Casiotone For the Painfully Alone, more often called cftpa is the musical genius of Owen Ashworth. A twenty-something endearing singer/songwriter, Ashworth serenades audiences with heartfelt stories backed by catchy synth-pop melodies. With his latest release Etiquette, cftpa explores a new musical voice through different and at times, minimalist keyboard and organ effects, as well as both computerized and live drum beats.

In “Young Shields,” the premier track of the album, Ashworth writes on the desperation of teenage years with lyrics like “we quit our jobs and shoot the moon and cut our wrists and sleep ‘till noon.” Etiquette is laden with stories referencing parents and children. He continues in the track to describe the paradox of being young—the ability of feeling almost invincible (a shield), yet finding a nervous feeling of fragility and insecurity in life in this masterful chilling track.

I caught up with the cftpa/donkeys tour in march at the Nightlight in Chapel Hill [see below for exclusive live tracks from their performance]. Many of the other songs on the album were altered in cftpa’s latest live performance on tour with The Donkeys to include the shimmering alt-country touch that The Donkeys add to their music. These adaptations of both new and old cftpa songs were a welcomed addition to the live show Ashworth provides. The addition of a full band in some songs proved Ashworth’s versatility as an artist in switching from an intimate solitary performer, to an entertaining frontman.

Although cftpa’s popularity is increasing exponentially, spawning a huge increase in air time on college radio stations, and an appearance as ambient music in the Fox’s "The O.C.", sadly only eleven people were in attendance at the Nightlight show. Even still, The Donkeys and especially cftpa deserve a much larger crowd for the high caliber of musical performances they give. For five dollars, Ashworth will make you want to dance, reflect, and even cry.

1) To begin, I'm curious to know how you came to decide to make music on mostly older casiotone keyboards.

It was an experiment. I've always liked the idea of making one's own rules in art, and I was curious to see what sort of ideas would come out of defining a very strict palette. I appreciated bands with instantly recognizable aesthetics- bands like Suicide, Young Marble Giants, Big Black. I was challenging myself to find ingenuity within strict set of limitations. I knew for a long time that I wanted to make three albums within that set of limitations, and then it would be time to try something else. Etiquette is the something else.

2) So the new record is titled Etiquette. Any particular reason behind this title?

The title and cover came from a dream I had about the album while I was still writing and recording the songs. I decided to trust the dream and try to recreate the imaginary album as close as possible. I asked Heidi Anderson, who painted the Twinkle Echo cover, to paint the cover based on a one paragraph description of what I saw in the dream, and the dream ended up dictating many of the themes and aesthetics of the album.

3) Among other notable reviews, your new album is number 2 on the charts at my school's station, WUAG at UNC-Greensboro. Do you feel that Etiquette has been more successful than your other records, and if so, why?

I think it was absolutely been more successful than the previous albums, and there are a few different reasons for that. For one thing, I think it's a stronger and more accessible record than what I'd made in the past, and for another thing, Tomlab paid a shit ton of money to publicists to make sure that people knew about the record.

4) Do you think the new record shows versatility in that you incorporate more instruments and voices than we've heard on previous records? Any thoughts or comments on this?

Etiquette was the first album I'd opened up to different instruments and musicians and ideas. I spent three albums figuring out what sort of songs I wanted to write, and I think the songs on Etiquette are still recognizable as my own, but just way way fancier. It feels very liberating.

5) The songs on the new album are more minimalist at times in that they make more use of silence and aren't quite as lo-fi as other records you've done. What was your thought process in the writing period of this record?

I wanted to let go of what Casiotone records were supposed to sound like and pay attention to qualities I admired in some of my favorite sounding records. I wanted to trust Jherek and Jason's instincts as friends and musicians and engineers and try to make something collaborative and exciting and grand.

6) By the time this interview is published, you will have finished the tour. Did it go as well as planned? Where are your favorite places to perform?

I still have a week between here and home, but it's been a great tour. I've had a lot of fun on this tour, and I've been very proud of the performances. I feel good. We had some great shows in Texas. Boston was a lot of fun. Albany was surprisingly great for having never played there before. We're playing in Rochester tonight [last week], which I'm excited about. I kind of have a crush on that town.

7) In your latest tour you performed quite a number of songs with tourmates the Donkeys, adding a country twang to a couple classic cftpa favorites. What inspired this?

The Donkeys are old friends of mine, and we've played music together off and on for some years. This is the third or fourth tour I've done with Anthony, the piano player. This is something we've been wanting to do for a while, and now seemed like the right time.

8) Most of the songs on this album and other albums tell detailed short stories. Are these stories usually based on real people or self experience or are they mostly imagined? In other words, are Jeane, Toby, and Bobby Malone real people?

The stories and characters are fictional, but they are certainly based on real things. I don't know anybody named Bobby Malone, but he sure reminds me of some people I know. I feel no obligation to tell true stories. They just have to be good stories.

9) The beats on the new album are much more complex and sometimes comprised of live drum records, obviously not made from the same keyboards on your previous work. Did you write the beats on the record?

I certainly did. I mostly used a Korg EM-1 and a Korg ES-1 for the beats. Some of the sounds are tweaked presets and some are samples taken from a bunch of different sources. Four of the songs use live drums instead of drum machines, but I would usually make a drum machine beat first to show Jason or Nick what I was looking for.

10) The relationships between parents and children seem to be explored on this record quite a bit through the tracks "scattered pearls," "happy mother's day," "young shields," and "cold white Christmas." Can you explain some of the reasoning and symbolism in these songs?

I've wanted to make a sort of loose concept album about families for a few years now. Etiquette isn't that album exactly, but a lot of the themes of guilt and obligation and comfort that go along with my idea of family worked their way into many of the songs. I made a point to sing about overtly non-romantic situations, because any relationship in a pop song left open to interpretation will almost always be read as your standard boy-girl sort of story and life is more interesting than that.

11) I read on your blog that you've recently relocated to Chicago, Ill. What made you decide to move and how has this affected your progress with cftpa?

Howlin' Wolf moved to Chicago. It's a handsome city. I've only been there a few months and I'm still finding my way around my neighborhood. It's too early to know what living in Chicago will change about CFTPA. I didn't move there with a business plan. I bet you I will probably end up playing more shows in Wisconsin than I ever dreamed.

12) What can we expect from cftpa in the future?

I'm going to Seattle to record a few new songs with Jenny and Jherek after the spring tours. I think there will be some singles and things coming later this year, along with more touring. New album in 2030.

-thanks to Owen Ashworth in being so patient for the interview process. –Naveed Hassan

[mp3] Cold White Christmas
[mp3] Young Shields
[video] The Subway Home
[web] Casiotone for the Painfully Alone
[buy] Amazon.com

TENKI, a pop like indie band nearing its six-year existence, is about to release two EP's. Yes, you read right, two (2) EP's. TENKI, the little band that could, is still evolving today. Their upcoming EP's are only a sizzling appetizer for their album scheduled for later this year, We’re Not Talking About the Universe Are We.

Past TENKI albums have been described as having a "Beatles-esque bass line, a Clash-like swagger, a Built to Spill-ish vocal riff." and as being "new and sharp". TENKI has experienced several member changes, and many say for the better. You get no comment from me on that matter.

Lead singer Jamie Toal has lost his formula of direct lyrical narrative, exchanging it for evocative visualizationss, leaving the lyrical meaning of the song to be determined by whom, when and where the song is listened. Certainly a drastic change for this band.

What do these EP's have to offer? What are they? "New and sharp" or "Old and dull"? You tell me. Here are a few mp3's to serve as an appetizer to the appetizer... erm, so I guess that makes this a snack. Enjoy!

[mp3] Etaples
[mp3] Big Bang
[mp3] Test
[mp3] Do you think?

In case you have never heard of TENKI (shame on you!) here are a few older mp3's to compare to. Since you didn't know, you need to head over to their site to read their amazing bio.

[old mp3] Open
[old mp3] Molotov
[old mp3] All the gravity, none of the weight
[old mp3] Outside


Matt Blalock

In case you have been hidden under a rock for the past two months or so, you wouldn't know about Death Cab For Cutie's Plans video project. The project features a short film inspired by each song on the band’s album Plans. The series isnt over yet. This week features a video by Josh Victor Rothstein for the song "Brothers on a Hotel Bed". The final video will for "Stable Song" by Aaron Stewart-Ahn will be up next week.

Just as many of us predicted, the series is available on DVD soon and on iTunes beginning tomorrow, March 28th. Check out http://www.itunes.com/ for details. The DVD will be available on April 11th and will feature exclusive content, as well as two other videos that were not shown on the website.

[web] http://www.deathcabforcutie.com/ (to see this week's video)

Matt Blalock

All At Once
Young People
Too Pure*** of *****

In 2003, Young People started to get attention (though a small amount) for their 2nd album War Prayers. Mainly, it was for singer Katie Eastburn's breathy vocals coupled with the band's unique avant-country. The voice is somewhat unmistakable and the music was hypnotic and borderline no-wave. Heck, they're a weird band. Especially considering they initially formed to be a country band. To go from that to freeform art-rock takes a special kind of inspiration.

Since then, Young People have lost their guitarist Jeff Rosenburg due to, well uh, him quitting. When a band loses a founding member it presents a band with a tough decision to make: do they get another member to replace the former member, to learn all his parts, or do they break up the band and start new ones? However, for Young People it was apparently not a very tough decision. They have returned with All At Once and, upon first listen, it would appear that not a lot has changed. That's definitely not a bad thing, but it also serves as a slight fault.

As I mentioned before, the band's strongest characteristics is its vocalist. Eastburn's voice is beautiful and quite haunting and it serves as an interesting dynamic to the band's music, which, on this album, is much darker than before. There is certainly less carefree weirdness like what was heard on "Ne'er Do Well" from War Prayers. Instead there are songs that have even darker titles like "Your Grave," "Heads Will Role," and "Dark Rainbow;" the latter may remind one of Sonic Youth's early track "I Dreamed A Dream."

On many songs there is a dark and foreboding bass line with hypnotic and almost tribal percussion. There’s also some experimentation with piano and hand-claps which, somehow, only make the tracks more mysterious, but they're a mysterious band so I would expect no less. One of the best tracks is "On The Farm" which opens with a distortion wall-of-sound and a mantra from Eastman. From there the song gets quieter with sparse guitar and drums and Eastman doing her regular vocal thing. It's a very spooky track, but, in its experimentation and length, it’s also quite brilliant.

The only real problem with the album is that some of the tracks are just unimpressive. There isn't much trace of any kind of alt-country, but that's not really the fault. Progression is good. However, instead of pushing anything, the songs just kind of float around in the same place. Despite that though, All At Once is a solid art-rock, art-folk, whatever-you-wanna-call-it effort. Plus, enough experimentation is there to show that the band kind of knows what they're doing. Eastman's vocals remain the centerpiece, though. Keep an eye on these guys. They might be on to something.



[web] Young People
[myspace] Ilikeyoungpeople


Michael Long
Contributing Writer

Show Your Bones
Yeah Yeah Yeahs
Polydor
** of *****


Sugar Ray. The band. Whoa, ok. Admittedly, that sure is a weird way to start a review. But stay with me here. Do you remember when Sugar Ray first started out? Yeah, they were basically a goofy hard rock/alt-rock band, unrecognizable from the rest. But then, in 1997, they put out that damned "Fly" song and their lives instantly changed. From there on out they released only radio-friendly pop. Why? Well, arguably, they discovered what worked for them. They found what made them stars. I mean, they obviously enjoyed what they were doing so it wasn't like they were whoring themselves out just to make a buck, but I'll bet the change in their style was somewhat influenced by their new found pop stardom.

Now that we've gotten that out of the way, let us consider the Yeah Yeah Yeahs. Their first couple of EPs were your basic noise rock efforts and being fronted by the wacky Karen O almost gave them a riot grrl edge, minus the political bend of course. Then they signed to a major and released Fever To Tell and, at first, it didn't exactly blow up. MTV was playing "Date With The Night" a bit and the next single "Pin" even less. But it was with the magnificent "Maps" that the YYYs became household names, and rightfully so. It's still a good song that perfectly captures the desperateness of being separated with someone you love. But, could it be that the YYYs are now gonna follow Sugar Ray's lead? Furthermore, did I just seriously ask that?

It's no secret how much Karen O wants to be a star and it would seem that her and her band have realized what that might take. Show Your Bones sails the course sets by "Maps." And, the seas of melodicism welcome YYYs, but with mixed results. The album begins with the single "Gold Lion" and that song makes it clear from the start that this isn't the Yeah Yeah Yeahs you're used to. They have fully embraced sharper and cleaner production. Gone is Karen O's silly vocal freak-outs. In all honesty, I see this as a welcome change. There was always something a tiny bit annoying about it. But does all of this new accessibility work?

"Gold Lion" is a nice opener and, as I said, it serves as their mission statement. The song itself is nothing special, but it is catchy. Ah, so far they're following their new doctrine. "Way Out" comes next and nicely continues the path of more melodic interests. But the next couple tracks are where the band starts to loose steam. "Fancy" glides through with mediocrity and "Phenomena" is just down right embarrassing (yes, she does actually sing "something like a phenomena" in this).

Though the melodicism and cleaner production works pretty well for the band, it's kind of like "so what?" The melodies and harmonies don't grab you as hard as they could and Nick Zinner's soaring guitar work is relatively dumbed down for this album. So while Zinner's signature noodling is not really at the forefront, the focus is shifted to Karen O, and I'm not sure it's a very effective arrangement.

The album does have brighter spots though. "Dudley" is the closest the album comes to the purity of "Maps." Karen's vocals and melodies coupled with the band's glistening-to-heavy guitar and the solid drums all work together to make a memorable and sincere performance. "Mysteries" is the only song that features any Karen O freak-outs and that isn't really until the end of the song. Though it doesn't fit very much with the rest of the album, it is kind of a nice deviation. However, from there on out the album gets a little dull and never fully recovers.

Whether or not the Yeah Yeah Yeahs go the way of Sugar Ray remains to be seen. If Show Your Bones is their turning point, it isn't a very promising one. Though, all promise for the future aside, there are patches on this album that serve as decent pop to be enjoyed for a short period of time. I could make another comparison: The Go-Go's. They started out as a punk band, ya know... oh, nevermind.

[video] Gold Lion
[web] Yeah Yeah Yeahs
[myspace] Yeah Yeah Yeahs
[itunes] Downloads
[buy] Amazon.com

Michael Long
Contributing Writer

I ran across this band with a terribly interesting name called Angel Deradoorian. I have no idea if Deradoorian is her last name, it might be, but I would humor in hearing the tele-marketers try to pronounce it.

Besides the interesting name, the music is terribly interesting as well. The songs are very intimate, and its truly like she is sharing all of her soul with you when she sings. She makes the comment on her MySpace that she doesn't like the songs she writes but will perform them anyway - how noble of her. I really enjoy her music - I can't wait to get a CD. For now these 4 mp3's will have to do.

[update: links removed]

[mp3] The Wait
[mp3] Bad Hand
[mp3] Shallow Water
[mp3] Song for Robby
[myspace] Angel Deradoorian

Like a 1920’s era butterfly reincarnated into today, Casey Dienel’s newly released album instills a solid emotional tie from the past to the future. This New England Conservatory student’s album could be called anything – pop, jazz, new age, indie even – but I wouldn’t want to call it anything but playful.


It took many listening sessions of this album to really decide if I liked it , and to what degree. I am not sure of the Surgeon General’s warning for this album, but something tells me Casey Dienel contains nicotine because I am addicted to this girl. Her earthly voice resonates with a classical flair, making the me fall in love with her. Yes, I know. Love? The worst 4 letter word ever; yes, love. I love this album.

Dienel’s voice stands true and strong… sometimes - when not hidden beneath the weighty and demanding background music. There is an uneasy balance between vocal volumes and instrumentation – almost as if the vocals are supporting the music, rather than the normal organization. Intentional, maybe.

If the album has a signature track, or single, it would most certainly be Doctor Monroe. I can see him now, “drinking Scotch on the rocks, and flipping though Playboy magazine.” The visualization of this character combined with the melodic tune makes me press Repeat every time I search ‘Casey’ (which is quite often).

When Feist released her album last year, people went crazy. Her voice drove men wild, and women daydreamed for hours on end to the tranquil voice of what is Feist – if this album doesn’t create such emotions in everyone else, my faith in people’s judgment of amazing music will be lost. She certainly drives me wild.

[mp3] Doctor Monroe
[mp3] Everything
[mp3] Baby James
[mp3] Tundra
[myspace] Casey Dienel
[web] HUSH Records
[buy] HUSH Records

I’ve always been fond of going to shows at the Cats Cradle in Carrboro. This was the second time I’ve seen Metric play there. With opening bands Men, Women, and Children and Islands, the energy of the crowd was already exploding when it was time for Metric to perform.

Men, Women, and Children were the only band on this tour from the U.S. These New Yorkers were filled with vivacity and their performance was great. If you enjoy 80’s style music from the 21st century, then you’d most likely enjoy Men, Women, and Children. With feel-good lyrics and shredding guitar leads, this opening act definitely got the crowd’s feet moving. Front man TJ Penzone used the entire stage during his performance. With choreographed dances performed with his fellow band mates (excluding the drummer, of course), the show was a rip-roaring show. “You don’t need a reason to get out on the dance floor.”

Eclectic. I think if you looked up the word eclectic in the dictionary, you’d find Island in the definition. With violins, cellos, guitars, keyboards and various clarinets throughout their performance, Islands is a strong indie rock band who’s just starting off. Hailing from Montreal, this band is definitely going places. Starting off by storming onto the stage and telling everyone to shut up, the lead singer had the audience pretty pissed off before the set list even began. He later stated that he was just joking and that “[we] North Carolinians need to lighten up.” Ha! If you’re looking for a new Indie band that has potential, purchase the Islands’ new CD.




After the two opening acts, it was finally time for Metric. The suspense of the crowd was building as we watched the roadies set up all the equipment. When the lights dimmed, everyone stood silent, looking up to the entrance to the stage. Then they emerged. The crowd went crazy. They each took their places and immediately went into their first song which was “Live It Out.” Playing songs from their older album, Old World Underground, Where Are You Now?, and their newest, Live It Out, Metric’s stage presence was phenomenal. Headed by lead singer Emily Hanes, I could tell this band was really into what they were doing. I normally cant stand female vocalist because I think they have annoying voices, but Emily Hanes is one of my heroes so that must be saying something for her. Keeping the audience entertained with her famous, indescribable method of dancing, Emily rocked out on the mic as well as the keyboard. Playing 13 songs, Metric exited the stage, but was then called back for an encore. They came back out and broke into the longest version I’ve ever heard (about ten minutes) of “Dead Disco.” Directly following this, the lights were dimmed and the audience was silent and the show was finished with “Love Is A Place.”

If you’re sorry you missed this show, fear not because Hanes said that she loves North Carolina and performing at the Cat’s Cradle. I’m sure you can catch this hard rocking Indie band next time around.

[myspace] Islands
[web] Men, Women, and Children
[web] Metric
[photos] Metric Photos @ Collective Music Photos Blog

Kelley Bennett
Contributing Writer

“Maybe, But Probably Not is a record conceived in reverse: Rather than attempting to recreate the energy of the single take recordings in a traditional studio environment Ward White chose to follow their lead, eventually layering drums, bass, and string quartet to achieve a sonority he describes as "pleasantly disjointed".” Yada, Yada, Yada. So it’s a solid sounding record made like most others. OK. That was a quote take from Ward’s MySpace page that describes him.

This is a very professionally produced album but with a somewhat cliché sound. The album starts out sounding like Deathcab for Cutie, or was it Dashboard Confessional? Either way, it is a little typical for singer/songwriter types. Every so often as the album plays, I get the feeling of déjà vu of an episode of the OC where… nevermind.

Theres some guitar playin’, some bitchin’ about lost love, and some talk about NYC. Pretty much sums this one up.

This album is something I would normally really enjoy hearing but the combination of cockiness conveyed in this guy’s MySpace and on his website with the atypical sound really turns me off. If anyone wants my copy for themselves, because apparently he is too good to offer any free downloads for you to sample (Like buying a pig in a poke as they used to say in the south, isn’t it?), just say so and I will be happy to send it out, otherwise I’ll just let it collect dust on my bookshelf.

[mp3] “too good to offer any”
[cd] Free to a home
[myspace] ward white
[web] wardwhite.net
[buy album?] Maybe, But Probably Not

Matt Blalock
Editor

Big City Bright Lights comes at you with a country twang straight from New York City. Lead vocalist and architect of BCBL - Lindsay Sullivan’s voice is reminiscent of classic Americana, but specifically Loretta Lynn. Nothing I'd expect out of Brooklyn.


Lindsay Sullivan was running it with Mason Dixon back a few years back but left to construct this wholesome beautifulness. She sent me a lovely little homemade demo and even apologized for it not being professional enough (how sweet!!) but I was quick to remind her I wouldn’t be looking at it, it was the MUSIC I was interested in. I cant see the hand written note with my ears, but I must say that such friendliness certainly helped me to like them.

The demo I received began with “Close to Home” that got me all riled up and excited. I had listend to BCBL on MySpace and contacted them about a review because everyone need a little of this sassy music in their lives. This is the kind of music I don’t mind buying for 15 bucks a disk. After “Close to Home” I was lead on a short little vacation in vocal paradise. Despite their songs (I assume) to have been recorded live somewhere, the quality is astounding. I cannot begin to guess what this purity would be like in person, or even in a high definition studio recording.

Her voice is so beautiful.

Several song parts have great piano parts (Lindsay also plays keys) and some others have nice guitar riffs that somehow blend together nicely. This is the best music I have discovered in a while, maybe since Bishop Allen and Hoax Funeral. They are certainly all my top favorites of the year.

Go check out Big City Bright Lights on MySpace. Download these mp3’s and give them a listen. It’ll make you want a cup of nice hot tea and maybe to relax and really absorb the purity of life. Well… maybe not all that but it is damn good.

[mp3] Close to Home
[mp3] Heartthrob
[mp3] Oh Somethin'
[mp3] Wish You Everything
[mpspace] Big City Bright Lights

Matt Blalock Editor

After studying creative writing in New York, Sufjan Stevens (SOOF-yan) turned his back on editors to embrace instruments. But listening to his most recent album, Illinoise, is like reading a collection of Midwestern short stories while you drive, or walk, or instant message.

The twenty-two tracks on this album -- which range in length from just a few seconds to seven minutes -- depict scenes of life in the state of Illinois. The second of Stevens’ “fifty states project” (he plans to release one album for each state; the first was Michigan, his home state), this album is drenched in dreamlike layers of piano, strings, guitar, brass, woodwinds, cymbals, and glockenspiel. Down-to-earth twangy banjo and the occasional electric guitar riff, alongside lyrics about road trips, stepmothers, life, and death, break up these instrumental reprieves.

Some tracks (“Chicago”) sound like inspiration and exultation. Others (“Casimir Pulaski Day”) make you want to cry. Any of them could get stuck in your head for the duration of the day. Sufjan appreciates innovation. In an interview with Pitchfork (2004), he said he wants to “converge different types of music, and to find similarities, common ground, between different genres… to create a new sound.”

If you haven’t yet heard Illinoise, go get it today!


Emily Garrett
Contributing Writer

As the sole survivors of the original Drive-Thru Records Family, the guys of the Early November have become the heirs to one of the most successful independent record labels in music history. At the front of the Hammonton, NJ quintet is Ace Enders, perhaps the vastest well of original material since Conor Oberst, with a triple album coming out soon and his side project I Can Make a Mess Like Nobody’s Business still at work. On March 5th I was fortunate enough to have a one on one with the band’s lead singer/guitarist post-show at Tremont Music Hall.

Nestled away in the van as Matchbook Romance finished their set (buses cost $1000 a day, and TEN prefers hot showers and hotel rooms), wrapped in a parka, Enders hardly looks like the guy driving the most ambitious musical release since Speakerboxxx/The Love Below or I’m Wide Awake It’s Morning/Digital Ash In a Digital Urn. He might just be the kid that’s saving the genre at a time when bands that have never played a show before sign record contracts (Panic! at the Disco) or have never released more than an EP (hellogoodbye) are headlining sellout shows and goofing off on TRL. But for him, the segueing, three-disc-spanning opus is just the next natural progression, and it shows in his collected, laid back demeanor.

TEN’s mold-breaking second “full length” album isn’t the first time Enders has challenged the established system. Ace originally intended for I Can Make a Mess like Nobody’s Business’s debut, a solo album that came out at a time when TEN seemed to be anything but solid, to be given away or sold at the cost of materials. It’s easy to see how giving away the product would be a hard concept for record company to grasp, and in the end Ace had to settle for releasing the album with a standard $10 price tag.

Such open-mindedness can usually get a band booted from their label, as TEN’s old label mate the Starting Line found out when they were let go by Geffin for not fitting the mold the major thought they should. However, the Early November seems to be the exception. When the band was signed to Drive Thru in early 2002, they were the last band on the original roster of the self proclaimed “DTR Family.” “I think when we got on was right when the old family started to break up,” Enders analyzed.

New Found Glory, Something Corporate, and the Starting Line were optioned by now defunct MCA. Senses Fail defected to label rival Vagrant Records. Finch, Fenix TX, Home Grown, and the Movielife all broke up at different stages. Allister continues to float in limbo, with an ever changing line-up and little forward movement. Now the former new guys are OG. “We opened on the Drive Thru Invansion tour in 2003. Now we’d be the headliners. I think the family aspect is still there for the new guys like hellogoodbye, Houston Calls, and House of Fools,” Ace speculates. “We’re just not as close to those bands as we were with our friends a few years ago.”

There’s obviously something special about the band that can endure all of the tribulations that have caught their peers. Though Enders has been the only member of the band that hasn’t left at some point or another, the original line-up is back and stronger than ever. Drummer Jeff Kummer insists that the band is playing the best live shows of its career and everyone is more committed than ever before, including newly added guitarist Bill Lugg.

Guitarist Joe Marro said that every band wants to make it huge, including them. He sights the fact that the last album, 2003’s The Room’s Too Cold, didn’t have a single as the reason it wasn’t bigger and made sure to let me know that the new release will be sporting at least one highly marketable track.

Later, Ace has almost the opposite reaction. “We’re not doing a safe album right now. If I wanted to write the safe album I could have done it already and we’d be up on the TV screens and stuff, but that’s not what it’s about for me. All that people are looking at out there is money. That’s what’s driving this thing for them. I’m not in this for the money. Me, I feel like I’m lucky to be in this position that I’m in and getting to do what I’m doing... And I want to do this the best that I can, cause this is what I really love to do. I want to be proud of myself for this when I look in the mirror.”

This spring the Early November will be finishing up opening for Matchbook Romance on the Take Action Tour with Silverstein and Paramore. Their much awaited triple album should be out in May as announced by bassist Sergio Anello during the show. They’ll start out the summer supporting the release, headlining the Barbecue Across America tour, hitting up any cities they would miss before joining up with Warped Tour in Seattle to play the main stage. Tremont Music Hall will be one of those stops.

Stephen Mayer
Contributing Writer

William Parker – Long Hidden: The Olmec Series
AUM Fidelity Records
*** of *****
Jazz

This well-balanced album, beginning slowly, might quickly lose a listener. For those persistent enough, a great exhilarating ride awaits. At times, my body moved uncontrollably; taken over by the melodic randomness that I normally associate with a mariachi band.

Despite the slow beginning, the album is finished before I get a chance to really enjoy it. I have yet to listen to it only once in a sitting. There are moments when I am urged to change the track, but if I can endure a note, or a riff, I know there is peace waiting.

This lovely album is set to release March 14, and at last check it was selling well on Amazon as a pre-order. I would only suggest William Parker to the open-minded music listener or someone with a solid interest in Jazz; otherwise the music may be interpreted as pure random musing. It is much more. Oh, is it much more.

Matthew Blalock
Editor

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A few months ago I had the esteem privilege to see two interesting bands. I was overly influenced by a friend to listen to Athens, Georgia band Of Montreal's music. I mean when someone makes you copies of two of their CD's (The Sunlandic Twins and Satanic Panic in the Attic), brings them to you, then puts it into your CD player, and presses play… well you have no choice but to listen. I was won over in the weeks before the show. Plus, it was only $10 for the concert. I wouldn't have been out by much if I hated them live.

So tweedle dee and tweedle dum and the concert arrives and it is delayed for an hour while the lead singer from Of Montreal makes a mad dash from the airport to get there. Cat's Cradle is set up so that there were benches on each wall and it made it seem as if we were at some kind of Catholic school dance party. I did not ask that cute boy across the gym to dance, but next time I will. So we pretend dance, looked at peoples clothes (my favorite would have to be the girl in a white prom dress thing including white purse), and told people to push off cause we don't dance-we just look good against the wall while listening to the compilation of music blaring out of the speakers.

The whole time we're waiting in our fantasy world, they are setting up this PVC pipe construction on the stage with a cloth hanging on it with the letters MGMT (The opening band, The Management…they can't use the full name anymore for sad legal reasons ) and on this pipe construction there were suspended two guitars. I will say we had never heard of the band and so we cracked on their set-up, but little did we know how good they were going to be.

Their music... It's full of Electronic noises, guitars, and nice vocals, what more could you want? I found them eerily akin to Peaches, lovely dirty-mouthed Canadian rocker woman. Not for lyrical content but their similar musical stylings and dramatic stage presence. Especially the track, "Destrokk," it's like the 80's exploded in the room when they were recording, besides synthesizers make the world go around. What was most interesting was the fact that they pretended to play the instruments and drums to a pre-recorded track. It was theatre on stage ladies and gents and I loved it.

Not to mention the incredibly annoying Frat Boys earlier in the evening who kept yelling, "Yeah, yeah, yeah" for what I thought was for no reason. Well these once annoying FB's become the blood and dare I say, the life force, of the show. They kept it going with their amazing claps on beat (really good for FB's) and crazy enthusiastic jumping/dancing. They ended up being great audience members and winning a place in my musical heart. It turned out their once annoying chants were lyrics from my favorite song by MGMT, "Time to Pretend." I was so taken aback and kind of floored by MGMT that I immediately went and borrowed money and bought their EP, Time to Pretend, at the show. Wow so good, so good.

And let us not forget the greatness that is Of Montreal. They were great and well groomed and dressed and so funky and operatic. The most charming song of the evening had to be "Wraith Pinned to the Mist and other Games." With lyrics, "Let's pretend we don't exist/ let's pretend we're in Antarctica," Of Montreal had the crowd in a funnel of hopping joy. Plus the song "I Was Never Young" had enough horns for me to wish for a revival of jazz infused big band, if it ever existed in the first place. Besides the lead singer, Kevin Barnes, had on the best outfit of the night (almost rivaled by one singer in MGMT who wore a grey hoodie, no shirt, and sunglasses look) with a pair of tight white slacks and this wild print lady's top (maybe worn backwards also). "The Party 's Crashing Us," was a great chance that allowed Barnes to dip into British 60's vocals, along with the background back up made a for a great live sound.

Oh I shimmed and applauded and sat on a tiny space that wasn't meant for asses, especially mine. What I do for the music I love. Plus not getting home until 4am was fun and still rolling in on time to work at 8, was a pleasure also. Which means that there is no excuse not to see great live music.

[myspace] Of Montreal
[web] Of Montreal
[myspace] The Management[web] The Management


Signing off, L.C.W.

Last night I was invited to Lube.'s CD release party at The Blind Tiger in Greensboro. I got there around 10:30 only to discover I was not added to the list. What that means is, I needed the 6 bucks to get in, and well... I just didnt have it. I had to hang out in the cold waiting for the doorman to decide if the band was there, and then for Lube. to decide if they remembered who I was, and what a Collective Music was.

After everything was cleared for me to enter, with huge permenant X's on my hands, I was in. I was "in" by definition that I was allowed to go "in", because the crowd really wasnt interested in my entering, but of course it could also be blamed on the walls, which werent expanding for this huge crowd. Once I was really in, I was enveloped in the sounds of a Greensboro college band, who's name has escaped me. They are on myspace, and if anyone reading this remembers their name, PLEASE tell me so I can look less stupid.


After many songs by this mystery band, the crowd and my camera were really getting ready for Lube. At some point during the mystery band's performance the UNC vs. Duke game ended. With UNC on top, the entire mass, which only slightly resembled a crowd, all at once, leaped into the air. It was a sight to see, and taking notice of this, the sly band members stopped playing for "this needs to settle in" according to the lead singer. At no point was anyone paying attention to them until the game ended, and which point they left the stage to allow Lube.'s entrance.


A nice mix of original songs, combined with a perfect selection of covers. Not usually something that can be pulled off, without being thought of as less than a "real" band; Lube. did it well. I wasn't expecting them to play cover songs, but what do I know about CD release parties?
The audience was a very heterogeneous group, ranging in age from 18 to what appeared to be ancient. Maybe it was the game that brought grandpa out, or maybe just a Blind Tiger regular, I don't know.


The new music seemed nice, but since I didn't get a copy of the CD I cannot speak for it's quality. Should one arrive at my door, I will be sure to tell you all about it, but for now all I have is the distorted idea of thier live performance. They perform well, and Evan's combination of quirky bar references, and announcerlike language works well to relax everyone a bit. Overall, it was a great show. The music was descent, but the sound system was turned much too high, and it got steamy quick. I would go to another, and certainly suggest my friends to tag along; theres nothing better than listening to your 80's favorites with Grandpa.

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Matt Blalock
Editor

[Note: I have full size, professional quality copies of thise photos if anyone would like them just e-mail me. (Blalock.Matt@gmail.com)]

Leave Your Belts at the door 'Cause pants are gonna’ drop

Scrunched in a tiny bedroom, at three am listening to pure music. Not just music that is put out there and played in order to be a part of a scene or to be played for an audience but the kind of music that makes you feel good on the inside because it feels like its being played for you and for you alone. Music put out in its most pure essence by Sounds Good Station.

Thanks to the Greensboro Police Department a night of music, fun and friends was abruptly ended due to a minor violation of the noise ordinance (and a few REALLY crappy parking jobs.) Get this, they shut it down before I get to hear the band that I came to to hear, played.

Just before the disappointment of a wasted night sets in, I hear Martin and Jeff, both members of Sounds Good Station, start talking about playing in Jeff's bedroom. A few beers later and after a little bit of deliberation, the entire band decides "Hey why not? We wanted to play anyway. Lets go to Martins and play in Jeff's room." Five minutes later there I sat hunched in the corner of the room, looking at the multiple Stanley Kubrick posters and various smoking devices, as acoustic guitars and a VERY undersized drum set are readied for a small private show. The next three and a half hours were heaven on earth.

To hear music in its most PURE form is a beauty not often experienced, but that night I felt the music flow through my veins like life blood, as each and every member of SGS poured their heart into their music and their lyrics. It was awe inspiring, the incredible urge to throw all of my inhibitions away and live through the music, to live with the music, to live as the music. Ignoring all that was around me I sat in awe and felt lifted.

I wanted, I NEEDED to hear more. It just so happens that the next day I got JUST what I wanted. Excited all day not only because it's a show but also because I still felt the presence of majesty inside of my heart.

Finally show time runs around and I make my way to club Blur, to see not only one of my favs, Schroder, but to see my new musical temptation, Sounds Good Station. After a few enlightening words with Jon from Schroder, I huddle up next to the stage and await patiently as SGS begins their set.

Once again that feeling of freedom and lack of restriction swept over me. One of the most interesting things I noticed about SGS is that it wasn't just me that surrenderd myself to the music each of the members seemed to be completely enveloped in their own little world. They moved differently, they seemed to flow in and out of time as they all poured their souls over the smoke filled club. It was like SGS was the pied piper leading us rats not to our dooms but to a heaven on earth, a place filled with beauty and majesty. I felt every bit as enlightened as I did the night before.

I urge everyone who reads this to give SGS a listen and support them in their endeavors and their journey as they continue to rock your pants off one leg at a time. You can sample a few of their songs here on Collective Music or you can go to http://www.myspace.com/fuckingsoudsgoodstation
(just so you know it is SOUDS not SOUNDS for the MySpace, props to Jeff for that one). Show dates and times are listed. If you do anything that involves a local band from Greensboro, GO FOR THE LOVE OF ALL THAT IS HOLY AND SEE SOUNDS GOOD STATION.

Throw your inhibitions in the can and let their beauty flow through you.

[mp3] funeral
[mp3] why so cruel?
[mp3] tall tall tall
[mp3] bullets and bees

Chris Babcock
Contributing Writer

Ladies, don’t worry too much about getting your picture with him for you MySpace page, because the next time you see him Kenny Vasoli is gonna be older and he’ll be looking his age. Not that looks are what he’s about, but that’s kind of my point. As lead singer and bassist for the Starting Line since age 14, the 21-year-old has already had a career most musicians would kill for. While most of us were going to prom and sitting in our intro to psych classes, he’s been finding out what’s really important in the music industry and how to keep your band right where you want it.

I sat down with Ken before he went on at Tremont Music Hall. Here’s the meat of it:

Me: How do you avoid or resist the temptation to just cash in at a time when band’s like Fall Out Boy are getting up on MTV and straight up selling themselves and their image and throwing the door wide open for any band “like them”?
Ken: I guess we’ve just always felt like, “Here’s us and our music. If you don’t like it, fuck it.”

Me: That’s a good answer and I know you mean it, but I’ve heard Pete Wentz say it over and over, too. Can you elaborate at all?
Ken: Yeah, you’re right. What I mean is I have to do this for me. I want to be able to look back on this time and still love it and be proud of it when I’m older.

Me: Do you think taking that stand to sell yourself has hurt you in the industry? You recently split from Drive-Thru. Were Richard and Stefani upset that you weren’t going the way they wanted you to?
Ken: Actually, we didn’t get kicked from Drive-Thru. MCA brought us up, then MCA turned to Geffin, and Geffin let us go.

Me: Oh, ok. I knew that New Found Glory and Something Corporate had been brought up. I didn’t realize you guys did as well.
Ken: Yeah, us, NFG, Something Corporate, Finch, they got us all. It was in Drive-Thru’s distribution deal with MCA.

Me: So how is it going shopping for a new label?
Ken: We just got a new label. Yeah, we just signed with Virgin.

Me: Congratulations! Are you nervous about working with another major after the mess with Geffin?
Ken: Not really. Virgin has been great. They know who we are and they trust us and are big enough to let us grow and do what we want. We’re not gonna be making the same records over again and they respect that.

Me: That’s awesome. I know you were working on the new record in the winter. Is it written now?
Ken: Um, we’re still finishing it up. I’m really excited about it. I think it’s gonna be the best Starting Line record yet.

Me: Cool. You guys have really grown with every record, musically and lyrically. You’re friends with Ace from the Early November. Not that whatever you do won’t be great, but have you given any thought to doing anything as ambitious their new triple album?
Ken: (laughs) No, I can’t write a triple. Ace is nuts, that’s his thing. I’ve heard a lot of the new record and it’s amazing. There’s so much great stuff going on in the whole thing. You’re gonna love it.

Me: Just one more topic: You’re only a couple months older than I am. I was always inspired and in awe when I was in high school that someone my age was getting the chance to do everything you were doing. What was it like being 17, recording an album, and spending the whole summer on Warped Tour?
Ken: It was crazy. I was sitting there at that point thinking, “Here I am. I’m gonna finish high school and then I’m just gonna go to college to study something I’m not excited about.” Now I get to do what I love every day. It’s awesome.

Me: [Guitarist] Matt Watts graduated from college with an engineering degree. Do you think/know if he regrets that?
Ken: I don’t think so. He’s just happy to be doing what he really wants to now.

Me: Alright, I won’t take up any more of your time. I know there are lots of girls waiting to talk to you.
Ken: (laughs)

Me: Thanks for talking though. I’ll see you up front in a bit.
Ken: Yeah, man. Thank you. I’ll see you up there and hopefully I’ll talk to you again sometime. I hope you love the new stuff.

Their set was the best of the six times I’ve seen them. They’re only getting better as they go. The Starting Line will be spending the rest of the spring headlining the Screaming is for Babies tour will guests Copeland, Gatsby’s American Dream, and Cartel. This summer they’ll be heading into the studio to record the follow up to 2005’s Based on a True Story.

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Stephen Mayer
Contributing Writer