A few years ago, OurStage ran a competition in partnership with the microchip giant Intel, searching for talent in various genres. One of the overall finalists was a song called “Coming Off Pretty” by what appeared to be a band called The House of Jed. On further inspection, it became clear that The House of Jed was actually the solo project of Jarrod Gollihare, who is a member of Admiral Twin, a band that had made a big impact on the site a couple of years prior. Although the folks at Intel ultimately selected another artist as their overall winner, we here at OS HQ were taken with “Coming Off Pretty,” a catchy burst of vaguely electro pop. We followed as Gollihare turned out several more excellent organic/electronic hybrid jams, including a couple of impressive videos. Out of curiosity and fandom, we approached him with some questions about his career and creative process, and he graciously took the time to answer. We found it interesting enough to make into the following interview, which has been lightly edited for clarity.
OS: I’m curious about your process. The music sounds really pro, but I imagine The House of Jed as a one-man operation from start to finish – is that accurate? Does anyone else perform, engineer, mix, or otherwise aid in the work?
JG: It is indeed a one-man operation. With the exception of a few backup vocals on “Everybody Lies” (courtesy of my wife Jaime) all the House of Jed sounds are made, engineered and mixed by me…in my one-room studio [at home]. For better or worse. I’ve got no formal production training. Everything I’ve learned, I picked up by peering over the shoulders of producers and engineers who actually know what they’re doing. Or by watching Internet videos. Or by trial and error. So, in other words, I’m pretty sure I do a lot of production stuff completely wrong, and I probably take way longer to accomplish recording and mixing tasks that could actually be done much more efficiently and effectively by a real professional. But I have fun.
OS: Do you program your drums? How do you get those sounds, which seem like a mix of real and programmed?
JG: Most of my recorded drums are played on my kit. Drums are actually my primary instrument. When it comes to recording a song, I’ll often put down a programmed drum loop over which I’ll record a scratch guitar and vocals…giving me a “roadmap” of sorts to use for recording my kit. And that programmed loop sometimes makes it into the final mix in little sections of the song, or layered with my real drums for effect. I don’t use anything too involved to make my loops, though. In fact, I either use this old freeware program called HammerHead (a super simple rhythm station that emulates a few sounds from Roland 606, 808 and 909 drum machines), or I use pre-made rhythms from an inexpensive (very unprofessional) Casio keyboard I’ve had for years. In fact, some of the keyboard bass I occasionally use comes from the “organ” setting on the same Casio. Another thing I do occasionally is cannibalize old drum recordings from my other band, Admiral Twin. I have a wealth of material I can re-purpose by slowing the isolated tracks down or speeding them up, and then chopping them into entirely new rhythms. The drums on “I Won’t Survive You” and “Last Entry” are re-purposed Admiral Twin drums.
OS: Do you use other virtual instruments, from apps or other software? Is that an Omnichord on “O Caligula?”
JG: I use virtually no virtual instruments. The bass on “Last Entry” is a virtual Moog that I programmed into a 12/4 pattern over which I played drums in 4/4 time to create a slightly off kilter pulse. That’s really about it, though. I tend to use real instruments. And yes, that’s an Omnichord you hear on “O Caligula.” It’s one of my prized eBay purchases. In my studio, I also have a small collection of guitars; a ukulele, a Danelectro bass; a MicroKorg synth; several cheap, consumer-level Casio keyboards from the 1980s (eBay baby!); a xylophone; a small Ludwig breakbeat drum kit, and quite a lot of percussion bits and bobs.
OS: I haven’t seen any tour dates – do you perform live with House of Jed? Any long-term goals beyond what you’re already doing?
JG: The House of Jed is a studio project for now. But I’d sure like to get these songs on stage at some point. I do play drums and sing with other acts though. One of those is Admiral Twin.
My goal for any song I write and record is (first and foremost) to make people feel something. Art of any kind is the closest thing to actual magic I can think of. And that’s a big deal to me. However – I’d sure like to earn some money with what I create, as well. It’s what I do best, after all. My big personal career goal is just to be able to get up everyday and work on art for a living…to pay the bills with my songs or writings or paintings (or a combination thereof). I’m grateful for my dayjob (my wife and I both work for a social media management company) but being a full-time artist is the real goal. I got a brief taste of the full-time musician lifestyle with Admiral Twin back when we were signed to a subsidiary of Universal Records. We got to put out one national release, and then – a few months after our CD hit the shelves – the label we were on (Mojo) folded, like so many other labels did at that time. We’ve been indie ever since. It was a good ride while it lasted.
OS: Do people call you Jed?
JG: Some of my friends call me Jed. Picked up that nickname in 6th grade…somehow it stuck. So feel free!
Aghast, we’ve missed out on two months of listening to Kat Robichaud‘s newest album, Misfit Cabaret. Making up for lost time with pure volume, we are blasting this one in the office, and cannot recommend enough that you do the same. The album takes its title from Robichaud’s ongoing San Francisco-based live variety show, which in turn spawned the original songs here (she writes two new songs for each live show). Robichaud continues in the dramatic gothic glam vein of her previous release Kat Robichaud and the Darling Misfits, but ups the ante with gloriously over the top lyrics and production. We can only imagine what it’s like to experience these songs live. Hopefully she’ll take the cabaret on the road someday. Listen to the full album here.
A little band emerged, as they are wont to do, from the cauldron of musical discontent known as Berklee College Of Music in Boston. They called themselves Sonia, but then regrouped and became Aüva, a now six-piece indie rock outfit who write real groovy and hook-filled pop songs. We’ve chosen their very first video, for the track “Better,” as our Video of the Month. It’s sweet and spacey, and harkens back to a golden age of Boston rock in the late ’80s, before the major labels came calling, when bands like fellow ex-Berklee kids Blake Babies were marrying classic pop sensibilities to clever, weaving, jangly guitar lines and longingly romantic lyrics. The interplay between the male and female lead vocals sends this one over the top, and the beautifully low-budget video wisely focuses on the band members and brings you into the song, rather than distracting from it. The video will be streaming on our homepage at OurStage.com and you can watch it below.
Look, I think we’ve been very clear that New York’s Late Cambrian has been doing damn good things, so let’s get to the point. It’s been about three years since the release of their last full length, Golden Time, and since then, the band has morphed considerably from a catchy guitar rock band to a lean electro pop duo, who have released a series of carefully crafted singles and videos in the interim. Now, finally, Late Cambrian is readying the release of their new LP, Sweet Cambrian High, Vol. I & II. It’s available for pre-order now as part of a PledgeMusic campaign, and will be released on CD, cassette, and limited edition colored vinyl. So, if you like unique, infectious, and clever music – and we know you do – get to it now.
Our very own hometown of Boston is losing one of its great rock and roll bands. Aloud, who you might remember hearing about on these very virtual pages, are moving out to Los Angeles, but they’re leaving us some parting gifts. Firstly, they will of course be touring their way out west. The No Sleep ‘Til LA tour commences April 24th in Manhattan. See the current list of dates below. Secondly, they’ll be releasing a new limited edition, double A-side 7″ single – “Empty House” / “Falling Out Of Love” on the same date, which you can pre-order now, right here.
While we await the new songs, let’s enjoy this one, shall we?
Don’t forget to see the tour dates below. Aloud is the real deal. Catch them if you can.
NO SLEEP TIL LA TOUR:
4/24 • New York City, NY • Berlin
with Gillian, The Come On
4/25 • Pittsburgh, PA • James Street Downstairs
with Park Plan, Zoob
4/26 • Grand Ledge, MI • The Fledge
with Hat Madder, Tidal, Stop Bobby Hatch
4/27 • Chicago, IL • Quenchers
with The Runaway Five, Jesse W. Johnson and Coyote Scream
5/2 • Denver, CO • Mercury Cafe
with Married a Dead Man
5/4 • Albuquerque, NM • Burt’s Tiki Lounge
with Gerunding, Eileen & the In-Betweens, Train Conductor
5/6 • Los Angeles, CA • El Cid
with Jacob the Horse
(additional tour dates TBA)
We love it when good pop music comes together. Colliding on tour right now are two of our longtime favorites, Bronze Radio Return and Air Traffic Controller. Avid OurStagers might recall Bronze Radio Return from their inclusion in our new music web series The Panel, or perhaps from the many other times they won competitions and appeared on our charts. Similarly, Air Traffic Controller earned a spotlight feature on MTV.com and have racked up more than a dozen Top 10 chart placements. Both bands have been blowing up over the past couple of years, garnering well-deserved national attention as they cross the country. If you’re in the northeast United States, you can and SHOULD catch them together right now:
(Bronze Radio Return ONLY, no ATC)
World Cafe Live