Sacramento’s Incredible Me Take It To the Next Level

Being that it’s still only 2013, calling your debut record Est. 2012 could be construed as hubris, especially from a band with a name like Incredible Me; especially if you’re a band named Incredible Me who signed a record deal before even playing your first show. But after a few listens to the equal parts hard-hitting and soulfully melodic tracks that make up the Sacramento sextet’s first full-length release, and after chatting with charismatic drummer/programmer Jaime Templeton, it becomes clear that Incredible Me don’t have a boastful bone in their bodies. Rather, the band are genuinely aw-shucks happy that their peculiar amalgam of happy, heartfelt and occasionally pretty damn heavy music—set to be unleashed worldwide with the release of Est. 2012 Sept. 17, 2013 through Razor and Tie/Artery Recordings and a pair of nation-crossing tours to go along with it—is allowing them to live the dream of being a full-time, touring rock band.

As one might surmise from the title of their record, Incredible Me was indeed officially formed in 2012. The band members’ collective ties, however, go back through years of friendship and experience in their own various and ill-fated earlier bands. By way of a spotty cell phone connection, Templeton traces Incredible Me’s origins to a casual text message between him and Incredible Me heavy vocalist David Jones. “We’d all been in different bands; my band had moved to Orange County and David, his band had just broken up a few months before. I had never really been in a hardcore band, and I texted David and asked him what he was doing for music,” says Templeton. “I asked him if he wanted to start a band, we thought of a name and started writing lyrics.”

Looking to avoid the pitfalls of their past groups, the members of the nascent Incredible Me were selective about filling out the rest of their lineup. “We wanted to be really serious about it, so we tried to find really good friends that we could have in the band but people who were also really trustworthy people,” says Templeton. After replacing an original guitar player with guitarist Lexie Olsen, the current lineup of Incredible Me—including bassist/vocalist Alex Strobaugh, keyvboardist/vocalist Dillon Jones and guitarist Christian Shroyer—was set, and the band wasted no time writing and demoing more songs. Right away, says Templeton, it was obvious that there was something special about Incredible Me.

“From the beginning, writing our first song and putting it out, it just felt crazy; it was exactly what I wanted. From the moment I started the band with David, things just felt right. It just felt like something would happen, you know?” And something did indeed happen. After demoing with producer Colby Wedgeworth (who also handled the production on Est. 2012), the band attracted the attention of several management companies, on the strength of just two songs, all without having played a live show. After one deal fell through, the band was swooped up by Sacramento-based The Artery Foundation.

“Artery picked us up as management, and we recorded the rest of the album. And then right when the album was done, we got picked up by the record label. And then we thought we’d be waiting for a while, but then we got booked on these two tours. It feels like every month something huge has happened.”

The aforementioned tours, the band’s first forays outside their home state, include a three-week trek in September with a Canadian band, We Butter the Bread with Butter, that stretches from the East Coast back to California, and joining up for the tail end of The Rise Up Tour in October with fellow Artery Foundation bands A Skylit Drive and For All Those Sleeping. “We’re definitely excited to leave. None of us have ever toured,” says Templeton. The tour schedule coincides with the release of Est. 2012 on Sept. 17, 2013 which according to Templeton was originally just supposed to be an EP. But fitting with the band’s accelerated pace, after recording several more songs with producer Wedgeworth for an EP, the band was greenlighted to keep pushing ahead and record a full-fledged album, a process that, in keeping with the band’s equally impressive positive outlook, Templeton describes as “super fun.”

This overwhelmingly upbeat attitude is somewhat belied by the brutal moments that appear on Est. 2012, which features no shortage of screamed vocals, metallic riffs and heavy moments peppered in between melodic passages that recall Panic! at the Disco and other melismatic, vocally driven emo pop bands. But where, exactly, this combination places Incredible Me on the genre spectrum is sort of a stumper, even for the band members themselves. “That’s a hard one for us,” laughs Templeton when asked to classify his band’s music. “If you had to put it together, the whole album, we say post-hardcore, but super pop-y. We do scream, and there’s a few breakdowns on the album, but we try to be pop-y. None of our music is really sad or depressing; we’re not a band who’s dark or eerie. We’re trying to be different, but really we’re just trying to be who we are. We’re bright, happy, fun people.

“We’re all a bunch of clowns,” he continues. “If you were to hang out with my band for a couple of days you would think you’re in the show Jackass. We’re probably the happiest kids around. We try to express that in our music and be super outgoing. We don’t want to be like most bands, where you’re down; all the bands who are like hardcore…” says Templeton in a way that makes it clear that both he, and his bandmates have heard their fair share of criticism for venturing down what is a somewhat well-worn path in the current music landscape. “…Any band who sings and screams is gonna get that. You’ll get haters on YouTube ‘Oh just another generic band.’” But he’s eager for those who may doubt the band’s sincerity—and there are definitely a few—to hear Est. 2012, and see for themselves the band’s sincerity live on one of their upcoming tours.

Also set to coincide with the release of Est. 2012, the band is currently at work on their first music video, the plotline of which Templeton was apparently not at liberty to discuss. “I can say the video is going to be amazing, and crazy,” was all he was willing to disclose. “It’s going to be basically my band in a nutshell. We’re all really crazy people, and we want to express it as much as we can. The video is gonna show us going all out, doing what we do.”

Doing what they do has already gained a loyal following in and around their hometown of Sacramento, but Templeton and the rest of the Incredible Me crew are looking forward to playing for some new faces on tour, road testing a live show that Templeton describes as “energetic. We want to interact with the crowd.” Templeton in particular is known for his own trademark brand of “interaction” with crowds at Incredible Me shows. “I play every show in my underwear,” he admits. “We just try to be ourselves.” And when you’re incredible, being yourself is really all it takes.

Sacramento lyricists Hennessy and Sol each have their own long history in the rap game. Each began making music more than 10 years ago and have released multiple albums and appeared on many other projects. Just this year, however, the two linked up to form The Beatknocks and are readying the release of their first group album, Spittin Images. A press release for the new album says that it “touches many areas of the hip-hop spectrum from classic boom-bap lyricism to bass-driven party rocking.” Spittin Images features beat production from the Bay Area’s Stix in the Mix Productions (B-legit, Celly Cell, Baby Bash), Independent Hommies, who is based in Spain, as well as others. The Beatknocks are opening for Afroman at The Boardwalk on Aug. 30 and it will be the official release party for the new record. Also on the bill are Playah K, Reign, No Mutiny Cliq and many others. It’s a lot of hip-hop for $20 (in advance) and that includes a meet and greet with Afroman. Doors open at 7 p.m. and all ages are welcome. Learn more at Thebeatknocks.com.

Dogfood look toward the release of their latest album and beyond

Dogfood bassist Matthew Harris began doing what countless 15-year-olds set out to do: buy an instrument, practice for hours and start a band with friends with the dream of being the next big thing. After playing in a few bands in his hometown of Sarasota, Fla., Harris met Skyler Michael, who admits to having an interest in singing but felt the need to learn an instrument in order to be taken more seriously. Michael quickly picked up a guitar and eagerly set out to start a punk-influenced group. The two began Dogfood as somewhat of a fun experiment where they’d spend hours in rehearsal spaces spitting raps or angst-ridden tunes into Pro Tools with backing synth drum tracks.

After a few years of getting songs together, Dogfood began playing some shows in their hometown. However, the group soon realized that the cozy, conservative confines of Sarasota were becoming too restrictive. There were strict city codes and limited (if any) venues would allow their brand of music. So Harris and Michael decided to make the bold move of relocating to California in 2008 with every intention of taking their music to the next level, and soon recruited drummer J.T. Reed.

Though an early punk sound can be heard on their debut, Alabama Voodoo, their upcoming sophomore release, Blink of an Eye, is more in the vein of several California-based bands such as The Offspring, Sublime or Red Hot Chili Peppers. Dogfood’s influences surely bleed through in their sound, but in no way can be considered a carbon copy of any of their idols.

Pay no mind to the silly name—Dogfood take their music very seriously, as do their fans and peers. Dogfood will be releasing Blink of an Eye at Ace of Spades on Friday, Aug. 2, 2013. In the following interview, Submerge had the pleasure of discussing the past, present and future of the spirited and savvy group.

How did you start this band?
Matthew Harris: We got our start in Sarasota, Fla., near Tampa. My parents bought me a bass guitar for my 15th birthday. I started playing with some friends for about a year and then met Skyler in high school.
Skyler Michael: They had a band going and I wanted to be in it, but didn’t play any instruments so they wouldn’t let me join. I bought a guitar, learned fast and got good at it and they let me join. We started playing small shows in our hometown but were essentially living in a conservative retirement community. There wasn’t a single venue in town that would allow loud music.

Where did your band name come from?
SM: When we started we were 15 years old, playing punk music and not taking ourselves too seriously. Our conversations would always shift to wondering, what’s the stupidest band name you can think of? We originally chose the name, but when we started getting some recognition, it was too late to go back. We didn’t want to sound too epic or be the “The” band. The only problem with the name is if you were to do an Internet search for our band, but combining it to one word makes us easier to find. We’ve actually had multiple dogs sing along at
our practices.

How did you decide on the move to California?
SM: We knew we had to move out of Sarasota if we were going to continue playing music. California has a lot more to offer for music; more venues and big cities up and down the coast. There’s also more competition, which allows you to test yourself as a band. Sacramento has the small pond thing going on. If you’re halfway decent with talent, you can get a show.
MH: Sacramento is pretty centrally located on the West Coast. Plus, we have a van with a trailer, so we’re able to go down to San Francisco and Los Angeles or up to Portland and Seattle no problem. Growing up, we were very influenced by California bands like Sublime, Red Hot Chili Peppers and Incubus.

What did you do to get established in the Sacramento area?
MH: We recruited J.T. on drums to complete our band. He’s very open to experimenting with new beats and coming up with ideas that outshine what we’d envisioned for a particular song. He had to come in and add his flair to several pre-existing songs. His drum beats accent the vocals very well; he keeps in the pocket and his background as a jazz drummer shines through quite often.
SM: We played our first show at It’s a Grind coffeehouse. But we really got our start at the Powerhouse Pub in Folsom. Andy Hawk took a liking to us and gave us opportunities to play. At the time, there were good walkup crowds because it was free to get in. Later on, he booked us for Concerts in the Park events and helped us with getting on the 98 Rock radio station.

You will be releasing your second full-length album, Blink of an Eye, on Aug. 2. What can listeners expect?
SM: Blink of an Eye has a more expanded sound. This time around we experimented with vocal harmonies, added extra rhythm guitar tracks and spent more time crafting our songs; definitely had more fun making it sound the best we could, whereas our first record Alabama Voodoo was very live and raw.
MH: Sean Stack from Fat Cat Recording Studio produced the new record and was actually trained by Alex Hartig, who worked on production for our first album. Sean has really honed his craft, worked really hard and brought out our true sound. Our writing style has changed from education and experience, but we wanted to put a little of everything we have to offer on this record. No two songs are alike.

Where do you draw inspiration from with your lyrics?
SM: Songs just come to me out of thin air. It could be something as foolish as a quote from a movie that I’ll save to my iPhone or lyrics will be built like a puzzle based on random occurrences. I haven’t taken pen to paper in a few years now. Ideas for me are like little bits of pieces here and there that I’ll glue together like a magazine collage. Sometimes I’ll write autobiographical pieces, other times I’ll write from an outside perspective in the shoes of another person.

Now that your album is completed and soon to be released, do you have plans to tour?
SM: We’ve been really focused in the past year of getting this album out. The thought is always that you’ll get your album complete and released within a couple months, but it seems to take the better part of a year without fail. Now that the record will be out, we do have plans to tour, but want to initially keep within the confines of California. There are so many supportive bands and rabid fans in cities up and down the state that can keep us busy. Plus, we have so much love for the local scene. Ace of Spades and Harlow’s are the better venues in town for us, but we always have so much fun playing at the Press Club and feel at home there.

Will you be doing anything special for your CD release show at Ace of Spades?
MH: The bands alone will make it special. A great mix of artists from several different genres represented at this show. We got to hand-pick the lineup consisting of Element of Soul, Humble Wolf, The Three Way and an acoustic set by James Cavern.
SM: We’re printing out nearly 1,000 CDs of our new album to give out for free to every person who buys a ticket, so that should be incentive enough to attend this show. We’ll also be playing Blink of an Eye from start to finish as well as mixing in some of our favorites. There is also a possibility that members of some of the other acts performing might join us on stage.

What can fans expect from Dogfood in the future?
MH: The plan is to promote the album with shows up and down the West Coast. Also, keep pumping out songs that we like and maybe release an EP of new ideas we’ve been working on along with keeping the love here in Sacramento.
SM: We’re going to keep growing as musicians and focus on making better and better music while having fun and being creative. There’s nothing else I can physically do. We have immersed and invested so much into this that there’s no way we could stop now.

Don’t miss Dogfood’s Blink of an Eye release party at Ace of Spades Friday, Aug. 2. Lineup includes Element of Soul, Humble Wolf, The Three Way & James Cavern. Tickets for the all-ages show are $10. Doors open at 6:30 pm.

Horseneck: Born out of Booze and Ready to Rock Your Face

Most of us would agree that bars are wonderful places. They’re great places to go with your friends or significant others, or to meet new friends or significant others (at least significant for a night or so). And, hey, if you go alone, your bestest buddies Jack Daniels and John Jameson are already there waiting for you. Besides sources of booze, bars can also be houses of inspiration. Artists, writers and musicians have flocked to bars for as long as they’ve existed hoping to find their muse—either at the bottom of a glass, or hidden in the cacophony of overheard conversation. As Sacramento heavy music purveyor Anthony Paganelli tells us, his newest band Horseneck owes a lot to local bars.

He had known bandmate Lennon Hudson through their mutual manager, Eric Rushing. Paganelli and Hudson were both entrenched in the music scene as members of other bands (Paganelli as part of Tenfold, Shortie and Will Haven, and Hudson as part of Still Life Projector). The two got together one night at Golden Bear with Hudson’s longtime friend Matthew Ison, and the conversation eventually turned toward the three playing music together.

“We weren’t doing anything else but drinking and having fun,” Paganelli says. “We were like, ‘Might as well start jamming, kill time that way.’ We started a band. It wasn’t this band. Then we changed it to Horseneck and it just felt right.

“Will Haven wasn’t really doing much. They’d put out a record and did a little bit of touring in Europe, and that was it,” he goes on to say. “I was getting really bored and I wanted to start something new. I had all these riffs and ideas, so I called Matt and Lennon and said let’s do this.”

Paganelli says that he formed Horseneck because “there weren’t very many heavy bands out in Sacramento that I could relate to.” A counterpoint to the many scream-o and metalcore bands on the scene, Paganelli wanted Horseneck to hearken back to a different, blues-based era of metal.

“I was drawing influences from all the classic rock like Led Zeppelin and stuff like that…blues-driven rock stuff,” says Paganelli, who says he first started playing blues when he picked up the guitar, inspired by the music his father would listen to, before he got into punk and metal later in life.

The music got heavier, though, when the band decided to put Paganelli behind the mic. He says Horseneck felt right as a power trio, and they really didn’t want to go out and find a vocalist that would possibly stir the pot.

“None of us could really sing, so I just grabbed a mic and started yelling and it just worked,” Paganelli explains. “We became this heavy band, but that was what we wanted anyway. We wanted to do what everyone else wasn’t doing.”

Their vibe must have been right as the band released two EPs in 2013. The first, Belly Full of Blood, is the heavier of the two—a low, throbbing, grungy, Melvins-esque five-song EP with similarly gruesome song titles like “Dirt Turkey” and “Hooker Toilet.” The second, The Worst People Ever, is still heavy but is less pure brute force and has more of a calculating attack.

“The first EP, we had just started playing. That was the first five songs we wrote. I was trying to figure everything out,” Paganelli says of the difference between the two EPs. “I feel like it was a little bit harder of a record, too—more metal influence. With The Worst… EP, we were a little bit more organic about writing. We were jamming more, and I felt a little more confident with my vocals. With the new stuff we’re writing, it’s getting more organic, and I’m even more comfortable with my voice.”

The differences between the two was one of the reasons why Horseneck ended up having two separate releases as opposed to one full-length album.

“We never planned on releasing anything,” Paganelli says. “I gave it to Eric Rushing, because he’s a longtime friend of mine, and I thought he could help me get on shows or just network and stuff, and he told me to hold on to it and not release it. He said, why don’t we go back and record more songs, and we’ll talk to the label, Artery Records, and maybe release it through Artery.”

Horseneck has a distinctly different sound than many of the bands in Artery’s stable; however, both Rushing and Paganelli thought Horseneck could help the label diversify.

Both EPs were recorded at Pus Cavern with the help of Matt Pedri, who’s worked with Armed for Apocalypse and Will Haven in the past. The Worst People Ever was mixed by Dance Gavin Dance’s Josh Benton.

“We went back and recorded seven tracks, which became The Worst People Ever EP, but they sounded totally different,” Paganelli says. “We recorded them in a different process and spent more time… We weren’t going to put them both together as a weird sandwich, like, we don’t care if they sound weird. So I said, why don’t we release them as they were recorded? That sounds better. It makes more sense. We felt comfortable with that approach, and Eric thought it was a better idea as well.”

Paganelli says the band is currently writing new material for a possible full-length, hopefully to be released early next year. He says that the confidence in his songwriting that he built coming into The Worst People Ever is continuing to grow on the new material.

“I feel like I’ve thought it out a little more than I did in the past,” Paganelli says of the new material he’s working on. “Having more confidence in my ideas helps.”

Paganelli also has a new songwriting partner, his 1-and-a-half-year-old son.

“I play guitar for my son, and when he likes it, he dances around. So sometimes I actually bounce riff ideas off of [him],” he says. “We play guitar all the time at home and sing songs and stuff. It definitely changed a bit of my songwriting.

“It’s more difficult being in a band as a parent, because, obviously, you have a lot more responsibility,” Paganelli says of being a rock ‘n’ roll dad. “Touring is a little harder, practicing is a little harder, but it’s still doable, and it’s still fun. We still do it. I don’t think I could not do it. He enjoys it. He watches me do it, and maybe when he’s a bit older, I could play with him, or he could play with me. It would be rad.”

It’s funny to think that the good chemistry and momentum Horseneck has going probably started with a simple conversation between colleagues over drinks at a bar. The opening track on The Worst People Ever, “The Birth of the Neck,” is actually an homage to the band’s booze-y beginnings. It’s a short track featuring ambient bar noises—conversation, people fiddling about. In fact, the whole EP is based on the bar that Paganelli, Hudson and Ison usually hang out at, Cheaters.

“Most of the songs on that EP are reflections or stories or things that we went through hanging out there all the time,” Paganelli says. “It’s a bunch of inside jokes, well, not just inside jokes, but things that happened to us there. That whole EP is a little story about that bar…a little Cheaters storyline, I guess.”

So what is it that makes bars so inspiring?

“I love bars,” Paganelli enthuses. “I was a bartender for like four years. We collectively love to drink. Love beers and whiskey. I live on 32nd and Matt and Lennon live on 35th so Cheaters is smack dab in the middle and that is our home base. I love bars! I love bar noise. I love meeting people and the social interaction you get at a bar. It is different than any other place.”

So get out there and go to a bar. You never know. You might even become inspired. As if you needed another reason to go out drinking… 

Check out Horseneck as they blow the doors of the place at Blue Lamp in Sacramento alongside Armed for Apocalypse and Death Valley High on July 12, 2013. Horseneck’s EPs are available via iTunes. For more on the band, go check ‘em out at Facebook.com/horseneckmusic.

Paper Pistols’ Deliver Us From Chemicals examines life in the new age

It’s 2013: NASA is collecting applications for Mars colonists; international, state and local governments continue to gut social programs and education through austerity measures; and California, despite its drastic cuts, projects a minimum $1.2 billion dollar budget surplus for 2013. As I write, the still hot ashes of the Egyptian Revolution are igniting a populist uprising in Turkey. This month, according to major media, suicide is an epidemic. The world is lonely, the global economy is stagnant and in an effort to grow, we’re colonizing space; everywhere—Arrested Development season 4 included—it’s austerity and decadence, riot and romance.

“I’m just here in my body,” sings Julie Lydell on “Oil,” the first track of Paper Pistol’s debut album, Deliver Us from Chemicals, “No weight on my chest/No knot in my throat/Unimpaired by the impulse to make sense/of senseless things/patterns and chaos/God, I’m tired/and I’m sick/of caring about where all this is going.”

Lydell’s voice, slightly nasal and rich in timbre, contains our moment today: the anxious present, the absent future. True to pop form, Lydell locates herself as a body, anywhere and everywhere. The lyric I, here, is alone swimming in gin and existential crisis at the bar, walking the streets of Turkey surrounded by neighbors and teargas, discarding consequence, guilt, frustration and concern.

This chorus increases via the layers of samples, melodies and instrumentation before falling to the austere, the minimalism of Ira Skinner’s rim-shots over a pitter-patter series of electronic clicks. As a song, “Oil” utilizes a Thom Yorke-ish intro, syncopations and percussive pops that sound like a digitized steam engine gathering speed—a tenacity realized by Skinner’s rolling-stop snare work at the end of the track. And during this large arc, the cycle, the song structure builds. This next verse section, a series of piano driven chords, highlights Lydell’s addition to Skinner’s one-time solo project.

“I don’t know any prophets,” sings Lydell, “Don’t ask me for my oil/That lamps been burnt out for so long/I’ve no more light to give.” The play here, as in many other places on the album is a skipping of connotations. From the inability to see the future to the non-existent incentive to invest in it, Lydell and Skinner, in a combination of ups and downs, replicate the cyclical feeling of a bubble bust economy, all dwindling resources and antiquated infrastructure. For this, the album is an emotive, LED beacon in our dimly lit times.

This is not to say it’s anything other than music pushing its boundaries both lyrically and technologically, as Lydell and Skinner are quick to point out.

“This is where music is going now,” states Lydell. “It’s crazy how many frontiers are being expanded. We can almost make music on accident with an app or something.”

With this development of computerized production there’s also a tension that emerges between the traditional role of performers and machines. Lydell understands this as an opening of potentials: “I don’t think you can lose the organic side of it, absolutely never. You can augment or improve on what you would be able to do with the bodies, with instruments.”

“It’s like limitless capabilities,” confirms Skinner, “when you’re playing electronically. We could go up there and just play piano and drums, but why be limited by how many people can touch an instrument? We physically play most of the parts on the record and play them off the laptop live because there are not six of us.” Then he adds, “I think we have trust issues as well.”

Despite the meager numbers, Paper Pistols is a dominant force live. They concentrate on making their concert performances engaging and entertaining.

“We can still be a dynamic band, not sound robotic or fake,” explains Skinner.

“I think there’s such an energy live. There’s a lot of energy on stage—presence. Because of that, most people don’t think, oh shit, half the music’s on a laptop. It’s not like we’re doing anything super unusual for these times. All bands have laptops in their bands now. Ten years ago when I started Evening Episode, that was unheard of. It was a challenge. We had adapters hooked up to adapters just to make it work.

“I don’t think I’ve ever been onstage where I’ve half-assed my performance,” Skinner continues. “For me, it’s a very therapeutic release. It’s such an outlet, and every show I try to push it more. I write my parts based on emotion, parts that feel cool.”

Writing, practicing and performing are vital for both Skinner and Lydell. Lydell even jokes that her daily stress about and frustration with the world dissipates after a good practice session or show.

These concerns, likewise, find expression in the album itself as a conflict between isolation and community, absence and presence. “I think that’s the theme of the record,” Lydell meditates in a sprawling thought, mirroring our complicated contemporary. “It’s hard to have an electronic album and have it be about getting back to this primitive state, or this more pure place, before the world was full of billboards and Internet homepages and anti-depressants, nicotine, alcohol. All the things we can use to escape from ever having to deal with selfhood because it’s really lonely. I think lyrically and thematically, that is the tension this postmodern world promises.

“When people used to be alone, they were truly alone,” she adds. “There was no way to communicate unless there were other people [physically present]. You had to be comfortable being by yourself. [Today] you can focus on your projected self because you can just do it constantly; what do I want to put in this status update so that people can see that I’m having an existentialist crisis and I need to solve it? You don’t have to ever deal with anything if you don’t want to. Or you can take a pill.”

These constant bombardments and over-simplified alleviations express themselves lyrically and sonically on the album. If Lydell drifts as a lyricist between loneliness and connection, then the minimalist verse structures and rich, decadent hooks similarly materialize these concerns through chords and melodies. The album has many moments of quiet tension and multilayered movements.

Lydell sees the work as a collaboration of sorts between opposing forces: “Ira and I have different composing styles. I really like tension. I think there are moments on the album where it’s really decadent, kind of luscious because of how much is going on; epic. Ira’s written film scores.”

“That’s my part,” Skinner states flatly, his stoic front confirmed by his casually crossed arms, smooth-shorn scalp, burled beard and deep voice. “I specialize in epic.”

Next to him, Lydell seems a bit more dynamic despite her “logical, monotone” self-description. She slouches back sipping tea in black and white wing tips, a long dress and sleeveless denim jacket. Both members casually detail what they hope to accomplish in the next year, which includes finding a manager and setting out on a small tour. Familiar friends, they joke quickly between each other. Their chemistry confirms the band’s back-story: Lydell canceled a return to Austin, Texas, to continue working with Skinner on Paper Pistols, alongside her other musical projects. Thus, the album came to be.

Describing how Paper Pistols came to be in its current incarnation, Skinner, who spends most days recording bands in his Midtown studio or running sound for various local venues, recounts, “After The Evening Episode, I didn’t have a desire to do a band again. I’d need to get a van, a practice space, book tours. It didn’t seem fun to do that again. Playing music with Julie has changed my perspective. It’s inspired me to actually start writing music. It’s an easier process with her because she moves quicker than I do, and she’s got so much energy. It’s different in a very positive way. ‘Astronaut Food,’ we wrote that and recorded it in a day. It sums up the record and so many of Julie’s views on the world. It’s a lonely ass song, too.”

“It’s just The Lion King. In a key too low for me,” smirks Lydell.

“Does that make me Simba?” asks Skinner.

“It does. And I’m still myself,” Lydell quips in return.

Aptly, for both musicians, “Astronaut Food” is an anthem of sorts. Over a music box sample and long sustained piano chords, Lydell sings, “The future looms not as bright for the most of us.” The final crescendo of the song is a surge of booming toms where Lydell repeats in a melancholic affirmation, containing hope and despair, “Deliver us from chemicals.” The song concludes with a four-part, gospel-style harmony that, in a song about literally being isolated above earth, desperately seeks transcendence.

Lydell explains the song, the possibility of a future, as a “conflation of living in the age of celebrity where everyone wants to have something special, look rich. But really we’re underemployed, making $9 an hour. There’s this gap. I think we’re really removed from reality in some ways, and it’s showing up on a bigger scale post-2008. There are so many complex systems, and I can’t even fathom it.”

The future looks similar to Skinner, a monoculture of sorts: “My realm of expertise would be the music business. If you listen to today’s radio, no, we don’t have a future, or at least not a very bright one. The influence that pop musicians have on the youth, artistic or not, it’s not positive. But, I think that’s because I’m old. People who are produced now don’t have an artform.”

Ultimately it’s clear that both Skinner and Lydell would prefer to stay on Earth playing music despite the chaos that surrounds us.

“I wouldn’t fucking go out in space,” Lydell laughs. “I would kill myself first. It freaks me out. I want no part of it. I’ll cling to a tree.”

“They have that thing right now,” says Skinner, regarding Mars. “You can sign up, but you can never go home. You live in a bubble. Who would do that?”

“People who like Burning Man would go. That would be my worst nightmare,” says Lydell.

“That’s what they should do,” concludes Skinner, “dump the Burning Man tickets and send them to Mars. I’m done with some Burning Man shit.”

There it is. Mars, loneliness, anxiety, austerity, decadence: Paper Pistols, Deliver Us From Chemicals, 2013. Transcendence, indeed.

Catch Paper Pistols live on Saturday, June 22 at Davis Music Fest’s City Tavern Stage at 9 p.m. They are also scheduled to play Launch Music Festival, a two-day event going down on Sept. 7 & 8 at Cesar Chavez Plaza. Visit Launch’s website for tickets!

!!!, all about the groove since 1996

Long-distance relationships are rarely successful. Dance-punk band !!! (Chk Chk Chk), whose six members are spread out between Sacramento; Brooklyn, N.Y.; and Pittsburgh, Penn., have somehow figured it out. When you share a passion for something as strongly as these gentlemen do, you make it work. That passion? The love of a groove. “The focus for the band has always been about a feel and a groove,” guitarist Mario Andreoni tells Submerge while sipping coffee on a park bench in Cesar Chavez Plaza in downtown Sacramento. “Usually everything is started from a bassline and/or a beat. That’s what brought us together and that’s what has always sort of stoked the fire.”

!!!’s fifth album, boldly titled Thr!!!er, was released on Warp Records in late April. And while it shows a great progression in the band’s sound, which is in no small part due to working with Spoon’s drummer/producer Jim Eno, Thr!!!er still has !!!’s rump-shaking, dance-floor-burning, signature groove. It is much tighter and more focused overall than their 2010 release, Strange Weather, Isn’t It? There are more catchy, sing-along moments on this record, too, namely in the album’s opener “Even When the Water’s Cold” and on closer “Station (Meet Me At The).” Whereas with !!! albums before, it might have been more about the groove, vocalist Nic Offer really stepped up his game on this one, offering listeners vocal lines and melodies to really latch onto. The Guardian couldn’t have said it any better than they did in a recent article on the band, stating, “The thing is, Thr!!!er kind of is !!!’s Thriller, inasmuch as it’s their best album.”

When Submerge met up with Andreoni, he was only in town for a couple days, just back from gigging in the United Kingdom and on the verge of meeting up with the rest of the band on the east coast before embarking on a U.S. tour. That tour will bring them back to Sacramento on Friday, May 31, 2013, to headline Concerts in the Park, a gig the guys are looking forward to very much. “Even with playing New York, Los Angeles, all these places, this gig is one of the ones I’m most excited about,” Andreoni said, just as a homeless guy barged in on our conversation, choosing our bench to sit on even though the park had plenty of empty seats. We laughed, walked to our cars and said our goodbyes.

Read on to learn more about !!!’s best album to date, how they make the long distance thing work and why they value space in music.

You guys have made the long distance thing work for so long, is it even something that you think about anymore?
No, I haven’t felt that it’s been a problem, per se, for a good eight or nine years. I think that maybe after the guys first moved over there, we were kind of thinking this is a hassle. We had just started working on the single that sort of put us over to more of a national audience, the “Guiliani” single. We had started working on that here and then everybody left and we were kind of like, “Well, what are we going to do with this? We have to finish it.” I kind of flew out there on a lark and for some reason the momentum just seemed to carry. We played a lot of shows…some really great shows out there. We just thought we’ll see how long this works. Touring has been a big part of it, since they live there and I live here, we can rehearse on either side. Everybody always has just made an effort to do whatever we can to maintain this connection.

It seems like it keeps things fresh. As a band, you’re never really stagnant or in one place for too long, right?
When we all lived together here when we started the band and we had various bands that we were working with, there was always a tendency for practice to get cancelled because so-and-so has to do this-or-that. There’s no question the band would be different if we were rehearsing three or four times a week in the same city.

Who knows, we could have broken up a long time ago. I wouldn’t start a new band in this configuration right now, but it’s been what I’ve associated with this band forever. Once we all get together, it only takes like 10, 15 minutes. We’ve been able to keep in pretty constant contact. I really don’t go more than maybe a couple weeks without talking to anybody. We’ve been friends for a long time.

One thing I notice and appreciate about !!! is all the open space in the music. Not everyone is doing everything all the time. As a guitar player, is it ever hard to hold back from writing even more riffs to go over all that groovy stuff?
I think any effective dance music has a big sense of space. I’m always conscious of that. I’ve never really been a guitar player that’s wanted to sort of like get choppy, it’s just never really been my style. I really want to benefit the song and the groove as much as possible. I value the sense of space. Even as a guitar player, there are certain things where you can really kind of pick your spots and be heard even a little better versus people just going all out all the time. It suits my personality and this band to sort of contribute more to the overall aesthetic. Just as someone that listens to a lot of groove and dance music, having the bass and drums be the primary focus is what I love. The people that I sort of emulate were people that really knew how to sit in the background and knew how to work rhythmically with the band.

How was it working with Jim Eno on the new record?
It was really gratifying. Jim was very seasoned. He’s made tons of records. We just hit it off and he pushed us in new ways that we’ve never been pushed before and challenged things. Where we might take a groove and say we’re going to do this over the course of seven minutes, he would always be asking, “Why are we doing this?” I’m sort of paraphrasing him obviously, but he forced us to look at things differently.

Are there certain songs on the record that have more of Eno’s touch than others?
I think all the songs he did, which are the majority of the tunes on the record. The one thing we loved about Spoon was that it was a rock band that really had a sense of space, like we were talking about earlier. So we kind of trusted him with that.

I think the whole allowing and enjoying more space in music thing might come with getting older and being more mature. Younger musicians tend to want to play louder and want their parts to be heard more, you know?
Right. It’s ultimately about the song. Jim got us to focus on the song. That was something that was at the forefront every day when we were working together. Coming in with our demos and things like that, we had to really distil things down to, “What makes this the best song?”

Tell me how you guys settled on the name Thr!!!er.
Constantly we’re tossing around ideas. We do a lot of riffing. A lot of the stuff we come up with is kind of funny, or at least we think it’s funny. It was one of those things where we knew we were going to have to come up with a title, so we were always just rifling off. Nic had written it down; literally it was one of those things where writing an idea down on a napkin made me go, “Well that looks fucking cool.” The whole other part of it, the sort of folklore behind Michael Jackson’s Thriller… We’re all fanatics of music. We know the cultural significance of his record. But at the end of the day I thought it looked really fucking cool. I thought it was a good idea then and I still really love the title. Aside from it maybe seeming like we’re taking a piss, which there’s some of that to it, as a statement I do think that this is sort of our most varied record. Michael Jackson’s Thriller is a varied record. We talked a lot in the studio, like, “What’s the folk-rock Thriller? If Thriller was the pop/R&B Thriller, the actual Thriller [laughs], how can you apply that sort of significance across other genres?” It really just kind of all fit together.

As a longtime fan of the band, I’ve often found myself asking, “Why haven’t they blown up? Why don’t more people know about them?” But then I’m like, “I’m glad they aren’t huge, I can keep them to myself!” Have you encountered that a lot?
Yeah, and coming up as music fans, we’ve shared that. Discovering Sonic Youth and Nirvana when you’re a kid or whatever and thinking, “This is a cool thing,” and you want to keep it as a cool thing. How people perceive our band, whether or not they do it that way, it’s fine with me. I guess I’ll be somebody’s cool thing. I think that we’ve strived to sort of push it across to as many people as possible. While that’s not necessarily our goal, it’s certainly not lost on me that a big segment of our audience is that way. I know people that share that sentiment, like, “They should be bigger,” or this or that. Because we love doing this so much, as long as we can keep playing to more people, it’s something that we still really have a lot of fun doing. I try not to get too locked into our popularity-buzz-ratio-output thing. There are other people that can worry about that.

I think the keyword there is fun. I can tell you guys still have fun and your music is fun to listen to and to dance to. I can’t imagine, for example, that you went into this record thinking, “This is our make it or break it album,” you know what I mean?
I haven’t felt that way. As a musician, anytime you put something out you want to show it to people and say, “Hey check this out, listen to this, this is what I did, this is my band.” You’re always wrestling in a band with multiple people weighing in on things. You want to be proud of it. Every time you start a new record, you want to come away with something that you’re proud of. I feel very proud of this record and what we’ve done. The goal from the start of the band has always been to create this swirl of energy. When we’re playing there’s this very visceral thing that happens. It’s important for it not to come across as being forced. It’s not forced. In some respect we’re not careerists like that. It’s still ultimately about creating that swirl of energy. Some days it doesn’t happen, but fortunately more often than not it happens and it’s really, really gratifying.

Catch !!! live for free on May 31, 2013 at Concerts In the Park, held every Friday during the summer at Cesar Chavez Plaza. Their new album Thr!!!er is available now online and at record stores worldwide. For more information, visit Chkchkchk.net.

Local post-punk/hardcore band Number Station may be relatively new to the scene, but as the saying goes, this isn’t their first rodeo. Vocalist Ean Clevenger, formerly of Northern California hardcore punk band Pipedown, who were signed to A-F Records (Anti Flag’s label) and toured/played with bands like AFI, Thrice and The Bouncing Souls, started Number Station after he witnessed the local punk/hardcore scene “cave in on itself” while playing with his last band Dance for Destruction.

“It seemed bands, punk, hardcore, heavy, what have you, were beginning to be targeted for having too much heart and substance,” Clevenger recently told Submerge. “It was particularly hard to see the scene I was so closely connected to, one which I felt always had such a deep love for politics and meaning, drift toward a very provincial attitude.” So he said the hell with it, took some time to himself and started writing songs that were powerful and important to him regardless of what was cool at the moment. “When the energy was right, I sought out some of the best musicians I know, and luckily we were all on the same page.” Number Station is currently comprised of Clevenger and fellow seasoned musicians Theron Francis (guitar), Barry Crider (guitar/vocals), Pat Freeman (bass) and Jonathan Barklage (drums). They spent a fair amount of time working on material in the third story of a “fucked up art space” in downtown Sacramento and as Clevenger put it, “the magic seemed to happen.”

Number Station’s new five-song EP, recorded with Patrick Hills at EarthTone Studios, is sure to tickle the fancy of fans of Sacramento rock staples like Far (who they point out as a large influence) but it also will interest fans of, dare I say, screamo. Think The Used, Story of the Year, Hopesfall, bands in that vein—plenty of guitar riffage, melodic vocals with screaming mixed in, solid song structures and a mature use of dynamics. They might be one of my favorite new local bands, even if the style of music they are playing might not be the most hip thing in Sacramento at the moment. “Once the people get behind it, we can help break people out of their own fears about what is cool or approved by the status quo,” Clevenger says. “Its fucking music from the heart, we don’t care how cool we are, we just care how much we can help people be free.”

Number Station will have an EP release show on Saturday, June 1, 2013 at Assembly (1000 K Street). March Into Paris, Saint Solitaire and Goodbye Black Sky (featuring members of Will Haven) will also perform. For more information, visit https://www.facebook.com/numberstationtheband.

Black Mackerel’s brand of metal is a musical punch to the gut

Music has gotten progressively safer since the ‘90s—even metal. Nifty programs like ProTools have smoothed out a lot of the mistakes that used to make records sound more human, and the heavy use of effects have made guitars into sorts of musical science projects. These aren’t necessarily bad things—just another step in the constant evolution of rock music. Still, that’s why it’s refreshing to hear a band such as Black Mackerel, Sacramento’s grungiest and most primal metal band.

Black Mackerel’s frontline consists of Rotten Scotty Gardner (vocals and guitar) and Scott Clayton (bass and vocals), a couple of working class guys you’d be hard pressed to find a photo of without beers and cigarettes in hand, they say. They have day jobs and responsibilities—Gardner has an 11-year-old daughter—but armed with their instruments, the duo is capable of unleashing unholy levels of whoop-ass through their music. On Feb. 28, 2013, Black Mackerel released Fight or Flight, the band’s first album, which is adorned with a beheaded chicken on its cover.

It’s just eight-tracks deep, but it’ll only take a quick listen to realize the cover image is quite fitting. Songs such as opener “Poison Death Motor” and “Good Friend” are grueling, bottom-heavy grinders sure to get your gut rumbling and your head banging. Powerful riffs, brutal bass hooks (“Evilkenevil” is as catchy as it is heavy) and the full-throttle drumming of Slade Anderson punctuate what is sure to be one of the most memorable local releases of the year—in any genre.

The intense interplay of Gardner’s guitar work and Clayton’s bass playing stands at the forefront of the album. It’s a sort of sludgy stew—hot, chunky and wholly satisfying. Clayton, a guitarist by trade, brings a guitarist’s mentality to playing the bass.

“I keep the bass on the bottom end…but I totally play it like a guitar,” he says. “I just treat it like it’s a four-string rhythm guitar. I can slap-pop and do all that shit with my fingers. I could probably be a real bass player if I wanted to, but that’s not really how I want to play. I want to be rhythm guitar on the bass.”

“Scott is like the lead on the bass, and I’m more of the rhythm,” Gardner interjects. “We do everything a little bit backwards.”

Forwards or backwards doesn’t seem to matter, whatever they’re doing is working. But Black Mackerel almost didn’t make it this far. The band actually formed back in 2004, but with the passing of original drummer Kenny Mackrel, the band’s namesake who took his own life back in 2007, Black Mackerel’s future seemed unsure.

“We were going to quit, but Kenny’s brother Dennis told us don’t quit, keep it going,” Gardner says. “We went a couple of years with another drummer, and it was good, but it was kind of stagnant.”

Enter Anderson, with whom Gardner and Clayton also play alongside in thrash-punk forefathers Condemned?, a band that holds the distinction of having one of the first releases on venerable metal label Nuclear Blast. Gardner says that Anderson is “one of those drummers who won’t stop playing in practice.” This left Gardner and Clayton with two choices, “get mad or just start jamming,” Gardner says.

Gardner credits Anderson with getting the current incarnation of Black Mackerel up and running.

“I don’t want to stroke him too much, because when he reads this, he’s going to think he’s the bee’s knees,” he jokes. “He was kind of the catalyst for everything we’re doing now. Everything just started to pick up songwriting and gig-wise. He just started to pull it together somehow.”

“Slade’s been in every band there ever was,” Clayton adds. “It certainly didn’t take that much to make it work.”

Gardner describes Black Mackerel’s writing process as “open ended,” in which everyone has a say as to the direction of the songs. Given Anderson’s always-be-drumming mentality, and Clayton and Gardner’s eagerness to keep up, new songs can happen at any time.

“These guys will write something while I’m in the bathroom sometimes,” Clayton says. “Those two are just going off while I’m taking a piss. I’ll come back and I’ll hear a song, I’ll be like, ‘Don’t stop doing that!’”

Gardner even wrote a song on a short-scale Fender guitar belonging to his daughter, who also sings and plays violin; however, she has yet to develop an ear for metal.

“She’s into New Direction, or One Direction or whatever the fuck that is…Nicki Minaj and all that. I’m hoping she’ll get over it, but whatever,” he says. I don’t care what she’s playing as long as she’s into something good like music.”

Gardner says that a lot of songs Black Mackerel has written since Anderson joined the group didn’t even make it to Fight or Flight, though they may be released at some point down the road. And Clayton adds that the band is looking to write more songs to progress their sound even further.

The band’s immediate future, however, will involve playing shows here and there to promote Fight or Flight.

“We all have bills and day jobs, so we can’t take off more than four or five days at a time,” Clayton says. “We love going on the road. If they’d pay us, we’d be doing it all the time.”

He says he hopes Black Mackerel will make a run up to the Pacific Northwest soon, but in the meantime, the band will play a special show with Kill the Precedent and Murderlicious on April 12 in Sacramento at Blue Lamp. The show will be a benefit for their friend Tricia Duncan, who was badly injured after a fall. Duncan suffered some brain damage from the fall and lost her job and apartment as a result. Proceeds from the show will be donated to Duncan.

Music may not be Gardner and Clayton’s only concern, but having family obligations or day jobs hasn’t been a death knell for Black Mackerel. If anything, those things have enhanced their drive to create music.

“I think it keeps us in touch with reality,” Gardner says. “It gives us something to write about. You can’t love or hate anything unless you’re exposed to it. Dealing with people and everything every day, that’s where I get some of my influence. People piss me off, so I write aggressive songs about it and get it out, and then I feel better later. It’s therapeutic.”

Clayton adds, “It does keep us grounded. I would quit my day job if I could and just go play music for a living. It’s kind of tough to juggle, but you do it. It’s a labor of love. If I didn’t play, I wouldn’t get up to work in the morning. I’d probably be a miserable drunk by the railroad tracks.”

It may be a juggling act, but the guys in Black Mackerel are handling it really well. The band may be something of a throwback to a wilder time in music, but they’re putting forth a sound that’s just as vital and stirring as ever.

“I just wanted to do something different,” Gardner says. “There aren’t too many bands in Sacramento like us. I wanted to do something heavy and loud.”

If that’s the case, mission definitely accomplished.

Check out Black Mackerel, Kill the Precedent and Murderlicious at Blue Lamp in Sacramento on April 12 at the Tricia Duncan Benefit Show. In addition to great, heavy music, there will also be raffles and baked goods for sale. Entrance is just $10, and the money will go to a very worthy cause. If you’d like to listen to and purchase Fight or Flight, go to http://buriedinhell.bandcamp.com/releases.

Musical Charis’ band members discuss their penchant for collaboration and their mission to bring “real gold” back to the music scene

Two of the core members of local indie pop band Musical Charis are in separate rooms of the same apartment engaged in the same conversation. I am on the other end of the line. We’re speaking together on a conference call. It is a new experience for all of us.

I am talking to Blake Abbey and Jessica Brune, the band’s vocalists, and guitarist and keyboardist, respectively, about their upcoming Oct. 11, 2012 release of FOOL$ GOLD on JMB Records. Despite being miles away, I feel like I am dealing with a family.

They soon will be, I later find out. In addition to being band mates, they are engaged and live in the same apartment, along with the band’s bassist Colin Vieira, guitarist Bradley Abbey (Blake’s brother) and a bunny rabbit. It’s the apartment they are in now as they field my questions. Like family, they are talking over each other, and to make matters worse the reception is lousy. Despite the hiccups, we manage to carry out an engaging conversation as they fill me in on the album, touring and their musical values.

“It seems like a lot of things in music and art, fashion, and pop culture, a lot of it is like fool’s gold,” Abbey says, explaining how they came up with the album title. “It’s just shiny and bright, people want to hold it and touch it, but it doesn’t have the same value as gold.

“But the more that we grow in character and as a band, I think the closer we get to realizing how hard it is, how deep you have to dig for gold and the value of it when you get it,” he says.

Abbey, Brune, Bradley and Vieira spent about a week total, split before and after this year’s lengthy spring tour, recording with music engineer Joe Johnston at Pus Cavern. Now they have an album they hope will stand out against the bounty of overproduced, unoriginal material put forth in the music industry.

It was a collaborative process, a coast-to-coast exchange, Brune suggests. Others, including Jarrod Affonso on drums, Brian Brown on the keys and Shawn King, contributed. “Sunlight Stalker,” the last track on the album, was a joint effort between musician Chris King in Florida and Musical Charis. In a Postal Service-like exchange, King wrote the music, and the band wrote lyrics to accompany it.

The result was an album that Abbey says is quite unique, an attempt to produce “real gold.”

“I don’t think this CD is epic, but I think it’s one-of-a-kind, I haven’t heard anything like it,” he says.

Their fourth release following their 2011 album Ace of Space, FOOL$ GOLD is seven tracks of soothing indie pop and lush harmonies with progressive underpinnings.

It is somewhat more technical sonically than their previous albums, Abbey explains, and the rhythms are more intricate, adds Brune.

Since their formation in 2008, following the Abbey brothers’ and Vieira’s relocation from Florida to Sacramento, Musical Charis has been recognized for their folk appeal. In fact, they have been told on several occasions that they are living in the wrong generation. Brune and Abbey don’t dispute this.

“I think that musically we would be received better 30 years ago. Old people love our music, the folk stuff that we do,” Abbey says. “It’s dubstep nation now, dubstep is taking over the world.”

Whatever they have done musically, it seems to be working. They were nominated for Sammies in 2010 and 2012, for Best Album of the Year and Best Indie Band of the Year, respectively, and in 2011 they won the Best Indie Band of the Year Award.

While this album strays somewhat from that folk sound, Abbey and Brune agree that it is one they will likely revisit in the future. After all, it’s easy to switch up musical directions, Brune says, like whipping up a new batch of cupcakes.

“Some people might not like [the new album],” Abbey says. “But it was fun for me, which is the most important thing.”

If you want to produce something relevant in the art world, or bring back ‘the real gold,’ then you have to get your priorities straight, the way Brune and Blake see it.

Which simply means, “Do it because you love it,” Brune says, even if it means collecting pennies.

The drive, patience and desire all have to be there to move a band beyond the five-year mark, they say.

“The real dream is just living it,” Abbey adds.

The fourth track of the album, “The Gift,” is an ode to friends back in Kansas who are doing just this–living the “rock n’ roll” lifestyle of loving, having fun, being broke and not caring. It’s a fancy-free philosophy the members of Musical Charis put into practice as well.

They primarily work for themselves, sometimes working “under the table,” to make ends meet.

The same love of music inspired the band mates to open the Musical Charis Music School in 2009 in the building next to the Colonial Theatre. It started by just spotting the vacant building and asking the question, “What if?”

To this day, they teach music lessons out of Beatnik Studios, mentoring youth in playing guitar, piano, singing, songwriting and performing. Sometimes they will let their students open for the band.

Those who haven’t seen a Musical Charis show should know that no two performances are alike, partly because they are just as willing to share the stage with anyone who wants stage time. Thus they have become known for their high-energy, unpredictable performances.

“We never plan anything,” Brune says. “We’re not like, ‘Oh, it would be so epic if we did this and that.’ We just kind of roll with it and have fun.”

During a show, the stage is treated as a shared space. The band rotates auxiliary drummers and guitarists onstage or invites other bands to join in. Brune may take Abbey’s guitar mid-song, or Abbey might get on the drums. In any given performance, there might be a trumpet, saxophone, accordion, harmonica, congas or xylophone thrown in the mix. Additionally, just about anyone (with exception of belligerent drunks) from the audience is invited to come up and play an instrument.

“We consciously try to make it about everyone,” Abbey says. “It sucks being in a band playing the same show every night, especially in a small town.”

“I want people to go to [our] shows and be like, ‘We’re going to go have fun tonight and we’ll get to play an instrument,’” he says.

The invitation to participate is an intentional attempt to encourage local community-building, they explain, though they never force their audience members to participate.

So during any given show, 12 bodies might end up on stage. On one occasion an audience member was so engrossed in performing he fell off the back of the stage, Brune recalls.

“Sometimes it’s a train wreck, but [it’s] a beautiful train wreck,” Abbey says.

It’s worth mentioning that this band plays a lot of shows, as many as 150 per year. This includes a 65-day national spring tour they plan annually, in addition to smaller tours throughout the year.

Playing so many shows and tours, including SxSW, it’s no surprise that the band has grown a distaste for the predictable party-goers looking to get blitzed. It’s a common pattern the band has noticed, and it inspired one of the tracks on the album. Against a dreamy, circus-y tune, “Fortune Teller” takes a stab at the molly kids, who equate their live music experience with popping pills.

“It became about a culture of just partying, waking up the next day and starting all over,” Brune says.

No doubt they’ll run into more of that during their West Coast tour following the Oct. 11, 2012 album release at the Townhouse Lounge.

Pill poppers aside, right now the four are contemplating house sitters to look out for the apartment and the rabbit while they are gone. The last tour they went on, their turtle died.

Hop on stage and have a blast at The Townhouse Lounge on Oct. 11, 2012 at 9 p.m. when Musical Charis celebrate the release of FOOL$ GOLD. Also performing will be Autumn Sky, Hey Zeus and James Cavern… And maybe you? Pre-order your copy of the album at http://musicalcharis.com/, and if you’d like to babysit a rabbit, drop them a line.

Lite Brite distills the energy of their high-powered live show on a brand new album

A rock concert might be the only place in the world where it is acceptable to thrash around with full force, scream at the top of your lungs and push random people to the ground. If you tried this on the street, a grocery store, or a restaurant you will be kicked out and given the cold shoulder by society. Whether it’s moshing in the crowd or playing guitar on stage, rock concerts welcome your inner beast with open arms. There is one local band that produces this kind of high-energy show that can make anyone want to jump around. Submerge caught up with brothers Eddie and Matt Underwood, members of Sacramento rock-trio Lite Brite, in front of Peet’s Coffee to discuss their new self-titled album and rocking out on stage.

“If we have any underlying rage, [performing] is a good way to release it,” said vocalist and guitarist, Eddie Underwood.

“Instead of stabbing each other in the face,” continued drummer Matt Underwood. “It’s an expensive habit really.”

Eddie, Matt and Robert Lander, bass, are ready to bring their high-energy show straight to your living room. Their goal was to make their new self-titled album as close to the band’s live show as possible, making Lite Brite’s stage-fueled passion completely mobile.

The opening track of Lite Brite’s new album are recorded sounds from the band having fun with an analog phaser, creating eerie sounds that set the stage for their 12-track rock album. “We had an idea that it was going to be a theme in the record. I don’t think it ended up being exactly the way we thought it was going to be but it was a good way to tone the record,” Matt said. “I like the way that it turned out. It’s a noisy record.”

Lite Brite is excited to unleash a record that it can completely claim as its own. There is only one track, “Heaven,” on which the band collaborated with a musical engineer.

“We did it all ourselves. We mixed it all ourselves. We recorded it all ourselves. It was exactly what we want,” explained Eddie.

“It’s going to be really cool though, getting our music done, because we never really had a whole album that is just the way we wanted it to be,” Matt added.

Lite Brite hopes to give the new music as much exposure as possible, including a tour in the near future and to make the tracks easily accessible and sometimes free online. Matt Underwood wanted to adopt a business model that was made popular in the ‘60s by bands such as The Rolling Stones, where they would release numerous singles at a rapid pace.

“It would be really timely,” Matt explained. “It’s sort of this idealistic vision that I had, get something out and get it out on the street really fast. It would be the right song at the right moment.”

So far the Underwoods have been very successful in getting their music out quickly even though they have only played music professionally for the past few years. While in high school, Matt and Eddie would jam out to cover songs in their parent’s garage with their friend Bob.

“We just started playing covers and stuff. It was fun playing stuff that we like and Bob came over every day. He didn’t do homework. That worked out well,” joked Matt.

Since then, Lite Brite has been on two West Coast tours including one with Middle Class Rut. During their past tour, life on the road never seemed to get dull for them. Every city had a new adventure waiting for them. While stopped in Minneapolis, they had their van broken into early in the morning.

“What really pisses us off is that they stole our lunch meat,” Eddie said. “All of the equipment was in the back, and they could have easily gotten thousands of dollars worth of equipment, but they just went though our ice chest and downed 10 Red Bulls and ate our lunch meat on the spot.”

But missing lunch meat wasn’t their only problem that day. The thief decided to break in through the passenger window and crack the windshield causing Lite Brite to rush to get it fixed before a show. While on the same tour but this time in Wyoming, Eddie and Bob almost landed in a bar fight over the topic of Nickelback.

“I might have said something like, ‘Nickleback sucks,’ and one guy said, ‘Hey, hold on a second, I like Nickelback. I’m about to knock your teeth in.’ And then all of a sudden someone comes in from another room where Bob was playing pool and he said to me, ‘You better come quick… Your friend is about to get his teeth knocked in,’” Eddie said.

They decided to leave the bar before anyone would have to make an emergency trip to the dentist. But the highlight of their previous tour was the high-energy and jam packed shows, full of people who have never heard of them before but loved every minute of it. “The last two U.S. tours that we did were awesome,” Matt said. “Pretty much every show was just tons of people to play for.

“We completely sold out of CDs really early on our last tour. We had to burn thousands of CDs so we had something to sell.”

Recently, you might have caught them at Friday Night Concerts in the Park in early May. That night was one of their most memorable performances because there were over 7,000 people watching them at Cesar Chavez Park.

“You can’t really beat that,” Eddie said.

Before playing a high-energy show, whether it’s in front of a huge park or small venue, there isn’t much that Eddie needs to get himself pumped up to jam on stage. “The best way to warm up is to have a couple of beers. You don’t want to overdo it but not too little, because we don’t want to stand there like a couple of stiffs,” Eddie joked. “And not too much or else Bob and I will start yelling at each other on stage.”

But now Lite Brite is ready for Sacramento to join them at Ace of Spaces on July 6, 2012 for their CD release party.

“The music scene has been ridiculously awesome to us in Sacramento, and if it wasn’t, we probably would have quit doing it a long time ago,” Matt explained. “Recording an album is stressful and everything but pay off is definitely worth it, it’s very gratifying, just having this giant project for months at a time come to an end. What’s cool about an album is that it’s always going to be there. It’s always going to exist. It’s always going to be around. And you will always have that work that you did.”

A stacked lineup will help Lite Brite celebrate the release of their self-titled CD. Stuck, Musical Charis, Simpl3jack, The Hungry and The Trees will all join Lite Brite at Ace of Spades in Sacramento on July 6, 2012. Tickets are $10 in advance/$12 at the door. For ticket information, go to http://aceofspadessac.com/.