UK band Holy Moly & the Crackers has been loosely defined as “gypsy folk rock,” but their new album Salem is decidedly more rock than anything else. Turn it on and turn it up. This one’s a rager.
Just released on Pink Lane Records, lyrics feature allusions to baroque, superstitious practice and the dark arts — tarot, memento mori, witchcraft, hallucination — but with a heavier, crunchier sound than past efforts.
HMatC started out as a trio featuring Ruth Patterson (vocals, violin, keys), Conrad Bird (vocals) and Rosie Bristow (accordion, keys, saxophone). Over the past six years, they’ve added drummer Thomas Evans, bassist Jamie Shields, guitarist Peter Hogan and Martha Wheatley (trombone, backing vocals).
Patterson and Bird have an affinity for New Orleans music and culture, despite having yet to visit the US. “I think that makes it all the more mystical for us,” says Patterson. “All of our idols come from America: Bob Dylan, Tom Waits, Joni Mitchell, they’re our kind of bread and butter.”
“I don’t know if America is actually anything like what I imagine in my head, but New Orleans is definitely someplace we’d really like to go. I just love the brass bands, the carnival idea of it.”
Patterson scored the entire album for string quartet and covered all those parts along with guest cellist Kerrin Tatman, a friend who recently moved nearby. The entire band went into the studio with parts fleshed out and knowing exactly what they were going to do.
Produced by Matt Terry (Alison Moyet, The Royal Shakespeare Company, Killing Joke) Salem was fittingly recorded at the idyllic Vada Studios, which was once a medieval chapel above a family tomb. “It’s one of the best studios in the country. The acoustics — you can’t describe how good they are,” says Patterson.
Written in a day and a half after Patterson got pissed off, the title track uses the Salem Witch Trials as a metaphor for blaming others when things go wrong. “We kind of blame anybody else, all the vulnerable people in the world that can’t stand up for themselves, whether it’s refugees, asylum seekers, disabled people, women. It feels like they get a raw deal. It seems like everybody’s on a witch hunt for everybody else at the moment,” says Patterson.
Patterson takes these attitudes personally. “I’m actually a disabled person. I’m a wheelchair user. And I do find a lot of kind of anger towards people. I do have a lot of comments like, ‘Oh, you’re taking the benefits. You’re adding to society’s problems.’ It just made me really angry. There’s a lot in the media about blame this, blame that, and there’s this big fear thing we have. So Salem is about that and is a reaction against that.”
Vocalist Conrad Bird wrote the chords and initial lyric ideas for Mary about three years ago, and his brother Lo finished it off. The brothers agreed each could take the song to their respective bands and complete their own version. “It’s Noel and Liam Gallagher all over again,” jokes Bird.
HMatC had taken Mary into the studio in the past, but it hadn’t quite worked out. When they were getting the songs together for Salem, Bird rewrote it with folk-rap, celtic melodies and an industrial rock groove. It’s heavy, ballsy attitude fit right in with the rest of the album.
“I based the lyrics on the standard folk-song trope: you wake up and your woman is gone, so you hit the road. It’s Beat (in the Kerouac sense) and it’s blues,” continues Bird. “Mary leaves on St. Valentines Day, writing her message on the wall as cryptic explanation: ‘I’m a broken-winged raven, even Jesus needed saving, I’m a rose in the crown of thorns.’ So the protagonist hits the road, trying to forget her but can’t. A lot of my writing incorporates archetypes and folk song tropes to keep connection with that tradition, even if musically we are developing our genre and aesthetic.”
Whereas Patterson and Bird wrote most songs on the album separately, Hallelujah Amen was the first they wrote together from scratch. Bird’s vocal style is reminiscent of Tom Waits, giving a nice counterbalance to Patterson’s angelic tone. “I do think we captured the growl-y, gravely part. Then you’ve got this sort of ethereal thing,” she says.
The song concludes with an appearance by The Birmingham Community Gospel Choir. “There was not a dry eye in the room when they were doing their takes, because it’s just so powerful, their harmonies…. We were in the control room and no one spoke. It was amazing.”
Accordian player Rosie Bristow and Patterson wrote Cold Comfort Lane together. Bristow wrote most of the lyrics and the structure of the song, and Patterson insisted on its punchy, rock and roll arrangement.
“It’s a kind of girl power song. You don’t get a lot of that attitude— It’s usually boy bands that do this kind of thing, so it felt quite good to be a girl screaming into a mic,” affirms Patterson. “I’d never really done that before, found that kind of rock voice, so that was a new experiment for this album. Matt Terry was going, ‘give me more! Give me more!'”
HMatC is currently playing throughout the UK and hopes to make their way to the US within a year. Here’s hoping that happens. I for one will drive a great distance to see them do their thing.
Chicago melodic rock band The Kickback knows how to write a catchy pop song, even through the pain and heartbreak of divorce. Their sophomore album Weddings and Funerals just dropped Friday, and is almost entirely about the end of frontman Billy Yost’s marriage.
A universal, relatable breakup album for sure, but this is not sad bastard music like Elliott Smith or Bon Iver. If you don’t listen to the lyrics, the upbeat tone could seem almost the opposite. It starts off loud and fast and doesn’t let up for 32 minutes.
In late 2009, Yost moved to Chicago from his home town of Beresford, South Dakota. He made the move for a girl, whom he ended up marrying. Fast-forward a few years and divorce was imminent.
They’d met at the University of South Dakota when he was a 19-year-old freshman and she was a junior. “We were together for about 10 years and married for the last three,” he recalls. “The band was just gone all the time and dictated our ability to really do much of anything. I don’t fault her for leaving. I was just so blindly in love while not being able to understand how hard it was for her to prop us both up for so long.”
This past December, The Kickback traveled to Los Angeles to record Weddings and Funerals with multi-Grammy-winning producer/songwriter Dennis Herring (Elvis Costello, Animal Collective, The Walkmen, Ben Folds) at DTLA Recording, an expansive open space in the historic Arts District that Yost believes used to be an illegal marijuana grow house.
“It’s a very non-traditional studio,” says Yost. “It’s giant, it’s open-air. There are these big garage doors that are up most of the time unless you’re recording really loud stuff. The ceilings are probably 30-feet. It’s just this big room. Everybody’s just in the same room at all times. If you’re not the one recording stuff, you’re still in the middle of everything, which was a really cool way to make a record. You always knew what was going on.”
So the band arrived at the studio with a handful of partially written songs and got to work. “Our first record, we went in with every part completely written and ready to put on tape. But for this record, we showed up in LA with the verses and choruses and bridges but no idea of how everything was gonna come together,” he says. “That was scary, but it was also weirdly kind of freeing.”
Herring had a hand in helping the songs take shape. “It was good to work with someone who’s as bull-headed as we are,” says Yost. “We were hoping we could work with someone who would fight for songs, and Dennis was definitely that guy. He said, ‘When you’re recording, your feelings don’t really matter.’ He just wanted the songs to be good.”
“Dennis had a song-by-song approach, which I liked,” says Yost. “It takes longer, but Dennis works a little chaotically. At any given moment you weren’t sure if you were gonna spend the whole day reading a magazine, or if you needed to be ready to record drums on a song that had been reworked five times already and you weren’t really sure what the part was.”
“Especially for the other guys. I think it was 30 days of having to be on your toes at any possible moment, which I think was a little stressful for everybody, but it’s the way Dennis works.”
Despite his powerful singing voice and energetic promo videos, Yost is soft-spoken over the phone today. But he’s also super hilarious. Never once laughing at his own jokes, he delivers anecdotes and one-liners with a deadpan even tone.
“Dennis is kind of like that guy where they did that experiment where they would give a kid one donut now, or if they could wait, they’d give them two donuts an hour from now. That’s kind of how the workflow wound up working.”
The first track of the album, Will T, was also the first single they released. Will T starts off with a “La-ha-ha-ha” hook Yost describes as “the obnoxious one.” The track sounds like it just as well could have come from now-defunct Philly rock band Free Energy, if Free Energy had swapped the cowbell for sleigh bells and lasted long enough to suffer the demise of a wedded union.
“It’s the kind of hook where if you don’t like that song, you’re gonna fucking hate that song, and I get that,” he says. ”It’s one of those hooks that you wake up with in your head and wind up beating yourself over the head with a frying pan trying to get out.”
He started playing with the verses of Will T in college when he was 18, writing about “being scared of always eventually being disappointed in a relationship.” He put the song away for several years until it crept back in during his divorce. “We stuck that scary laughing chorus with it because the whole song just seemed like a joke. When I pulled it back out to look at it, the whole thing just seemed weirdly true, weirdly naive, or probably a little bit of both. So that laugh part just kind of made itself, and it’s really annoying. I think it just might be so jarring, it just forces you to listen to it whether you want to or not.”
The song False Jeopardy hits with a pretty big Pixies vibe, especially for the first half, but Yost says that wasn’t an intentional influence. “I think you spend a lot of your time ripping off bands you love, and hopefully you get to a point where they just become a little part of you. So I think I maybe years ago would have been actively trying to rip off the Pixies because I love them so much, but now I think it’s just a little part of our DNA.”
“(False Jeopardy) was the first or second song that got written for the record. That song’s kind of about blindly hoping everything’s gonna be okay and trying to talk somebody out of leaving. I think it’s a point a lot of people reach in their relationship where you spend most of the time trying to convince the other person they should stay, even though it’s probably not the right decision anymore.”
You can hear a demo of False Jeopardy during the fist two minutes of a movie starring Keanu Reeves called To the Bone, streaming on Netflix right now. “We didn’t even have the album version recorded yet,” says Yost. “But they liked the demo so much they wound up using it in the movie.”
Along with False Jeopardy, Rube was one of the first couple tunes written for the album. “I wasn’t sure how the record was gonna work yet. I started working on it right when I found out my marriage was ending, so I wasn’t sure whether I was gonna try and write about that yet, or just write about anything else but that,” says Yost. “So (Rube) wound up being a hybrid, sort of, about Lee Harvey Oswald, who I was reading about at the time, and this lady falling in love with him. But it still ended up being also about the end of my marriage. But people dancing to a song about Lee Harvey Oswald seemed like a funny proposition to me.”
Pale King was one of the last songs written for the album. Yost wrote it after watching the four-hour documentary Tom Petty: Runnin’ Down a Dream. “As we were getting close to finishing vocals, Dennis kind of put on his California night scarf and was just like, ‘I want you to get the last two choruses done and we won’t do many vocals tomorrow because you shouldn’t be able to talk very well.’” The song title was borrowed from the unfinished David Foster Wallace novel, which he was writing when he committed suicide. “It’s mostly just about hating what you are,” admits Yost. “I think that’s probably what a lot of these are about.”
Yost says the track Reptile Fund is an example of Dennis Herring’s work method. “We were working really hard on something else one night. Dennis had been gone for a day or two, so we’d been left to our own devices. And Dennis rolled in about 7:00 one night, and we thought he was gonna just pop in and say hey. But he said, ‘let’s stop everything we’re doing and record this really ornate part.’ You can’t really hear it on the choruses of that song, but there’s this countermelody going on with a glockenspiel and a piano and a sped-up guitar line and like two other instruments. That’s just what he felt like doing at that moment. I love it. It’s one of my favorite parts of that song.”
So what was it like to write an entire album about the dissolution of your marriage? Turns out it’s not always the salve we’ve been led to believe.
“When I was writing the songs, I didn’t ever feel better,” admits Yost. “I felt like I just kept churning out all of this horror that seemed to just keep going on and on. I didn’t feel better. It wasn’t cathartic, just tiring. It wasn’t until the record was close to done that I just became grateful those feelings had somewhere else to go.”
The Kickback are currently on tour and possibly coming to your city soon. They’ve been on the road for much of the past few months and will continue for a several weeks more. They recently ended about seven weeks opening shows for ‘90s alt-rock heavyweights Bush (as in Glycerine, Machinehead, Everything Zen) and have recently begun their own tour of headlining dates.
18 — Raleigh, NC — The Pour House Music Hall
19 — Charlotte, NC — The Evening Muse
20 — Charleston, SC — The Royal American
21 — Atlanta, GA — Vinyl (Center Stage – The Loft – Vinyl)
22 — New Orleans, LA — Gasa Gasa
23 — Houston, TX — Warehouse Live Greenroom
25 — Austin, TX — Stubb’s Austin
26 — Dallas, TX — Gas Monkey Dallas
28 — Kansas City, MO — recordBar
4 — Appleton, WI — Mile of Music Festival
5 — Appleton, WI — Mile of Music Festival
9 — Indianapolis, IN — HI-FI Indy
10 — Cleveland, OH — Grog Shop
11 — Columbus, OH — Rumba Cafe
12 — Chicago, IL — Thalia Hall “TKB Thalia Brawl”
16 — Horicon, WI — Horicon Phoenix Program Summer Concert Series
17 — Minneapolis, MN — 7th St. Entry (First Avenue & 7th St Entry)
18 — Sioux Falls, SD — White Wall Session
19 — Fargo, ND — The Aquarium
22 — Seattle, WA — High Dive
23 — Portland, OR — Doug Fir Lounge
24 — San Francisco, CA — Brick & Mortar Music Hall
26 — San Diego, CA — Soda Bar
29 — Los Angeles, CA — Resident
30 — Las Vegas, NV — Beauty Bar Las Vegas
31 — Salt Lake City, UT — Kilby Court
1 — Denver, CO — Lion’s Lair
2 — Sioux Falls, SD — Icon Event Hall + Lounge
If you ask anyone in Goldmines how they’re doing, chances are they’ll say that they’re really busy. Cleveland’s femme foursome of Mandy Look, Jeanna Lax, Heather Gmucs, and Roseanna Safos are ready to keep their momentum going into 2017. After spending the end of last year supporting their self-titled EP release, Mandy and Roseanna took a moment from their relentless schedules to speak with Blown Speakers, before their recent performance with R.Ring and Split Single at the Happy Dog in Cleveland.
So R. Ring, are you excited to play with them? Mandy Look: Yeah. Roseanna’s like, “What, one of my main idols is stopping through?” Roseanna Safos: My only main, I mean, her, and the other one is Kim. You know what I mean? ML: Yeah. And she’s like, up there for me. RS: If I really explained how happy I am, it’d sound scary. We’ve played with Kelley. We’ve played with The Breeders before, and then we played with R. Ring, too. And then I’ve played with R. Ring too, with other bands. So we kind of know each other. My friend plays drums for her, so they asked us to do the show together, and I was really, really happy. ML: Yeah, it was awesome! RS: We were all just like “!” — Also Kelley Deal shared a Goldmines video, and that was pretty cool. So we’re excited for the show. I can’t wait. ML: I do appreciate how political Kelley Deal has gotten, too. Not incredibly political, but for the right reasons. Speaking for musicians, and about how we need healthcare, and how we need things like the ACA. We’re going to try to work different angles to be friends with her. So I may talk to her a lot. RS: Yeah. You do that. ML: Yeah, I’ll do that, and be like, “If you ever need a guitar player or a drummer, we’ll drive down and practice!”
Do you feel the same kind of commitment to those kind of issues? You know, being a band from Cleveland and experiencing everything that’s been going on lately? ML: Definitely. One thing that’s happening now is that you can’t do just one thing. It’s like the gig economy. You play in a band, but you also have to work a day job, and if you wanna be able to pursue any kind of art, you’re gonna be poor. Unless you’re born rich, you know? For the most part, like 99% of people. So I think those things are very important, to continue the arts and affect the community. Because, I mean, communities will just die out if you don’t have the artists, and they’re not really making money. I mean, not like they used to. Being in a band, I think a lot people don’t realize how much playing live music brings to the community. When you come see a band, you’re going to the restaurant next door to eat dinner, or you’re going to a nearby store to pick something up, you’re tipping the bartenders, you’re helping a small local business. RS: And you’re gonna spread happiness.
Ready for the split
The Thursday night dinner crowd at the Happy Dog comfortably occupied the back tables and choice spots along the bar. While most folks were enjoying a tall draft or a tricked-out hot dog, Roseanna and Mandy were both sipping coffee and fueling up for practice later that night.
ML: We’ve all been so busy lately! We can’t get together and speak! RS: But we’ve all been the busiest we’ve ever been, I feel. But we still do it. ML: Yeah, sort of. Yeah. We make it work. RS: We gotta get back on a regular schedule. We all want it. ML: I’m sure, as you know, everyone’s lives just get in the way. And it seems like we’ve got the most attention this year when we’ve been the least active, in a way. Which is cool. I guess it’s cause we released a record, so that helps push out things. RS: And it took forever for the split to come out. ML: Yeah, but it’s coming out at a good time. RS: Our split’s coming out with Shitbox Jimmy. Well, our record just came out, but our split with Shitbox Jimmy is coming out. Do you know where I booked the show for the release? You don’t know. But I booked it at The Phantasy Theater, just to be fun. I used to play there in the ’90s and had a ton of fun, and I know what it’s become. So I got a hold of them, and I’m like, “We’re gonna do it my way.” They were so excited to do it! We’re going to do it with my cover, one of my door people, no pre-sale, no credit charge. It should be a really fun show. A good excuse to go to the Phantasy before it turns into condos probably.
That’s a shame. It’s good that you got something going on with it, though. RS: I know! Actually the guy who books there, he was in my very first band in high school. So he was like, whatever you want. You can book it or play it, you can do whatever you want. That’s cool.
RS: The songs, that record, our split, Heather made like how many? Like, Heather does the Wax Mage thing. And I think they’re all sold out, the ones that she made. How many did she make? ML: I think 50? RS: OK, so that’s just her own thing, like she’ll make like 50 cool albums. When do we get them? ML: I think she said she was putting them into production. RS: It’s exciting! It’s gonna be really good. Shitbox Jimmy side is awesome, too.
So Wax Mage is Heather’s project? ML: Yeah, she and Sarah Barker, and they kinda just run it out of Gotta Groove. Gotta Groove lets them do what they want, and they just pay Gotta Groove for it in their time, which is awesome. For Gotta Groove, too, because they’re not taking ownership of them. It opened up a whole new world for Heather where she was kinda running a label. It’s just something she always wanted to do. Even though it’s not officially a label, but I think with Quality Time, they partnered up in a way, where Quality Time, they’re doing the work to do the distribution and stuff, and Heather does pre-sales to help pay for the record production. It seems to work. RS: And they do cool compilations. ML: And it’s cool for Cleveland, because people around the world are following them. With the Goldmines record, people have bought them across the country just because they’re more interested in the record art, in a way. But then they get the music and Heather’s like, “I’ve been getting a lot of feedback on the record.” And that’s cool. It’s good they’re not disappointed in the record they’re buying. So it’s very symbiotic.
Back in the van
On top of all of these preparations for their new release, Goldmines embarked on a tour of the Midwest through the month of April in support of acclaimed songwriter and Cleveland music legend, Craig Bell, formerly of Rocket From The Tombs, The Down-fi, and Mirrors.
RS: When I played with Bim in Obnox, he was just like everywhere. And The Gizmos. He saw Goldmines play at Studio-A-Rama. Mirrors played there, and he remembered when he saw me play with Obnox in Indianapolis. And then, when Goldmines played in Indy, he would go see us. So we know each other pretty well, but he just loves Goldmines. So he asked us to do it. He actually wanted to do more shows, but Mandy’s been super busy with her work. Craig Bell is the nicest man on Earth. He’s so active in so many projects like all the time. ML: I wish we could’ve done more. We were supposed to do a couple more. RS: Indiana would’ve been fun, but Mandy’s just busy. I mean, we’re all pretty busy. Very busy. But, that Columbus show we’re playing with DANA, too. Have you ever heard of DANA? Columbus band, DANA. They’re really cool. ML: Did you tell me about them? Or have I heard about them? RS: Uh, they’ve been playing a few times, they’re on Instagram and stuff. But they’re cool. They’re kinda harder. The lady plays like a Theremin. ML: Oh! Heather was showing me a video, she saw them playing on a thing. She said it sounds amazing. Oh she’s going to be so happy. RS: Well, I told her. And I’m like, “Yeah, I’ve known that band for a long time.”
RS: I got a new van. Well, I got a 2015 Dodge Minivan. Pretty new. It’s the nicest thing I’ve ever had. I’ve had, this is like my seventh one. Transmission issues. Always transmission. But that’s why I built my credit up like crazy. Because I never had credit. For this reason, for this van. So I got the van, saved up money. It’s pretty cool. We’re gonna hit the road and not be fearful. ML: Which is really exciting for our band. RS: So we don’t have to rent. ML: That stopped us. Actually, you wouldn’t think a van would stop you, like not having a vehicle to travel in. We used to travel so much because in HotChaCha we had a van, and going out of town was not a huge ordeal. You don’t take two or three cars. It’s like, now we can just hop into her minivan like a family. RS: One of the other things we did, we rented. And it sucked. And it’s so expensive! And then, before there, we borrowed a van, and then we had some trouble. And it wasn’t our van. We were responsible but felt kinda shitty and we kinda felt like, “What? Why are we..?” So I got a van.
Riding the next wave
While Goldmines continue to promote their latest releases, they’ve also focused on crafting new songs and sharpening their musical ideas. Their signature sound of sixties-style vocal harmonies doused in reverb-driven guitars and supercharged with hard garage rhythm comes from a wide range of influences.
ML: I think when Goldmines started I had this idea of us being ’60s influenced, kinda like the girl-group thing, but more like ’60s garage rock, you know? I just love it. Now, I’m like really into this idea of us being more like a Heart-esqe, glammy band. RS: Yeah, that would be cool. ML: Our new single on the split is really rockin’. It’s probably my favorite song I’ve ever written. It’s really tough and cool and rock ‘n’ roll. It’s cool, very cool. So that’s kinda where I’m drawing from. I mean, of course, I like everything. The ’90s is probably my prime time of growing up music. I’m trying to get back into that. I don’t really go on my iTunes. I don’t know, it sucks with technology. You get rid of all your CDs and you have all your iTunes. I don’t really even look at my iTunes anymore. But I need to get into it. Like, there’s too much Sebadoah I haven’t listened to, and I’m like, “I used to love that album.” Then I always think of all these other albums that I want to listen to, or these weird bands. RS: I gotta force myself to go buy a record this week. There are some new artists that really, really grab me, and I just have to have it, but not so much like I used to. ML: (to Roseanna) Are you drawing from anything? RS: Like in, us, in Goldmines? ML: I don’t know. I guess. RS: I’ve been trying to get into like a post-punk kind of thing. Well, because I heard some old HotChaCha stuff, that split we did with We Are Hex. And we were just fucking around, and it technically wasn’t that great, but what you did on your part was so good, well because you’re so good at that style, too. ML: I felt that kinda in Goldmines. Now I can play chords. RS: Well, yeah, because we’re not that band. You know what I mean? ML: In HotChaCha, I didn’t play one chord ever. I was just playing notes. RS: But you’re so good. You’re creative. ML: I don’t think I knew how to play chords. No, I did, yeah, I did! I just liked technology.
RS: (Notices song playing in the background.) Oh, I love this song. ML: We’re looking for a song to cover. RS: Oh my God! I would love to cover this! ML: I think we could cover this. RS: We’ll do it our way. ML: You know, we’ve had a lot of ideas. And then we try and do it, and like if it just doesn’t fit into how we are, you know, we don’t push it. Usually, honestly, I think everything I’ve covered we’ve been at a bar together and was like, “We should cover it!” We’ll probably end up covering this, because it’s just gonna — It’s like always a magical happenstampede.
Goldmines will perform next at the release show for their upcoming 12″ vinyl split release with Shitbox Jimmy on Friday, May 5th at the Phantasy Theater in Lakewood, Ohio. The “Cinco De Mayo” celebration is presented by Panza Foundation, Wax Mage, and Quality Time Records, and will include Goldmines, Shitbox Jimmy, Dime Disguise, and The Safeties.
Jason Narducy’s solo project Split Single and R. Ring [Kelley Deal (The Breeders), Mike Montgomery (Ampline)] are heading out on tour together.
This joining of forces came about because Laura King, who techs for Superchunk, will be playing drums with R. Ring on this tour. King knows Narducy, so she asked each group if they’d like to play some shows together. They agreed, and booked
12 shows in 12 days.
Over the years, Narducy has played with Bob Mould, Superchunk and Robert Pollard (Guided By Voices), Liz Phair and Telekinesis. He formed 4-piece rock group Verbow after college, featuring cellist Alison Chesley, and punk band Verböten when he was 10 years old—only one year after receiving his first guitar.
Thirteen-year-old Dave Grohl saw ten-year-old Narducy play in Verböten, and credits him as the catalyst that made him want to be a musician. “Watching Jason was the first time I thought I could start my own band and write my own kind of music,” says Grohl. “Jason totally set my life in this new direction. It wasn’t a Jimmy Page or KISS poster I had — it was fuckin’ him!”
Working solo under the name Split Single, Narducy collaborates with other artists to record his songs and play shows.
On his latest release, Metal Frames, Narducy is joined by John Stirratt (bassist for Wilco) and once again by indie rock’s busiest drummer Jon Wurster (Superchunk, Bob Mould, The Mountain Goats, and comedy duo Sharpling and Wurster.
For this tour, Narducy will be joined by drummer Tim Remus (Sweet Cobra) and Billy Yost (The Kickback) on bass. Certain dates will feature a second guitarist.
When Narducy set out make Metal Frames, he knew he wanted it to “be a little bit more rocking than the last record. I mean, I’m really proud of Fragmented World, it’s not like I have any regrets about it. But playing the Fragmented World songs live— I just wanted there to be some more loud rock songs.”
Narducy has brought a good sense of humor to promoting his music through a series of videos.
“Some of them are self-deprecating, some of them are poking fun. The Sexiest Elbows in Rock pokes fun at exploiting sexuality and making oneself vulnerable in order to promote music,” he says. “So just thinking about the absurdities of being a musician and having fun with that. And it’s a nice creative outlet for me to do something different from music and also collaborate with other people… whether it be comedians or actors or other people that I look up to. And if they’re interested in doing something absolutely absurd and silly with me, then it can be a lot of fun.”
For the video for Untry Love, Narducy enlisted the help of two friends, comedian Dave Hill and songwriter Anya Marina, who try to mold him into “the ultimate between-song frontman.”
The video was shot in New York the day after Trump’s election.
“The crew was not sure if they were willing to do it, and I don’t blame them,” recalls Narducy. “Everybody was in shock, especially in New York. I mean, there were people weeping in the streets. It was a very dark day. But we all said, ‘we can go home and feel bad about ourselves, or we can collaborate with friends and be amongst friends and do something creative and try to not think about it for 12 hours.'”
The album’s shortest song, White Smoke, about the Tamir Rice murder in Cleveland, is also one that came the quickest to Narducy.
“I’m fortunate that most of my childhood was in Chicago and in mixed neighborhoods, so I’ve always felt comfortable in diverse cultural surroundings,” he says. “Then I went to college in Baltimore, which is below the Mason-Dixon line, and I learned a lot about racism there and how real it is in America.”
“Trayvon Martin really struck home for me, that judgment. Then Michael Brown right after that. There’s so many. But Tamir Rice felt like the third one where they say that someone has a gun or they were going for a gun and they gave them a warning. You know, it’s sort of the same script. All of a sudden, with Tamir Rice, a video shows up that proves they were lying. It’s really difficult to watch that video, to watch a 12-year-old boy playing by himself. You know that was one of the lies; they said he was amongst all these other children and he wasn’t, he was by himself. And the cop car drives up into the park on the grass and the cop kills him in 1.7 seconds and then doesn’t help him. It’s just brutal. And then on top of all that, no one is held accountable for his death. So it’s a reminder that there need to be changes so that people in public feel safe, especially people of color.”
“I didn’t set out to write a song about that, it just sort of came out really fast,” Narducy continues. “It’s a short song and I might have written it faster than even the length of the song.”
“It’s important to me that that is discussed and that we move forward. It adds to my disgust with this current administration that Jeff Sessions, the new attorney general, is basically wanting to remove oversight for a lot of the actions that police officers take.”
“And listen, when I talk about these things— I’m friends with police officers. Just because you talk about something like this doesn’t mean you’re anti-police officer. I think 90 percent of police officers are doing the right thing, and sometimes they’re put in really horrible situations, and I couldn’t even imagine how scary they are or how much courage they take. It’s just— I don’t care if you’re a cop or not, if they murder someone, an unarmed person, they should be held accountable.”
R. Ring duo Kelley Deal and Mike Montgomery have been making music together since mid-2010. Their first full-length, Ignite the Rest, is set to release April 28 on SofaBurn Records.
Deal and Montgomery have a free podcast on iTunes where they discuss genre-defying Ignite the Rest track-by-track, sharing stories behind each song and talking about their history and the people they met along the way.
“We really go into each song,” says Deal. “Where the seed came from. Who had it. Did it start as a vocal thing or a guitar thing, or did one of us bring it more fully formed? Because it feels like each one has been a little bit different.”
Deal and Montgomery first met when he recorded the version of Scalding Creek she did with Cincinnati’s Buffalo Killers for Guided By Voices tribute album Sing for Your Meat.
When they got together, they agreed they didn’t want R. Ring to be like their other projects. “It’s not like there’s a process that’s set in stone,” says Montgomery. “It’s that there’s an idea that we should leave ourselves open to explore an idea to its own end, and let a song go where it wants to go.”
“When you are in a band that has defined roles, like there’s a singer, there’s a drummer, there’s a bassist, there’s a rhythm guitar,” he continues, “You end up almost subconsciously, inadvertently steering an idea to a destination with those roles in mind. You think, ‘Well I could do this part, but what does the other person play? Oh, the bass would go here. Okay, the drums would go like this, this is the beat.’ And before you know it, you’ve crafted a song. You’re not even done with the melody and you’ve got a full arrangement worked out in your head. It kind of takes it to a place that maybe it wouldn’t have gone if you weren’t a conductor and songwriter at the same time, trying to define the elements of the song.”
Just a couple months after meeting, R. Ring did their first show. “Someone asked us to get up there, and that’s what we did… We had fun, which was the most important thing… It was a totally open-ended thing,” Montgomery explains, “Like, this isn’t a band, there’s nothing proper hanging over us… It’s the idea that we could do something just for our own amusement and enjoy the process. That’s what the first show and the genesis of the band was all about.”
“Yeah, and it’s kind of been keeping that,” agrees Deal. “Because especially in this day and age, you hear plenty about the industry. It really is all about the process more than ever. More than ever. It really is like, ‘are you enjoying it? Are you enjoying who you’re hanging with? Are you enjoying the process of creating music? Playing with somebody else. You know, getting in a van and driving somewhere with somebody. Because that’s a really wonderful thing.”
Montgomery agrees, “This is what the album is about. This is what the podcast is about. Talking to you right now is as much a part of being in a band; it’s as key or as relevant or as focus-worthy as anything else. Doing music is really about making art and creation and expression a part of your life. So anyone that’s involved, whether you’re a poster silkscreener, or photocopying things at Kinkos, or a journalist—”
“Or a photographer,” chimes Deal.
“All of that stuff. All of these interactions, these relationships, this humanity is really like a small experience of the creation of a song,” Montgomery continues. “It’s not just playing a song live at a show, it’s everything that goes into it. All the neat people we meet along the way… from the person selling tickets to the roadie to the bartender to the opening act to the mechanic who did the oil change. All of that stuff, that is music to Kelley and I. And that’s what R. Ring is about, acknowledging that music is woven into the fabric of your life. A band is not defined by the narrow parameters of a single, an EP, a record, a tour. Being in a band is really your life.”
“There’s a lot of collaboration and cooperation that needs to take place, so you might as well enjoy it and you might as well surround yourself with people that you like being around,” he says.
This holistic outlook and openness led them to the musicians who play with them at shows and on album tracks, including drummer Laura King and cellist Lori Goldston.
Montgomery met King a couple years ago when she bought an R. Ring t-shirt online and his small one-man operation forgot to send it, so she emailed to remind him. “They just got to talking,” says Deal. “So when we went on tour last year, we had her band, Flesh Wounds, open some shows on the east coast. That’s how we started hanging with her.”
“Now we’re like soulmates,” agrees Montgomery. “We’re on a team. We’re buddies.” He recalls that King was “instrumental in pulling (the song Cutter) together” while recording the Ignite the Rest album, when he and Deal weren’t sure it was shaping up.
Lori Goldston played cello on four tracks: Cutter, 100 Dollar Heat, Steam and You Will Be Buried Here. Deal met Goldston when The Breeders were touring with Nirvana for their In Utero tour. Goldston was Nirvana’s touring cellist. “I reconnected with her when Mike and I did a show in Seattle,” recalls Deal. “I walked in and there’s Lori Goldston. She happened to be in one of the local bands playing with us that night. I invited her to join us. I listened to her set and it was just beautiful. I said ‘Hey, can you just keep your stuff up there and just play along with us?’ She said ‘Sure!'”
“She put her cello through pedals and an amp,” continues Deal. It wasn’t like ‘I’m going to find a melody and play countermelodies that you can hear distinctly through everything.’ It was more like an ambience or overtone. Swells and meanderings. So it was really nice and atmospheric stuff that she was doing. And ever since then I was like, ‘When we do our record, we’re definitely gonna have her come out.’ And we did, and she came, and it was awesome.”
Split Single and R. Ring play Cleveland’s Happy Dog Sunday, April 23. Local favorites Goldmines open (featuring members of Hot Cha Cha).
Check back with us after the show for our review and photo recap.
April 19: Newport, KY at Southgate House Revival
April 20: Columbus, OH at Rumba Café
April 21: Detroit, MI at Trinisophes
April 22: Chicago, IL at Schubas
April 23: Cleveland, OH at Happy Dog
April 24: Philadelphia, PA at Everybody Hits
April 25: Kingston, NY at BSP Kingston
April 26: Brooklyn, NY at Babys All Right
April 27: Baltimore, MD at Ottobar
April 28: Washington, DC at Comet Ping Pong
April 29: Chapel Hill, NC at Night Light
With an amazing career spanning 30 years, Matthew Sweet has been the answer when it comes to guitar-driven power pop. His breakthrough records from the early 1990s, like Girlfriend, Altered Beast and 100% Fun, highlight the chord-ripping rock and endearing songwriting that set his style apart in the era of “alternative” music, much like Elvis Costello’s emergence parallel to the eruption of British punk in the 1970s. Like a true artist, he has continued to write, perform and collaborate on an astounding number of projects through the years — and shows no signs of slowing down yet. Matthew talked with Blown Speakers before visiting Cleveland on his current tour of the Northeast U.S., and discussed his next album, Tomorrow Forever, among other things.
Matthew Sweet: The whole thing is recorded. I still have to mix it, and I have to figure out what makes the album and what happens with the rest of the songs. I recorded 38 songs for it, so I’m going to try to figure out what the main album is.
There’s supposed to be a bonus disc that some people pledged for, and that was going to be demos, but given the time frame and I got started a little late, I mostly just made real recordings, so that bonus thing will also be full of studio songs.
Were there any direct influences that were drawing themselves out while you were making the new album?
MS: That’s hard to say. I think that it really just came from me. I’ve moved from living in a new place, and it’s kind of on its own steam. I wouldn’t say there was something I was particularly listening to or wanting it to be like. I just started picking ideas and doing it like I normally do, which is a little bit mysterious. I store up short minute long ideas or something. When I go through my day before I’m making a record, I’ll occasionally record little things and then save them up, or if I have nothing I’ll make them up that day or whatever when I need them. But somehow once they’re that little thing, it’s like the seed of what it’s going to be, and it just sort of becomes that. I just trust that it will and then it’s like magic or something.
I didn’t do a lot of thinking about what I wanted it to be like, but it has a wide range of stuff on it and I did try to make sure it has lots of different types of songs. For instance, I recorded it in three batches, and I think that the first batch had a variety of things, and then the second batch was a little more power-pop, and then the third batch was really slow, moodier type of stuff. But that’s the most I thought about it. I was like, ‘Well, I want to make sure I have slow stuff,’ you know?
Has being back in your old home state influenced the album, like how you were saying about a move back and everything?
MS: Well I guess your house and where you live is the most solid thing. I mean, for me, in my life, it doesn’t matter where I am in terms of doing music. I can do what I do anywhere, and I have. I’ve lived a lot of places, but there’s something about when you’re settling in and you have that comfort of your own space, and I think that did factor in somehow.
I grew up in Lincoln, and so Omaha’s really a bigger city than I grew up in. Although, Lincoln’s a good size, I mean the University of Nebraska’s there, it’s only fifty miles away from here. But it has been cool to connect to how I felt when I was really young. I’ve always been bad with remembering what all happened when I was little. I’d meet other people throughout the years who I grew up with, and I always felt like they remembered all the stuff, but I just didn’t remember it exactly. And there is a little bit of that being here — that I just can feel like I’m more connected with that part of my life. So there is something weirdly comforting about that.
Do you still have the home studio in your new place? How was it moving everything to a new location?
MS: I do. Well, that’s cool, too, to have a new room that I work in. I’ve never had a pro studio set up at home in terms of like “the room.” I’ve never built a room to be a studio. It was funny because when I sold my place in Los Angeles, it got in local papers and online, and it said I sold my home ‘with recording studio,’ but there was really no recording studio in it, except my gear being in one of the rooms of the house. And that’s really the same way it is here, but our new place had a really good room for me to do music in, so it’s always fun being in a new space doing that. It has been cool setting up my studio and making it my own sort of vibe.
You’re hitting the road in September. This will be your second time coming through Cleveland in two years. What is it that keeps you coming back to this area and do you have any favorite moments or memories about playing in Cleveland?
MS: I feel like there must’ve been a time where we didn’t come as much, and then we started coming more often a few years ago. I mean, back in the day, we came there and there were always great rock crowds, and we played a lot of different places that had different vibes and stuff.
Then we played the Beachland a few times over the last few years, and that was when we really started playing Cleveland again. We played there a few times, and then we played the Music Box, and we had a great time there. It’s a really nice venue, and spacious, and has a really good backstage and stuff. I have positive memories of it, so it’s comfortable.
But in general, Cleveland, it’s such a great music city and the Rock and Roll Hall of Fame is there, and I have some history with it. I had a really cool moment in my career when we got to play at an opening of the John Lennon exhibit that Yoko Ono curated in there in 2000. Two or three bands played at it, and we were able to meet Yoko and have her sign our little books at the exhibit. It was up in this room where they had a lot of John’s handwritten lyrics on walls. So that was a trip and is a cool memory from being around there. It’s always been a rock and roll town so it makes sense that it would be a place good for me.
Your songs have been used in a lot of popular movie soundtracks from the 90s and on. Has anyone asked you to write a film score or perform a complete film soundtrack, like Prince on the Batman soundtrack?
MS: Not really. I would’ve done it, I’m sure. I got close to that sort of thing. Unfortunately, when I probably could’ve done something like that easier was when my career was early enough in success. I was touring all the time and maybe didn’t have as much time to get into that sort of stuff. Later on, I’ve never really concentrated on trying to change the kind of work I do because I just like being an artist and writing my own songs. But I’ve always felt like I could do it pretty easily. I guess the closest I got was a little bit of incidental music in Can’t Hardly Wait, the teen movie. I had a song on the soundtrack of it, but I ended up with a little bit of background music for it.
Are you still crafting pottery? Is the Lolina line still going on?
MS: It is, theoretically. I have all my stuff here and I actually have a small garage just for doing pottery in, but I haven’t really set it up and started doing it. It’s been kind of a long break for me but I am going to get it going sometime soon. I got embroiled in the album pretty quickly after we moved and I’ve only really been working on that. Some of the rewards from the Kickstarter campaign include 3-D printed things that I’m making. I’ve scanned from pieces of my pottery, like a cat head, and then use them in building the 3-D things. I’m also making a bronze cat sculpture as one of the things people could get as an incentive. To do that, I think I’m gonna carve it out of clay, and then we’ll make some sort of a mold from it, so I’ve got to get into some clay and get it going. I’m thinking sometime this fall is when I’ll actually get all that stuff rolling and get back on the wheel. Make some things to get myself going.
I think that doing pottery, the way I do it, it’s very self-taught. I’m not like a pro at doing it, it’s my own weird way. I learned just a little bit from others, but kind of like my guitar playing, I just kind of learned it on my own. It has this thing about it that’s kind of like music, which is why I like pottery. Where you can get lost in it, and it’s hard to imagine how you did it afterwards, for me. I listen to a song I’ve done and I can’t really imagine where it came from. It’s sort of like when I said magic, that’s sort of what I mean.
I’ve got several pieces around the house that we ended up keeping though a lot was made and sold. When I look at pottery that I made over a few years ago, I go, ‘How did I ever make that?’ It’s hard to imagine how I knew how to do it on the wheel. It’s different from music because it’s like a solid thing.
I think I will be able to just do it still. I think, in a weird way, maybe I’ll be better at doing it even though I didn’t do it during that time. You go back to a feeling, and if you can get in that kind of a meditative state where you lose yourself, you can do it. That’s when it works. You know, pottery is really weird. Some days it just seems like you can’t do it at all, even for people who are great at it. Some days it’s just not happening, something’s wrong, and then you get in that sort of zone, and it happens. I’m more used to creating that feeling with music and a lot less used to it with pottery, but I still have faith in that concept.
How do you feel about the Kickstarter approach and using this kind of method to connect with fans and get your work out?
MS: I like it. It’s something I’ve always wanted to try, and I talked about doing it for a long time before I ever did one. I can’t say whether I’ll always do it through Kickstarter. In a way, I feel like it would be hard to do it multiple times or something, but what it gets for me is this fire under me to really try to do something great. I’ve really tried to make it come to life in a strong way, and it’s afforded me more time to spend on recording and record more things just out of wanting it to be very special. Because it’s paid for by fans, I want them to really like it. The only way I really knew to make sure it’s especially good was to just record a lot of stuff and then pick the things that just work the best. That’s been great, although it’s making it a little harder to choose what the album is. I’m getting close to that.
I think the hardest thing about it is that it’s taken me so long to do, and some people get impatient about it, although the vast majority are just really great and supportive. I think that trying to stay super engaged with communicating and keeping everybody happy is something I’m not as good at. I’m a person who’ll decide one day, ‘I want to do Facebook,’ and I’ll do posts or I’ll get engaged, but then the next day, I have no urge to do it. I just know myself in this way that. That’s been the hardest thing, I think, between me and the Kickstarter, is me giving enough extra stuff because I’ve just been so focused on recording.
Having said that, people are great and it’s really fun to give a big update and tell them where I’m at. Last month, when I got done with all the rough mixes and everything was recorded that’s going to go on all the parts, it was fun to tell everybody, ‘Look, here’s where it is, and we can see light at the end of the tunnel now.’ I just have to get all the rewards going and mix it this fall and we’ll be good to go.
If there was a (purely hypothetical) biopic movie of your life coming out either this year or next year, who would you want to play your role, and who do you see playing any of the other guys in your band, like Ric (Menck) and Paul (Chastain)?
MS: Ha! This is great. I wish I had a couple days to think about this. There’s a guy who looks like I looked when I was young. People tell me, ‘That guy reminds me of you.’ To me, he’s much cooler than me, and also a really cool actor. His name is Michael Pitt. He played Jimmy Darmody, the young, up-and-coming bootlegger guy on Boardwalk Empire. We may not really look that much alike, but he’s cooler than me and somewhat similar.
He can play me, and then, god, who could be Menck? Who’s really tall? You need someone tall and skinny so that’s the actor. Paul would be a smaller guy. I don’t know, I just have to think a little bit more about casting those two because it would have to really be right. In a way, Steve Buscemi would be good as Ric, but he’s not tall enough and he’s too old to be with Michael Pitt. Meet the older and the youngers, you know? Buscemi has the personality that’s a little more like Ric. But no, it can’t be all people from Boardwalk Empire!
Concert/photo recap, Music Box Supper Club, Cleveland, 9.13.2016
Instead of bootlegged whiskey, Matthew Sweet has been chord-running an intoxicating collection of hits and fan favorites as his fall tour winds through the Midwest and toward the Atlantic coast. His visit to Cleveland’s Music Box Supper Club proved to be another outstanding performance that his devoted listeners have come to love.
The night began with a rousing performance from Cleveland’s Chris Allen, known for his work in the bands Rosavelt and The Boys From County Hell. His brand of hard-strumming heartland rock with a subtle touch of Telecaster twang was a perfect match for the evening. Joined by Tom Prebish on bass, and Fred Perez-Stable on congas and percussion (instead of the usual drum kit because the kit couldn’t fit on stage in front of all of Sweet’s band’s gear), the trio delivered a strong, yet intimate set that included several Rosavelt favorites, like The Last Heartache and Perfect Girl.
Matthew Sweet arrived on stage to a packed seated house. As usual, he was joined by Ric Menck on drums and Paul Chastain on bass, both long-serving bandmates and the core duo of Velvet Crush, and featured the incredible non-stop talents of John Moremen on solo guitar.
Matthew’s set covered plenty of his popular singles, like Girlfriend, Sick of Myself, and Time Capsule, and also showcased signature tunes from his recent releases, such as Byrdgirl and She Walks The Night. By the end of the night, the crowd of steadfast fans in the audience got more hits and rock sweetness then they bargained for.
For more details on east coast tour dates and venues, and more news on the upcoming album, visit Matthew Sweet’s official website.