For the first time, AIR + STYLE brought big air, snow and music to Pasadena's Rose Bowl. Hosted by Shaun White, This two day festival featured world elite snowboarders and skiers qualified from the Innsbruck and Beijing events. This was also the first time skiing was added the lineup where 16 professional skiers competed on the Big Air Jump.
Despite the cold weather and rain showers, the competitions were completed with more than 40,000 spectators in attendance!
Because this is a music blog, I am not going to cover the athletics.
For the results and additional information check out the AIR+STYLE main page.
In addition to the competition, AIR + STYLE brought 18 incredible bands performing over two stages. I only attended Day 1 so that's all I will cover. The Saturday lineup consisted of: Bad Things, Phantogram, Diplo, Kendrick Lamar, Teenage Wrist, In the Valley Below, Metz, The Black Lips, and Portugal The Man.
Below are my favorite songs from each of these bands. Enjoy!
Bad Things
These guys were the first act of the day. This is an American Synthrock band that features professional snowboarder and skateboarder Shaun White on lead guitar. I didn't think at first I was gonna dig it. Despite White's athletic celebrity status, this band has some songs worth checking out. "Caught Inside" stands out among their predominant garage band sound. This song is smooth with a nice steady drum beat. The group also includes lead vocalist Davis LeDuke, bassist and former Augustana member Jared Palomar, guitarist Anthony Sanudo and the lovely Lena Zawaideh on drums and vocals.
Phantogram
This band was my favorite of the day! Their music is catchy, chill and motivating. What's not to love? Sarah Barthel can belt out the pop vocals like nobody's business! It's hard to find a bad song out of their catalog, but "Fall in Love" is their ultimate best in my opinion. Barthel's voice just pulls you into a deep hypnotic spell with no chance of ever coming back. Seriously, I can't stop playing this song on repeat.
Diplo
Electronic music lovers unite! This American DJ is usually seen with his associated act, Skrillex, or as the duo are better known as Jack U. This electronic dance music (EDM) sound can be described as Dubstep. Honestly, I am not much of a fan to Dubstep. I personally prefer the more traditional House or relaxing Trance. "Revolution" is one of the exceptions to the rule for me. It's upbeat and fun, which is the whole point to EDM, right?
Teenage Wrist
When it comes to music I'm genuinely a sucker for 90's garage and indie sounds. So, I was quite pleased to discover Teenage Wrist. In a world full of autotune it's pleasant to get back to the simpler sound of sweet nostalgia. Not a whole lot of information can be found other than their Facebook and Twitter accounts. What we do know is the band is a collaborative side project that consists of Kamtin Mohager (The Chain Gang of 1974), Marshall Gallagher (Swing Hero) and Anthony Salazar. "Slide Away" is the second single off the band's forthcoming EP. According to the band, this song is a sample of what we can expect for future releases. If that is true, then I don't think music lovers will be disappointed.
In The Valley Below
Angela Gail and Jeffrey Jacob blend the beautiful harmony that is Americana, blues and synth pop. Their sound is almost a dead ringer in the style of Peter Bjohn and Jon Jon. This dynamic duo has already gained attention by European alternative radio. "Peaches" is the opening song on the their debut album The Belt. It's a fitting pick to give listeners an introduction into Gail and Jacob's synchronized chemistry.
Metz
This Canadian post punk trio are a real punch to the gut. If you are not too much into the heavy metal scene then you might have a hard time listening to their new stuff. It is heavier, darker and much more sloppier. Those that love heavy distortion, screeching vocals with growling guitar riffs may appreciate "Wet Blanket" or "The Swimmer." My pick is the somewhat tamer "Spit You Out." This song has the right amount of feedback in which can almost resemble Nirvana.
The Black Lips
The Black Lips are a self described "flower punk" garage band. Basically, it's another term for psychedelic rock. Despite their provocative stage antics, their sound has a 60's British rock vibe. Granted a demented 60's sound but the lyrics are quite catchy. "Bad Kids" is one of those dark songs that you can't help but sing along.
Portugal The Man
Portugal The Man is an American rock band that hails from Wasilla, Alaska. Most of their songs have a quirky synth sound to them while under toning symbolism for the darkness of human nature. I like "Sleep Forever." That song has a beautiful "Champagne Supernova" by Oasis like eloquence to it. However, "Purple, Yellow, Red and Blue" receives the honorable mention for its deliciously dark combination of bells and falsetto vocals.
Kendrick Lamar
Hip Hop artist Kendrick Lamar closed the AIR + STYLE Day 1 as the last performance of the night. And what a fun way to close the festivities indeed. Lamar brings a fresh sense of swag to west coast hip hop. His arty self expressions give hip hop a much needed positive look on life. "I" is perhaps the best example of that point. The song is a reminder to keep happy and be blessed in things that you have despite the bad times.
Plus the line "These days of frustration keep ya'll in tucking rotation" is a real doozy. It gets stuck in your head for days!
The first time I heard Brother Sal and the Devil May
Care was on a night the band
decided to play in the style of 1920's saloon music. You know, the kind of thing
you hear walking through the Mainstreet USA part of Disney World. However, I
was quite intrigued from what I heard that night. They certainly did stand out among
the other Los Angeles bands. I came back to see the band again and again. Each time witnessing a more unique setlist
from the last. From the beautiful soft cover of Andrae Crouch’s “Take Me Back” to the soulful rockin' “Old
Devil’s Whelm,” This piano centered band is the real deal. This is raw talent
at its finest, folks.
Sal refers to his band’s genre as whorehouse gospel.
If that phrase alone does not intrigue you then I don’t know what will. According to Sal, “It’s the same thing you hear in a dirty whorehouse and the
same thing you hear at a church. It’s the good and bad that’s deep within all
of us.” Their music is filled with religious undertones that connect the beauty
and struggles of everyday life.
Sal hails from Virginia, where his grandmother
taught him the piano. She taught him how to play old gospel tunes. From her Sal learned to use the left hand. This would lead him to start playing in jazz ensembles and house parties for fun.
“Playing
piano keeps me sane and from just going fucking crazy. At the time, I just sat
down to play for myself, still continuing to do so to this day," says Sal. Due to the
encouragement of friends, Sal began his musical trek by playing at local jazz
clubs. He received strong reception and was able to book gigs several times a
week as a professional piano player.
“I started trying to write but to do that you
need to have a voice. Going through fatherhood my voice changed. I had more to
say. I tried to see life through my newborn son’s eyes. After divorce, my voice
changed again. This time my writing became deeper and more meaningful.”
From left: Sal (Piano), Craig Macintyre(Drums), Erik Kertes(Bass), and David Immergluck (Guitar). Photo by Marytrini Garcia-Hernandez
Sal stays motivated by reading and listening to
music. “The most important thing is understanding literature. Reading expands
your mind to become a better person.” He’s an avid record collector with
influences that range from: Randy Newman, Hank Williams, The Band, and Bob Dylan.
But it’s the American classics like Stephen Foster that hold a special place in
his heart. “These cowboy prairie songs are the ones that we never forget. The
lyrics and melodies were perfect. It’s much more important to look back than forward. Back then people sung about what they knew about. That’s something
that should never go away—that’s American music! America, for all that it is
never takes away how good our music is— it’s something that has affected our
world for a hundred and fifty years.”
Brother Sal does have an album currently available
titled, Blood and Dust. The album
teaches us to keep our faith even through the tough times. Sal writes as if his
soul is reaching out to grab you and pull you in the story. He provides
listeners with the use of imagery, metaphor, poetic allusion and irony. This is
all of the musical brilliance without the autotune or other overrated industry
filler.
One of my absolute favorites on the album would be
“Scenes On Sunset.” The title is actually an acronym for the SOS distress
signal, which foreshadows the tone of the stories. The song is based on a young prostitute and a
homeless man that Sal encountered on Sunset Boulevard. “I was coming out of the
studio late one night and met this young woman. She was a twenty two year old college
student that found out she could make fast money walking the street. She lived
this life to help support her daughter. One year later, as I was driving down
Sunset, I see this guy falling out of the bushes. I offer him a ride while
listening to his outlandish stories about the Bible. He wanted to get back to
his ex wife and kids that had abandoned him and didn't want him back.” The crescendo
along with the soft piano makes it such a hauntingly beautiful piece of work. This
is the type of heartfelt song that makes you just listen closely and forget the world around.
Brother
Sal’s newest album The Other Side of Sin will be released soon. The album was
recorded at Boulevard Recording. I was lucky enough to get to hear a sneak peek
of the song, “Poison.” I have to say that I was not disappointed in what I got
to hear. It sounds like this new album
will feature more of the band’s electric side of the spectrum.
Below is "A Good Hearted Man," one of the songs that will be featured on the new album.
Brother Sal and the Devil May Care play Sundays and Thursdays at
The Piano Bar in Hollywood.
I want to take the time to introduce the rest of
Sal’s band, The Devil May Care. The band consists of a powerhouse of talented
musicians: Eli Wulfmeier, Frederik Bokkenheuser, David Immergluck, and Jonathan
Flaugher. These guys are simply amazing to watch live. The band has no
rehearsals so listening to each other is quite crucial. There are times that
Sal may step off stage for a minute leaving the band to improvise. I was lucky
enough to get to chat with all of these incredible musicians.
Eli Wulfmeier- Guitar/Vocals
Not only is he a talented guitarist but he has
worked as an actor and producer. Right now he is
currently working on a solo project under the name “Leroy From the North.”
What was your journey like venturing out becoming
a professional playing gigs and releasing CDs? Do you feel like you've reached
your goals?
I moved to LA from Detroit about eight years ago to pursue a career in music.
At the time, I did not know anybody, so I just started playing with other bands
and eventually ran into Sal. As far as reaching my goal that would be a no. My ultimate goal is to
keep playing and recording as much as possible.
Is there a significance to the setup in terms of
the sound or genre of music your currently making?
It’s more guitar driven
similar to americana or psychedelic.
Do you have a particular approach to songwriting?
I keep a notebook with me everywhere I go to write down any
inspiration I have. I do try to write at least five minutes everyday to keep
going. Other times, I will sit around and just play guitar and then try to decipher the lyrics, sound, subject matter and melody.
Do you have any favorite LA venues?
The Troubadour, I used to go
there about every day of the week. The Piano Bar is a big family there. Ryan, the manager takes care of us.
Is it hard to balance the guitar work with piano/vocals
on an album?
The band has great chemistry. We have all played together so long
that we have learned to listen to each other. The basic structure is Sal will play a verse and chorus and we all see where it
goes. Sometimes, he calls out who is
gonna do a solo. You just have to listen to know when to hang back.
What about your experiences working in film?
I recently got to help write a score for a
film called The Widow Son. They needed a Neil Young type soundtrack. It’s different watching the
footage and seeing how the characters react then trying to make the music fit the
scene.
What can we expect from your solo project?
I am currently working on a solo record under a working title at the moment. The band is called "Leroy From the North." The music has similar elements to Brother Sal without the piano but much more in the style of Leon Russell.
Frederik “Freddy” Bokkenheuser-Drums
Hailing from Copenhagen, Denmark, he started playing
drums at the age of seven and started playing professionally at fourteen. After
gigging and recording for a decade around Europe, he continued his career in
Los Angeles playing with Jay Nash, Joshua Radin, and Ryan Adams.
What's it like working with Sal?
The thing about working with Sal is it is
such a fun gig-- like a musical playground. We never rehearse or have a setlist.
Sal sends us a text that afternoon saying “Let’s play this song in the key
of..” Between the covers and originals, we have over a hundred songs. We never know what we are gonna do but just go with the moment.
I have always heard that drummers were hypersensitive listeners.
Always. There are times when you have to take lead over the song, so I'm always looking at Sal for cues. It is very important to have that connection with the other musicians.
Favorite originals to play?
"Poor Richard’s Almanac" has
become Sal’s anthem. "Old Devil’s Whelm" is another favorite.
What are your thoughts on the natural ability vs the practiced
player?
Hard work goes a long way. If you
don’t have certain mechanics down it will be hard to play free. You will be
constricted.
Any updates on the new album?
We are hoping to get it mixed soon. David Immergluck produced it.
What was your inspiration to become a drummer?
I was a huge fan of The Police album, Zenyatta Mondatta. I remember looking at pictures
of Stewart Copeland and tried to emulate his style. From then on, I would put on whatever rock N' roll album I could find.
David Immergluck-Guitar/Mandolin/Vocals
This man right here needs no further introduction.
He’s a multi instrumentalist who is best known for his work in Counting Crows,
Camper Van Beethoven, John Hiatt, and Monks of Doom... just to name a few. He’s a
versatile musician and producer with an insane record and CD collection that
ranges in the thousands.
What are some of your favorite guitar riffs?
"Oh Well" part 1-Fleetwood
Mac, "Dancing Days"-Led Zeppelin, “A Woman like You"-Bert Jansch, "Clear
Spot"-Captain Beefheart, and "Smokestack Lightning"-Howlin’ Wolf.
Which of your gear can you not live without?
I have a 68' silver face Fender Vibrolux that has some cool mods in the caps. As for guitars that would be my 72' Les Paul Junior.
Do you have any producer influences?
I listen to a lot of records
from the 70's. I especially like the Rolling Stones style so I try to produce in that direction. As for producers, Don
Smith, he could identify the magic early in a song. I'm also a big fan of Dennis Herring and Jimmy Miller.
How was recording the new album?
Great! The process went by rather quickly. We managed the finish in three days at Boulevard Recording.
What are you currently listening to at the moment?
Bob Dylan-Sidetracks
Do you have a particular music routine?
I am constantly listening to music 24/7. Playing live is the musical gym for me. It's always great to exercise the musical muscle by playing new material.
Jonathan “Jonny” Flaugher-Bass/Vocals
Jonny holds a masters at the Manhattan School of Music and has worked extensively in New York as a jazz bassist. Since then he has began his career
working alongside: Ryan Adams, The Weepies, Shakira, and Vanessa Carlton. He's also composed for film and is currently producing various artists.
Sal was telling me that the bass has been the quintessential part of the band. I also understand that you can duplicate the left hand on guitar, which is hard to do. Do you agree?
Every role is important. Music is our language. Sal and I have a very similar musical background. We've played jazz, ragtime, and gospel. All of that goes in
Sal’s band.
How and why did you first pick up the bass?
I was inspired by my uncle, who is not blood related, he was a bass player. I played
clarinet but wanted to play bass clarinet. I have always just been interested in that kind of stuff. In high school, I borrowed a friend’s
bass. Soon after that I started playing the upright bass.
What are your types of musical influences?
Mostly rock N roll, jazz, country, Stevie Wonder, Rolling Stones, The Beatles and Paul McCartney.
Is there a unique significance to the band's set up?
Our rhythm section plays pretty actively. In the beginning, Sal was not sure of the setup. He had more people in the band than the audience. Now its stripped down.
Dum Dum Girls and SISU played to a sold out show at The Roxy
on April 17th. I admit I went to the show not knowing either of the
bands. As soon as the opening band, SISU took stage, I knew I was in for quite
a psych rock journey.
SISU is a Finnish word that loosely translates to
determination, bravery and resilience. I really couldn’t think of a better way
to describe the beautiful styling of multi instrumentalist front woman, Sandra
Vu.
Vu is an incredible musician. One minute
she is blowing the doors down with an aggressive guitar solo, the next she is
balancing the song’s softer side on the flute. She is also the drummer for the Dum Dum Girls
on top of all that! SISU deals with a much darker complex than the Dum
Dum Girls’ sound.
The band's aggressive yet graceful material attributes their
debut album, Blood Tears. Blood Tears is the yin and yang between comfort
and despair. A prime example would be one of my favorites, “Harpoons.” The song begins with
Vu’s seductive vocals drawing the listener deeper into the sinister sound.
Dee Dee Penny soon took the stage in a skintight cat woman-esque suit. Penny’s sultry voice captivated the audience as the Dum Dum Girls
opened with “Mine Tonight.”
The stage
was decked out with glowing flowers and a huge neon blue heart. The sweet smell of incense candles burning
onstage filled the air that drew the audience into a psychedelic whirlwind of
edgy punk music. A lot of people tend to compare the band’s sound to Morrissey
or The Vivian Girls. The first thing that came to me was more of an early 90's,
Roxette or The Cranberries vibe.
Dum Dum Girls played songs from all of their albums, I Will Be, Only in Dreams and their newest release, Too True. The new tracks
still held true to the band’s gothic rock roots but with a bit more bubblegum.
From the upbeat, “He Gets Me High” to the tear jerker, “Rimbaud Eyes,” this was
an emotional show not to miss. You can’t help but feel that these girls have
had their hearts wrung through the wringer and left out to dry. The blend of
Penny’s voice with the guitar chords forces you to really feel the heartbreak
first hand. I couldn't have asked for a better first intimate show at the Roxy.
Setlist: Mine Tonight I Got Nothing Bedroom Eyes Wake of You I Will Be He Gets Me High Too True to Be Good Are You Okay? Rest of Our Lives It Only Takes One Tonight Under These Hands Rimbaud Eyes Lord Knows Pale Saints
Tender Mercies can be simply summed up in six words: Indie folk rock at its finest!
The music's stripped down to the core without the use of today's technological fillers. It sounds like a bunch of friends sitting around a room making homegrown music. The album has this timeless essence like a classic vinyl approach to Gram Parsons and Neil Young.
From the soft guitar intro in "Safe and Sound" to the beautiful mandolin in "Almighty Trial," this record provides a nostalgic mellow listen. The kind of songs to listen to on an afternoon road trip.
Even though it took twenty years to release the record, Tender Mercies have been around since the early 90's. Dan Vickrey (Vocals/Guitar) met Patrick Winningham (Vocals/Guitar) at the Hotel Utah in San Francisco. The two would soon play many gigs along with Kurt Stevenson (Vocals/Bass), Charley Gillingham (Vocals/Keyboard), and later on Jim Bogios (Vocals/Drums).
The band came to a halt in 1993 when Vickrey left to join Counting Crows alongside Gillingham. Songs such as "Four White Stallions," "Mercy," and "Wiseblood" have been kept in the Counting Crows set lists throughout the years. It wasn't until last year that Tender Mercies reunited and decided to finally release a record.
It's difficult for me to recommend favorites. I would just end up naming half the record. However, "Scarecrow" and "Angeline" receive honorable mentions.
"Scarecrow" is perhaps the 'bluesiest' song on the record. It stands out among the quieter tracks with the exception of the Honky Tonk-esque "Ball and Chain." Plus, the guitar outro just slays at the end! You can almost feel the raw energy bursting out of the guitar!
"Angeline" is a song that really strikes a cord in me. It's been a long time since a new song has actually made me cry. This might come across very cheesy but I get teary eyed every time I listen it. Infused with gentle slide guitar, violin, and mandolin among the heartfelt lyrics just makes it such a beautiful song.
Overall, I highly recommend the album. It's a nice listen for the alt-country fans at heart.
I even had the pleasure of talking to Dan Vickrey and Patrick Winningham about the album, musical influences, and upcoming plans.
You guys have had several band names. How did you finally settle on Tender Mercies?
Dan: We didn't have anything else (laughs). At the beginning we took the name Bakery Boys after the bakery we used to rehearse in. For a while we were known as the Patrick Winningham Band. But Tender Mercies just seemed to be the most fitting name.
Patrick: I just really loved that Robert Duvall movie (laughs)...just kidding. Back when I worked at a club, I played in a band with Jeff Trott, Charley, and Kurt. We didn't really have a name. We would just use my name whenever we played mostly my stuff. As far as Tender Mercies, I have no idea where it came from.
How do you divide lead vocal roles?
Dan: I just sing my songs and he sings his songs.
Patrick: We sing our own material. Originally Dan wanted me to sing "Perfect Hour." Jim and I listened to Dan's demo and thought he should sing his songs.
After listening to "Four White Stallions" It sounds like there's a lyric difference in Tender Mercies and the Counting Crows' version. This is what it sounds like to me: Tender Mercies: "There's nothing left of me in her." Counting Crows: "There's nothing left of me and her."
Dan: The stallions lyric is the same in both versions but the pronunciation is different. The actual lyric your hearing is "There's nothing left of me AND her."
Patrick: I wrote that song in a heartfelt place at the time. We change the interpretations from time to time. We do the same with other songs as well such as "White Freight Liner" by Townes Van Zandt.
How did you become interested in guitar?
Dan: I started playing by ear since I was 14. My neighbor wanted me to join his band. I'd listen to records such as John Mayall, Tom Waits, Eric Clapton, and The Beatles.
Patrick: I started playing around the age of 14-15. I played rhythm guitar in my friends' bands. I was influenced by Neil Young, After the Gold Rush era, Bob Dylan, Tom Waits, Nick Drake, The Beatles...all the good stuff!
How does the songwriting process work?
Dan: I generally just write my own stuff. Kurt wrote "Mercy" and Patrick just added lyrics on his own to it.
Patrick: Most of the songs such as "Wiseblood" are worked out on the spot. We'll just start playing and decide if we want a guitar solo here or another lyric there. Sometimes we'll even get Dan Eisenberg on piano to add a quieter feel.
What about the recording process?
Dan: It went great! We hired an engineer to set up microphones and Pro Tools in the music room of my house and just recorded everything live in that room.
Patrick: It was a very enjoyable experience! We recorded in Dan's house for a mellower live sound. We sat around in the room and just started playing. That's the beauty of the happening! I think it was Bob Dylan that once said "let it roll because you never know what your going to catch."
Do you have a particular favorite song on the album?
Dan: I'd have to say "Wiseblood." It was the first song I first latched onto around the time I met Patrick. It holds such fond memories for me.
Patrick: It's hard to pick a favorite. The songs are like my children! "Perfect Hour" holds a special place in my heart. I also love "Mercy," "Safe and Sound," "Four White Stallions," and "Almighty Trial." There's also this one song we do that's not on the record called "Penny in the Sky" that I'm real fond of as well.
How do you go about making your set lists?
Dan: Patrick and I usually come up with the songs on the spot that we want to play. Other times we just improvise.
Patrick: Usually Dan and I bang them out, Kurt doesn't care, and Jim will speak up if he doesn't agree with a particular choice.
I really like the album art! Who's the kid on the cover?
Dan: The artwork was done by my friend, Oliver Arms. That's his nephew in the picture. Oliver and I worked together at Tower Records back in the 90's. He's a talented artist so I went to him for the cover art. Inside the album is a picture of a ferris wheel that I took in Australia and my music room.
Patrick: The cover art was a picture from Dan's friend, Oliver.We were looking for album art ideas while searching on Dan's computer one day. I was looking for a picture of a guitar but stumbled across that ferris wheel picture. I thought it was the coolest thing and told Dan we had to have it on the album!
Are there any upcoming plans for the Tender Mercies?
Dan: Patrick is the process of assembling live recordings of some of our shows.
Patrick: We hope to start working on a second album sometime in October or September. The newer stuff will be a bit darker than our old stuff.
Hailing from Atlanta, GA, Tetrarch is a thrash band like no other. The sound can best be described as an old school mix of Metallica with a newer twist of Bullet for my Valentine. The style is similar to Disturbed in that the music has heavy riffs but doesn't over do it. Tetrarch formed in 2006 by Josh Fore (Vocals/Rythmn guitar), Diamond Rowe (Lead guitar), and Tyler Wesley (Drums). Wesley was replaced by Jared Vann and Ryan Lerner (Bass) was later added to the line up. Their first EP, The Will to Fight was released June 5, 2011. I'm usually not too big into the thrash scene but these guys are well worth the listen! They focus more on singing than the screaming aspect as opposed to the traditional death metal format. I also found the lyrics to be intense with profound underlying themes.
For example, one of my favorites is the title track, "The Will to Fight." The narrator sings of the human nature to fight for something to believe in. A never ending struggle in which we can all relate to. You can almost feel the intensity in Fore's voice.
Ryan Lerner and Diamond Rowe took time off in the studio to chat about their musical influences, songwriting and their new upcoming EP! Tell me about the uniqueness of Tetrarch's style? Diamond: Well I think today a lot of bands focus more on how heavy and
"brutal" they can be, or how many breakdowns they can have. I feel
like we are different because we try to focus as much as possible on writing
great, memorable songs. We love to mix the heavy parts of modern metal with the
structures and catchiness of older bands. Ryan: I think we definitely stand out. We sound a mixture of the old school with the new school. We're not too extreme but we do have something for heavier listeners.
I recently read that you guys are releasing a new EP. What can you tell me
about it? Diamond: Yes! It's called Relentless and its going to be released early September We recorded our new EP at Audiohammer Studios in Sanford, FL with
producers Jason Suecof and Eyal Levi. It is definitely something that we have
wanted to do for a while now and it is great that we have finally gotten the
chance to. The songs definitely sound different than anything we have ever done
but they also have Tetrarch written all over them. We really wanted to focus
more on song writting on this one. Really catering to the songs and trying to
make people feel something more so then riffing out like we used to. There's
still some great riffs on this EP but they are done really tastefully!
Ryan: The new stuff will be a bit heavier than our previous work but it'll be more singable. The theme deals more with wrath and angst. We draw our inspiration on experiences that have happened around us. How do you approach the songwriting process? Diamond: When it comes to songwriting, usually Josh and I will sit down together and look through some of the ideas that each of us have. One of us may have a riff that we want to build on or even a full song. Once the music is done, we try to ask ourselves "how is this going to make people feel something". Whether its the dynamics of the songs or the lyricsthe most important thing is that people feel an emotion while listening. That is the best way to connect with anyone. Ryan: It's mainly a mixture of swapping/passing demos between each other. We try to figure out how we want them to sound before getting in practice. Josh and Diamond do most of the songwriting. Occasionally, Jared and I throw in suggestions. It can be a bit distracting to build a song when everyone's around. Josh is an independent songwriter and comes back to share what he's got then we all put together what we have each worked on. When I'm creating my bass lines, I listen carefully to the rythmn to emulate sounds that reflect the tempo.
Diamond Rowe (Photo by Angelo Valentine)
Diamond, How do you approach writing your guitar parts? Diamond: When writing guitar parts, neither me or Josh approach it as if we are super technical guitar players. We like cool, intricate riffs, but riffs that you can sing
back. We kind of compliment each other though because I always like things to
be super heavy, and Josh is the complete opposite (laughs). So we generally meet in
the middle. Diamond, I know that on top of your duties as lead guitarist you have also pulled doing
double duty as the band's publicist. What kind of responsibilities do you carry
out for the band?
Diamond: Well, fortunately we just joined with a new Management. We are now with
Outerloop Management so that is going to be GREAT! But I just try to get the
bands name out there in anyway I can. That can be getting us interviews,
posting things on our facebook page, spreading the word at shows etc. You
really start to see the benefits from promoting and its very rewarding. What are your musical inspirations? Ryan: As a group we are inspired by Metallica and Bullet for My Valentine. I love Rush and Iron Maiden. Josh likes Green Day, Jared is a huge death metal fan and Diamond is more into the hardcore bands as well. Ryan, Do you have a favorite song to play live? Ryan: My favorite song would have to be "Set the Flames." We usually open up our shows with this song. It's a great song to get pumped.
Ryan, What kind of challenges did you guys face in the studio and on the road?
Ryan Lerner (Photo by Angelo Valentine)
Ryan: Cramming everything into a time limit. Bass and rythmn guitar takes a couple of hours but vocals and drums take a while. As far as being on tour its mostly just learning to live in a van and how to be an entertainer.
You recently completed a mini tour last summer. Were there any memorable
moments?
Ryan: It was a big turning point in our lives. We really came together as a live band. With our new drummer, Jared, our music has become tighter and flows more smoothly. Our goal is to tour a longtime and to take over the world! Diamond: (Laughs). Well there are definitely a lot of memorable moments. We went on a thirty two day tour of the east coats. Basically the whole trip was amazing. We definitely
learned a lot about each other and played a lot of fantastic shows. We cant
wait to get back out there.
Although Tyler Stenson has been in the music scene throughout the early 2000s, this singer/songwriter from Portland is just starting to get the attention he deserves. He was recently named "Best Male Artist" at the 2011 Portland Music Awards and was a lineup in the 2011 SXSW. Stenson served as the frontman and songwriter for his former bands Lander and Rhetoric Tuesday but soon left the rock-n-roll scene to pursue his western roots as a solo artist in 2007.
He released his first solo album, Bittersweet Parade in 2010 and has continued to release beautiful americana albums that takes the listener on an autobiographical journey through human existence. Stenson does this through the grace of his acoustic melodies in a minimalist approach that remains true to his sound without ever conforming to the industry standard. I highly recommend checking out Stenson's songs. It's not everyday you find endearing lyrics that simply soothes the soul.
Tyler took the time to talk to me about the challenges of the music industry, the songwriting/recording process and his newest album release Another Gleam.
What gave you the inspiration to make music?
Tyler: My mother can ultimately be credited with my love for music...she didn't necessarily inspire me to begin making my own music but she instilled the love, the passion and the basic appreciation for the art. Since I can remember she filled our home with music and has had me singing along. She was also the one to place me in voice lessons my senior year of nigh school (more or less against my will) soon after, between my mother and my vocal coach, I realized I had some ability and adopted it as a person.
Ultimately, it was Garth Brooks and Dave Matthews that inspired me to begin making my own music. In high school I loved country music so Garth was always my vocal idol but seeing Dave Matthews on VH1 Storytellers hit me like a ton of bricks. It inspired me to write abstractly and pushed me to look beyond simple country songs. It showed me the art in music, not just the commercial side. I had written a couple of songs prior to seeing that episode of Storytellers but my songwriting world was rocked upside down from that point forward.
What gave you the decision to become a solo artist?
Tyler: I was always the "songwriter" and the driving "vision" behind my groups but my vision inevitably veered off course when I allowed things to be democratic. My songs on stage didn't sound like the song I painstakingly crafted in my room. They got away from me.
It got to the point where I was trying to wear all of the creative, administrative and managerial hats at once and running myself ragged as a result. All of this, coupled with the role of making sure everyone in the group was happy at all times, started to detract from the music. It turned a passion into a job. It turned a stress release into a stressor. I knew something had to change. I came to the realization that my musical road might be more enjoyable if I walked it alone. Just me and my guitar and no external weight.
How do you think
you have evolved musically from your earlier bands, Rhetoric Tuesday and
Lander?
Tyler: The biggest difference between my art then and now is that I have refined
my craft. It's simply more mature. If you look at my earlier music, especially
with Rhetoric Tuesday, my songs were typically 5 minutes long but now, most of
them are around 3:30. The most exciting part of this growth is that I haven't
sacrificed the integrity of the content, in fact my lyrics are tighter than
ever, I've simply cut the fat. Each year I've learned more about my processes
(and music in general) and I believe the maturity is tangible.
You've been
recognized as a straightforward folk musician. Is there a particular reason your
partial to folk music? Also, Do you have any major folk
influences?
Tyler: Because I grew up listening to Dan Fogelberg, Garth Brooks, James Taylor
and Simon and Garfunkel, my folky singer-songwriter leanings were pretty much
engrained. So, it was no surprise that when I fist picked up the guitar, I
ultimately envisioned myself as a country singer (and learned about 10 country
songs before anything else). Of course, like any college kid in the early 2000s,
I eventually stumbled upon Dave Matthews and Counting Crows and that's
when I started writing more pop-oriented tunes, however, that's when I
started to feel a bit insincere. I was emulating rather than innovating. To
bring it full-circle, in the late stages of my pop-rock band Lander, I then
found a singer-songwriter named Josh Ritter and with a lightning bolt, I was
inspired to return to my roots -- from that point forward, my style is a lot
like pairing the dramatic delivery of Adam Duritz with the rustic poetry of Josh
Ritter and laying it over the folky melodic bed of James Taylor.
Have you ever had to overcome any obstacles in the music industry?
Tyler: Each and every day is an obstacle in the music business. I'd say it's more of a mental match than anything. Some days you feel on top of your game and within arms reach of your goals and the next you feel like a foolish little fish in a huge ocean. It takes really thick skin to wade through the tens of people to find that one that may enjoy your brand of music.
The fact is that my music is not for everyone so I experience a lot of No's before hearing any version of Yes. The road is filled with self-doubt and fierce competition. The obstacle is balancing that doubt against your courage and blindly pushing forward- ignorant of obstacles.
How does technology help an artist like your self make it easier to record music?
Tyler: Technology is a beautiful thing--it allows me to record clean tracks in the comfort of my bedroom with nothing more than a laptop and a microphone. With this humble set up, I have the luxury of testing songs before I spend major money in a recording studio. It allows me to work out the bugs on my own time and finesse my songs long before they see the recording studio.
The beauty of technology is that the cost of recording if forever reasonable. Equipment is becoming more affordable which allows for a greater number of quality recording studios to enter the market place. The more studios there are, the more competitive the engineers will be when it comes to pricing. All of this equates to the fact that technology is giving musicians more options for places to record while keeping the price down.
How does the
songwriting process begin for you?
Tyler: I am much more limited by my composition skills than I am my lyrics,
therefore, I always come up with a guitar part first -- it's easier for me to
craft lyrics that sit within the music, as opposed to crafting music that
supports the lyric. Once I have a guitar part that is remotely unique, then I
usually establish the title of the song and craft a series of lyrics that
support the title and that lay within the chords I've chosen. In fact, of the
110+ songs that I've written, I think only Babysitting the Cowboy was
lyric first -- and I think that's somewhat obvious based on the odd cadence of
the tune.
NOTE: For a complete explanation of Tyler's songwriting process, here are two great
resources where he explains in to much greater depth.
Your newest album
"Another Gleam" is a re-recording/re-mastered version of your 2008 "See that
Gleam" album. What was the decision behind this?
Tyler: Oh, what a learning experience! To put it simply, I recorded See That
Gleam before I had made the "turn" in my artistic maturity. It was produced
by a younger me. Upon completing the album, it just never sat right with me, in
my gut, but I couldn't put it into words or even explain to myself what the
discomfort stemmed from. After releasing it, I pretty much just listened to fan
feedback and observed the download and licensing trends -- it quickly became
clear that A) Nobody was really talking about it B) In all of my licensing
opportunities, it was being completely ignored. Of course, this raised the
alarm. So, the reasoning behind my decision was 2 parts:
1) In my heart, I believed the songs were good but the recording did them
no justice. It wasn't the songs themselves that didn't sit right with me, it was
the production value. I suppose I got what I paid for ... but was determined to
right the wrong.
2) When it comes to licensing your songs on film and television, it is very
important to have both the vocal and instrumental versions of your songs (not
having the instrumental version can sometimes exclude you from a song being
placed). That said, because See That Gleam was recorded live (vocal at
the same time as the guitar), I didn't have a purely instrumental version --
hence the tracks being ignored for licensing. That said, the decision to
re-record was business. In order for me to have a vocal and a pure instrumental
version, the record was going to have to be re-recorded from scratch, therefore,
I bit the bullet and made it happen.
In the end, Another Gleam is the same record as See That
Gleam, only this time done right.
I know that your
music deals with sentimental and sincere themes such as romance, heartbreak,
nostalgia, etc. I even read somewhere that "The Road" was inspired by a Cormac
McCarthy novel. Is there a major reoccurring theme that is the basis for
"Another Gleam?"
Tyler: While most of the songs on my records are written within close proximity of
each other (usually a one year span), and therefore share a common state of
mind, the interesting thing about Another Gleam is that it is a
collection of songs from a very large window of time (a span of about five or
six years). The whole story behind See That Gleam in the first place is
that I had written a number of songs up to that point; some that I felt were
cool full-band songs (eventually recorded by Rhetoric Tuesday and Lander) and
some that I kept for myself. Later, when someone asked for a recording
of Better Be Us All, I didn't have one because it was one of those
ultra-intimate songs that I had kept away from my former bands, therefore,
that sparked my first solo album -- See That Gleam -- a collection
of brittle ditties that were always intended to be solo songs. I hate to
disappoint but, long story short, the songs on See That Gleam and
Another Gleam are not that closely related -- the only thread being that
they are the intimate songs that I deemed sacred enough to withhold from my
bands at the time.
Do you have
any favorites among your songs that you especially like to perform on
stage?
Tyler: I share the sentiment of Jewel when she said her favorite song to play is
"whatever is newest."
However, I will say that Babysitting the Cowboy is my personal
favorite song that I've written and, if a crowd is willing to sit and pay it
proper attention, I get a rush each time.
How would you like to be remembered as a musician?
Tyler: Timeless. When I'm writing songs, I write fearlessly for myself and have always attempted to stay true to my art rather than the industry. I have a deliberate style and brand and I'm therefore more concerned with maintaining that than playing the pop game.
With that said, my goal has always been to establish a cult following rather than any kind of mass appeal that involves a sacrifice of my musical integrity. I am self-aware enough to know that not everyone will like my songs but the hope is that those that do, will love them. I can deal with 9 out of 10 people not liking my songs as long as that one individual in the bunch becomes a soldier for my cause.
I want to be remembered as a guy that spoke his heart in his own way and carved a niche for himself...even though it didn't mean superstar status...he stated true to the art. I want to be forever appreciated for my authenticity and widely known as one of the last true artists.
