The Knockoffs and their place in Sacramento’s punk rock history

Country licks with a traditional punk-rock style. Twenty years of street cred earned within the ever-fluctuating Sacramento music scene. Not to mention the immeasurable amount of respect from bands such as 7Seconds, the Groovie Ghoulies, festival organizers and promoters alike. That old school, independent, do-it-yourself mentality all in the spirit of punk rock is still essential for members of The Knockoffs after all this time.

The days when flyers were handed out at shows and littered the walls of bedrooms instead of sidewalks. The times before the Internet was a main tool of promotion, when actual footwork and word of mouth were the standard codes of conduct for bands. These forgotten practices continue to resonate for these four men and after a three-year pause, they’re back and ready to play as loud as they can at this year’s second annual Punch and Pie Fest on Aug. 24, 2013 at Old Ironsides.

“They’re kind of like the elder statesmen of our community. I think that they’re a really important part of Sacramento’s punk rock history. They have been around for 20 years and they have been a great influence on the punk rock community,” says Punch and Pie Fest organizer and Bastards of Young bassist Sean Hills. “I have a lot of respect for them, and I think they are a great example of how to be in a band for that long without killing each other. They’ve been doing it right.”

It’s a roundtable meeting of sorts within the living room of vocalist and guitar player Tom Hutchison, or as his mates like to call him, “Little Tom.” On this Sunday afternoon Danny Secretion, Tom Amberson (aka “Big Tom”) and Bobby Jordan gather around a coffee table, television muted, to speak with Submerge about their love for punk rock music, keeping the scene healthy by ways of encouraging young talent and laughing so hard during practices until their muscles ache and eyes water.

“It’s like we’re in the eighth grade and someone’s parents are gone,” says bassist Jordan of the band’s camaraderie. “It’s one of the fibers of my life.”

Forming in the early ’90s, The Knockoffs have had their fair share of lineup changes. At times, certain members would even jump from guitar to bass and then back to guitar just to keep the process moving. Eventually, the guys found what worked and ultimately solidified their lineup.

Each person comes with their own unique set of experiences or outlooks complete with a list of either a second or third punk rock band they’re also heavily involved in. Like Secretions’ longtime run with The Moans, The Shitty Ramones and The Secretions; or Bobby Jordan doubling up with The Mr. T Experience. Hell, Amberson credits The Knockoffs giving him the opportunity to sit behind the drum kit and learn a completely new instrument by simply joining the ranks. All of these elements are finished with a traditional punk and rock ’n’ roll-style of vocals with just the right amount of gruff, thanks to Hutchison, especially heard within the playful lyrics during songs such as “You Make Me Sit Funny” from The Knockoffs’ second full-length album Sell the Move.

Yet, after all the changes, instrument shuffles and years tacked behind them, their chemistry works. And their time spent performing and practicing as The Knockoffs means more to each member than just another punk rock band they’re a part of. In the end, all members say they genuinely enjoy one another and have witnessed each go through life changes ranging from marriage to welcoming Jordan’s new baby girl to the family.

“Having a baby has made me want to do this even more,” says Jordan. “I want music to be around her while some people retreat in music with babies and families.”

Encouraging music within a younger audience is a duty each member of the band adopts with no questions asked; to them it’s necessary to keep the tight-knit punk rock community healthy. Both Secretion and Jordan recall bands like 7Seconds and the Groovie Ghoulies mentoring them, by means of showing them the unspoken codes of ethics, respect and even honesty when it comes to door money.

“We were really lucky that we had those bands take us under their wing,” remembers Secretion. “The thing that I notice is that the older bands kind of groom the younger ones. When you see bands like Mad Judy or Abandoned Generation, these kids are too young to even get into the shows we’re playing, but seeing them and the younger generation of punk rock, I know it’s going to be OK in Sacramento.”

These four men remember performing shows at Old Ironsides 20 years ago for five bucks. Fast forward a couple decades later and the guys are still playing shows at that price—and happily, which Jordan says is a testament to The Knockoffs, genuine love for the music alone. And they aren’t planning on closing their guitar cases or retiring their drum sticks ever—they’re all here to stay.

“We’re like an old, wore out, stinky pair of shoes,” jokes Jordan, sitting next to Hutchison and directly sending the rest of the guys into laughter.

“I’m looking forward to just playing my guitar as loud as possible and looking over my left shoulder and seeing these guys play their asses off,” says Secretion. “That’s going to mean so much. You ain’t seen the last of us.”

Photo by Allyson Seconds

Punch and Pie Fest 2 will heat up Sacramento Aug. 21–25, 2013 at The Press Club, Old Ironsides, Midtown Barfly and Luigi’s Fungarden. The Knockoffs will perform at Old Ironsides on Aug. 24, 2013 with Dr. Frank, Bright Faces and Arts and Leisure. For a full Punch and Pie Fest schedule, go to Punchandpiefest.com or go to Facebook.com/punchandpieproductions.

Quinn Hedges knows how to work hard

An infamous problem among artists–musicians specifically–is a lack of motivation. Sure, they love to play, but that’s the just tip of the iceberg when it comes to the workload of a musician, and not many are willing to put in the effort. There’s show-booking, recording, media management and of course, practicing. That’s what makes ambitious artists like Quinn Hedges so celebrated. Not only is Hedges a hard-worker, he’s well mannered. During Submerge’s interview with the singer/songwriter, he was attentive and focused, modest about his music and generous with his pleases and thank yous. He seems generally grounded about being a musician–another rarity. Maybe that’s because music was always something that’s been second nature for him.

“Ever since I’ve started gigging, I’ve wanted more. I’ve wanted to get better. I’ve wanted to be playing all the time,” Hedges said.

Hedges grew up in a musical environment and picked up the guitar by the time he was 15. After his father was relocated by Hewlett-Packard to the West Coast, Hedges left his home in Delaware and settled into Northern California. Shortly after, Hedges went to Sonoma State for a degree in Music. During his time in the Music Department he learned the basis for his work ethic. Hedges reflected on the head of the jazz department saying that if someone wants something bad enough, they’ll get it.

“To hear someone like that, so overly critical, say something like that, it kind of stuck in my brain,” Hedges said.

Clearly that advice was taken to heart, because Hedges has been persistently working on music since. After graduation, he began slowly working his way into the Sacramento music scene, starting with small acoustic shows at wineries throughout the area. Finding a steady community through these shows proved to be a bit of a challenge.

“It was a struggle trying to find a place that would regularly hire you,” Hedges said. “I’ve paid my dues in the last seven or eight years, and I’m seeing the pay-off now where places are booking me as a regular.”

While it’s been a bit difficult, Hedges’ hard work over the last several years has finally begun to show. He has worked his mailing list up to nearly 1,000 people and has started to be really embraced by his community of listeners. His consistent effort has also helped him to develop strong relationships with venues throughout the Sacramento area. He now regularly plays happy hours and night time residencies at well-known establishments such as The Torch Club, Pizza Rock, Hyatt Regency and Davis’ Bistro 33.

“It’s cool because if someone catches me playing at The Torch Club, they’ll come back to The Torch Club,” Hedges said. “I’m starting to see more familiar faces at those venues where they saw me first.”

From these types of interactions and regular performances, Hedges has started to build a solid fan base, which helps him to feel like his persistence has been worthwhile.

“Although it’s been a lot of hard work, it’s starting to pay off with the following,” Hedges said.

These shows are normally solo performances, but Hedges plays with a full band as well, consisting of bassist Jamison Aguirre and drummer John Yessen (also a former member of Hedges’ previous band, Fair Trade).

The group plays officially under the name The Quinn Hedges Band, and over the last three years the trio has taken Hedges’ sound and accessorized it, going from more acoustic skeletons to full-bodied bluesy rock songs. Bassist Aguirre provides a strong underbelly while drummer Yessen keeps a steady pulse that tends to brighten the mood of the songs. Playing solo can tend to be more limited in terms of sound experimentation, but having that group support has given Hedges a chance to try out new ideas and sometimes play a more aggressive style.

“Playing with a band allows me to let loose on the electric,” Hedges said.

The result is their upcoming release, Step Outside. While Hedges is still the solo songwriter, the album is a group effort and marks Hedges’ first full-band release. The individual tracks are versatile, going from more jam-based energetic numbers like “Crazy” to scaled-down, nearly ballad-esque tunes like the title track. The trio’s rootsy feel provides a solid base for Hedges breathy, easy listening vocals, similar in sound to other smooth vocalists like John Mayer. The band manages to mix a sensual intimate feel (thanks in large part to Hedges’ voice) while keeping things fun and lively with mid-song jam sessions. Those interludes also show that this is a tight-functioning band working as one unit, which Hedges hopes comes across to listeners.

“It’s been a long time coming for the band, it shows that these aren’t just a bunch of songs thrown together,” Hedges said. “It also shows a maturity in my songwriting from my previous album.”

Hedges has been releasing material since 2006. This newest album (his third release) gives fans a chance to see Hedges step away from his softer, solo-based style and play more rock-based crowd pleasers. Maybe even a little more cheery.

“My last album was solo acoustic. It was fairly dark, but this has some more upbeat stuff,” Hedges said.

Lyrically, the album follows suit with Hedges’ previous work and focuses on his own experiences, varying from individual relationships to larger universal curiosity.

“There are a couple songs just reflecting on life, there are definitely a bunch of songs about women,” Hedges said. “I kind of tend to write from a personal standpoint.”

His vulnerability is highlighted on songs like “Feel This Way,” which reflects Hedges’ personal questions, complemented by bluesy instrumentation with a strong interludes of electric licks and splashes of cymbals that help the song maintain an intimate feel.

The album is not only aided by the help of a band, but family as well. Hedges’ father, Bernie Hedges (who plays in Sacramento-based The Blues Hounds) plays pedal steel on the title track. Hedges’ sister Hilary Hedges (who plays in the cover band, The Hits) also added to the record, along with drummer Yessen’s father, John W. Yessen.

After the release party on Aug. 15, 2012 at Harlow’s, Hedges plans to continue playing consistently around Northern California, keeping up with his current residencies and focusing on getting the album to a wider audience. Hedges even has additional material that could lead to “possibly another album on the horizon,” Hedges said.

Bottom line is, Hedges will keep moving forward.

“Just pushing as hard as I can,” Hedges said.

Quinn Hedges is true to his word with shows lined up in various venues around the Sacramento area throughout August and beyond. His CD release show, however, should not be missed. You can catch Hedges and his band at Harlow’s on Aug. 15, 2012. Go to http://harlows.com/ for more info. Davis music lovers can also see him on Aug. 17, 2012 as part of his residency at Bistro 33. He’ll be back in Sacramento at Torch Club on Aug. 21, 2012.

An Eclectic Local Band leaves Its Mark on the Sacramento Music Scene

Words by Ashley Hassinger – Photo by Andre Jones/Eye Connoisseur Photography

With a multi-faceted sound, local band Iconoclast Robot brings something new and fresh to the Sacramento music scene.

Comprised of vocalist Charles Cash (nee Ryan Charles Gammad), Patrick Caden (bass and guitar), Russell Boucher (guitar), Jairus Beacham (drums) and Jamal Siurano (keys, beats and saxophone), Iconoclast Robot blends jazz, hip-hop and rock together to create a fusion all their own.

As I sat down with Cash and Siurano at the Eye Connoisseur Photography Studio in Midtown, I was intrigued to find out the band’s musical background and their undeniable love and talent for music.

Formed in April of last year, Iconoclast Robot came together with inspirations ranging from The Roots to Rage Against the Machine. An unexpected range of musical tastes brings out all the stops for this multi-genre band.

“We don’t all come from the same musical background. I studied jazz in school, Ryan likes hip-hop, Jairus played in church and Patrick used to play in a metal band,” Jamal explained.

Although different in backgrounds, each member was influenced by music at an early age, whether they were part of band or listened to their parent’s music.

“I’ve always had a knack for music. I remember listening to songs as a kid and being curious as to what instruments were being used. I wanted to know everything about the song,” Jamal said.

The special sound that Iconoclast Robot has is complemented with skillful lyrics. Ryan is the main contributor for the lyrics, and since he started writing back in 2008, he has had one main influence.

“Heartbreaks. As corny as that sounds, I’m most inspired when I’m sad,” Cash confided. “And a lot of my raps aren’t normal witty raps–more like storytelling. I look at the world a certain way, and the lyrics portray how I feel about it.”

Just like its sound, Iconoclast Robot’s lyrics aren’t what you would expect–and Cash writes what’s honest.

“It’s not political. It’s not stereotypical. It’s not what you expect,” explained the vocalist. “It’s sort of my unique perspective, which makes it real.”

The band hasn’t been signed to a label yet, which allows for more creativity and enables the band to grow and change as they see fit.

With no major deadlines or outside influences, Iconoclast Robot is able to focus on what they want as a band, not what a label wants them to do. “We are still new and trying to figure out what our sound is going to be like. It’s nice to have the freedom of not having someone else being an influence over us,” Jamal stated.

Along with the ability to be creative, being without a record label allowed the band to form more spontaneously.

“It wasn’t like someone was signed to a label and they were forced to find members. All of us came together in a way that was natural. I think it’s pretty rare for a band to come together with the backgrounds we have and be able to make it work,” Jamal said.

Without a record label, Iconoclast Robot is forced to jump around from place to place in order to record and practice on a weekly basis. Recently the band has had the opportunity to record at Pinnacle College in Rancho Cordova, but the band is open to any space that will allow them to better themselves.

“We don’t have a lot of money and resources right now,” explained Jamal. “So we practice and record wherever we can.”

Iconoclast Robot’s love and dedication for music is shown in their stage presence. It’s obvious in the energy that is seen, that the band loves what they do. For them, making music and performing isn’t work for them, it’s a release of their creativity.

“Music is all about communicating your ideas, like any art form,” Jamal said. “You’ve got an idea and you want to express that without words and music is the way to do that.”

Although they’ve played locally and in the Bay Area, Iconoclast Robot is hoping to go on tour soon.

“A tour is in the works, and I think we know where we’d like to go. Definitely a West Coast tour including California, Nevada and Arizona. Nothing is solid yet though,” said Jamal.

Even though they are busy working on their own music, I was curious to know what kind of music they were currently listening to.

“I’ve been listening to the artist, Gotye who wrote the song ‘Somebody I Used to Know.’ I checked out some of his other stuff, and he is like us,” Jamal said. “He is all over the map stylistically, so many styles and it’s very creative.”

As for Cash, “I’ve been listening to The Black Keys. One of my favorite bands though is City and Colour, an acoustic and emo sound. He has such a real passion in his voice.”

With a tour in the works, an untitled EP released and their debut album set to release in May, Iconoclast Robot has set goals for themselves, hoping to one day make what they love to do a full-time job.

“I think at the end of the day all of us would be happy to comfortably support ourselves playing music and not having to work 9-to-5 jobs,” said Jamal. “Tour, play music and pay the bills. I think we’d be happy.”

With music as their drive and passion, the band is looking to turn heads with their rare and intriguing sound.

“We want to blow their minds,” said Jamal. “I want them to walk away and be like, ‘What was that?’”

Collectively, the band wants their fans to be affected somehow by the music they make, and want them to come back for another show.

Music isn’t a gimmick or moneymaker for these five band members; it’s their passion. “Music is something I’m always going to do, whether I’m in a band or not,” Jamal explained. “It’s always going to be a part of my life, regardless of whether I’m making money.”

Iconoclast Robots have an upcoming performance at Ace of Spades on April 13. Go to http://aceofspadessac.com/ for tickets. For updated information on the album release date and upcoming shows like them on their Facebook page: Facebook.com/iconoclastrobot

Far’s Shaun Lopez and Deftones’ Chino Moreno let their creativity loose with Crosses

Shaun Lopez (guitarist for Far) and Chino Moreno (vocalist for Deftones) have left an indelible mark on the Sacramento music scene–as well as rock music beyond the River City. Sometime last year, the two (along with bass player and songwriter Chuck Doom) began meeting–more or less in secret–on a new project that would leave a new kind of mark, ✝✝✝, aka Crosses.

Lopez and Moreno worked closely together before, though according to the Deftones vocalist (who also provides vocals for Crosses), it wasn’t the most positive experience. Moreno says that the vocals for Deftones’ Saturday Night Wrist, released in 2006, were recorded at Lopez’s studio.

“We worked pretty close then–a little too close,” Moreno says. “It was a gnarly time. There was probably one point when we were doing that that I said in my mind, ‘I will never work with Shaun again.’”

Lopez adds with a laugh, “I said the same thing.”

One thing positive that did come from the experience was that the two remained friends, despite the difficulty. Moreno recalls that it was a rough time for him personally and that he felt a lot of pressure surrounding Saturday Night Wrist. This time around, however, things were different. Crosses didn’t bear the same level of expectations as did that Deftones album. In fact, for the most part, no one even knew that Moreno was working on new music.

“The music is pretty powerful,” Moreno says. “I hate to sound corny, but when we get together to make some stuff, it straight up sounds good. I think we just enjoy that.”

Crosses got off the ground with just Lopez and Doom at the helm. Lopez says that he’d met Doom two or three years ago through a mutual friend. Doom was looking for a space to lay down tracks for another project he was working on, but as he and Lopez began getting to know each other better, they began writing together.

“He started bringing in some other ideas that were different than what he was doing already,” Lopez says of Doom. “I thought that it was really cool, maybe I can throw some stuff on top of this. Maybe we could do some co-writing. That was sort of the birth of Crosses.”

Beyond that, Moreno calls the enigmatically named Doom a “very interesting guy.” Moreno says that Doom has a penchant for “really old gear” and still employs floppy disks as part of his recording arsenal.

“I think that’s inspiring to me, because it’s not like he’s got an iPad in some room and he’s making shit that sounds like everyone else,” Moreno says. He goes on to praise Doom’s tireless, and perhaps eccentric, work ethic.

“I’ll get an e-mail at 7:30 in the morning sometimes, and it’ll be a 30-second clip of four chords with this weird loop around it… It’s kind of cool to see how [Crosses songs have] evolved from something as little and abstract as that.”

Moreno was the final piece of the Crosses puzzle. Originally, Lopez had planned on having a revolving door of different vocalists to sing over the music he and Doom were creating, but once he heard Moreno sing over a track, it seemed like he needn’t look any further.

“Once we heard what he could do over it, and it just really made sense,” Lopez says. “It all just sounded like something we could hear Chino’s voice on. He basically told us, ‘I don’t want anyone else singing on these songs.’ It was nice that it worked out that way, that it was really natural and really organic, and nobody was forcing anybody to do anything. He was like, ‘I really like this. I want to sing over these songs.’ He heard it, and then we started writing more songs, and he said, ‘I want to sing on all of these.’ So we were like, let’s do it.”

“I’m just that good,” Moreno quips.

It must have been the right formula, because the partnership became pretty prolific. Moreno reports that the trio produced over 20 songs in about six months. The group released its first album, a five-song EP titled EP ✝ in August 2011. The album was released for free download through the Internet (it can be downloaded at Crossesmusic.com). Another EP, EP ✝✝, will be released in the same manner on Jan. 24, 2012. The goal is to release a third EP thereafter, and Moreno hopes that they will then compile them all into a full-length album along with five new songs. Both he and Lopez are reveling in the fact that they’re making this music on their own, with little outside pressures or expectations.

“To me, that’s one of the lamest parts of being a part of a big label, at least from my experience,” Moreno says. “Every time you’re making a record, you have someone’s opinion who’s outside of making the record, it’s always a damper.”

“And not so much the label, but anticipation from outside the project…right away there are a million opinions of what it’s going to sound like, what it should sound like. We went into this without any of that. It was cool to do it for fun as it went along. Now that it’s done, I guess people will have their opinion now, but it’s done. It is what it is.”

What it is may not be what Moreno’s fans expect or even want to hear from the lead singer of Deftones. EP ✝ is a dark and brooding, ambient yet heavy release, perfect for turning up loud in your headphones and losing yourself in. “This Is a Trick” opens the album with creepy organ sounds washing over a glitchy digital beat that gives way to a chorus in which Moreno’s voice fluctuates between an almost pleading tone to a more metallic yell. From there, the EP traverses down more of a trippy, atmospheric road. Lyrically, the album seems to hold common themes of fantasy versus reality. Moreno says that these are ideas that are actually apparent in his other projects.

“I have a hard time deciding that I’m going to make a song about this topic and just doing it,” he explains. “To me, that takes away all the fun. It puts up walls all around you… I think that’s where the escapism comes through in the lyrics, with all my projects. It’s not like I write differently for this project or that project. When I sit down to write, it comes out however it comes out. A lot of times, it’s a sort of fantasy/escapism, things that are so detached from everyday life or emotions or feelings. I think those things come through anyway.”

Similarly, Lopez and Moreno have a take it as it comes approach toward Crosses. The band will be playing a series of live shows starting Jan. 31, 2012 something they hadn’t really planned to do with the project at its inception. Crosses will play a string of four dates in California, and then two dates in South America (Santiago, Chile for Lollapalooza Chile and Quilmes Rock 2012 in Buenos Aires, Argentina) in late March/early April.

As for the upcoming EP, Moreno gave few details. He says that he doesn’t feel comfortable describing what it will sound like, but mentions that it was recorded at the same time as EP ✝, so it will have a consistent feel, though it will probably be more up-tempo.

“I don’t want to give anyone any pretense of anything,” Moreno cautions.

Those with adventurous ears may find Crosses very rewarding. If nothing else, it’s a shining example of what a group of talented songwriters can do when they’re free to create as they will.

“I think that’s a liberating thing, especially for Chino, that we write, we record, we mix the record, and we basically turn it in and it’s out,” Lopez says. “There still aren’t a lot of people who know about it, which is cool. There are more people learning about it every day, which is kind of what we wanted.”

Crosses will play Ace of Spades in Sacramento on Feb. 3, 2012. Also performing will be Secret Empire, Dawn Golden and Rosy Cross. Doors for the all-ages show will open at 7 p.m., and tickets can be purchased through Aceofspadessac.com

Anton Barbeau, Scott Miller / After Excreta, Side Effects

Javalounge – Wednesday, Dec. 28 & Thursday, Dec. 29, 2011

DCOI, a punk rock band based out of Davis, just finished hanging their black and white banner last Wednesday night at the Javalounge when an argument between members of the band and venue owner Toben Woodman took place, ending the evening of music immediately.

After Excreta from Vacaville, Calif., and Side Effects of Oakland performed at the Midtown coffee house, more than 30 attendees waited for DCOI to close out the night, but when words between the band and Woodman during stage setup escalated, the evening of punk rock music was sealed with missing equipment, damaged property and plenty of angry show-goers.

“I’m not going to point the finger at anybody, but there were only like five people left in here, so it’s a real short list,” said Woodman about the missing equipment and added a group of people threw chairs into a dumpster and broke the venue’s signs.

“The PA’s missing, dude,” was overheard within the crowd of people congregating on the sidewalk in front of the venue.

“That particular style of music is more aggressive punk rock,” Woodman said. “We, me, I, the Javalounge, allowed that to happen here because we were reaching out to them. I am not reaching out to them any longer. They will not play here until my stuff is returned and even then, it’s debatable.”

Submerge’s attempts to reach DCOI for comment were not answered as of press time.

Other items broken that night, according to Woodman, were smashed microphones and chords.

Scott Miller

Despite a missing PA system, the show planned for the following night with Scott Miller and alternative rock singer/songwriter Anton Barbeau was still a go.

“I was going to go borrow the money if had to, to get another [PA system] because that’s what we do, the show goes on,” explained Woodman. “Fortunately the community reached back to us in positive ways and loaned us the equipment and a guy came forth tonight who had heard about what went on last night [and] offered to let us borrow one indefinitely if we need to.”

Thursday night’s show saw a wide demographic of attendees, from salt-and-peppered-haired adults wearing all black to children occupying the big orange sofa. The smell of coffee paired with reverb from the single microphone on stage dismissed the previous night’s incidents as Miller opened the show without introduction, taking requests from the crowd like, “Idiot Son” from the album Plants and Rocks and Things when Miller was in the San Francisco-based band the Loud Family. Not a seat was empty in the coffee shop during his entire performance, which included live excerpts from his book Music: What happened?, a cover of the Beatles’ “I Want to Hold Your Hand” and a duet with headliner Barbeau.

Barbeau, a longtime Sacramento musician, is known for his albums The Horse’s Tongue and Waterbugs and Beetles released in the early ‘90s, but the man has a never-ending musical resume that includes writing and producing the album Bag of Kittens with singer/songwriter Allyson Seconds.

Punk rock, indie or maybe it’s a noise rock booked night at your venue of choice–still the Sacramento music scene is both unpredictable and entertaining. One evening hardcore and punk rock reign supreme within the coffee shops and pizzerias that double as venues, but 24 hours later, the alternative singer/songwriters of the ‘80s are witnessed reviving the classics. Although few all-ages locations exist, it’s apparent from last week’s hiccup that venues will still find a way to put on a show.

After numerous projects, local musicians find a home in Mondo Deco

Sacramento is in the grips of another icy cold night in November. Twenty or so local musicians and music aficionados have escaped the cold, spread around the living room of an apartment talking over each other and wine.

This is a listening party, and these people are part of a tight-knit circle of friends who have been asked to be the first to hear local band Mondo Deco’s debut album, Pleasurefaith, a blend of ‘60s-esque pop rock combined with gritty rock ‘n’ roll. A friend of the band, I too stand in a circle of people as the album plays from the big speakers set up around the room.

“This is not a focus group,” vocalist Jeremy Greene and bassist Steve Robinson jokingly reassure us. They are, however, asking friends to listen for which song is their favorite.

Meanwhile, an ongoing slideshow of band photos plays on a TV screen. To hear the full sound of the album, I walk into the next room, passing the wall lined with electric guitars to one of four chairs where a pair of headphones awaits on a seat. This once average room has been transformed into a full-fledged recording studio. On the other side of the chairs is a former closet now functioning as a sound booth. To the right is a massive hand-built desk where the mixer and computer are set up.

This is where the mastered album we are now listening to was recorded, mixed and engineered by Robinson.

For the past several years, this apartment, Robinson’s apartment, has more or less become Mondo Deco’s headquarters. It’s where they rehearse, where they record and now where they have interviewed.

Only an hour before, I was sitting with three of the four guys in the group (minus drummer Billy Ewing) around the fireplace talking about the album and everything that has gotten them to this point.

It was two and a half years ago that Mondo Deco, named after the opening lyric from the one-hit wonder “Motorboat” by Jimmy Jukebox, became an official band, they tell me. That’s when “the magic happened.”

As Greene sees it, forming Mondo Deco came out of necessity. Up to this point, members have worked on their other local projects, including Matinee Idols, Wanchai Daggers, Electric Teenage Bedroom or GGM (formerly Goodness Gracious Me!).

But Mondo Deco is the band Greene and Ewing envisioned would get people moving and shaking again at local shows, engaging an audience to do something other than just stand around.

Reuniting long after high school when Ewing moved back to Sacramento from Monterey, Calif., the two began planning Mondo Deco. Greene found Robinson in his audio engineering class at Sacramento City College, and guitarist Kolton James would later be introduced through mutual friends.

The band was almost complete, except they knew they wanted a woman’s touch. They had go-go dancers and doo-wop girls in mind, or female-backed ‘70s funk bands like Sly & the Family Stone or Parliament.

Female counterparts would not only add another dimension to the songs and the live performances, but they would also provide a sexy element.

They discovered their girls soon enough. Keturah Gibson and Jessica Carter were added to the band as backing dancers and vocalists earlier this year. Gibson has more than 10 years of dance experience and Carter was recruited from a video shoot with local burlesque group the Sizzling Sirens.

As a six-piece, the band is now looking to shake up a local music scene that seems to have faded over the last three or so years.

“I think a lot of people would rather go to a DJ night, and we want to start to put on shows rather than just be the background music for people trying to get laid in bars,” Robinson says.

To sum it up, there is a widespread disinterest in live music these days, Greene adds.

This explains why Mondo Deco has had such a methodical approach to putting their music out into the Sacramento scene, whether it is in the form of an album or performance. Since their beginnings they have played a modest number of shows, perhaps 15 to 20. They have been selective of which shows to play around town and what nights of the week they fall on.

“Every single time we played, we wanted to reinvent the wheel with what we were doing live,” Robinson explains.

Along with the desire to be an attention-grabbing band, similar music taste is also a strong force in the group–throwback genres and what they agree are the greatest musical eras: the ‘50s, ‘60s and ‘70s. Names like Bowie, T.Rex, The Beatles or the Stones bear great weight.

Occasionally, newer music has been influential. For instance, James and Greene share an appreciation of The Raconteurs, which encouraged both of them to sing leads.

“I think that we all have an appreciation for what Jeremy adds as being a frontman, but we also do everything we can to bring him down from his pedestal,” Robinson says.

Keep in mind that while he maintains a straight face, half of what Robinson says is in jest.

He regains seriousness and continues, “There is a very deliberate effort for it to be a full band; everything should be a collaboration. There is an effort to make sure all of our egos are in check.”

“That’s why everyone sings in the group,” Greene adds.

Giving Pleasurefaith a listen, the vocals sound noticeably harmonized. This is because most of the vocals were recorded in the same room at the same time using a mid-side mic pair.

“We set up a couple of mics and really tried to feed off of the chemistry between us, rather than just tracking the vocals individually and placing them on top of everything,” Robinson says.

This pertains not only to the vocals, Greene points out. Most of the rhythm and beats were recorded live as well, in an attempt to keep the album as organic as possible.

Then they would incorporate effects. For instance, the tremolo effect or “wah wah” of the guitar is used in both “Lost Her Number” and “Young Man.” They recorded the guitar, sent it to another amp and upped the tremolo to give it a more “lush” sound.

On the first few listens, the lyrics on the album aren’t easily comprehensible. To write the songs, vocals are used more as instruments to match the musical arrangement of the songs.

“For the longest time I’ll just be throwing in garbage for lyrics that don’t really pertain to anything, they are just about the feeling,” Greene explains. “Cadence and melody and all that come first, and then you can piece in something that’s worth hearing, worth reading.”

Wordless melodies are then crafted into something meaningful. In “Far to Fall,” Greene and James describe an ominous telling of the apocalyptic ways in which the human race is doomed, either by the nuclear war, global warming or crashing economies.

“A fun aspect for writing lyrics with this particular group is bringing in a sense of fable or storytelling in general…things that slightly hint toward Snow White or alchemy,” Greene explains. “All of these things are greater stories that are out there and have been for thousands of years. Why not write more about them?”

Like most newer bands, the band is still in the works of defining their sound. Despite the influence of the great musical eras, they strive to keep theirs unique.

“There’s way too much era rock going on these days. People have a hard time finding their own voice,” Greene adds. “But if you can pick and choose from what you really appreciate, different genres or different eras, you can kind of put your own twist on it.”

Now the band is in the mindset of releasing another EP within the next six months. Robinson suggests that while Pleasurefaith songs bear a more classic, ‘50s, ‘60s and ‘70s rock ‘n’ roll feel, some of the post-Pleasurefaith songs they have written in the past few months may be evolving into less predictable prog-rock territory, alluding to unconventional time signatures and tempos.

Now that they are a record deep, the clock is ticking to figure out a musical direction and birth the next record, Robinson says.

Aware of this clock, the group continues to methodically consider all options–putting out singles versus EPs or full-length albums.

“As much as the Sacramento music scene might be slightly dormant right now, I think there are people out there that want new music to constantly be coming on the horizon,” Robinson speculates.

“We want there to be an effort to actually captivate and get Sacramento bands to put some kind of conscious effort into putting on the kind of show that people want to pay to see.”

Pleasurefaith is a reference to this very idea. The album is named after a phrase from the Gregory Maguire’s novel Wicked that encourages hedonism and indulgence as the greatest good.

Robinson brings the conversation full circle.

“I think that idea that the most important thing, like the Holy Grail, is the pursuit of that enjoyment [is] an analogy of why we formed as a band,” he explains. “Music is something that we enjoy doing, but it’s also something that we want to be enjoyable to go see. We want to be a show that assaults the senses.”

Local singer-songwriter Sherman Baker recently released his second EP, Panic on Seventeenth, and will celebrate with a show at Luigi’s Fungarden on Friday, Dec. 2, 2011. Fans of Wilco, Violent Femmes and The Pixies are sure to dig Baker’s nasal-y, folk-meets-punk-rock vibe. With your $5 admission to the show, which starts at 8:30 p.m., you’ll get a free download card for Panic on Seventeenth. Accompanying Baker that night will be Joseph Kojima Gray on bass and Brian Guido on drums. Both are also in the band 50-Watt Heavy. Opening the show will be Brolly the Well and Damon & Mason (of the band Forever Goldrush). Baker worked on his new four-song EP with Robert Cheek (producer, engineer) and Matt McCord (played percussion on the recordings); both are longtime staples in the Sacramento music scene. The four songs on Panic… will show up in some form or another on a full-length album Baker plans to record in February 2012 called Seventeenth Street, which will also feature eight brand new songs. Baker plans to spend two weeks at The Hangar, again with Robert Cheek manning the boards. For more information and to keep in the loop with all things Sherman Baker, visit Shermanbakermusic.com

Reggie Ginn’s third album puts her passion in perspective

Back in high school, Reggie Ginn decided she wanted to learn how to play the piano. But unlike most students she tossed the Basics of Piano book behind her and ditched the formal instructor that would watch her every move. All she needed was a little help from Tori Amos.

When I caught up with the grateful musician on an early but sunny Saturday, her outgoing personality made it seem like we had already knew one another and were just catching up on each other’s lives. As we sat on a table outside of the Sacramento Comedy Spot, we chatted about her new music, learning piano and the importance of human connections.

What’s the title of your new album, Passion in Perspective, mean?
It’s one of those names that can be read in its own way. When I decided to call it that I asked different people, “What does that mean to you?” and a lot of people had different answers. I thought, that’s perfect because that’s exactly what I want to get out of this album, to get different responses and for people to take songs in different ways. When somebody listens to this album I want them to take themselves out of the shoes they are in and see the songs and the world in a different way, that’s the perspective point. For instance, one of the songs, called “Bathsheba,” is written from the point of view from King David. Two of the songs are written through animals’ eyes. So it’s just the art of having a song evolve either through the way you are listening to it, when you’re listening to it, or who you are. So I hope that everybody takes something different from each song.

On your website it says that you want the audience to “not feel alone” through your music. How do you try to do that?
My last album was Sing for the Voiceless, that’s what I like to say, because it’s kind of the vagueness of the song and how everyone can relate to it in their own way. Even though I wrote it from my own point of view and own experience. When you relate with anyone it causes some comfort because you know you are not alone in whatever you are going through. Multiple times I have had people come up to me and say, “Your music means so much to me. That’s exactly what I’ve been trying to say but have never been able to say it before.” I find it a very big gift to be able to put into words what other people are feeling and it helps them release.

Was it difficult not to have a formal teacher when you were learning piano?
No, it was easier, I think. I tried several times with several different teachers when I was younger. I just didn’t have the attention span. It’s something your parents say, “Oh, go do this.” You don’t really want to, so I didn’t. When I was a junior in high school, I knew I wanted to be a singer. I was writing poetry, and I wanted to express myself in some way. I couldn’t depend on someone playing guitar or accompanying me. So I said, “I’ve got to do this by myself.” Piano just really spoke to me, and like the title of the CD, it was the “passion” that drove it. That’s why I got it. It really just came to me naturally. It’s really amazing because I know a lot of people struggle [to learn piano]. It’s not an easy instrument. But for some reason I think it comes naturally to me.

Who are your musical inspirations?
Tori Amos is really one of the artists that spoke to me most… She really taught me how to express my feelings and how to learn play. I love [an] artist that can be different in a way that’s raw. For instance, PJ Harvey is one of my favorites, because she doesn’t censor herself or worry about how she’s sounding. She doesn’t have to be perfectly on key or just beautiful all the time. She just wants it to be raw, empowering and in your face.

What do you think of the Sacramento music scene?
I really love it here, actually. I went to Los Angeles for a year, to try out things. I wasn’t ready for it, but I did it anyway. It was so cutthroat. I came running back to Sacramento and realized I really needed to establish myself and needed my own town first before going off to somewhere big. Everybody is just so tight-knit here. Once you are in, you’re in. It’s great and there are some super talented musicians that I’m honored to be in the same town as.

What do you do before a show to get yourself pumped?
What I usually do is I talk to the people. I like for people to feel comfortable when they are going to see me perform. People who don’t even necessarily know who I am or they’re there for someone else, I like to bring them in, so they have a reason to stay. Like, “Oh, this girl was nice to me, she’s also a performer? Alright I’ll stay for her set, even though I was going to leave.” Because it’s really important to draw in your audience, whether it’s when you’re on stage or off stage. It’s important to have a connection and let them know they are appreciated because that’s why I’m doing my music, is to have people hear it.

The release of Passion in Perspective will be celebrated at Luigi’s Fungarden in Sacramento on Nov. 12, 2011. The show will start at 8 p.m. and will also feature The Kelps and Fierce Creatures in support. The all-ages show will cost just $5 to attend. For more info to Reggieginn.com.

Longtime Sacramento music scene staple and passionate advocate for the arts Harley White Jr. is bringing his sixth White Noise Festival in 10 years to the Torch Club on Sunday, Sept. 11, which also happens to be his birthday. This year’s lineup features well over a dozen of the regions greatest artists including The Broun Fellinis, Elements Brass Band, DJ Larry Rodriquez, Aaron King, Jimmy Pailer, Electropoetic Coffee, Mike Farrell, The Addict Merchants, The Tender Cinders, The Dean-O-Holics, The Sizzling Sirens Burlesque Experience, Exquisite Corp, The Cuf, Prieta, Take 5, Kenny B., Sankofa, The Cave Women, The Yarddogs and, of course, The Harley White Jr. Orchestra. “The White Noise Festival offers me an opportunity to have some of my mentors, some of my students and some of my friends come out and support the Roberts Family Development Center where I teach percussion,” Harley recently told Submerge. “At RFDC we don’t really have a budget for instruments. We’ve been trying to get them some drums and stuff, so this year’s festival is a fundraiser to get money for the arts at RFDC, or at least bring awareness to them.”

Harley originally found the Roberts Family Development Center a decade ago after finding that the majority of students for his private music lessons were from affluent white families. There was nothing wrong with that, he noted, but he yearned for more diversity when it came to spreading the art of jazz. “After I got into [teaching private lessons] for a while I was like, ‘I’m not affecting any poor black kids,’ and that’s when Roberts Family Development came in. I was like, ‘I can’t be out here and teach jazz to just affluent white kids. If I’m going to do this, and I’m not hatin’, I’ve got to make some time to make sure some kids in the hood get some of this.’”

Ever since, he’s been “the music guy” at RFDC. His goal with this year’s White Noise Festival is to raise $5,000; with a lineup this impressive, we’re thinking that isn’t too far-fetched. He pointed out that one highlight of the day will be when his orchestra is performing with both the Sizzling Sirens Burlesque Experience and The Dean-O-Holics at the same time. “We’re going to do this mega burlesque-y, lounge-y, ‘50s Rat Pack set,” he said. To purchase tickets for just $10, head to Sacramento.ticketleap.com/whitenoise. To learn more about the Roberts Family Development Center, visit Robertsfdc.com.

Modern day pitfalls can’t stop the release of A Single Second’s new album

Dead bodies, delivering babies, opening for punk rock legends G.B.H.–the guys of A Single Second have not only racked up the street cred, they seem to have seen and done it all during their nine-year career as one of Sacramento’s longtime post-punk bands. Call them music junkies or workaholics, they’ll accept either label, but these four musicians have surely logged the man-hours to earn either pseudo-title. Their musical resume boasts over 1,000 shows to date, including the Maloof Money Cup in Orange County two years running, our own California State Fair just recently, and not to mention a few dozen local shows sprinkled throughout their already busy schedule.

Despite witnessing their fair share of lineup changes, the guys of A Single Second–Shawn Peter (vocals, guitar, trumpet), Aaron Holt (lead guitar, vocals), Jason “Mogley” Tilsey (bass) and Dave Girard (drums, vocals)–are as eager as ever to tour California and travel the Northwest to promote their newest album since the release of 2005’ a Smiling Politely. After many bouts with computer and hard drive issues, ultimately delaying their second self-titled full-length album’s release, they’re itching to take the show on the road.

Why has it taken A Single Second so long to release another album?
Jason Tilsey: It was supposed to be out two years ago, but we’ve lost it a bunch of times. Computer problems, hard drive problems, but we’ve finally got it together. I think it was more of a blessing that those computer problems happened because the songs sound a whole lot better now than they did two years ago. They’ve been ironed out and just keep evolving to the point where we’re comfortable where they’re at now.

Tell me about collaborating with Lydia Gavin from Aroarah on this album.
Shawn Peter: We’ve been friends with Aroarah for a long time. I’ve watched them since high school evolve into not only beautiful people, but excellent musicians. I like to collaborate with as many people as possible. Lydia was just ecstatic just to do it; she was really stoked. The song “Wednesday” is a new song we have. We haven’t even played it live yet, and she just made the difference in bringing that song together vocally.

What song(s) do you feel most connected to?
SP: “The Guide.” I’m a Downtown Guide and I see everything. I’m a bumblebee on K Street. I’ve been doing this job for 11 years. I’ve been beat up, I’ve helped people, I’ve almost delivered a baby once. Dead bodies. I write about love, like in the song “You” is about finding the perfect mate and being afraid of losing it. “Dark Room,” that song’s about getting caught doing stupid shit and people calling you out on it, and you’re either going to lie or tell the truth.

How’s the band’s chemistry now?
SP: Playing with Dave, Mogley and Aaron over the last three years, it’s been the best the band has ever been. Not to say I didn’t like the moments before, but, we’re not afraid to try anything. We write for ourselves and we write music for ourselves. And, hopefully, our audience is going to like our material. It’s really nice to write something new and try it out and see how the audience is going to react to it.

Do you feel you challenge each other?
SP: Most definitely. Aaron writes the most intricate guitar stuff where I’m like, “Whoa.” My classic phrase is, when I write a song, Aaron smartens up my songs, and when Aaron writes a song, I kind of dumb him down a bit [laughs]. I’m not going to toot his own horn, but he’s probably the best guitarist I’ve ever played with.
Aaron Holt: We’re not scared to shit on everyone else’s ideas, too. Let it be known. It might be me, a lot. I got the big mouth.

What inspires you as a songwriter?
SP: Life. I write about my personal experiences. Personally, I went through some real tiring times in the last two years and if it wasn’t for my band mates, I don’t know where I would be, honestly. I had a lot of dark moments going on in my life and music helped me pull through and the lyrics revolve around those experiences. I’m just trying to take a positive step toward everything.

Tell me about opening for G.B.H.
SP: I’m an old school punk rock fan, and it was an old school punk rock show. You had your classic, mohawk-leather-jacket-with-the-patches kids in there. Classic punk rockers. We actually had two guys literally sitting on the stage while we were playing facing the audience and they were expecting hardcore punk that night, but we got a really good reception where they clapped after our songs, kind of like, “You guys are rad, not really what we wanted to hear tonight, but you guys don’t suck. Right on.”

What does the Sacramento music scene need?
AH: More people need to go out to shows. I think in the last year or two it seems better. There are more venues opening up. We’re sitting across the street from Luigi’s right now, and there are people out on a Tuesday night. I don’t think [the scene is] as good as the days of the Cattle Club, but it’s better than it has been. There’s a lot more people that are going out, but more people could always come out for sure.

When will the band call it quits?
AH: We’ll call A Single Second quits when it’s not fun anymore. Who knows a year from now, two years from now, if someone’s not having fun? A Single Second or not, I guarantee in 20 years, I will still be playing my guitar whether I’m out playing at a club or something. I’ll have my acoustic out, trying to pick up on younger women at the coffee shop [laughs]. I don’t know. I just love to play music. It’s like therapy–well, not therapy, it’s an outlet.

Does a community of musicians exist within Sacramento?
SP: You go to any show and you really know who’s in what band. We all play with each other and collaborate with each other. Half the audience is always going to be other bands and the friends of those bands. I could rattle off for a half hour all the bands I like playing with: Kill the Precedent, First Class Citizen, Bastards of Young, the Secretions…bands who’ve been around since the ‘90s, like Will Haven’s still doing it. There’s a lot of bands and we’re all listening to and supporting each other.

Why do you continue to play music?
SP: We just want to keep doing things that challenge us. We’re not doing it for anyone but ourselves, and if people happen to like it, then that’s awesome. I play music on stage and it allows me not to be an animal in every aspect of my life. That’s my outlet to let it go. My frustration, my excitement, my everything. I give it all when I give a performance. I’m a music junkie. If there’s any drug in my life, it’s music. And I’ll never give it up.

On Friday, Aug. 12, 2011 A Single Second will play the first of two official CD release shows at Concerts in the Park in Cesar Chavez Park. Get a beer garden wristband and get into the guys’ show at the Distillery later that night for free. You’ll have another chance to catch the band Tuesday, Sept. 21, 2011 at 6:30 p.m. at Ace of Spades. Tickets to this all-ages show are $15. D.R.I., Kill the Precedent and Hoods will also perform.