A Musical Melting Pot

Northern California’s very own hip-hop/reggae fusion group, SouLifted are turning heads with the release of their new full-length album Higher. The group seamlessly blends classic hip-hop sounds with reggae, jazz and soul embellishments. The result is a unique sound that all walks of life can enjoy. “It is music from the Earth for the people—a natural reaction to the world we live in and the things that influence our lives everyday,” explains Intalect1, who sings, raps, plays the melodica, turntables and assists with the production of their recordings. He continues by saying, “That is why each song we make is dynamically different in its own way. We believe in progression and that is where Higher came from.” Submerge recently spoke with Intalect1 about the beauties of self-producing their record, positive messages and starting a mosh pit in the streets of San Francisco.

First off, what happened with your other group Heart, Life and Soul? You and Lady Grace [vocals] are still doing that right?
Yeah Heart, Life and Soul will always be a part of what we do. That is where it all started for us, and we have a lot of unreleased material. We even play a few of our HLS songs during the SouLifted shows. We look forward to putting together a new HLS album that is produced by SouLifted, utilizing the talent that this group has with production and instrumentation. Right now SouLifted has really come together though, so that has been our primary focus. We need to spread the word that SouLifted is here and still pay homage to our roots.

So, how did things get to where they are now with the current SouLifted lineup?
Well, Zebulon [vocals, drums, production] and myself started making music together quite a few years ago. We did a few tracks together and they always turned out good. Our styles are different but they compliment each other well. DJ BePhlip [turntables] has been DJing with me since we first got turntables when we were like 15. We taught each other how to scratch and mix and he just took it to the next level with the turntables while I always focused more on the songwriting and emcee side of things. It was only natural for Lady Grace and I to work with these guys.

We actually met up with the rest of the crew from working at the Guitar Center store in Roseville, five of us actually worked together in Pro Audio at one point. Brian [Fleshman, keys, drums, production, vocals] and Zeb met first, and he automatically fit right in with the crew like he was always a part of it. Brian had some great production skills and his unique songwriting seemed to be the missing link for the group to really come together.

Scott Rodell [keys, guitar, vocals] and Steve Leonard [bass, guitar] are the two newest additions to the group and they have really added to the SouLifted sound. Both of them are very talented multi-instrumentalists and they often switch instruments throughout our live sets.

That’s a large group! Where do you all live? What do you consider your “hometown” as a band?
We consider our “hometown” to be the Foothills. We all live between Auburn and Sacramento pretty much but we definitely rep the Foothills. It is a beautiful place to be, and we all somewhat grew up around here. Zeb is from Georgia, Brian has lived in Florida and Canada, Lady Grace in Arizona, and Scott on the east coast too. I was born in Sacramento, so I got to show my love for Sactown!

How would you describe SouLifted’s style of music? Is it hip-hop first then reggae, or vice versa? How does it differ from Heart, Life and Soul’s sound?
SouLifted is a musical melting pot with many different styles of music but it all revolves around our hip-hop roots. So yeah, at heart we are a hip-hop crew but with so many diverse influences. But that’s what hip-hop is all about—taking what ever you have and what you love and turning it into something unique and full of self expression but still from the street. We definitely do add a strong reggae element to our sound, but not as much as with the HLS music. SouLifted seems to blend all of our different musical interests into one dynamic style of sound. Zeb’s got that classic hip-hop style mixed with some experimental and pop sounds, and he is also an amazing drummer. Brian is like a composer, with more of an electronic background and melodic style, with skills on the keyboard and drums. Lady Grace has that soulful voice and adds some spoken word poetry into the mix. Scott’s music has a jazzy, classic rock feel—almost like The Beatles meet the Beach Boys with a more edgy indie sound. BePhlip comes from a hip-hop turntablist background, but spins all kinds of music. Steve plays in a funk band, a cover band and a more rock-style band, so he can pretty much play anything. I have more of the reggae and dancehall sound, but I have always mixed in a hip-hop style. So although the hip-hop and reggae influence is really apparent in our music, SouLifted cannot be defined by one or two genres.

How long did Higher take to complete? How was self-producing it?
We started Higher toward the end of 2006 before we even realized what it would become. We started recording some tracks together and decided that we were going to put a new project together. Everything just fell into place from there and the album really started to take shape in 2007. We are all pro audio guys so we have had some good experience with recording, engineering, mixing, and mastering. We actually recorded the album ourselves in three different small studios with most of our own gear. It was really amazing to be able to self produce this album because it gave us the ability to make it sound the way we heard it. We spent a lot of time mixing the album and adding the subtle effects and instruments that make it such an interesting album, I know there were times when Brian and Zeb spent a couple of days straight just working on one song. So it was a grueling and intricate process, but very rewarding! We all put our creative input into this album and that is what makes it so unique and original.

How is the “Soul’d Out Tour” coming along?
The tour has been very successful so far. It is all self booked and promoted just like our record- independent. We played two nights in Tahoe at the Biltmore, and that was a lot of fun. It’s crazy when the place doesn’t close and they serve alcohol all night; it’s like the party doesn’t stop. None of us are really big drinkers, but we can definitely hold our own! It was real dope to see our name on the marquee for the 1st stop on our tour. Definitely a good weekend with good shows both nights. San Francisco was the next stop and that was amazing! We played for four hours straight on the streets of PIER 39 right in front of the Hard Rock Cafe and the response from the people was beautiful. We had consistent crowds of all ages and ethnicities that at times reached over 400 people, and we sold the entire box of 100 CDs that we brought. There was also a crazy group of dancing teens that rocked out with us and we even started a small mosh pit in the street. We did a small radio show after that back in Nevada City for Aaron Eisenberg’s Skaters Paradise show and that was fun too.

One thing I’ve been very curious about is how you guys find inspiration for such positive lyrics in such a hard time with the economy going to shit, gas prices going through the roof, etc. How do you deal with all that and still keep your message so positive?
That is what SouLifted is all about. Exposing these day-to-day conditions and showing people how to go “Higher” to elevate above and beyond them. We are all influenced by these harsh living conditions everyday, but music is the way that we express ourselves and spread our message to the people who need it most. Too many people, especially the youth are misguided by the media (popular TV and radio) and we want to open their minds to some real issues that most pop groups won’t cover. We have always tried to keep the message positive, but we also need to speak the truth. So not every song is about 1Love or peace and unity, our songs are about real issues that affect our lives. It’s also hard being an independent group in today’s economy”¦ With gas prices going through the roof we need to start finding more sustainable ways of transportation. We carpool as much as possible! Overall, we have to strive to be ourselves and keep our heads high despite the way our system will try to mold us, and we have to be positive role models for the youth of the world that will be the next generation of musicians and politicians. If we make a change today, they might listen tomorrow.

I support taco trucks, hot dog vendors (especially those dudes who mix in the bacon, onions and peppers), ice cream trucks (and handcarts) and basically almost any mobile food service. I admire their entrepreneurship, and most importantly, their food. They work hard, so I have no problem breaking bread with them. For this installment, I’m giving shine to a gem on wheels that some of you may or may not be familiar: the fruit cart vendor.

I have no clue if there is an official name for these. All I know is that on a hot day there are few things as refreshing as a huge 32 oz. cup filled with freshly cut fruits. From what I remember, there weren’t many of any of these carts around town last summer, but I feel like this year they are all over the place; Broadway, Florin, Franklin, Fruitridge, etc. Spotting them is easy, just look for the colorful umbrella on the side of the road; and I swear once you’re aware of them, you’ll notice their abundance.

My first experience with these delights was out in Oakland on International St., where the portions were far less favorable and served in a plastic bag that was not nearly as easy to eat out of as the durable plastic containers found at my Broadway location (I’m gonna keep it real ridiculous and hold onto mine for future leftovers). Ordering is simple; just pick and choose what fruits you want. Choices usually include: watermelon, pineapple, mango, oranges, cantaloupe and cucumber, and you have the option of adding chili powder and limejuice. The chili powder and limejuice sounds a little odd considering all the natural flavors involved, but consider it an added bonus. Maybe on your first trip, try the chili powder in a small dose at first as I can see it not being for everybody, but my thinking goes if they do it, so should I.

For some it might be just a snack, but I can usually maintain with one cup for lunch. Prices vary, but expect to pay somewhere between $4 and $5, and while it might sound like a lot for fruit it’s a small price to pay for a truly healthy lunch. Alright that sounded mad corny, and instead of trying to further convince you I’ll stop by promising you won’t be disappointed.

By Corey Bloom

A Single Second Celebrate Their New EP

In their almost six-year history, Sacramento’s A Single Second has retained only one of its original members, vocalist/guitarist (he plays trumpet, too) Shawn Peter. While for some bands, this sort of turnover may have been the result of tempestuous relationships, but this doesn’t seem to be the case with A Single Second—at least not according to Peter. It’s just a fact of life: People move on.

“You play with a couple of different people over a couple years,” he explains. “We tour a lot. We play an average of 100 shows a year. Life happens. People want to go off and do other things, and sometimes it’s a good break, sometimes it’s a bad one. But everyone who’s ever been in the band, we’re all still friends. I see them around, and they’re doing other projects. Clay [Wolery, drums], who was in the band the longest with me, left back in November, and we still live together. He’s one of my closest friends.”

Wolery’s last recording with A Single Second, the band’s fourth EP Moments (they also have one full-length) which was available for free at the CD’s release party at the Fire Escape in Citrus Heights on June 21.

“I enjoy going to a show and people are giving stuff out for free, and you’re guaranteed to take one when it’s free, says lead guitarist Aaron Holt of the band’s decision to make the recording available at no charge.

Moments features Mikey Atilano of Ghost in the Flesh and Lesdystics on bass, who has now been replaced by Mogley. Dave Girard, formerly of Drowning Adam, now fills the seat behind the drums vacated by Wolery. Mogley mentions that his transition into A Single Second was pretty seamless.

“I knew who they were, I was familiar with their sound and a lot of the songs they were playing,” he says. “At least I knew they were going somewhere, that they had goals and weren’t trying to start from scratch.”

Recently, the A Single Second extended family also welcomed a new member. Mogley’s wife Rene gave birth to his second child, a baby girl, this past April.

“There has been some stuff that we weren’t able to do because of the pregnancy and stuff like that,” he says of balancing the disparaging worlds of fatherhood and rock ‘n’ roll. “But since I’d had a child already, I knew what I was able to do and what I wasn’t able to do, so it’s balancing out. My wife deals with it pretty good. She knew what she was getting into when she married me.”

The songs on the EP cover a wide range of topics in just a few songs. On the title track, “Moments,” Peter writes about the death of his grandfather through the eyes of his grandmother, while “Black & White” is a subtle jab at trend-hopping scenesters. Moments’ lone instrumental, “Buddha Fish,” which Peter describes as “a groovy stoner rock song” is actually one of the older songs in A Single Second’s catalog.

“We did record it on our second EP like five years ago,” Peter says. “It was never really that good of a recording. It was always such a cool song. Clay really wanted to record that one, and I think he knew that was going to be his last record, so I think he just wanted something of that song recorded really well before he left.”

With Moments ready to go and a new lineup in place, A Single Second is also readying their second full length that Holt says the band hopes to start recording in August. When Submerge spoke with the group, they were at Girard’s recording studio in Rio Linda “recording some new material so we can get it down better,” according to Peter.

Peter reports that the band has three songs completely finished and ready to go, while three more are done musically, but in need of vocals. He goes on to mention that the songwriting with the new members is going well and is a truly egalitarian process.

“I think Aaron and I are 50/50 as far as writing the music, but we all have our input on it,” Peter says. “It’s not so much my idea or his idea; Dave and Mogley have just as much input. It’s basically whoever has the best idea for a song is what goes, whether it’s instrumentally, vocally, rhythmically. When everyone has input in the song, it just makes it better.”

Peter takes his band member’s input into account even on his lyrics.

“I usually write the words after the music is written,” Peter says. “And then I bring the lyrics to the guys. If they don’t like them, then I change them; if they do, they stay.”

So much for the band Nazi/frontman stereotype. Perhaps that’s why Peter’s been able to remain friends with his band’s past members. This easygoing attitude is also reflected in the way A Single Second handles their business. Though they have a strong following locally and have followed a rigorous west coast touring regimen over the past five-plus years, A Single Second doesn’t seem to be in any rush to get signed to a label—a refreshing outlook, perhaps, in a time when instant gratification is so prevalent. Peter seems to be happy with taking his time.

“We’re not looking at anything big,” he says of A Single Second’s plans for their forthcoming LP. “If an indie label comes up and releases our record and help us distribute and give us some tour support, that would be great. That’s all we’re looking for. You’ve got to take baby steps.”

Immigrant’s Song

It’s been a busy spring for Elk Grove-based photographer Andri Tambunan—even though he’s now unemployed. Tambunan worked retail for eight years with Verizon Wireless and worked up to the point where he had his own house, two cars and a salary that was roughly $80,000 a year. He even had a collection of shoes that numbered around 80. All in all, it sounds like the American dream, especially when you consider that Tambunan and his mother didn’t have a lot when they came to this country from Indonesia.

When Tambunan was 10, his family moved to San Bernardino from Jakarta. He lived in “a three-bedroom, cockroach-infested apartment” and that he “used to collect cans for money.” He says he learned how to speak English by watching Sesame Street.

“I was a sponge,” he recollects. “I was absorbing everything.”

A year later, Tambunan moved north to the Sacramento area where he eventually attended Elk Grove High School, where, as a junior, he took his first photography class. He was a straight-A student, and by 21, he had a good job and had bought his own home in Elk Grove.

While the cars, house and money were enough to make Tambunan comfortable, they didn’t make him happy.

“I think as I mature, I prioritize things in life,” he explains. “It’s not about having the most expensive things or having a nice car. For me, it’s about pursuing my dream, pursuing my goal, doing what I want to do.”

Another reason for his change of career path was shifting values, Tambunan was looking to simplify his life, and part of that process was separating himself from his stuff. He says that working in retail for eight years changed the way he viewed materialism.

“I just realized people are just raised to become consumers,” Tambunan says. “We’re buying things we don’t really need—big fancy cars and big rims. I mean, I used to be like that, so I don’t really blame them.”

His evolving viewpoint wasn’t catalyzed by any specific incident, Tambunan says, but more a byproduct of growing older. His extensive travels also have played a part in the person he’s become.

“When I’m away, I want to leave everything behind. I do a lot of introspective thinking about what my place is in this world, and what I want to do with my life,” he says.

“One of the things I really enjoy about traveling is that everything is so simplified. You live out of your backpack. I think we make things more complex for ourselves; we make them more difficult than they need to be.”

Tambunan’s travels have also greatly affected his work as a photographer. From June 13 through 15 at the Negative Space Studio, Sacramentans will had the chance to see photos from his journeys through Cambodia, Peru and Thailand in an exhibit dubbed The Art of Life. Tambunan says the three-day event will be a different experience for local art and photography enthusiasts. He believes The Art of Life will be “something I don’t think has ever been done in Sacramento before.”

The Art of Life will feature all black and white photos—”photojournalism sort of stuff,” the photographer says. In addition to photography, the event had a full roster of music, with acts including Cawzlos, Crazy Ballhead, The Bennies and DJ Elevation performing each night beginning at 8 p.m.

“I actually went back to my roots and it’s going to be nothing but black and white,” Tambunan says of the series of photographs. “I shot everything in film and I had to develop everything by hand, print everything by hand. This will be the last time I do black and white, just because the pace of the world is so fast. They want instant results, you shoot something, they want to see it right away, and it’s going to be published in minutes, on the Internet, on Myspace. But I really took my time with this one, because I wanted to go back to my roots.”

This coming July, Tambunan will also look to return to his roots in a different way. The photographer has cashed in his 401k, sold his cars, given his house to his mother and bought a one-way ticket to his native Jakarta.

“I’m at a crossroads, so I’m going to re-find, rediscover myself,” he says. “I’m going to the same places I went when I was a kid. It’s like a cycle. After that, I want to go to China for the Olympics, and then Tibet. I’ll be gone for a couple years, more if I’m lucky.”

Caitlin Gutenberger talks Two Sheds

Since 2006, Sacramento act Two Sheds has garnered much success with their debut album, Strange Ammunition (UnderAcloud Records). The S.F. Weekly has dubbed them “dreamy and captivating,” while other critics have compared them to the likes of Hope Sandoval, Lucinda Williams and Beck. Their folk-rock influenced sound has captured the attention of many. With a new self-titled EP out exclusively on iTunes (Filter Recordings), Two Sheds is back on the road promoting their new material. Submerge had a chance to speak with singer Caitlin Gutenberger during some free time on the tour.

Your new EP was released May 6 on iTunes on Filter Recordings. Describe the recording process with this EP and how it differs from your last record, Strange Ammunition.
It was pretty similar. The only thing that was different was we recorded everything in two days at the Hangar, where before we had four months to do the full record. So, it was definitely something where I felt I was little more under the gun. And there are a few things on there that I recorded at home into Garage Band, so there is that mix of recordings.

I love the cover of the EP. What is the meaning behind the picture?
The cover is actually a picture of my mom. It was a picture that my dad took of her. They were in Mexico and it was 1975. They were on a little trip after they had gotten married and they took a taxicab across Mexico and it broke down right at the Tropic of Cancer. And so, that’s my mom leaning up against the marker for the Tropic of Cancer and the broken down taxicab.

That’s awesome. It’s probably one of the best album covers I have seen.
Well, it was nice to be able to use something that was of my family. On the last record, we put our dog on the cover. We just thought it would be better if we used an image that was personal.

Are there other musicians on the album this time, because I know the times that I have seen you, you guys have had other people come up and play.
Johnny [Gutenberger], Rusty [Miller], James [Finch, Jr.] and myself pretty much make up the core band right now. We have Amber [Padgett] sing background vocals some times.

How has touring been? Seems like you guys are always on the road.
Touring has been great. There’s always the standard tour stuff…flat tires here and there. We’ve played some cool shows. Our last show in L.A., we played with Akron/Family, which was really cool. I think the benefit of touring is getting to meet cool bands and being able to revisit places.

What is your favorite venue to play in Sacramento?
Well, I think for the cozy factor, it would be Old Ironsides. Art is there…he always pours a strong beverage. All of our friends are there…and Larry. Good ol’ Larry.

I know that you guys have a lot of friends who are musicians, but do you have a favorite local act?
That’s tricky. Let me think. I really liked Knock Knock’s record a lot. I’ve always really liked Chelsea Wolfe and her various projects.

You list Elliott Smith as one of your influences on your Web site. What kind of influence has he had on your music?
Well, I’ve always liked music that has an acoustic element to it. I think that has a lot to do with the kind of music my dad played for me when I was younger…like the acoustic Zeppelin stuff and old blues music. So, when I heard Elliott’s music, it kind of struck me in the same way where it felt kind of nostalgic and familiar, but I hadn’t heard it before. It’s really sad and honest and unpretentious.

Any other influences?
I like old soul music. Bill Withers is wonderful. I like Otis Redding, old Stevie Wonder and Ray Charles.

Do you ever get compared to other female musicians because I know that people love to cling to other artists that they are already familiar with.
Yea… Well, the classic ones, being a girl and having a somewhat whispery voice are Hope Sandoval and Cat Power. I get those quite a bit.

How does that make you feel?
Well, I have been very sensitive to it. In most cases, when people say that to me, it’s their way of complimenting our music by saying that I remind them of those artists. It is easy to read too much into it and think that people are comparing because they think that I’m a copycat or unoriginal. You’ve got to try to not read too much into comments like that and understand that as a female artist, you’re going to get comparisons. Most of the time, people are just trying to say that they like your music by comparing. There have actually been times where I have discovered really cool people that I like by being compared to them.

Like who?
Like, Lucinda Williams…I had never heard of her before and I think she is amazing. Someone recommended Bright Black Morning Light and I love their record.

What do you have planned for Two Sheds?
We’re touring through July and possibly August. Filter Magazine‘s label just released our EP on iTunes and the plan is for the EP to be an introduction for those who don’t know us. There are plans to possibly re-release the first record, Strange Ammunition. All things are subject to change, but we’re just going to take it one month at a time.

Stay up to date on Two Sheds visit Ilovetwosheds.com

The Mahogany Urban Poetry Series Returns

Words by Nicole Martinez | Photo by Domonick Porras

The city of trees is in the midst of planting a new seed. The Mahogany Urban Poetry Series, a popular venue in the past, has re-sprouted just in time for those relaxing, warm summer nights. Promising to host live poetry, exceptional music and feature a wide range of talented artists and people, it seems right that a venue for spoken word and expression should speak for itself. Here is what weekly hosts Khiry Moore and DJ Rock Bottom had to say.

What is Mahogany?
Khiry Moore: Mahogany is a collaboration of music, spoken word, and just a collection of people who come together looking for alternatives to the night. It’s an intelligent vibe. It’s like the soul of Sacramento.
DJ Rock Bottom: It’s evolved into various artists and art forms that come together for the progression of the Sacramento scene. Poetry is the emphasis but it’s never opposed to any other art form. We do a little of everything.

Why is it called Mahogany?
KM: Good question. No one knows. When Mahogany started, there had already been different venues going. Every time a new endeavor was started, it was on a different level to what we had prior. So with Mahogany, the idea is that like a tree it grows. Like the rings inside the trunk, you can see where it started and how it matures. And it’s solid so it endures. Plus, I like the wood grain.

When and how did it start? Give us a little background.
KM: When urban poetry first hit the scene a venue was being put on by Conscious Vibes called Mood Swings at the Country Club Lanes. This was back about 1996. After that it moved to a spot called Off Broadway located off Broadway. That spot got bought out and I was fortunate enough to be a part of a group who started a new poetry venue known as The Blue Room. It was with Sean King, Angelo Williams, Marianna, Ifa, Cleo and other poets. It was probably one of the most inspirational venues ever! After that, members of the group branched out and put on more venues with mixed success. Here entered Felix, at that time owner of the Jamaica House. He offered up his spot as a venue to me and so Mahogany was born. This was in 2001. It went on for five years until 2006 when the owners of Sweet Fingers, who bought the Jamaica House, decided to pack up and move to the Bay Area. With that, the venue that kept the poetry flame alive for the urban community ended.

What happened after it stopped and why is it back now?
KM: We tried to keep it going. Flo Real and I founded Vibe Sessions the day after Mahogany closed. Flo runs that now, and I opened a few other venues after that. There was Mics and Moods [Capitol Garage], The Blackstar Lounge [Tunel 21], and most recently The Social [Sol Collective]. The last venue was on the rise, but a fire happened and left the building not fit for use. I was just gonna stop but Zion, the owner of Queen Sheba Restaurant, in the Old Jamaica House/Sweet Fingers’ building, called me up. She told me everyone has been telling her to call me so we can have poetry there again.

DJ Rock Bottom, how did you get connected as the house DJ?
RB: When I came here to Sacramento, it was already Mahogany. I came here from Indiana in 2001. In 2002, I started writing poetry and I would go to different venues. Mahogany is the only one that stood the test of time. I started writing and performing more, then I got into DJing. I started DJing in 2004 and Mahogany is the first place where I got my name. I guess the rest is history.

What’s a typical night like?
KM: Expect some of the old vibe, with a new twist on it. We plan on starting and ending early, with DJ Rock Bottom spinning music from 8 p.m. until 9 p.m., then we will start open mic at 9 p.m., the feature will perform at 10 p.m., and we’ll be done by 11 p.m.. Zion, has also agreed to provide a special low cost menu for poetry night.

DJ Rock Bottom, you are a big part of what makes up the night. What can you say about the music?
RB: Let’s just say it is a unique blend of music that you won’t hear unless I play it for you. It’s music the radio is scared to play.

How are you each feeling now that Mahogany is back?
KM: Optimistic! We have a new energy, a new crew of people helping out, and a new structure. It is no longer a one-man show and I don’t want it to be. We have a second chance. We can still hear the echo of what happened here before. We still here the echo of the spirit of the room as it was before. Coming back, I realize the significance of the venue.
RB: I have this wish that people would get out their box and try something different for a chance. Just try something new. Quit being content.

What drives the two of you to keep it up? Why do you do it?
KM: I really think this is a calling. It’s not something of me. It’s not like I do it. I’m being asked to do it. For me, coming here is like coming home.
RB: I feel like I’m the DJ for the revolution. I feel it is my duty as a DJ to give people more to the music. I’m very passionate at what I do and until I see more being done, I won’t stop, but I’d be more satisfied. I love music. I love sharing.

What is your favorite part about it?
KM: When people get inspired to write poetry or inspired by the venue to write or do anything. And, hearing people talk about the venue. I just want to encourage people to go beyond the open mic.
RB: My ego says it’s to hear myself DJ [laughs] and the response of the crowd when I play music. Then there is the poetry itself and the food.

What is your vision for the venue?
KM: Funding for special events, showcases and to become a go to place for poetry. Sacramento is a growing city. There is a need for a cultural seed. I’d like to think of us as a center for that cultural seed. Our vision is to inspire and pass it on to a younger generation.
RB: I’m here to be the music for the vision.

What do you want to say or tell people about it?
KM: Support! I want people to know we are sincere. We put our whole lives around having this venue. It’s not about money. It’s more about what’s necessary.
RB: Use your voice. That’s what it was made for. And”¦ DJ Rock Bottom for President!

Sacramento’s very own rock outfit Jamies Elsewhere have found themselves in a situation many young musicians dream of. They signed to Victory Records at the end of ’07, they’ve got a new full-length album coming out on May 27 entitled Guidebook for Sinners Turned Saints, they just finished shooting a music video in L.A. for their single, “I Didn’t Mean to Interrupt,” and they are set to embark on a nationwide tour this spring that will bring them through Orangevale on May 17. Amongst everything they have going on, Submerge was able to get in touch with them and chat with one of the founding members, Matt Scarpelli [guitar] about recording, touring and partying with porn stars.

How did you guys get your start? When did the current line up come to be?
We started out in Dec. 2005. Me and my brother Anthony wanted to start a new project. We started writing a bit while auditioning members; we did the usual, posting ads on Myspace, Craigslist and in the press. We auditioned a ton of people and finally met up with Anthony Carioscia who flew out from Chicago to audition and we hit it off pretty quick. Nick [Rodriguez, bass] and Mike [Spearman, keys/vocals], who had been in a local band that dismembered, came out and auditioned as a duo and we all really meshed. The five of us started writing together and jamming while looking for a vocalist. We knew from experience a solid vocalist was the key to any band, so we were very choosy. We auditioned over 30 vocalists from all over the country over an 18-month period and finally came across Chris Paterson. Chris was at a get together that Anthony C and Mike attended; Chris had an acoustic guitar and was singing original songs along with some covers of Saosin, Chiodos and others. Mike liked what he heard and the next night we had him audition and that evening we had him in the vocal booth laying down tracks for the EP.
The final line up was complete in May 2007 and we self-released our EP in June 2007.

How is it being in a full time band with your brother?
It’s awesome. Being on the road away from home is tough and having my brother in the band is like having a piece of home with me all the time. My brother also handles a lot of the business side of things, and he’s really good at that.

How old are all of you guys?
Well I am the youngest at 18; everyone else is over 21 ranging from 22-26 years old.

How many tours have you embarked on thus far?
We have done a few regional tours, but this upcoming tour will be our first full U.S. tour. We are really looking forward to getting on the road and sharing the new music with everyone! I think the upcoming tour with Emarosa, Lower Definition, Take the Crown and Dead & Divine will be the best tour yet. All the bands on this tour are young and fresh, and I think people are going to be blown away by all the talent.

Got any crazy stories from the road?
I don’t know if this is really that crazy but we were in L.A. recently and we were walking down Hollywood Blvd. during the red carpet event for Iron Man. It was pretty late and they where wrapping things up, and we noticed the Highland Club located next to the Chinese Theatre had some kind of party going on, so we decided to check it out. We went up to the penthouse floor and noticed a lot of security and figured it must be some kind of party so our guitarist Anthony C went up to the security guard and talked him into thinking that we were with the light crew for the red carpet event and our boss told us to come up and talk to them about letting us in. The guard was a little skeptical at first but ended up letting us go into the party, he said it was a private party and that we would need to behave ourselves. We ended up getting into the party and realized it was hosted by Ron Jeremy. We got to mingle with some celebs that night, which was pretty rad, and they had an open bar.

How has your experience been with Victory Records?
It’s been great. We feel so blessed to be working with Victory. It’s like having an army behind you; they are so supportive and have made it possible for us to make music our full time career.

How hard was it to choose whom you would record the new album with? Why did you ultimately decide on Casey Bates?
It’s tough because you are putting your sound in someone else’s hands; you have to trust them 100 percent. We chose Casey because we loved his work on all the Fear Before the March of Flames albums and the newest Chiodos album. Casey brings out the energy and the sound is raw, not over produced like some. We shopped producers for a few months and we just really hit it off with Casey and he became part of the band.

Sum up the experience of recording with him. Was it a pleasant one?
The recording went extremely well, everything turned out better than we could have ever imagined! Casey was like part of the band and knew exactly what we were going for. We learned that you can never be too prepared. We really grew as a band working with Casey; it was our first time with a producer, and we learned so much about music, the band and ourselves.

You just finished shooting a new video in L.A. How was that? Who did you work with? When will it be ready to view and what can fans expect?
Yes we just finished shooting a video for the song, “I Didn’t Mean to Interrupt.” It was a blast! This was our first video, and we didn’t really know what to expect. We worked with 1171 Productions and director Todd Waters. 1171 is a pretty big company and have done some amazing videos for bands like Angels and Airwaves, Taking Back Sunday, As I Lay Dying, Def Leppard, Eminem and more so we were really excited work with them. 1171 far exceeded our expectations; they took really good care of us going above and beyond. The sets they built where amazing and we got the all-star treatment. The video should be done in about two weeks so keep an eye out for it.

I admit to not being well versed on Thai food; all I know is that I like it. I couldn’t tell you what is authentic and what’s not, but Taste of Thai, located on 1628 Broadway, makes the guessing game easy. Their tag line reads, “Authentic Thai Cuisine” and is followed by the key attributes, “Fresh, Healthy and No MSG,” so I would just assume that this is the real deal.

The small restaurant probably has around 20 tables, and is set up giving space between tables. Incredibly clean, and moderately decorated with classy decor, there is a soothing vibe that fills the restaurant. The staff is always pleasant and never gives off that feeling that they just want you to eat and leave. All the elements of a good meal are in place before the food even comes.

Being the low budget baller I am, the first thing I consider when evaluating a restaurant are its prices. Taste of Thai meets my standards of price to proportion: a meal for two (plus tip and an appetizer) will cost you about $30 dollars, but you will have at least two meals leftover. Doing the math that’s around $6 a serving, which isn’t bad considering it’s high quality food. Curry and noodle dishes with your choice of chicken, meat and vegetarian dishes cost $8.95, while shrimp dishes go for $10.95, and seafood combinations reach $12.95. A la carte dishes range from $10-$14, and they also feature delicious chicken specialties. Salads are in the $7-$8 range and appetizers fall somewhere between $5-$8—across the board, not a bad deal.

On this particular visit my girlfriend and I ordered relatively bland in hindsight, but sometimes the best gauge of a restaurant’s abilities are how they serve the basics. Starting off with some spring rolls (forget all that fried mess), the tone was set for a meal of fresh and flavorful ingredients. These particular rolls were again of perfect proportion, with just enough lettuce and rice noodles, with a fair amount of tofu and the slightest hint of mint leaf. A sweet and sour dipping sauce topped with peanuts accompanied the appetizers and made the dish that much more enjoyable and addictive.

For the main course we had the vegetarian gaeng massaman curry, which consisted of a light curry with potatoes, carrots, onions and peanuts. The curry itself, which can be ordered to preferred spiciness, was rich in flavor but not overbearing. Each vegetable was cooked just enough to retain some of its crispiness and complemented each other nicely. It was a hearty meal, and could have only been enhanced by meat (my girlfriend is vegetarian, lucky me).

Our second entree was the traditional pad Thai. Lame, I know, but after trying a lot of the other dishes (and enjoying them thoroughly), it seemed appropriate to see how the restaurant handled the most traditional of dishes. To no surprise they hit it right on, with a hefty portion rice noodles with just enough flavor to tickle the taste buds. Loaded with egg, chicken (on the side in my case), shrimp, tofu, green onions, bean sprouts and topped with ground peanuts there are more than enough elements to be appreciated. It even passed the next-day test, tasting just as good cold as it did warm the night before.

Our meal was incredible. Taste of Thai live up to their slogan, always using the freshest ingredients, and after eating you don’t feel weighted down or greasy. Just go check it out, and I promise you’ll like it.

Despite rising gas prices, and fears of climate change buzzing through the general populace, hot rod culture is still alive and well. And with talented people like Eric “Eggie” Foust making contributions to “kustom kulture,” it’s not hard to see why. The Sacramento-born artist started Mindless Pinstriping back in 2005, but Foust started working as a pinstriper a year prior.

“There were a lot of nights I didn’t go out and I would stay up till like three in the morning just doing practice panels,” Foust says. “Pinstriping takes a lot of dedication, patience and practice.”

All that had work has now paid off, and in a short time. Foust, who also studies art at Sierra College, is doing pretty well for himself. The 23-year-old lifelong artist (he received an award for his first art award while in kindergarten) has clients worldwide. Foust spread the word about Mindless Pinstriping by “networking with other artists, vending at car shows, doing art for bands, selling art on the Internet, and having art in galleries.”

“You have to make art and make sure you put it out there,” he says.

Animators such as William Hanna, Joseph Barbera and Tex Avery have all had an influence on Foust’s art, but it was the work of legendary artist Ed “Big Daddy” Roth who opened Foust’s eyes to the world of hot rod/kustom kulture.

“My dad always had a hot rod and my mom was always doing art, and I liked both,” Foust says. “I just never knew about the mixture of both worlds until I saw Roth’s work.”

Roth is probably best known for his grotesque stab at Mickey Mouse called Rat Fink, which became the symbol of Southern California hot rod culture through the ’50s and ’60s. Over the years, Rat Fink has been drawn by artists closely associated with Roth (such as Steve Fiorella), and now the character makes appearances in Foust’s artwork as well.

“I think all the kustom kulture artists are trying to keep Ed’s vision alive and he lives on through the Rat,” Foust says.

As for future plans, the artist says he hopes to “learn as much as I can about art and explore as many art forms I can and I guess ill see where it takes me.” For more information about Foust’s art and Mindless Pinstriping, look him up on Myspace at myspace.com/mindless_pinstriping.

By James Barone

Sacramento Has Its First “School of Rock”

It’s every kids dream to be a rock star. Magazine covers, world tours, chicks—these thoughts along with the notion of performing in front of thousands of screaming fans night after night drive many to try their hand at learning an instrument at an early age. Sacramento native and CEO/founder of Rock Inc., Zac Diebels, was no different.

“When I was about 12 years old I saw a really cheesy movie with Joan Jett in it called In Light of Day, it was Michael J. Fox and Joan Jett and honest to god I saw that movie and thought Joan Jett was the coolest thing ever. My dad came home I was like, ‘Yo, I wanna play guitar.’ That was it.”

After years of lessons and repeated failed efforts at starting a working band, the group Simon Says was formed. They went on to have success both locally and nationally.

“I was like 20 years old when we got our deal,” says the now 31-year-old, “and I did that for the next six or seven years.” Simon Says released multiple albums and toured the globe.

After returning to college and getting accepted to law school, he had a sudden change of heart. “I decided I really didn’t want to be a lawyer, even after I had already gotten into law school, and so I just pursued this,” Diebels says.

What Zac is referring to is Rock Inc., Sacramento’s first “School of Rock.” It’s a brand new 3,100 square-foot facility located in Citrus Heights that not only can provide private instruction for a plethora of instruments including guitar, bass, drums, vocals, piano, brass/horns, turntables, audio engineering and production, they also place you in a group with students of a similar skill level allowing you to gain the crucial experience of playing with other people.

“The kids just want to rock, they just want to play,” Diebels explains of most of his private session students.

Nowadays, who doesn’t want to rock? Just look at the booming popularity of video games such as Rock Band or Guitar Hero. Think of Rock Inc. as a real life version of one of these games.

The staff at Rock Inc. is comprised of professional musicians who were hand picked by Diebels himself. And since most of them can play multiple instruments, there is always a complete band ready to play on the equipment that already lines the walls. All you have to do is plug in and play.

“Everything that we have is state of the art,” Diebels says of the facility. “Everything we have was spared no expense so that the student has the best potential to be their best.”

But it’s not only about the actual playing of instruments, “I want to make sure the students and people that are not necessarily musicians or players but are great with computers or are interested in more of the production side or making beats are taken care of,” Diebels asserts. “There is a huge side of the industry to that. We have a full HD Pro Tools recording studio that we contract out to bands, we teach about it, we do the whole thing.”

Students at Rock Inc. can learn to operate this industry-wide standard recording program and put their skills to the test in the same building by recording one of the many groups that Diebels has formed.

He wants to make clear that it’s not about producing stars at Rock Inc., it’s about proper guidance and the love of making music. Whereas American Idol and other reality TV shows seek to make Instamatic mega stars based on looks and popularity, Diebels wants people to know image isn’t everything.

He continues by saying, “I’ve seen a billion bands that look more like they are a band than they sound, and that’s sad. This is a music school, not a machine or a marketing firm. We’re not churning out bands, or trying to create the next star. This isn’t that kind of thing.”

What Rock Inc. provides is a unique approach to musical education. This is not your typical guitar lesson. Students will learn what it’s like to truly rock from people who have done it before, and are still doing it today.

“I’m excited that I’m in a position now where I’ve had a lot of those experiences,” Diebels explains. “I’ve been fortunate enough to be able to pay the bills playing music since I was 17, and I can give the students a good perspective of somebody who’s done it, and just fuel whatever fire they have already started.”