Tag: rock

Owl Guitarist Jason Mezilis Talks About New Album Thing’s You Can’t See

tonightatdawn July 15, 2015

Written by Joe Kralovich (@KralTunes)

“Sometimes, I’m a pretty lucky dude.”

Music virtuoso Jason Achilles Mezilis has every right to consider himself lucky, ‘fore over the span of his decade plus career, not only has he played with some of the greatest musicians of the modern era, but he has also run and operated his own boutique analog recording studio in L.A., which has hosted several prominent musicians. When he is not behind the board twisting and turning the knobs, he can be seen touring with vocalist/bassist Chris Wyse and drummer Dan Dinsmore as the LA/NYC-based rock band OWL, whose third album, Things You Can’t See, is set for release July 28th via Overit Records.

The band re-emerged in early 2014 and began laying the foundation for what would be “Things You Can’t See,” a bold, experimental, and even more musically ambitious album than their previous two. Parting from tradition, the trio did not work off of completed songs – instead they jammed in the studio, honing and cultivating the music in the moment, a process that Mezilis found to be both challenging and beneficial. He said, “The bonus of course is you get wild ideas, new flavors, and moments derived purely from a flash of inspiration, that may have not been able to develop otherwise”.

This six track collection’s first single, the exceptional “Who’s Gonna Save You Now,” showcases Wyse’s raw lyrics encased in tightly structured hooks and overall top shelf musicianship at a level that only decades of experience can bring. Elsewhere, the band does a tremendous job of diversifying their sound; title track “Thing’s You Can’t See” is both heavy and melodic, “Witch’s Familiar” is progressive and heavy through a haze of psychedelia, and “Lake Ego” possesses an eerily irresistible groove. Said Mezilis of the new album, “It’s an exciting new offering with a lot of familiar elements they recognize, but it’s further developed than perhaps they’ve heard previous”.

Owl guitarist Jason Achilles Mezilis recently interviewed with Tonight At Dawn about the new album, touring life, as well as some other topics:

Jason Achilles Mezilis

KralTunes: What can fans expect to hear on this new album? Is it a natural progression from the previous albums? Are you venturing into new unfamiliar territories?

Jason Mezilis: Things You Can’t See is something that fans of our previous work will really enjoy. It’s an exciting new offering with a lot of familiar elements they recognize, but it’s further developed than perhaps they’ve heard previous. I think you could fairly say it encompasses all the different facets of what Owl does best, from one extreme to another, but pushed to a farther degree than before. And in that regard yes it is a natural progression, although perhaps we didn’t realize that at the time we were creating it. A great example of that is the lead (title) track “Things You Can’t See”, wherein about halfway through the song you’re thinking you’ve digested everything this opening track has to offer, you’re feeling pretty comfortable with it…and then there’s a major gear change and it gets into some seriously crushing musical territory. I love that tune.

KT: The incorporation of various alien encounter footage in your album teaser video, along with the album cover, are certainly intriguing. Are those images a sign of things to come thematically on this record, or was it just cool shit to use?

JM: Hahah, well it certainly was visually fun, yeah. The concept behind the title of the record “Things You Can’t See”, the idea that just because things are obscured / out of your field of view or recognition, that doesn’t mean they are outside a sphere of influence, either towards you or perhaps others. It speaks a bit of an awareness of influence beyond the surface cause-and-effect, both on a personal accountability level (which I am a big fan of) and perhaps further, and certainly you can have some fun by extrapolating that into those areas you mentioned. I’m a big fan of Coast-to-Coast AM talk radio, and those out there that know what I’m talking about are nodding their heads right now. Regardless of what you ascribe to or personally believe, in those areas, you can’t deny it’s some cool entertaining shit.

KT: According to Owl’s bio: “For the first time, the band didn’t work off of completed songs – instead they jammed in the studio, honing and cultivating the music in the moment.” Personally, which method of songwriting do you prefer?

JM: It really depends on the situation, or in this case the progression of what project or band you’re involved in. For Owl it was the right decision for this record, based on the work and methodology we’ve applied previously. It was tough, sometimes that’s a manner of songwriting that can lead down a dead-end, and you have to find your way back. That can be a discouraging period, but we’ve got a level of trust that’s developed in this band where it just takes one voice to raise the alarm and steer the ship back on course. Our drummer Dan is really good at that. The bonus of course is you get wild ideas, new flavors, and moments derived purely from a flash of inspiration, that may have not been able to develop otherwise. But of course it takes a good producer to make sense of it all, and our frontman Chris did a great job of pulling it all home.

Things You Can’t See album artwork

KT: Tracks ‘Things You Can’t See’ and ‘Witch’s Familiar’ are early standouts for me. While they are both great heavy rock songs, they are two different styles; one is a straight rocker with groove, while the other relies more on mood and atmosphere. When it comes to writing new music, which style do you feel you gravitate to more often?

JM: Thank you, that’s very kind. I think that’s part our signature, that ability to gel those seemingly disparate elements. Both Chris and myself are big fans of The Doors, and they did a fantastic job of the same. Dan is basically a rhythmic beast waiting to be unleashed at any moment, being in the room with his energy is shocking if you’re not prepared for it. So there’s always that energy seething underneath, even if you’re not hearing it a the moment and I think that’s the continuity that really allows it all to work. There may be atmospheric passages and moments, but you always can feel that energy lurking there, ready to cut loose.

KT: You band has played with several prominent musicians throughout your careers (Ace Frehley, Ozzy, etc.). What, if any, is some advice any of these people have passed onto you that you found valuable?

JM: Well of course I can’t speak directly for Chris, but I think he would agree that probably the best thing you can do is watch, take private notes, study the methods of those around you that you are fortunate to be in rather intimate company with, and observe all the little clues as to how they maintain that level of prominence and respectability. And to that end, on a personal note, the best thing you can possibly do in any of those situations is be prepared. Do your homework. It’s an assumed given that if you are in the room, you deserve to be there, and that can be a tall order, so you need to be ready to deliver. It’s expected.

KT: What is some of the gear you use to create the OWL sound?

JM: My consistent gear throughout all three records we’ve done together is my lefty mid-70’s Antoria “Les Paul” semi-hollow body guitar, to which I added a newer, more high output pickup in the bridge position and had some fantastic overall setup work done on by Greg Coates over at Future Music in Los Angeles. I also used my trusted old Ibanez Flanger which has this really crazy resonant sweep to it, and your typical Boss delay pedal. That’s the foundation of my sound – and as far as amps, on this album I had the good fortune of having an amazing studio backline of top-shelf amps provided to me by Pete Vroman, which was just a real pleasure in terms of being able to get creative and precise with all the different tones and attack. It was like a hi-end boutique tonal buffet!

KT: I’m sure you’ve been asked about your favorite spots to play…whats the worst venue you have ever played in? Was the experience so vile that no amount of $$$ would convince you to return?

JM: It really all comes down to the audience. I recently played an after-show party in an attic at a house party out in the sticks in Nebraska through the most low-rent craptastic gear you could imagine, that was way more pleasurable than some of the best back line and stage setup that you could hope for. Because the kids were into it, there were smiles all around, and it wasn’t just a “performance”, it was a party. When it comes to rock n’ roll…that’s the ultimate goal, the music of course is the focal point but at the end of the day it’s all about leaving folks with an experience, something to tell their friends about. And the best way to do that is to show them a good time. If they’re smiling, I’m happy.

KT: Follow up: Are there areas of the country/world that you are super excited to get back to on future tours, and why?

JM: I am personally most excited every time we reach into a new market, either domestically or overseas. Of course NY and LA are our two homes, and it’s great to see friends and familiar faces…and believe me those fans are SUPER supportive, it’s amazing. But what really gets me charged more than anything are the new audiences, the new faces. The new converts 🙂

KT: You run your own digital recording studio (Organic Audio Recorders). What can you tell us about your business? Who are some of the artists that have used your facilities?

JM: Well, actually it’s primarily an analog recording studio, or you could perhaps say analog / digital hybrid…there’s not a lot of folks still using tape, and for me it really is a special part of the process. I even love the way it smells (seriously), and taking a razor blade to a performance edit is certainly not something that gets old. To me it feels palpable, real.

As far as artists I’m working with, I believe this might actually be the first formal announcement of this, but over the past year or so I have been mixing a solo record for Dizzy Reed (of Guns N Roses). It’s his first solo release in 20+ years since he first joined those guys, and I quite literally just mailed off the final mix for the final tune tonight. Pretty cool thing to be entrusted with, for a guy on a level that’s basically seen and done everything you can imagine in the world of rock n’ roll. He’s got a crazy amount of musicians on the record, and in some cases I didn’t even know until after the fact that I was mixing performances by some friends of mine, on drums or bass or what have you. In fact one of those was Greg Coates, whom I mentioned earlier and also happens to be one of the best bass players around, a real monster. And I say this as a guy in a band [and very close friends] with Chris Wyse, one of the best bass players you’ve ever heard, anywhere. Sometimes I’m a pretty lucky dude.

KT: You have worn many hats throughout your music career (producer, musician, etc. I’m sure you didn’t need me to remind you of this). Which role do you find the most satisfying?

JM: Ha yeah…well, If I had to give up everything for one role, it would be that of artist / producer. There’s nothing to me more satisfying than cultivating a sound in my head and seeing that realized to satisfaction. I do certainly love working with other people, and I’m good at it, particularly the production role – getting the best out of people. I’ve always been fascinated with sound, and I’ve got a good ear…that was the blessing, if you will. But it was something I sort of fell into as a result of slowly cultivating my own recording studio over the years. At some point I realized I had a pretty good thing going, and certainly it’s good work if you can get it. But yeah, taking something from a flash of inspiration, through the writing & recording process and ultimately to the stage, and have it reflected back at you by the audience with the energy you felt the whole time…that’s really something, man.

Find Owl Here:

Official Website Facebook Twitter Youtube

See Owl Here:

7/17 New York, NY @ Lucille’s Bar & Grill in BB King’s Blues Club
7/18 Saratoga Springs, NY @Putnam Den
7/19 Providence, RI @Aurora Providence
7/21 Los Angeles, CA @Whiskey A Go Go (with Philm featuring Dave Lombardo of Slayer)
7/23 San Jose, CA @Rockbar (with Philm featuring Dave Lombardo of Slayer)

*more dates to be announced

Artist Spotlight: The Skulx

tonightatdawn July 1, 2015

Written for Tonight At Dawn by @KralTunes

Typically, A seven second video of wailing guitar, pounding drums, and an ear-piercing scream is not worth getting too excited about. However, when those seven seconds are the world’s introduction to the Foxy Shazam/Cadaver Dogs collaboration known as The Skulx, even this minimalist offering is enough to make fans of their respective bands’ (and good music in general) restless with anticipation.

Within their preceding factions, Alex Nauth (Foxy Shazam), Mathew Franklin and Lex Vegas (Cadaver Dogs) have been creating soaring anthems packed with limitless energy and boundless creativity for over a decade. Unifying their unique talents can only make for a truly wild and unpredictable listening experience! The first track, ‘Do What You Do‘ (released last week), is proof of that seemingly exaggerated claim. To further whet those appetites, the debut album (due for release later in 2015) will also sport a slew of guests, including members of Slash & The Conspirators, Bad Rabbits, and Larry & His Flask.

Sadly, little more about the group is known at this time (one could say this Ohio threesome are as elusive as an NBA title in Cleveland).

However, the trio agreed to humor me and answer seven prying questions; one question for each second of their initial video (how clever am I?!)

Read the complete transcript below:

KralTunes: First question…What the hell is a Skulx?!

Alex Nauth: The Skulx isn’t so much a who as it is a where. There are times for everyone where you get “down in the dumps” or “on the skids” and as hard as it may be to recognize when you’re “in the thick of it”, these times can be the most enlightening. Times where you have to pull yourself up, or get out, or move on, these moments force us to make changes and find qualities in ourselves we never knew existed. The Skulx to us stands for that place and the great things that can come from dark times.

KT: For those uninitiated, let’s get to know the band, Alex Trabeck-syle. I’ll walk from podium to podium and ask each band member where they’re from and to reveal some tidbit about themselves. Any interesting factoid will do.

My name is Alex Nauth and I can fart the entire alphabet.

My name is Lex Vegas and I’ve had my mouth on things in (almost) every state.

My name is Mathew Franklin and I’m fully self-actualized.

They appear to be big fans of each others’ faces.

KT: Can fans expect this new album to be an amalgamation of Foxy Shazam and Cadaver Dogs’ style and sound, or will this be an entirely different beast?

AN: The three of us have made tons of music together in the past before we were a part of either of those bands. What’s been amazing about this ride so far is that The Skulx is a culmination of all those bands and friends spanning over 10 years now. It’s our histories, together and separate, along with many friends/musicians from incredible bands we’ve had the honor of playing with that make this upcoming record what it is. It’s something larger than anything we’ve been a part of before.

KT: How did the three of you come to form this group? Was it something you talked about doing for a long time? Spontaneous?

LV: Not so much talked about as supernaturally understood. We all saw the Skulx signal and answered the call.

KT: The trio seems to be big into art (that’s the vibe I get from stalking all your Instagrams, at least). Other than music, what are some mediums the band members dabble in, and can fans see, or expect to see, some of your works publicly?

MF: All of us are extremely creative, it’s never been forced, just flows out like the Nile. I actually have been a painter for years, got some art degrees, and am a tattoo artist. You can see my work all over my social media and ingrained into everything we put out. So yes we are into art. It’s rare to hear a band anymore and not have some visual to put with it. That’s why we say dress for the job you want. We want to melt your face off so expect us all to be in welding masks live.

KT: When can we expect to see the release of this highly anticipated album, and will there be touring in the future?

LV: Album and shows will definitely be happening, if we don’t die trying we’ll keep trying until we die.

AN: And we should probably die around August or September so expect it around then. We’re not cruel though, some music is going to be released in the next coming weeks so everyone knows what they’re getting themselves into.

KT: Finally, both of your bands (Foxy Shazam in particular) are without doubt some of the more ‘vigorously active’ groups in rock and roll (particularly Mr. Nauth). Have any of you sustained notable injuries due to your acrobatics?

AN: Oooooh yeah. I’ll start and say that I’ve had too many to count, black eyes, split lips, and forehead or body chunks taken out by flailing limbs, instruments, or just by letting the demons out on each other on stage. The worst is when I pretty much broke my ankle and had to finish the rest of a tour while half standing with my knee on a stool every night.

LV: I’ve chipped a few fangs on drumsticks and I bleeding constantly but usually its the stage that leaves hurting.

MF: In my case I tend to break my body post show. Whether jumping off balconies or trying to convince a crowd of people I can do a front flip… I always wake up in a pool of blood.

Find The Skulx Here:

Official Site Facebook Twitter Instagram Youtube

Artist Spotlight: Fantastic Negrito

tonightatdawn June 24, 2015

Interview written and conducted for Tonight At Dawn by @KralTunes

“No one will be granted such goodness except those who exercise patience and self-restraint, none but persons of the greatest good fortune.” (Quar’an, 41:35)

Xavier Dphrepaulezz, (pronounced dee-FREP-ah-lez) finally earned his good fortune as Fantastic Negrito. And he earned it by exercising a great deal of patience.

In his early 20’s, stardom appeared to be instantaneous for Dphrepaulezz. But he quickly learned the harsh realities of the pop music world; he said, the problem “when these labels get behind certain artists, they have so much juice and move so fast, the artist doesn’t grow into himself. If you dangle all the trappings of success in front of a kid like me, I’m gonna stumble toward it. But success has nothing to do with the real. And what I discovered when success seemed like it was never gonna happen is the real.”

Dphrepaulezz said that his record deal took away his creative control. Soon after his debut album failed, in 2000 he was involved in a major car crash. He was comatose for almost a month and his hand was so severely damaged that he has come to call it “The Claw”. After his recovery, he decided to secede from the music business and rely on his instincts. “I hustled and started random businesses, selling junk, furniture, random shit I found on the internet, and growing weed,” Dphrepaulezz said.

However, soon after his first child was born, Dphrepaulezz renewed his creativity in the form of Fantastic Negrito and made The Claw work for him. He said that he plays music now by “just beating the guitar into submission or banging on the keys with The Claw.”

Dphrepaulezz started to channel himself through a mixture of black roots music, soul, blues and funk. His debut E.P., Fantastic Negrito, is an impressive collection of music that clearly shows stardom quickly latched itself to him so early in life. He was content to play on the streets if need be, but his patience paid off when he won the NPR Tiny Desk Concert contest. These days, he is happily forced to re-release the Fantastic Negrito E.P. with several new tracks, one being a studio cut of “Lost in a Crowd, the song that won him that NPR award contest, thus rocketing him to superstardom.

For Dphrepaulezz, patience bred good fortune.

Here is the complete transcript of our discussion with Fantastic Negrito:

KralTunes: How nerve-wracking was it to perform behind that little makeshift desk in Oakland for NPR, knowing that it could be a make or break moment for your career at that point?

Fantastic Negrito: The struggle and fatigue leading up to that moment was immense. We’d been grinding hard, doing street shows, trying to force the world to hear this music and we’d almost forgotten about the contest. Field, the guy who runs things here in Oakland, pressed me to do the video the last day before the deadline. He was sure we were gonna win the second he saw the take, but I figured it wouldn’t happen. My voice was shot, I was clearly tired. The entire time the contest was unfolding, Field was telling the rest of the team “we got it, we got it.” When we won, I was stunned. But the second the flood came on social after we won, I knew it was gonna be a game changer. It’s still a struggle but it was definitely a turning point in my career. What’s crazy is it happened so fast, I’m gonna have to re-release my EP because I just–one week ago–finished recording the song that won.

KT: Prior to that performance, you quit the music business. If the NPR deal did not pan out, were you willing to persevere, or was this the moment that would decide you musical future?

FN: I’m not a quitter. The things I went through that made me quit back in the day, it was a lot. I’d been crushed internally by “failing” at the record label and crushed literally in that car accident. It took years and years to get back to music but once I was back in, it was all the way. I knew I’d never quit again because I knew I’d never hand my power and creativity over again. That’s what all the street shows were about. At some point I realized, “Fuck it, I can make a living playing on the streets if I have to.” I was committed entirely. The people that inspire me died broke, struggled their whole life…I knew I’d keep playing regardless of any mainstream recognition or success. When I put the EP out, if doesn’t get a single download, it won’t matter because I’m never stopping.

KT: Fast forward a few weeks, performing live once again for NPR, this time knowing that you have won their competition, what was your emotions at that point? What the feeling that you had made it, or now that you have won, did you feel that you had something to prove?

FN: It was and is surreal. Going to DC for that show was like being in an alternate reality questioning whether or not it was happening. As far as having something to prove, yes. Always. I am extremely competitive and my partners nurture and stoke that competitive nature. Every time I perform I feel like I have something to prove. It’s always a battle. Any time I’m opening up for someone, I want to prove my shit is undeniable. I feel zero hostility toward other artists, but I do want to crush whenever I do a show.

KT: Moving from Massachusetts to Oakland in the 1980’s must have been quite the culture shock for a youngster?

FN: Coming from a conservative Muslim household in mostly white Mass to Oakland California on the heels of it being the center of the black power movement–and the dawn of the gangster crack era was like you guys moving from your life now, to an underwater city in the ocean. Oakland isn’t just “any” other black city, it’s OAKLAND. Especially back then. This is the place that bred the Black Panthers, the Hells Angels, the Oakland Raiders…it was buck wild and vibrant with dangerous culture. I got swept up into the tide for better and for worse.

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Meet the band.

KT: To quote your own About page;
“By the time he was 20, Negrito had taught himself to play every instrument he could get his hands on”

After your life changing accident, how difficult was it to play any of the instruments you once mastered?

FN: It wrecked me technically. I can’t play. Not like a real player. But my feel is stronger than ever. My playing hand is crippled, I call it “The Claw.” If you’ve seen any of my performance vids, you’ll notice that I’m just beating the guitar into submission or banging on the keys with The Claw. It’s not like it’s random but there are mistakes–and I don’t hide from them. That damage is part of my sound now and if you pay attention, you can catch them on every song on the EP. I have other players of course, but I think it’s important to include my imprint on there as well.

KT: After being signed to a huge record deal so young, was it tempting to abort your instincts and follow the money trail and popular culture?

FN: Yes. I mean, I was in my early 20’s with a bunch of money and a bunch of people telling me how great I was and how rich I was gonna be, so THAT became part of the thing I was pursuing. I never aborted my instincts but I never got to fully identify them either. That’s the problem when these labels get behind certain artists, they have so much juice and move so fast, the artist doesn’t grow into himself. If you dangle all the trappings of success in front of a kid like me, I’m gonna stumble toward it. But success has nothing to do with the real. And what I discovered when success seemed like it was never gonna happen is the real. The real, truth, that’s the only thing that matters. Every word on every song on my EP is real. Fuck success and a hit single.

KT: Your music has a very intimate, earthy soul to it. Was that element always present, or is it a result of the obstacles you faced later in life?

FN: The primary element that guides me now is truth. Truth in my lyrics, truth in my sound. That was not always present because I was a kid when I started. I was imitating the artists I loved, Prince, Stevie Wonder, Michael Jackson. I was finding myself. And before I really knew who I was, everything collapsed. Honestly, this first collection of songs is a journey in me finding that intimate soul you’re talking about.

KT: After quitting the music industry, what was your plan? Did you even have a plan?

FN: No. No plan. I’m a hustler and the son of an immigrant so my inclination is to be an entrepreneur as opposed to getting a 9-5, and that’s what I did when my “career” died. I hustled and started random businesses, selling junk, furniture, random shit I found on the internet, and growing weed.

KT: What can fans expect to hear from you in the near future?

FN: Well, as I said, we’re gonna re-release the EP with two new songs in late July and an album at the end of the year. I think An Honest Man and Lost in a Crowd are the clearest indicator on where I’m going. I think I wanna find a balance in doing songs where I turn myself inside out and put my personal truth out there and songs where I remove myself and tap into other people’s truth and give them a voice. Basically there are two types of songs, songs where you make people feel you and songs where you make people feel like you feel them. Also, beyond delta blues musicians, I’ve been listening to some African stuff and Kendrick Lamar, so…the future will be all of that filter through black roots music–black roots music for everyone.

Fantastic Negrito is scheduled for re-release July 24, 2015.

See FANTASTIC NEGRITO Here:

Jul 23 Rock & Roll Hotel Washington, DC
Jul 25 SummerStage, Central Park New York, NY
Jul 27 Brighton Music Hall Boston, MA
Jul 29 WFPK Waterfront Wednesdays Louisville, KY
Jul 31 Nightfall Concert Series Chattanooga, TN
Aug 01 The High Watt Nashville, TN
Aug 08 Outside Lands San Francisco

Find FANTASTIC NEGRITO Here:

Offical Site Facebook Twitter YouTube Instagram Tumblr

Artist Spotlight: The Gotobeds

tonightatdawn June 17, 2015

@KralTunes

Naming your band after a member of the influential English rock band Wire, AND releasing your album on a label named after a song by said English band, can be seen as either unshakeable dedication or grounds for a restraining order. Fortunately for Pittsburgh post punkers The Gotobeds, option A is the more likely choice.

Comprising of former members of Pittsburgh native band Kim Phuc, The Gotobeds perfectly fit the role of class clowns that are waaay smarter than any of the faculty members give them credit for. Underneath the guise of beer swilling, goofball punk rockers lie the souls of contemporary poets, offering up some of the more witty and insightful lyrics you will hear in modern music.

Underneath a parade of bouncey riffs, thrashing guitars, and boundless energy, the group rails against the homogeneity of the current music landscape, a generation of iPhone zombies, and even offers up a thoroughly convincing argument against living in the Big Apple (“New York’s Alright”).

***This band has become my third favorite thing to come out of the Steel City, right behind the 1970’s Steelers and 2000’s Steelers.***

The unrelenting greatness of their debut album, Poor People Are Revolting, has secured them a permanent place on my playlist. Vocalist/Guitarist Hazy Laser was kind enough to take a few questions from my butt kissing self…

Sub Pop Records’ own GOTOBEDS

KralTunes: First off, Congratulations on signing with Sup Pop Records! How does it feel to be corporate music whores?!

HAZY LASER: FEELS GOOD MAN 🙂

KT: Lets get the most important question of the way…With the resurgence of the Pirates in recent years, do they have a legit chance of becoming the darlings of Pittsburgh, or will it forever be STEELER-NATION (and do the Penguins ever have a chance at being the city’s top team)?

HL: Steeler-Nation for sure, Pirates fans have had too many disappointments making them pretty fair-weather for our boys to ever trump football-mania. Pens maybe when Lemieux was in the game, but not currently, no matter how big Sid the Kid or Malkin are. (I like this answer!!)

KT:So how did you guys get together as a group?
HL: We pooled like loose change, just knew these various people who were interested in what we were doing even when the early stages were pretty rough and most smart people avoided it. Cary had never played drums and I couldn’t sing so we were a perfect fit to just fuck around until something made sense.

KT: What is the thought process when writing these songs? Is there one person responsible for the lyrics? Is it a completely collaborative effort?

HL: Songwriting is usually in excited bursts and it usually led by either guitarist that has something on their mind. It’s fairly intuitive in that we don’t talk about it before hand we just show up and when there’s a minute of downtime someone starts playing something new and it just goes from there. Lyrics are my bag, baby. Don’t think anyone else cares to write ‘em though occasionally Gavin who plays bass and sings backups will change a line if it’s something he’d rather sing and he’s bigger than me so might makes right in those cases.

KT: Whats THE GOTOBEDS idea of the ‘perfect’ album?
HL: The Kinks ‘Village Green Preservation Society’ or the Buzzcocks ‘Singles Going Steady’ though that last one cheats a bit cause it’s a comp. Perfect Lp’s flow well, have amazing artwork and say something different beyond what their peers had/have said. One thing I think is important is having some downtime or songs that are less interesting, like ‘just sitting their by the riverside’ not being the strongest track leading into ‘Animal Farm’ does more to set up that song than having say a better song precede it. My little brother once said they all can’t be bangers or else you’ve just written a ‘Greatest Hits’ lp and then you blew yr load.

KT: Tracks like ‘To And Fromme’ takes shots at contemporary culture and how homogenous it has become. Is this the bands consensus on the current music landscape?
HL: Anyone denying that corporate rock & radio are homogenous or fed by the same few bullshit labels are as bad a climate change deniers. History will not look kindly on yr narrow-mindedness young man! I like lots of bullshit that is considered pop but there’s a disposable element that’s inherent in that stuff so giving it anymore thought or credit is a waste of time. Large music sites writing dissertations on it is pretty funny though.

KT: I see a lot of people comparing you to the likes of Protomartyr (I don’t know if that is your experience, but I have heard their name brought up several times already when mentioning you). Do you find it annoying as hell that people, rather than appreciate what a group is bringing to the music scene, immediately have to compare them to something similar?

HL: It’s an easy thing to say to someone ‘hey you like A so you should like B’ – though getting compared to the same thing wears thin but if it helps someone hear it at the end of the day it doesn’t really matter. Not everyone that listens to music listens to it in the same way that the scene’s that’ve fostered us does: it takes some real steps like doing SXSW or having sub pop interested in order to get different people involved. And that’s not good or bad, just the way it is.

KT: Speaking of Protomartyr. You recently concluded a tour with the group. How was it touring with another underrated gem of a band? Side note: Next time you come around to NYC, try not to schedule a show in the middle of winter on a Wednesday please!

HL: Protomartyr is the SHIT!!! Though this question is dated cause I was mostly drunk in a van and couldn’t eloquently elaborate on any of this shit on my phone but ideologically, musically and personality-wise those dudes were a great fit. We’re all fans of their band so we were honored that they asked us to come along on their magic bus. Though complaining about us being there on a Wednesday makes me laugh internally: we’re treating Brooklyn like most touring bands treat Pittsburgh – a midweek stop on the way to the REAL MONEY $$$$$$.

KT: Yes, you just released a new album mere months ago, but being the content whores we all are, we demand more of your time! What are your plans in 2015?

HL: More songs! Some good! Some not-so-good! Really just recording for the next LP that’s title is so great I can’t spoil the surprise here, so look for it at the sub pop airport store in early 2016.

Find The Gotobeds Here:

BANDCAMP FACEBOOK TWITTER

Other Artist Spotlights:

WHORES. MONOCLE STACHE BRYAN McPHERSON HOWLING GIANT

Artist Spotlight

Artist Spotlight: Audios Amigos

tonightatdawn May 26, 2015

Interview conducted by @KralTunes

A band that blends instrumental surf, country, latin, soundtrack and garage music (all while wearing mariachi-inspired attire, no less) can be a tough sell for us rock and roll-leaning individuals, but when that band is AUDIOS AMIGOS, consider this guy sold.

Having released several E.P.s of original material mixed with faithfully covered classics, Audios Amigos is a band that can get your booty shaking one minute, than transport you to the set of ‘A Fistful Of Dollars’ the next (it’s enough to make composer Ennio Morricone well up with pride).

Band members JT Halmfilst and Eric Baldoni were more than gracious enough to put up with my nonsense and answer a few questions. Read along as they reminisce about the origins of their name, the beginnings (sot of) of Red Fang, talk about future projects, and discuss the current state of Portland sports clubs.

KralTunes: First off, GREAT name for a band! Do you ever feel like you guys hit the jackpot in coming up with it before some crappy, NICKLEBACK style band could?

JT Halmfilst: Yeah, I feel like we’re pretty lucky, band names are kinda hard to come by, they’re either taken or terrible or both. I had actually used the name (Audios Amigos) for a one-off benefit show featuring members of Dusty Santamaria & the Singing Knives and Dramady. Months later when we were forming this band, I thought it was too good to remain in obscurity and it fit our m.o. You know, “Sound Friends”. It does unfortunately get misspelled often, which is the price we pay for being so clever.

Eric Baldoni: I was pushing for “JT and the Skankin’ Yankees”, but apparently that last part is already taken. It’s generally a good thing no one listens to me.

KT: Whenever I think of the Pacific Northwest music scene, hard rock bands like Red Fang spring to mind. Is there a Portland surf rock movement the rest of the country all are being deprived of?

JT: There are a great many instrumental bands in and from the Northwest, one of the greatest being The Ventures! Others include Guantanamo Baywatch, Don & the Quixiotes, The Boss Martians, Satan’s Pilgrims, Surf Trio, The Diminished Men. We like to play with an array of bands, mixed bag shows and whatnot. Not even I who happens to love surf/instrumental music wants to hear an entire evening of it! Every once in a while we will share the stage with our surf rock arch rivals, the aforementioned Don & the Quixiotes, but usually prefer to play mixed bag shows, variety being the spice of life and all. Funny you should mention Red Fang, we’ve actually opened for them! Technically
we opened for the comedian Ian Karmel, who was followed by Red Fang. That was great, their fans were really nice to us.

EB: We’d most likely be an anomaly anywhere. Incidentally regarding those Red Fang rock stars, I knew Bryan way back when we both played in “punk” bands in Tucson (late 80s). Not only is he a great guitarist, he also is the original Buckethead. I say this because he once was featured in a performance by the incredibly obscure yet monumental band Slo Deluxe, wearing a metal bucket over his head equipped with a contact microphone into which he was instructed to scream. Come to think of it, that sort of encapsulates his guitar style…so the world owes the existence of Red Fang to Slo Deluxe.

Meet The Guys

KT: I love the moody spaghetti western feel of your music. What drew you all to this sound?

JT: I’ve just always loved cool sounding guitars, 50s & 60s
instrumental, cinematic/soundtrack stuff. The way they made things sound is so evocative and imaginative. In a song without words or singing, you kind of end up making up what it’s about or creating your own imagery. This band is a great opportunity to show our influences by playing songs by them. Joe Meek, The Ventures, Link Wray, Ennio
Morricone, the music of David Lynch and Angelo Badalamenti, Davie Allan and the Arrows. There is also South American music from the 60s called Chicha that is similar to cumbia, but played with wah wah pedals and Farfisas that is real fun to play, or try to! This is the first band of this kind for me and I’m happy to finally be playing
these styles that ive loved for so long.

EB: I like everything odd and weird about the Morricone compositions…he used so many strange instruments to create mood. Our influences, inspirations…geez just too many, especially with the internet making available so much old music that otherwise would have been impossible to find. Personally I started out playing in weird punk bands, then a complex short attention span instrumental combo, then some country, then some post rock…recently though mostly I listen to old Latin music, it’s all about the rhythm sections.

KT: Have you been playing together for a while? How did you all meet?

JT: Dan Lowinger (guitar), Eric Baldoni (bass) and Andy Bacon (drums) were all in a band called The Love Lasers with our friend Lana Rebel (Last Of The Juanitas, Juanita Family, Broken Promises). When she moved back to Tucson, the boys wanted to keep something going. I, JT Halmfilst (guitar), jumped at the chance to play with them. We’ve
all been around the block a few times, seen and admired each others bands. It was a pretty quick fit.

KT: You guys are apparently big on 432hz!

For those not aware:

“432hz vibrates/oscillates on the principles of natural harmonic wave propagation and unifies with the properties of light, time, space, matter, gravity and electromagnetism”.

Are you some kind of undercover nerds?? What drew you to this cause?

JT: About 432hz, I heard about it a few years ago and started tuning to it in my band Thee Headliners. We were a guitar and drums duo so the transition was easy. We noticed a different feeling and quality to the sound. Different things vibrated in the room we’d been playing in for years. The difference is subtle and was physically relaxing. I convinced AA to tune this way as well citing that we shouldn’t let the Nazis dictate how we tuned. The tuning is popular in the New Age community so maybe that makes us undercover hippies. It feels good to know that we are in harmony with the vibrations of the universe when we play!

EB: It’s complete hogwash, but we love JT unconditionally so we humor him.

KT: What are your plans for 2015, and please say its more music?

JT: Given everyone’s busy schedules, we are adding to our personnel roster, incorporating Ben Cosloy (Bad Assets, Lord Master) on guitar and Frosty Davis on percussion and additional instrumentation. We hope to have a new t-shirt soon and would like to have an album recorded
within the year.

EB: I try to only plan things about a month in advance. This month we are playing a wedding gig…our first wedding gig ever. More people should hire us to play their wedding, we look pretty pimpin in our best digs. It will really impress your guests and convince them that you are cooler than they are…which is the goal.

KT: Will this band ever tour further east?

JT: Being a two car garage band, touring isn’t an option as of yet, but not out of the question. A van hopefully looms in our future as well. How far east are you? KT: Northern Jersey, so it looks like my options are kinda slim.

EB: Think positive thoughts and it might happen. Hell, you should come out here and see us, why are you people always putting it on us musicians to do all the traveling? You don’t have to haul around piles of antiquated fragile musical equipment (not to mention actual flesh and blood) in vans that generally speaking, are nothing short of unregulated carnival rides in gross need of repair. KT: You sold me…now to convince the wife to travel across the country to see a surf rock band live. I’m liking my chances.

Now for the real reason I wanted to talk to you guys:

KT: In all seriousness, is anyone in the area regarding the PORTLAND TIMBERS serious as a legit sports team??

JT: I did heard the Portland Timbers scored 3 touchdowns before the 5th inning of the sportsball meet.

EB: I tried to get a response to this from our resident sports expert Ben Cosloy…but he seems unwilling to share his opinion, which is quite rare for him…

Stop the presses!! Last minute edition from the Audios Amigos sports desk –

Ben Cosloy: The Timbers are the only other pro sports franchise in PDX. In comparison to the Blazers they are an upstart club that plays its games in the heart of downtown and they have a non corporate vibe, not to mention a mascot with a freaking chain saw cutting wood rounds every time the home team scores. The Timbers are a fair to middling team that wins an inordinate amount of home games due to the raucous fans who in other walks of life stare at their shoes at concerts and drive passively. Also, their timbers Army rooting section is so rowdy and downright foul-mouthed it is not suitable for children under a certain age. Yes, the Timbers are 100% for real. KT: I like this guy!!

See AUDIOS AMIGOS Here:

5/30/2015-The Secret Society Portland, OR

Find AUDIOS AMIGOS Here:

Official Site Facebook Bandcamp

Other Spotlighted Artists:

Monocle Stache Howling Giant Arms and Sleepers Wyldlife Whores Sky White

ARTIST SPOTLIGHT: Monocle Stache

tonightatdawn May 4, 2015

@KralTunes

Colorado, home of Red Rocks, legal weed, and one time Sex Change Capital of the World, Trinidad, Colorado (look it up), can now proudly claim ‘mutant blues’ rockers MONOCLE STACHE. The rock newcomers blend retro bluesy rock with the heaviness of stoner rock (fitting for Colorado natives), resulting in their impressive debut E.P., Prairie Fire. I recently talked to David Accomazzo and Josh Minor from the band about their origins, whats next of the group, and other world changing topics.

KralTunes: While MONOCLE STACHE is a pretty sweet name for a band, the jaded northeastern U.S. side of me immediately sees it as something a douchey hipster band from Brooklyn would call themselves (which you are clearly not). How did you guys come up with the name? (IRONY is the only explanation I can come up with, please let it be irony, cause I like the music too much for it not to be!).

David Accomazzo: If we’re hipsters, we’re the Red Fang type, i.e. we drink a lot of beer and don’t give a fuck. (Whew!)

Josh Minor: Yeah, we’ve definitely considered the fact that the name is fairly hipster sounding, but at the end of the day, we just don’t care. It’s stuck with us for a long time. The name originated from a friend of ours who used to play a game called “Monocle Stache.” The game was essentially the game “Nose Goes.” I don’t know if you’ve ever heard of Nose Goes, but someone will say something like, “Who wants to take out the trash?” Someone else will say, “Nose Goes,” and the last person to touch their own nose with their finger loses the game, and has to take out the trash, or whatever the task might be. It’s a stupid fucking game. So with “Monocle Stache,” you have to make a monocle with one hand around your eye, and a stache across your lip with the other. Operates the same way. We just liked the name at the time, thought it would be funny or something… So yeah….Irony. Because, you know, we don’t wear monocles or have proper mustaches, and fuck hipsters. (Yes…fuck hipsters).

KT: How did you guys come together as a group? Have you been playing together for a while?

DA: We all went to Fairview High School in Boulder, Colorado. Josh and I were in jazz band together starting at age 14, so we came up together as jazz musicians with jazz training. Arj and I started playing rock music as a two-piece called Moon Chug our senior year, and while Josh jammed with us once, it wasn’t until sophomore or junior year in college (~2006) that we started playing together as a three-piece and named ourselves Monocle Stache.
KT: You guys are virtually unknown in this part of the country, so lets go about this interview Alex Trabeck-syle. (I will play Alex Trabeck, and you 3 are the Jeopardy contestants. As I walk by each podium, I ask you where your from and to reveal some tidbit about yourself..Give me an interesting factoid about each band member that was currently unknown before today).

DA: I’m actually no longer in the band, though I played bass on the EP. I moved to Phoenix last year for a job in music journalism.

JM: As David said, he moved to Phoenix right after we had finished recording the EP. We were debating whether to continue the band for a while. One of Arj’s old friends and former bass-playing band-mate, Ryan Inman (we just call him Inman), moved out to Denver over the summer, so he’s been our bass player for the last few months. I (Josh) work professionally as a movie editor. I’ve worked on a couple feature-length documentaries of note: a music documentary called “Muscle Shoals” in 2013 (it’s now on Netflix), and an environmental doc called “Racing Extinction,” which premiered at Sundance in January. Arj is in a couple of other bands in Denver, “Il Cattivo” and “Black Acid Devil.” He plays drums in our band, but plays guitar in those bands. (I didn’t realize I was talking to some serious Renaissance Men)!!

KT: I see that you’ve gotten a lot of attention from the ‘stoner rock’ press with your E.P., but I am not sure if I agree with such a tag. Do you consider yourselves a stoner rock band? (I would consider you more of a bluesy garage style band, but what the hell do I know) What are some of your inspirations?
DA: We’ve tossed around a lot of genre tags over the years. “Stoner rock” is accurate since it describes our influences pretty well. We created the term “mutant blues” to apply to us, but no one besides us knows what that means. As the years have passed, I’ve started to think of us as “stoner blues,” since while the core of Monocle Stache is riff-based rock, the foundation of everything we do is blues. We used to jam all the time; improvisation was how we gelled together as a group and developed such great chemistry together. I love the concept of jamming because rock and roll can feel so rigid at times; it’s a confining structure to work within. The non-verbal communication we developed through hundreds of hours just making shit up together is one of the things I miss the most about being in the band.
KT: Things that caught my attention when I first discovered the band MONOCLE STACHE:

They have a great album cover!
Shit, this is free!?!
Who’s the hottie on the album cover!!!

Was the idea to give this album out for nothing a marketing ploy? If so, has it been successful? ( I guess me talking to you could be viewed as a positive sign). As a follow up, who IS the hottie on the album cover??

DA: Nah, we just didn’t give a fuck. We basically did nothing to promote but put the EP on bandcamp and announce it to our 80 Facebook followers (at the time) and friends, and the fact that the Youtube channels and the blogs picked up on it was an awesome surprise.

JM: So after David moved to Phoenix, during the phase when Arj and I were debating whether to keep the band going, we still had this unfinished EP just sitting on the shelf. I was determined to get the album out despite the fact that we were possibly discontinuing the band. I figured that we had invested a lot of time and effort into the damn thing, it would be a shame not to let it see the light of day. I took it upon myself to do all of the artwork and social media marketing (or lack thereof). The chick on the front is Jean Shrimpton, who was a British swinger-era supermodel from the 1960s. I’m really into retro models – they were much classier back then. Now, I should mention we have absolutely no rights to her image, so yeah…hopefully we don’t get sued. (Your secret is safe with me) Then again, we didn’t charge anything for the EP, so it could be hilarious if we got sued – free advertising, and they could get all $70 or so that we made, ha… But yes, I would consider the EP a success. The reason for giving the album away for free was mostly because we weren’t even sure we’d still be a band, but also we just wanted people to have our music. I wouldn’t want someone turning away from our music just because they had to pay for it. So the money we made is just the frosting on the cake. The real victory is in knowing that our music is out there, and people are digging it. It’s also a great feeling knowing that people wanted to pay something for our music even though it was free – that’s a sign that we’ve got some awesome fans.

KT: Since your from Colorado, someone from the east coast envious of your position must ask…has legal marijuana lived up to every stoners fantasy in the Centennial State?

JM: Legal marijuana has been a great success here, and for the most part, we are all reaping the benefits of it. I grew weed for years, so for us it’s kind of the same. Although, now he lives in Phoenix, so that sucks. The only downfall is that I can’t sell it for a profit anymore – but I’d rather have it be legal and cheap, than illegal and expensive. It’s nice knowing that I can smoke and possess weed, and it’s completely legal – nothing to worry about at all. That’s how it should be.

KT: What can we expect from you douchey hipsters in the near future (please say more music and expansive touring)?

JM: We are going to continue to rock the fuck out – that is for certain. We’ve been jamming a lot with the new bassist, so I’d like to say we are on the verge of taking the Denver rock scene by storm. Of course, it’s always a lot easier said than done. We’d love to go on tour at some point, maybe show NYC some love….we’re going to need some more funding.

KT: Random MONOCLE STACHE QUESTIONS/FACTS
Any pre/post show rituals?
Since you in the valley of craft beers, what are some of your favorites?
(Fill in any information that you would like us to include)

JM: So the reason that the name of our EP is “Prairie Fire” is because we always do a round of prairie fire shots before our shows. A “Prairie Fire” is shitty tequila mixed with Tabasco sauce. Yes, they are as gross as they sound, and they are fucking awesome.

I love beer. So goddamn much. IPAs are my favorite, but I can appreciate almost any great craft beer. I am a huge fan of Odell Brewery in Fort Collins, and of course Avery Brewing here in Boulder is unbeatable. The Maharaja Imperial IPA is where it’s at. (You guys are quickly becoming my new favorite band! I’ll have to check out these recommendations. For me, Founders Brewery out of Michigan is frickin’ untouchable, especially their BREAKFAST STOUT or CENTENNIAL IPA. Of course, Boulevard’s Sixth Glass Belgium is no slouch (Jeez, this became a craft beer circle jerk real fast)!!

Now onto serious business…

KT: I like a good time travel hypothetical situation, and this one comes from the podcast TELL EM STEVE DAVE. The one scenario that immediately comes up in conversation is always “If you could go back in time and change one thing, what would it be”?, and the answer almost always is, KILL HITLER. That became the standard answer, and as a result, to make things more interesting, the question evolved into “If you could travel back in time and kill baby Hitler before all of his atrocities, would you do so”? Now, in an attempt to ratchet it up even more, the question has become “You have the opportunity to seduce Mother Hitler prior to his original conception from his actual father, thus sparing the world from his DNA and cruel final solution. (assuming that the child would grow up to be more like one of you, and a lot less like Hitler). Would you be willing to impregnate the future Hitler’s mother to save he future of millions of lives?? Here is a picture of Mother Hitler to help (or hurt) your response…

JM: I would have given Hitler’s father a swift kick in the balls the night he fucked Hitler’s mammy. I would have told him, “I’m saving lives.” But seriously, don’t fuck with the past…. (short and sweet)

KT: MAYWEATHER VS. PACQUIAO… has Mayweather been ducking ‘Manny’ all these years? Who do you expect to come out victorious??

DA: Fuck yeah, Mayweather’s been ducking Pacquiao. Manny’s gonna rip him a new one. (You don’t know how right I wish you were about that).

KT: These slang words have apparently disappeared from the American vernacular:
http://www.npr.org/blogs/npr-history-dept/2015/04/23/401681334/7-lost-american-slang-words

What are some current slang words/phrases you hope will be forgotten from the American dialogue in future years?

DA: I’m pretty sure I called someone a dingus within the past year, so I question the veracity of the prompt. (Dingus is a good one. I heard ‘awesome sauce’ for the first time in years the other day…I couldn’t stop laughing).
KT: The BATMAN V. SUPERMAN teaser has been catching a lot of crap lately, but I think its going to be pretty good movie (better than AVENGERS, at least). Thoughts??

DA: Nothing will be better than the Hanna Barbera Birdman cartoon. Nothing. (Can’t really argue with that, well maybe Harvey Birdman; Attorney At Law)

Find Monocle Stache here:

Official FACEBOOK

Official Bandcamp page (Again, ITS FREE)!!

TWITTER

REVERBNATION

Other Spotlight Artists:

WHORES.

ARTIST SPOTLIGHT: Howling Giant

tonightatdawn April 27, 2015

Text by @KralTunes

Instagram: Kral_Was_Here

Huge THANK YOU to the members of HOWLING GIANT for being good sports about my lack of interviewing skills and playing along anyway.

“Recorded live in Tom’s bedroom, Howling Giant’s first EP comes crashing into reality!”

With this singular statement on BANDCAMP, HOWLING GIANT exemplifies perfect do-it-yourself music making. From the old school B-Movie horror album art, to the no nonsense hard rock mentality, this Nashville Trio with going at it on a smaller scale. Rather than setting the world on fire in grand fashion, they are content with the metaphorical equivalent of lighting a bag of dog poop on your neighbors porch.

The first 2 tracks of their debut E.P. are as straight forward as they come… ‘HUSK‘ and ‘WHALE LORD‘ are hard-hitting, riff-heavy rock ditties that stick to the tried and true regulations of stoner rock. Fortunately, the second half of the album makes me slightly stand at attention… for it is here where the band begins to showcase some exceptional music chops. ‘DOUG‘ provides bluesy rock instrumentals, while ‘CAMEL CRUSHER‘ is a slow burning, spoken word affair that has enough gazpacho to fill that bowl (wink, wink…) including oh so irresistible spaghetti western themed lyrics such as:

“Born without purpose, our friend wanders through the desert
Aimless. Brainless. Infection ruining his sentient thoughts
Over the years he’s created his own purpose
A purpose void of reason or understanding
To slay the hunchbacked sand demons
Blight of nature, he’s their only reckoner
The last bastion of desert justice.”

(You could ALMOST imagine Clint Eastwood delivering those lines before belting some slugs into Ramón Rojo).

As you could tell, I am becoming a big fans of these guys, so I was thrilled to have the opportunity to talk with them and ask about the making of this record, their future plans, and any other irrelevant thoughts that bounced around my head at 2AM.

Kraltunes: Is there a unique origin to the name HOWLING GIANT?

Howling Giant: The name comes from the Four Giants in The Legend of Zelda: Majora’s Mask. Towards the end of the temples in the game, these Lords of the Earth come out and howl a haunting melody. (I never put that together until just now..thats brilliant)!!

KT: One thing I immediately noticed after listening to your EP is the exceptional musicianship.
How long have you three been playing? Has music always been the ‘goal’ for you guys? Is this a part time thing?/ Do you have regular day jobs? When did you start playing together as a group? Am I rambling on a bit much here??

HG: We met in college and all played in various other bands, not so much with each other. As our other bands dissolved slowly, we started this band under the name SKLDZR (Skulldozer), as a joke and excuse to jam fat riffs with one another.

We aim to do this full time one day, but in the mean time, we work day jobs just like anyone else. Roger is a substitute teacher, Tom slings BBQ and just got hired at a local brewery, and Zach works at a drum shop.

KT: I’m sure I know the answer to this, but please tell me that you guys are able to grow the epic facial hair so proudly displayed on your facebook page?!

HG: Thats a highly personal question, you’re making Roger uncomfortable. (Aw, C’mon Roger, we’re all friends around here)

KT: I am a big fan the of track “Doug”, particularly for the jam section on the second half. Which track(s) of yours are your especially proud of? (explain why)

HG: We are proud of every track on the EP, each one has its own character and represents a different sound that we love. Husk is the cruising desert feel with stacked vocal harmonies. Whale Lord gives a little bit of the heavy vibe, with some psychedelic guitar work towards the end. Doug captures our goofy side, while Camel Crusher is purely riff work. We love all of our children, as any respectable parent should.

KT: This Ep was recorded in Tom’s bedroom…care to elaborate on any other ‘band activities’ that take place in Tom’s bedroom???

HG: Aside from building a super-computer that will soon take over the world, nothing really.

KT: This weekend, Furious 7 opens in theaters…will you watch it, and in your opinion, can this film surpass the ridiculous awesomeness of its predecessors without going overboard on the cheesiness?

HG: In order to truly understand this film, you must take a look at Vin Diesel’s previous body of work. For example, Disney’s “The Pacifier.” IMDb says 3 stars, Rotten Tomatoes says 1 star. We say, don’t talk to us about Furious 7 until you understand “The Pacifier.” (Well done)

KT: Time to solve the worlds problems:
This week, the US and Iran reached a tentative deal that would curb nuclear activities in return for relief from sanctions. Is this deal a plus for US foreign policy, or will this agreement create more problems down the road between the US and the Middle East?

HG: What the mainstream media won’t tell you is that we have been granted special access to the proverbial “red-button.” Don’t worry fellow Americans, your lives are in good hands.

KT: What do a trio of rowdy Tenesseeians do on their down time?

HG: Cribbage, Jenga, fine wines, you name it. Tom’s been upping his Bocci Ball game over the past few months getting ready for the world championships. (Ambitious..I was looking at signing up in the NYC Bocce League, but missed the deadline)

KT: Hailing from Country Music Central, I am (most likely stupidly) assuming that you 3 are members of a hard rock minority in your neck of the woods. Is there a Nashville rock scene that the rest of us are not aware of?

HG: While there isn’t a huge scene currently, Nashville is in the throes of its Hard Rock Renaissance. We are starting to see a lot more bands breaking the country mold in this town. We think that over the next 5-10 years, Nashville will be significantly more diverse musically.

KT: MULTIPLE CHOICE:
Kentucky just lost to Wisconsin in the FINAL FOUR…are you:
(A)as shocked as the rest of the world, or
(B) couldn’t care less

HG:Frankly, we’re all a bit shell shocked that Kentucky fell to those filthy cheese eaters. We stay up late every night writing in our dream journals by candle light about the whole debacle.

KT: What is the last album you listened to before you began reading these questions? For the hell of it, what other bands do you guys listen to?

HG:

Tom: The Melvins, Houdini.
Roger: Pennywise, Reason To Believe
Zach: Trivium, Shogun.

We love Red Fang, ASG, Weedeater, Sleep, Coheed and Cambria, Led Zepplin, Elton John, Mac DeMarco, Erykah Badu, Queens of the Stone Age, Type O Negative, Descendents, Screeching Weasel, and NOFX.

KT: Aside from celebrating the anniversary of me asking this question, where do you see yourselves n the next 2 years (bonus points if you name the origin of that joke)?

HG: Hopefully touring full time, and making enough money to feast on Taco Bell bi-nightly. Perhaps Mitch Hedberg? (so pumped that you got the reference)

KT:What is the group up to in the near future? (tour dates, recording, etc.).

HG: We’ll play more in Nashville, tour The Great American South on weekends, and work on new jams for our first full-length.

Find HOWLING GIANT here:

OFFICIAL FACEBOOK PAGE

BANDCAMP PAGE (HELL, IT’S FREE)!!

TWITTER

YOUTUBE

Other Spotlight Artists:

Monocle Stache

ARTIST SPOTLIGHT: WHORES.

tonightatdawn April 20, 2015

In an attempt to reach new audiences with TONIGHT AT DAWN, we are beginning what will hopefully be an ongoing music interview segment. Several artists have expressed interest in participating, and hopefully that enthusiasm will continue. Our hope is to offer the reader and fans a different style of music interview. Some discussions will be straightforward, while others will have a more humorous take (whatever KralTunes finds humorous, that is).

Any comments, questions, and critiques, please direct them to @KralTunes on Twitter. This was my first attempt, so please be gentle with the criticisms.

WHORES is an American rock band hailing from Atlanta, GA. I recently talked via email to lead vocalist Christian Lembach about their music:

KralTunes: The term WHORES stirs up a slew of connotations for people. Was the potential divisiveness that comes with such a title something the band thought about in the beginning? How did the group come to decide to name itself Whores.?

Christian Lembach: We certainly considered the implications of using such a loaded word; it’s a serious thing. We also thought hard about the fact that some people would misinterpret the name. I feel obligated to state this plainly every time we are asked this question, which is often: There is not an ounce of misogyny in the people in this band, and our name is in no way meant to denigrate women or sex workers.

We intend the name to be more of a statement regarding the nature of capitalism and a commentary on how people are forced to sell out any realness and decency in order to succeed. Look at the words for any one of our songs as evidence. Pick one. We, as a people, have been beaten into submission, and we’re supposed to be happy about it as long as there is still a standing McDonalds within striking distance of our homes. We’re told we can be anything we want when we are children. It’s the biggest hustle of all time. In order to have a life that’s not completely devoid of comfort, you have to “sell out” to some extent.

It’s a bummer of a situation that it’s mostly people from the underground who give us grief or otherwise misinterpret our name. I consider these people allies, so it’s especially disappointing when it gets weird. I expect people outside of mainstream culture to not respond in such a knee-jerk fashion, but it seems there is a rise in what I’ve heard called the conservative left. It’s pretty gross.

I am so far left that I basically see things in a Marxist way, and democratic socialism seems to be the best system to me. I also grew up listen to music, watching movies, reading books and checking out art that was termed “outsider” at the time. It wasn’t socially acceptable to be into punk rock and skateboarding or whatever like it is now. Things have really changed with the erstwhile cheerleaders rocking the satanic, witchy pose, and I think a lot of people who are secretly into Radio Disney-type bullshit music think they have a voice in the underground. They don’t. They’re tourists, and they can fuck right off. It’s utterly bizarre to me that you see these people covered in tattoos and faking a counter culture pose who are really conservative people. It’s baffling.

I was recently talking to Thomas Hazelmyer from Amphetamine Reptile records when we were in Minneapolis on our last tour with Retox. We were talking about the gentrification that happens in every major city, and the parallels to the underground being co-opted.

The majority of the songs I write have an “us-vs-them” element. It seemed like an appropriate name, considering the subject matter of our songs and how I feel on a day-to-day basis. But the dialog surrounding our name never ends, and we’ve taken it on the chin several times in terms of lost opportunities because of the name.

KralTunes: A question I have always wondered… As a singer that does an awful lot of screaming on many tracks, does the strain on your vocals ever concern you about the future of your career?

Christian Lembach: Dude. I think about that all of the time. It usually takes me a few shows to blow it out, then I’m in the pocket for the duration of whatever tour we’re on. It’s painful at times, but I don’t really know how else to sing. I’d love to take some lessons or see a coach or something, but I can’t afford something like that right now. We had like 30 shows on the tour we just wrapped. I have to take care of it – lots of water, lots of sleep and no dairy. I’d love to write some more somber, laid-back songs, but my focus is on Whores right now.

KralTunes: I recently read on your facebook that your studio location is about to be no more (What, the owners don’t realize they are housing the seeds of musical genius within their walls)!! Is this demolition a done deal, or can it somehow be prevented? If not, what are your plans for future practice areas?

Christian Lembach: Yeah, it’s a done deal. We have to be out before May 10th. Tons (like, literally hundreds) of ATL bands are being put out. It’s insane. There are no other spots to practice in ATL that aren’t already full and with a long waiting list. The place where we were practicing was the central spot in ATL where all of the bands practiced. It’s a huge blow to the scene. I’m sure something else will pop up eventually, but we’re furiously writing a new record, and this is a pretty big hiccup. In the immediate future, we’ll be packing all of our stuff up and moving it to a storage space outside of ATL.

KralTunes: Having just watched a youtube clip of one of you sets (Saint Vitus Bar, 2014), you guys put a ton of energy into your performance…I can only imagine that a standard show is pretty brutal on the three of you. Is this the case? What is the recovery time like after or between shows? Do you have any pre/post show rituals that you stick to?

Christian Lembach: Yeah we push super hard every time. We’re in that sweet spot where we’re firing on all cylinders, but we’re also playing to a bunch of new people every night. So I honestly feel obligated to just blast the shit out of every song. I want people who are seeing us for the first time to stop in their tracks. I want us to be your favorite new band. Anybody can make a cool sounding record. Playing a show that takes peoples’ heads off is the important part. As far as recovery time and pre/post show rituals, I try to warm up my voice before we play, and I try not to talk for a good 30 minutes after. We’re not doing a whole lot of local shows, so it’s mostly show after show on tour. You kind of just have to make it happen.

KralTunes: You three seem to be having an amazing time up on stage. Is playing the part of musicians what you always envisioned yourself doing with your lives? Wikipedia has the band starting in 2010. Have you three known each other prior to that date? How did you get together?

Christian Lembach: I’ve tried to do other things, but it seems that music is really the only life for me. It’s taken a pretty hefty toll on my personal life and financial stability at times, but I really can’t legitimately pursue anything else that I would be this passionate about.

We’ve all sort of known each other from other bands that we’ve played in the past. I was a huge fan of our drummer’s old band, and actually learned a few songs on their record with the intention of trying out as their second guitar player back in the day.

Things sort of fell into place one by one for this band. Jake, our bass player, was initially interested in acting in sort of a managerial capacity with the band. An opportunity came up for him to fill in for a show, and after we got off stage he said he wanted to join the band. He was in a pretty active and successful band at the time, so I was a little skeptical as to how it would work, schedule-wise. We’re not well known enough yet to be taking breaks and turning down opportunities. Jake ended up leaving his other band, joining us full time, and that was that.

KralTunes: After reading the lyrics to several songs, many images spring to mind (very little sunshine and unicorn imagery to be found). What are the inspirations for the lyrical content of your songs?

Christian Lembach: Well I don’t want to get too specific and melodramatic, but I have had a few pretty terrible things happen in my life. I just try to tap into a real emotion, and that’s often a fairly ugly one. That’s all I’m really comfortable saying.

KralTunes: I’m always looking for something new to listen to. What music’s got your ears right now?

Christian Lembach: New Metz record, new Fight Amp record, new Retox record, two Athens bands, The Powder Room and Motherfucker, are just wrecking shit right now. Of course I love all of the 90s noise rock stuff, but I’m also heavy into 80s goth/eurotrash type bands as well. I listen to The Birthday Party a ton. I also love a lot of early 90s hip hop. I’m not kidding. I torture my band mates with it. The repetitive nature really appeals to me.

KralTunes: On the current events front, does the officer in the Walter Scott shooting have a prayer in being acquitted of these charges against him??

Christian Lembach: I certainly hope not, but things are so fucked-up right now that it wouldn’t surprise me. There seems to be a certain type of person that is attracted to a job like that in the first place. So as sad and terrible as this is, it’s nothing new. The only good I can see is that technology is making it harder for creeps like this to hide.

KralTunes: What does the next year hold for the band?

Christian Lembach: We’re writing our next record right now. We hope to have it released late this year, or early next year at the latest. After that we’ll be doing support tours worldwide, as well as a few headlining U.S. tours. We’re constantly (and currently) submitting for support tours, so we really never know when the next one is until it’s imminent. The soonest we’ll be back on the road is late summer, unless something really amazing comes up. We’re talking to a few different labels right now to see who the best fit will be. We plan on hitting super hard with this next one, so we’re trying to take our time. We don’t want to let people down.

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Other Spotlight Artists:

Monocle Stache

Howling Giant

Entertainment

ALABAMA SHAKES: SOUND AND COLOR

tonightatdawn April 18, 2015

@KralTunes

Let the revival rage on! ALABAMA SHAKES’ newest album, Sound And Color, expands on the 60’s/70’s soul/rock hybrid of their debut album and brings plenty of da funk (but not too much funk…excess funk can lead to all kinds of trouble). To keep things fresh, Alabama Shakes introduce several new wrinkles into the mix.

Sound and Color starts with a lovely hymn-like title track, but ‘Don’t Wanna Fight’ really kicks the album off with its funky soulful guitar and glass shattering falsettos. Howard is painfully convincing as she pleads for peace and understanding,

“Attacking, defending

Until there’s nothing left worth winning,

Your pride and my pride,

Don’t waste my time.”

“Future People” is another highlight; classic rhythym and blues plus herky- jerky guitar multiplied by distorted vocals equates to a memorable anomaly. Then “Gimme All Your Love” gives a contemporary spin to the blues ballad with a beautiful organ-highlighted guitar solo.

Within the mid-album lull sits a couple of fairly graceful tunes before Alabama Shakes cranks it up with “The Greatest” when the spirit of Otis Day and the Knights suddenly take the helm. This garage band-style colossus is a fantastic lo-fi highlight. Its one of those ‘I DEFY you not to bounce to this’ type of songs.

Side 2 of the vinyl is a more atmospheric kind of beast. It may not shine like Side A, but Howard and the crew stay bold on the flip side. The airy ‘GEMINI’ provides a near 7 minute sonic groin punch, as Howard’s vocals are disguised beneath a shroud of moody production. ‘Over My Head’ closes up shop on a satisfying jazzy-jam note.

Vocally, Brittany Howard makes you feel the heartache of missing Mickey Mouse tattoos and Honda Accords (re: lyrics). Rather than playing the part of a 3rd rate Janis Joplin, Howard is shaping her own signature voice and it shines through the studio distortions.

Sound And Color sounds like a band comfortable enough in their skin to explore strange new frontiers: they are an act in full artistic bloom. And, with that, ALABAMA SHAKES avoids the dreaded sophomore slump.

Entertainment

Courtney Barnett

tonightatdawn March 24, 2015

***Opinions in this article are those of @KralTunes, and not necessarily shared by Tonight At Dawn***

Courtney Barnett is the type of artist that is rarely seen around these musical parts these days: a clever lyricist with an actual message to convey. Her newest album, Sometimes I Sit and Think and Sometimes I Just Sit, has been widely anticipated by critics and music scenesters for quite some time. For her sake, I hope her offering is enough to please the Indie Rock Gods!

Opener ‘Elevator Operator’ is a ridiculously catchy tune, in spite of the protagonists’ monotonous life cycle and dead-end job:

“Feeling sick at the sight of his computer,

He dodges his way through the Swanston commuters,

Rips off his tie,

Hands it to a homeless man,

Sleeping in the corner of a metro bus stand and he screams,

‘I’m not going to work today,

Going to count the minutes that the trains run late,

Sit on the grass building pyramids out of Coke cans””

First single ‘Pedestrian At Best’ is already a contender for song of the year, and the point in the album where the boss lady over @tonightatdawn started to take notice. Its sarcastic-tinged lyrics and scruffy guitars harken back to the early-mid 90’s. It also possesses one of the more enduring choruses I’ve heard in a while:

“Put me on a pedestal and I’ll only disappoint you,

Tell me I’m exceptional, I promise to exploit you,

Give me all your money,

and I’ll make some origami,

honey I think you’re a joke,

but I don’t find you very funny”

Guitar solos are abound on the amazing ‘Small Poppies’; it’s a 7-minute bleary epic that immediately takes me back to MAZZY STAR (not sure if this is apropos, since I only know a handful of her material, but these are my thoughts in my own head, so butt out!). I especially enjoy the very last line: “I dreamed I stabbed you with a coat hanger wire (all my married peeps out there know this feeling, amirite?!?!) If it wasn’t for the awesome-sauce lead single, this would be the album’s best cut.

While some of these songs may sound rhythmically simplistic, its Ms. Barnett’s lyrics that elevate this set of songs into something memorable. She has a great knack for turning the mundane of everyday life into poetry. ‘Depreston’ turns a young couple buying their first home into an internal dialogue about the previous elderly owners:

“Then I see the handrail in the shower,

a collection of those canisters for coffee tea and flour,

And a photo of a young man in a van in Vietnam,

And I can’t think of floorboards anymore,

whether the front room faces south or north,

And I wonder what she bought it for.”

Courtney Barnett even manages to touch on more wide reaching societal issues (ENVIRONMENTALIST NERD ALERT!!). ‘Dead Fox’ touches on the shark cull of Australia:

“More people die on the road than they do in the ocean,

Maybe we should mull over culling cars instead of sharks.”

While ‘Kim’s Caravan’ hits on the Great Barrier Reef:

“There’s a paper on the ground,

it makes my headache quite profound,

As I read it out aloud,

It said “The Great Barrier Reef,

it ain’t so great anymore,

It’s been raped beyond belief,

the dredgers treat it like a whore.”

Courtney ends this entrée with a 1-2 punch of despair with the aforementioned track, ‘Boxing Day Blues’, an ode to an over-aspiring partner, whose ideal they will not match. Sometimes I Sit and Think and Sometimes I Just Sit definitely leaves you sitting and thinking.

Lyrically, this is one of the more exceptional albums live head in quite some time. The music complements the verses almost perfectly every time, making this an early favorite for album of the year contestant, and my new Australian rock music ambassador (move over, ACDC)!!!