last-minute present wrapped a Matchbox car in toilet paper and gave it to Travis.\nFrom there, the friendship was sealed and has since grown into more of a brotherhood, which now includes drummer Dan Jaquint, whom Reed met in fifth grade. Add in younger brother Ben Reed on bass and percussionist Jeff Gensterblum, and the Bike was completed.\n"Being in a band, skating…they're all auxiliary to being friends," Reed says, who added that tight friendships establish the personal and truthful nature of Small Brown Bike's music, which can be heard at this year's BloomingtonFest.\nHailing originally from Marshall, Mich., the members of Small Brown Bike have made a name for themselves nationwide. Though they have toured the country, they still take a certain pride in their Midwestern roots.\n"When we go to bigger cities, we definitely feel like we're from Michigan," Reed says. "Probably at some level it's contributed to the band, but I don't know if it's conscious."\nBecause the band members have a history together, they draw influences from life's experiences. As a result, the music and lyrics reflect this aspect of the band.\n"Lyrically, personal things motivate us. That's what we're comfortable with and that's what comes naturally at this point," Reed says. "The band reflects who we are as people."\nMusically and lyrically, the band tries to avoid planning and refuses to stifle themselves by trying to force their music in any direction. \n"We try to stay away from making conscious decisions toward the band," Reed says. "We don't say, 'Today we're going to write a love song.' It feels 20 times better to just be practicing and see what comes out, see what happens naturally."\nWhat happens naturally is incredibly energetic, honest and open.\nSmall Brown Bike will make its third appearance at Bloomingtonfest this year. Whether 200 people are crammed into True Skateboards or hundreds of people strive to get as close as possible to the stage in Rhino's, the band's shows are always energetic, something Shane Becker, of the local band rise over run, has seen firsthand. He has attended two Bike shows at the old True Skateboards.\n"Imagine over a hundred kids packed into that place, all screaming along like their lives depended on it," Becker says. "I like their CDs, but I don't think they can capture their live shows."\nBrad Wilhelm, director of Rhino's, also attests to the power of their performances.\n"They're an amazing act live," Wilhelm says. "It's almost like the band and the audience are in something together."\nThe source of this energy is the music. But not all performances run like clockwork -- when someone might feel he lacks the energy required to play a show, the music pulls him through.\n"Sometimes on the road or at a local show, you'll think, 'I don't know how the hell I'm going to do it tonight,'" Reed says. "But, once that first note kicks in, I know I can do it." \nAnother motivating force in the band is the deep comfort level that Reed says stems from the members' friendship.\n"It allows you to be more honest when you're practicing, and when you're writing music, it definitely comes out," he says. "If you want to try something in a song, for example, you don't have to worry about what the rest of the band is going to think. You can be totally honest about stuff in a good way or in a bad way."\nBut Small Brown Bike has also encountered several obstacles. Dopp left for about a year, and was replaced temporarily by Scott Flaster. During Dopp's absence, he and Reed remained friends and talked almost every day. Recently, original drummer Jaquint left the band. \n"He was honest with us, and he was honest with himself," Reed says. "Small Brown Bike wanted to do so many things, and it became difficult for Dan to balance with his job. He currently drums in a different band that fits better with his lifestyle.\n"It's hard to watch a friend you've known since you were 11 leave the band," Reed says.\nThe two remain friends with no hard feelings about his departure, and it didn't throw the band off course. With another friend waiting in the wings, Small Brown Bike continued on. Jeff Gensterblum, who also drums for Biddy Biddy Biddy, immediately volunteered for the job.\n"Jeff just offered. He was confident that he could do it," Reed says. "We knew it would work, and he's really creative when he's working with songs."\nCurrently, Gensterblum is working with the band on new material, some of which will appear on a split 7'' with friends the Casket Lottery later in the fall. \nAs with the Casket Lottery, Small Brown Bike has befriended many bands such as Cursive and Hot Water Music. Often familiar with only their music first, through a few strokes of luck Small Brown Bike has been able to meet some of the musicians they look up to the most. \n"Most of these bands I never knew as people first. Just by sheer luck or coincidence we got to meet," Reed says. "Once we get to know them as people, the music becomes that much more amazing."\nWhen Hot Water Music asked Small Brown Bike to tour with them, Reed says it opened their eyes to possibilities of what they could do with the band. He felt confident that they would accomplish a lot by simply doing what they loved. \n"It fired us up to do more touring," Reed says. "We know we have to keep stuff organized. We've all kicked ourselves in the butt and made sure we have all of our stuff together. And then we can have fun." \nSince 1996, Small Brown Bike have been having fun making music and meeting new people. \n"Three years ago, I couldn't have predicted where we are now," Reed says. "We'll know when we've taken it as far as we can go"
(08/31/01 4:00am)
Sitting in a bright orange booth at Rocket's Pizza, they discussed their goal for Labor Day Weekend: to orchestrate the biggest BloomingtonFest ever to take over the streets of a not-quite-sleepy college town. But still, this town is one that needs a kick every once in a while to get it going. \nIt seems appropriate that with music posters plastering the walls of the pizza parlor, a group of friends coordinating this year's event gathered. They agree that no single person made this year's BloomingtonFest -- it took a small group to bring together a large community.
(04/26/01 5:35am)
Imagine my surprise when every person I told on that Monday morning that Joey Ramone had died said, "Who?" How could people not know who the great granddaddy of punk rock was (perhaps the John Lennon of punk rock)? The Ramones influenced classic punk acts like the Sex Pistols and the Clash and continue to affect bands like Green Day and Blink-182.\nWhen I first heard that Joey Ramone had died, I didn't realize the gravity of his death. I had been secretly hoping for a reunion. Sadly, Ramone died at 49 from lymphoma, which he had been diagnosed with in 1995. I pictured the tall and lanky Ramone with long black hair, jeans and a leather jacket singing "Blitzkrieg Bop" onstage, fists pumping in the air, knowing I would never experience the excitement firsthand. He always seemed like a genuinely nice guy, and peers like Exene Cervenka of X have attested to his friendly nature as well as his large influence on music and the punk scene.\nBorn in 1951 as Jeff Hyman, he decided to change his name to Joey Ramone in 1974. The rest of the band followed suit, adopting Ramone as a last name (It was an alias Paul McCartney had used.). The Ramones created the energy than infused a nation, beginning at the legendary CBBG, by keeping it simple with three chords and songs about sniffing glue and lobotomies. This simplicity made the magic that was the Ramones. Four kids from a working class town in Queens gave thousands more kids the inspiration to pick up a guitar and do it themselves. Any kid could pick up a guitar and rip through a Ramones song. \nListeners can sing with every Ramones song, usually with a laugh and a smile. Although not the innovators of the chant, the Ramones found an effective element to any song, punk or not. The classic chant in "Blitzkrieg Bop" came from the Ramones' desire to have a sing-along part like the Bay City Roller's "Saturday Night." How charming is that?\nSo, where would we be without Joey and the rest of the Ramones? Kiss the Sex Pistols goodbye and all the people they influenced. There would have been no Clash. No girls bouncing around to Blink-182 as they make fun of boy bands. Green Day could not bring audience members on stage to play an impromptu version of "Blitzkrieg Bop." Rayanne wouldn't have sung "I wanna be sedated" with Jordan Catalano's band only to freak out. There would have been no Rock and Roll Highschool and no follow-up Rock and Roll Highschool Forever featuring Cory Feldman. Despite these two random facts, the nonexistence of the Ramones would have had a heavy impact on music as we know it today. The world would be a very bleak and depressing place.