Rocky Votolato = Incredibly Nice Guy

Over the last year-ish, I've had the chance to talk to Rocky Votolato three times. Each time I hang up, my first thought is, "Wow, what a nice guy."

Call number three was no exception.

His new album, on the other hand, is quite exceptional. Check out the tune "Little Spring" here.

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Rocky Votolato is feeling better. Much better.

Over his long and impressive career as a singer/songwriter, Votolato has had his share of personal peaks and valleys. But when it came time to write 2010’s “True Devotion,” he was pretty much at rock bottom.

“I always want my writing to reflect where I’m at in my life,” he says. “With ‘True Devotion,’ I was in a really dark place. I was struggling with some really personal, existential issues. On this one, I feel like I’ve sorted a lot of that out.”

“This one” is his new album, “Television of Saints.” From the first notes of the record, it’s easy to hear that Votolato is in a different headspace. “There’s a lighter feeling to this album overall. It’s not as heavy as the last album,” he says. “There’s still an element of struggle and darkness within the songs, but it’s more from a narrative perspective.”

Though the record is not as heavy, “Television” is just as weighty. The songs flow together joyously and effortless, creating the most instantly engaging collection of Votolato’s career.

He says the album title draws a phrase coined in the 1930s, referring to how the newly invented television had such a power to bring people together. Through the record isn’t about TV, it is about how we are all connected in some way. Votolato says he was heavily inspired by his connection to friends and family when he wrote the album.

So it was only fitting that he reach out to those same folks to help him make the album. His brothers Sonny and Cody both played on the record. “This is the first time I’ve had both of my brothers on an album. That was a really cool experience. I’ve been wanting to do it for a long time,” Votolato says.

Having finished out his contract with indie label Barsuk, Votolato decided to turn to his friends and fans to help him fund the record. Through the website Kickstarter, he was able to raise $40,000 (more than double what he had asked for) in just 30 days.

“I’m really, really grateful to all of my fans for all of that,” he says. “It allowed me more freedom and more control creatively. I got to the make the record I wanted to make. And I didn’t have to go into severe debt to do it, which is what I would have been facing if I hadn’t done Kickstarter.”

In exchange for their donations, fans were treated to a wide range of collectors items, from t-shirts hand-screenprinted by Votolato’s wife to paintings made by his son. For the fan who donated $2,500, Votolato promised a private concert anywhere in the U.S. or Europe.

“Most everything has worked out really well and is pretty close to being finished now. It’s been a ton of work, but I think well worth it,” he says. There was one small problem, though.

“I had 128 hand-written lyric sheets to do and I kind of sprained my neck because I was writing so many of them without taking a break,” he says with a laugh.

Despite the full-band feel of the “Television of Saints,” Votolato will again tour as a solo act. “I like to play alone,” he says. “I like to keep the shows simple. On the records I’m most pleased with, I’ve followed the philosophy of ‘less is more.’ It makes things more intimate. I think that’s what I’m best at, so that’s what I’m bringing to the shows.”

The Atom Age: Dirty, Dirty Rock 'n Roll

Burt's Tiki Lounge is dark, dingy and loud. It's pretty much the perfect venue for The Atom Age, the East Bay, California five-piece that likes to keep its rock 'n roll a little dirty.

"Getting the audience horny is definitely an important part of the type of music we play," says guitarist/singer Ryan Perras. The Atom Age, however, is not what you'd call a gentle lover.

The band's garage rock sound is more an audio attack than a romantic swoon. And though the band features the tenor saxophone, there are no slow jams or sexy solos.

"We are really into rock 'n roll from the '50s and early '60s," Perras says. "Having tenor sax was considered pretty much essential back then--it was often more prominent than guitar. It's definitely a homage to that time."

The saxophone is a crucial part of the band's frenetic sound, that gives traditional rock 'n' roll an affectionate punch in the throat. "[The sax] adds dynamics and depth to the sound, as well as a being cooler-sounding alternative to guitar for lead parts," Perras explains. "A screamin' saxophone is just a part of wild rock 'n' roll, and I can't even imagine the band without it."

The band's new record, "The Hottest Thing That's Cool," just hit shelves this week. Perras says the album is purposefully a little rougher around the edges than their debut release, 2011's "Kill Surf City."

"On [our first] album, we hit The Atom Age sound on the head a few times but there's almost a lot of power-pop sounding stuff which, while still good, was not really what we had in mind," he says.

"We spent a lot of time touring on that record and really finding what direction we wanted the sound to go in, and we ended up having a very clear picture of what we wanted. For the new album, we worked really hard to make sure every single song was how we envisioned it. I think we can say that every song has The Atom Age sound."

That sound is raspy, raunchy and unrelenting. The band's live performances also follow suit, whipping the crowd into a healthy circle pit. "Screaming 'C'mon Motherfuckers' 500 times only gets ya so far," Perras says. "Just because you take your band seriously doesn't mean you have to be hardcore artists with the weight of the world on your shoulders. It's really criminal to forget about the most important part of rock 'n roll: FUN."

And the band certainly hasn't forgotten about rock 'n' roll's best friend: sex. "I would like to think [our show] is a high energy experience that leaves you sweaty and feeling horny" Perras says, before adding, "but strangely satisfied at the same time."

Check out an Atom Age playlist here.

Koffin Kats: Inspired by Beavis and Butt-Head

Vic Victor can trace his rockabilly roots back to the most enlightened intellectuals of the '90s: Beavis and Butt-Head.

He was watching the show when he saw the video for Reverend Horton Heat's 'Psychobilly Freakout.' "I thought it was just really cool," Victor recalls. "The video was weird and the guy played a big violin."

When Victor picked up the Reverend Horton Heat album at the record store, "It changed everything for me," he says. "I started getting into the 'billy culture and the hot rod culture. I started cuffing my pants and slicking my hair back."

That rockabilly/psychobilly culture became the backdrop for his band the Koffin Kats, where he sings and plays upright bass. But it wasn't the only inspiration.

"Once I started writing my own music and had my own band, I found my own way. I realized that lifestyle wasn't totally for me because I didn't fully believe in rockabilly. It was just another form of music. I didn't want to dedicate myself to one specific form of music."

"Ever since I've been a musician?--and just a fan of music--I've gone from listening to a Metallica album to a Tom Waits album to a Stray Cats album. Dedicating myself to one style of music has never been what I'm about or what Koffin Kats is about."

The band has always tried to let those varied influences come to the surface of their music. "I never want to put out the same album twice," Victor says. "And within the album, there's always something that the 'billy side, the punk side or the metal side, can dig. We play music that's all across the board. We're basically just a mutation of all the music we like, all put together--stylistically and musically."

Koffin Kats are also known to throw in a surprise or two, like on their new track "The Devil Asked," which is more Black Sabbath than Tiger Army. "It's cool that we've been able to make straight-forward, rockin' records, but it's also cool to be able to include some songs that people wouldn't expect from us," Victor says of the song. "It's going to be one that people either love, hate or just don't get."

"If someone has been a fan of our discography, they'll realize we've done stuff like this on other albums where something comes out of left field. It breaks up the monotony of the record. I don't want to write something where 30 minutes later, you think you'd been listening to the same song over and over."

As the band's sound has evolved, Victor's lyrics have also matured. "As I've gotten older, I've put away writing the off-the-wall science fiction lyrics of the first few records," he says. "I wanted to write songs about situations I've been in or or situations where people can just say 'I've been there.'"

The lyrical turning point came after Victor penned "At the Bar," a song about a fictional character wasting his life at the bar and watching relationships fail. "I've had so many people come up to me and say 'Man, I've been there,'" Victor says. "It's rewarding to hear people say that they can relate to something that you wrote. I don't consider myself to be any better than the next person, but to have someone say that they appreciate that you write really pushes you in a new direction."

Now Victor writes about what he knows best, and the band's new record, "Our Way & The Highway," is drenched in alcohol (see "It Happens Every Night," "The Bottle Called," "Booozincrossanation," among others).

The band's show in Salt Lake, however, will be slightly less, er, spirited.

"We're playing an all-ages show, so the booze won't be flying around [like usual], but we definitely try to make every show as much as a party as we can," Victor adds. "We want to have a good time and want to give [the fans] every bit of their dollar's worth."

Check out - At The Bar (YouTube)

The Hood Internet

December and January are very slow when it comes to rock seeing shows. For the most part, I only write about bands coming to town that I'm already interested in. But right now, I've just been trying to find something to fill the magazine pages.

I saw that The Hood Internet was coming to town. I'd never heard of them but the name alone was enough to entice me to look into the band.

The DJ duo specializes is mashups between indie bands and hip-hop artists. I checked out a few of their mixtapes and was instantly impressed. So I reached out to them about an interview.

They told me they'd rather do an email interview than a phone interview. That comes with goods and bads. It's easier for scheduling and getting quotes that actually make grammatical sense. But it's hard to get in-depth answers or follow-up info. In the worst case, you get crappy, half-hearted responses or one word answers.

My Hood Internet interview was LOUSY. My guess is they took about two minutes to answer all of my questions and gave me almost nothing I could use. I understand that doing interviews is a chore for bands, but when you're not exactly a household name, I'd think you'd be interested in getting a little free press.

Fortunately, I think I salvaged the article, which you can read here.

All disappointment aside, I still recommended giving 'em a listen. You can download both of these mixtapes for free:

The Mixtape - Volume Six
Mixtape - Self-Titled

The Kooks Get Digital

 

Though they didn't form their band until the mid-2000s, The Kooks' brilliant debut, "Inside In/Inside Out" felt like it was released in the 1960s. The British four piece proudly wore their love of bands like The Kinks and The Rolling Stones on their sleeve as they created an infectious collection of tried-and-true rock 'n' roll songs.

After releasing a formidable follow up in 2008 ["Konk"], the band decided it was time for something different. For inspiration, they turned from their old-time favorites to modern artists like LCD Soundsystem and Lykke Li. The result is "Junk of the Heart," a new album The Kooks couldn't be more proud of.

Guitarist Hugh Harris took a few minutes to talk about the band's entrance into the 21st Century.

After two albums that pull so heavily from another time period, what made you decide to change directions for "Junk of the Heart?"

We're purist. And we were quite snobbish in the past toward computerized music and things that weren't analog. But we realized you can't really go through life like that. We wanted to expand and see what else is out there. We found that synthesizers can be warm and fuzzy and beautiful and distorted as much as the sounds that we love that come out of amplifiers. Through that process, we opened up our minds.  

This isn't what I'd call a "guitar record." As a guitar player, how do you feel about that?

We've had our guitar record. I love playing guitar but there is only so much you can do with it. It's an instrument that has been played. It's had it's day. I've really been getting into writing on the viola and writing string arrangements. I'm not saying indie music or guitar music is dead, but to us, we don't want to be regurgitating the same sound over and over again. Bands who are on their fourth or fifth album and still playing the same sound look so bored on stage. I don't want us to become that band.

After recording a studio album, what has been like trying to figure how to recreate it live?

It's been absolute hell. I got quite possessive over parts that I'd done [in the studio] and said, "I'd quite like to play that part." But then you realize that you don't have enough hands to play all the parts. The live shows are so much different now. They have elements of punk rock, like our old shows, but they seem much richer and much fuller with these new sonics. It feels great.

Have the long-time fans had any trouble with the sonic shift? 

No. Because the change hasn't felt drastic or contrived. At the heart of the writing is still the same ethic. It's about pop songs and an uplifting melody. The most fascinating thing about pop music is that it's totally genre-less. That's why we feel more like a pop band, because we can morph so many more genres.

How has this record affected what the band will do in the future?

I like that we paved the way to use processed beats -- real dance beats that make you want to move. All we've ever wanted is to make people dance. Also, the strings are something we haven't really done before and it's something we'd like to experiment with. We're not going to reinvent the wheel, but music always has to feel new and fresh. Otherwise, it goes stale so quickly.

Check out: See the World [YouTube]

A Few Thoughts on Life From Joe Queer

Long-time punkers The Queers will stopping in Salt Lake on December 3. In advance of the show, Joe Queer and I swapped some emails this morning.

The last time I saw you guys play, I was impressed by how many old school fans keep coming out to the shows. How do you keep things new and interesting for fans who have seen you play a dozen times?

We usually change the set up and throw in different songs each night. Also we only play about 40 minutes so no one gets bored.

What is it about punk rock that keeps it going from generation to generation?

 
I think the energy attracts a lot of people. Punk was about being able to see thru the bullshit of day to day life and that appeals to a lot of people as well. Plus it's so irreverent and fun.

What is about punk rock that first attracted you to it? What do you still love about it?

Like I said, the energy is something I love. It gives me a reason to get outta bed in the morning. Always excited to see what's around the bend in the river each day.

What was the experience like re-releasing the early material? Did you like revisiting those old records? Do you feel like they sound better now?

It was kind of fun to listen to them again. I don't listen to our albums except when doing a new album.

Over the years, have you ever regretted any of the band's political incorrectness (e.g., the name of the band, "Love Songs for the Retarded," etc.)

 
No. I hate political punk bands. It's just a shtick for them. I don't think any of them even believe the bull---- they spew. Kids listen to it to feel like they know more than the next guy and they're enlightened more than the average shmuck on the street. The last place I'd go is a punk show to learn and listen about politics.

What's next on the horizon for the band? Any new music on the way?

We're out all winter pretty much on tour. Recording a new album next spring. After that my plans are unclear-I may tour the Congo.Thanks!!!

Peter Wolf Crier: More Drums, Please

Peter Wolf Crier is not the band it was just nine months ago. When the duo played Salt Lake City last January, frontman Peter Pisano had just completed his debut album, a record filled with heartfelt lyrics and haunting falsetto vocals. He had written the songs in isolation in his Minnesota home before turning to producer/percussionist Brian Moen to put his ideas to tape. The resulting album, "Inter-Be," was a low-key indie gem.

After seven months of heavy touring together, Pisano and Moen were ready to get back in the studio. The effects of the road, however, linger on the band's sophomore release, "Garden of Arms." While Pisano's whispy tenor is still front and center, the songs are backed by an edginess that was largely absent from the band's debut.

"Once we were performing in clubs, we got louder," Moen explains. "That was my fault, probably," he adds with a laugh. It is difficult to underestimate the percussive strength Moen brings to the new album.

Moen says that though he played drums on "Inter-Be," he anticipated Pisano performing the songs as a solo act. As a result, he tried to keep the drums as unobtrusive as possible. Now a full-time member of Peter Wolf Crier, Moen was says he was able to "insert more of myself into the record."

"Garden" was not only impacted by Moen's playing, but by Pisano's approach to writing the songs. While "Inter-Be" was written sporadically over the course of a year, the new album was written in just a month.
"It's more of an immediate snapshot," Moen says of the record. The duo brought in an outside engineer to relieve Moen of his double duty of producer and performer, which meant the pair were able to "pour ourselves into the ideas entirely," he says. "It was much more fulfilling as an artist to just focus on making the best record."

And now it's time to get back on the road. Because "Garden" is even more intricate than its predecessor, Moen and Pisano will be joined by onstage by a keyboardists and Pisano will split time between keys and guitar. While many drummers are happy to be pushed to the back of the stage, Moen has had no problem being 50 percent of the focal point.

"Anyone who has seen me play knows I'm a pretty heavy stage presence," Moen says with a laugh. "[Playing as a two piece] has allowed me the space I'd be taking up anyway."

Last Name London, First Name Theophilus

A black cowboy hat and tight Wrangler jeans isn’t exactly what you’d expect to see on the cover of a hip-hop rec­ord. But as Brooklyn-born MC Theophilus London sees it: “It’s not about hip-hop.”

The cover for his debut album, “Timez Are Weird These Days,” isn’t just a bold fashion statement, but also serves as an homage to the 1982 release by Leon Ware. London says Ware, best known for producing Marvin Gaye’s “I Want You” and writing a hit for Michael Jackson in 1972, has been a “huge inspiration” on his career.

Though his new record could comfortably sit next to releases by Lupe Fiasco or Kanye West, London has more eclectic influences ranging from The Smiths to German electronic pioneers Kraftwerk.

“This is bigger than just a rap record,” London says of his debut. “It’s taking pop-culture references and mashing them all together like a mad scientist would do.”

London has welcomed interesting collaborators into his musical lab, including TV on the Radio’s Dave Sitek and Holly Miranda. “Rappers featuring rappers is boring,” he says simply.

He even brought in Sara Quin, half of the sister duo Tegan and Sara, to contribute to a track. “I love her music,” London says of Quin. “I wanted to take her out of her element and put her in my element.”

London never seems out of his element, whether he’s performing as the opening act for Nas or playing a cameo gig on the CW’s “90210.” But performing is just a small part of what’s on the horizon for the young star.

When asked about his plans beyond his current national club tour, London rattles off, “Another mixtape by the end of the year, a new EP at the start of next year, an album in the summer, [and] tons of collabs.”

Oh, and he’s putting out a line of jewelry through his LVRS clothing company. Each of the new pieces will look great with a black cowboy hat.

Lemonheads Revisit 'It's a Shame About Ray'

The Lemonheads
With the Shining Twins
Tuesday, Oct. 25, at 9 p.m.
Urban Lounge

If you’re too young to remember the early ’90s, here’s a quick history lesson: There were a bunch of scruffy dudes in Seattle who took Black Sabbath’s big riffs and added a few extra layers of fuzz and feedback. They wore Doc Martens and screamed a lot and the media found a catchy little title to describe it all: grunge.

But before, during and after grunge there was a band called The Lemonheads. In the late ’80s, the three-piece act from Boston was basically a punk band, in the vein of The Replacements or Hüsker Dü. While bands all around them started playing heavier music, the Lemonheads got softer.

In 1992, the band released “It’s a Shame About Ray,” an album of upbeat pop songs that stood in stark contrast to the teenage angst of the time.

Frontman (and the only constant band member) Evan Dando found a way to fit the world into songs that rarely made it past the two-minute mark. There were bouncy rockers, soft-hearted ballads and flirtations with country music. With the addition of a ramped up version of Simon and Garfunkel’s “Mrs. Robinson,” the album was the perfect package.

“It’s a Shame About Ray” should have been the start of big things for The Lemonheads. But it never happened. The Lemonheads released two solid post-“Ray” albums, but Dando’s descent into drug abuse became a distraction and led to the undoing of the band.

Fortunately, it wasn’t the end of Dando. After a long hiatus, he released an endearing solo album in 2003 before reviving The Lemonheads name for a self-titled record in 2006 and a covers album in 2009.

Nearly two decades later, things have come full circle. Dando is back on the road, performing “Ray” in its entirety. The tour may be a throwback to another era, yet the songs sound just as good as they did during the height of flannel and goatees.

Let’s hear it for second chances.

Polar Bear Club: More Bark than Bite

On record, he’s gruff. His raspy growl is filled with aggression and anger. But on the telephone, Polar Bear Club frontman Jimmy Stadt is soft-spoken, polite, and thoughtful.

In a few hours, Stadt and his band will be taking the stage at the Oakland Metro Operahouse, but right now he’s stuck in San Francisco traffic. Stadt has been criss-crossing the country for so long, traveling to and from venues has become second nature.

“The first tour I ever went on was when I was 17. We toured the U.S. for a month and then we did it again the next summer,” Stadt says. “I don’t know if I can remember pre-band life.”

“I like the day-to-day [part of touring]--seeing new people in new places, but so much of my time is spent in and around where the club just happens to be. There is still so much that I haven’t seen, even though I may have been to the same city 10 or 12 times.”

Polar Bear Club has been touring basically nonstop for the four past years, both as a headlining act and as support for like-minded groups such as The Gaslight Anthem. The band did, however, break long enough to record their highly-anticipated (and brilliantly executed) new album, “Clash Battle Guilt Pride.”

Though there was plenty of hype surrounding the new record, Stadt says the pressure didn’t get to the band. “There’s always this hype or buzz--whatever that is--that’s always in the back of your mind. But it doesn’t affect our songwriting. We’ve always made music that meets our expectations and excites us,” he says.

“With this record, I don’t think the thought was even in the back of our minds. We truly had such a great time making this record and I’m really proud of it. I can truly say that I wouldn’t even care if no one likes it, because no one can take the experience away. On our previous records, I don’t know if I could say that with the same certainty.”

Stadt says the band felt more confident in the studio this time around. “We used to go in the studio and there was tension and we couldn’t lift the weight of it in some moments. Now we just go in and follow our gut and it’s nice and it’s easy and it’s fun."

Just as Polar Bear Club has grown more comfortable in the studio, Stadt has grown more comfortable as the voice of the band--even if what he has to say might scare him a bit.

“I’m at a point as a lyricist where if something scares me, I know I need to keep it. If I’ve written a line that I’m afraid of revealing, I know that’s a keeper. There’s so much bullsh-- that goes into a normal, modern day--so many compromises and white lies and the grind. When I’m sitting down and writing words, that’s the one time where there’s nothing of the grind that’s affecting me. It’s just all true self, or at least the search for the true self.”

“I’m learning that that fear is good,” he adds. “If there’s a line that scares me to the point where I wonder if I should even say it, I know that someone out there is going to need and it connect with it. And maybe the fact that I had the courage to say it and to work through it will help them with an issue. I’m not so scared of it anymore.”

As Stadt is studying his own heart, he’s also learning from the bands he looks up to. Though filling the opening slot on a tour is not the most glamorous gig, Stadt says there was plenty to learn from the headliners.

“I remember one thing being such a revelation for me,” he says. “We were on tour with the Gaslight Anthem, [during] our first big support tour. I remember watching the singer and seeing him smile onstage, and I realized I had never thought about that. I wonder if I ever smile on stage? I don’t think I do. That’s sort of important. Wow, I don’t need to be so angry on stage. It’s probably alienating to people. I’m having fun up here, I should be showing that to people. It’s little things like that you pick up from other bands.”

Sounds like a nice guy just got nicer.

Viva Voce: Why Not Start a Band with Your Husband

Viva Voce’s music feels like the embodiment of the Pacific Northwest. The husband-wife duo’s songs rise effortlessly from the damp mist of down-tempo folk into bursts of sun-drenched psychedelia--and then back again. Not bad for a couple of kids from the deep South.

After meeting and marrying in Alabama, Kevin and Anita Robinson pulled up ties and headed to Portland in 1998, the same year they released their first Viva Voce demo tape. Though their new home has certainly found its way into their sound, it hasn’t replaced their Southern charm.

Their new record may bear the ultra-heavy title “The Future Will Destroy You,” but Anita Robinson speaks of it (in a kind-hearted Southern accent) with love and care. In fact, each of her responses--from how to self-produce a record to fighting with her husband about who gets to write the bass lines--is delivered with such humility and kindness that it’s easy to forget that she mercilessly shreds guitars for a living.

Anita holds most of the vocal reigns on “Future,” a task that was shared more evenly between the couple on previous records. “It just worked out that way,” she says of her added time behind the mic. “After doing Blue Giant [the Robinson’s folk band side project] for a year, where Kevin is the singer front and center, I think I was inspired to step up and be more of the front person. It worked out well, I think. I feel very proud of it lyrically.”

The Robisons wrote, recorded, and mixed the new record in their home studio in Portland. Though the band usually welcomes feedback on songs and mixes from friends and musicians, “Future” was an isolated affair.

“With this record, we just sort of hibernated,” Anita says. “We were feeling really confident about it and didn’t feel the need to [seek input]. Hopefully, the fact that we did everything by ourselves and didn’t really look for any outside opinions, people will feel like we did the right thing. We feel like we did.”

Anita says she and Kevin and had the same goal for “Future” that they’ve had for each of their albums. “What we always try to do is put out a record where every song stands on its own and it’s not a record where people say, ‘I really like that second song and I really like the last song.’ We want our albums to be full of songs where you can’t wait to hear the next one.”

The husband/drummer and wife/guitarist also had the same power struggle that they’ve had with all their records, Anita admits with a laugh. “When it comes to tracking the record, it’s usually just a matter of who gets to do what--who gets to play bass lines or melody lines with on the keyboard. We fight a little bit over that because we both like to do those things.” In the end, even that worked out. Kevin got the bass and Anita got the keyboard.

For the next month, Viva Voce will tour the new record throughout the U.S. While most bands suffer from the homesickness caused by leaving loved ones behind, Anita and Kevin run the reverse risk--spending too much time with their significant other. Anita, however, says boredom is never a problem.

“There’s never a dull moment, especially on tour. Every day is a new adventure.” And then she adds, “I can’t get bored with something I’ve dreamed of doing my entire life.”

That dream is what took the Robinsons from Alabama to Portland in the first place. “We lived in Nashville for a while and it just never really felt like home. It didn’t feel like a place where we could put roots down. A lot of people want to travel and go and see what it’s like to live in different places, but just feel stuck and stranded. I’m grateful that I had the freedom to give it a shot. And it worked out great.”

Portland is equally enamored with Viva Voce. Case in point, visit a Portland Timbers soccer match and you may hear the crowd singing the refrain from the band’s ode to Portland, “Rose City,” a capella. (Or, if you’re not in the neighborhood, you can visit their website to hear a recording.)

“It’s kind of an honor,” she says of the song-turned-anthem. “It’s sweet and endearing. It makes us feel, more than ever, that Portland is our home and that we belong here.”

Might I Recommend: The One AM Radio

If you like midtempo, melancholy electronica (a la Hot Chip, Postal Service), you should probably give The One AM Radio a listen.

I interviewed the band a couple of week's ago. I got some of the most intelligent music-guy answers in recent memory. I guess the lead singer's Yale education paid off. You can read the full article here.

I love the slightly snarky response to this simplistic question:

ME: Is it a happy album?

HIRWAY: No, it’s not a happy album, but “happiness” and “sadness” rarely ever come to me in pure form. That’s one of the side effects of no longer being a teenager.

---

You may want to check out these tunes as well:

When You're Sleeping (YouTube)
Everyone But You (YouTube)

A Boy Named Goo

Have I ever revealed that I'm a closet Goo Goo Dolls fan? Well, now it's out there.

I interviewed Goo Goo bassist Robby Takac in advance of their show in Park City...

Long before the name Goo Goo Dolls was permanently attached to the phrase "platinum-selling artists," the threesome was just another bar band in chilly Buffalo, New York. That all changed, however, thanks to a slew of massive hits in the mid-'90s and early 2000s, including "Name," "Slide," and "Here is Gone."
As the band nears it 25-year anniversary, bassist and founding member Robby Takac wonders where all the time has gone.

"It doesn't seem real," he says of the milestone, from a tour stop in Connecticut. "It's amazing how fast 25 years flies by." Though much of the past quarter-century has felt like a whirlwind, he still remembers the changes brought on by the band's breakthrough hit in 1995.

"After 10 years of driving around in a van, trying to convince every kid in town to come check out your band, [having "Name" on the radio] was huge." Unfortunately, the first thing he did with his newfound fame and fortune wasn't all that glamorous.

"I paid off my studio loans," he says with a laugh. "Those bill collectors were starting to get after me."
"Name" would be only the beginning of the band's reign of mainstream rock radio. Since that time, the Goo Goo Dolls have amassed 14 top-10 singles. Ruling the airwaves, however, does have some disadvantages.

He does have advice for young bands, however. "I hope the thing people take away from playing or touring with us is the idea that you've gotta work to make this happen. You can't stop doing the things that help make the connection with your fans -- reaching out, making people feel a part of what you're doing when you're on stage. Those fans are the ones that are going to make it possible for you to do this thing you love. You can't become so important that it's all about you. It's not about you. It's about everyone."

After 25 years, thousands of shows, and millions of records, there's no doubt the Goo Goo Dolls know a thing or two about keeping fans happy.

Weezer Get Experimental

Weezer

Oct. 7, 2008

E Center

w/ Tokyo Police Club, Angels and Airwaves

The past year has been a strange one for Weezer. The band's normally reclusive and dictatorial leader, Rivers Cuomo, not only released an album of intimate home recordings but also relinquished some of his Weezer power, allowing each of his band mates to take a shot in the lead singer role on the band's new record. And the guys have never been happier.

Weezer guitarist, (and big brother of local artist extraordinaire Leia Bell) Brian Bell, put up with Cuomo's constant chiding and a bad cell phone connection to talk about their current Troublemaker Tour.

"We're definitely the most entertaining we've ever been in our career," Bell says. "The shows are getting progressively better, so I predict by the time we hit Salt Lake we'll be in full swing."

Bell says that the quality of recent shows results from the band feeling more comfortable with each other on stage than ever before. "Everybody's taking more responsibility in the show," Bell says. "Rivers is really performing. I don't want to give away too much of the show, but it's absolutely entertaining. People that have seen our shows for years and years say this is by far the best show they've seen."

Weezer has made a conscious effort as of late to push themselves out of their comfort zone, both onstage and in the studio. The most notable change on the "The Red Album" was Bell, bassist Scott Shriner and drummer Pat Wilson each taking a turn on lead vocals.

"That's what we went for on this album—what would be thrilling for us," Bell explains. "One of the things I mentioned was I'd like to sing and even write a Weezer song for this new album and we made it happen."

Cuomo also pushed himself in the songwriting. The album's centerpiece, "The Greatest Man that Ever Lived (Variations on a Shaker Hymn)," manages to switch genres a half dozen times in just under six minutes.

"Rivers was a little bit fed up with the pop song structure and wanted to experiment," Bell says of the song. "Theme variation structure is prevalent in classical music. He came up with different versions of the melody—the theme—and later we found out that the theme was very similar to a Shaker hymn. So that's why we call it 'Variations on a Quaker hymn.'"

When it comes to long term plans for Weezer, it's just about moving forward. "To keep making records and tour [is] success enough for me," Bell says. "But I would like each record to not rehash the past. To stay in the creative moment and come up with music that wasn't there before, that's one of the most fulfilling things you could possibly do."

"Our approach has always been to try to make something groundbreaking, otherwise what's the point?" Bell says.