Local Boston band The Needy Visions opened the show. Astutely described by OurStage’s Sam C. as “Dr. Dog without the folk,” The Needy Visions play pop rock informed by the 1960s psychedelic and garage movements. Features two guitars, bass, keyboard, drums and ambitious five part vocals harmonies, the band managed to sound full without being overpowering. While their harmonies weren’t always spot on, the audience didn’t seem to mind: heads were nodding and toes were tapping all over Great Scott. The Needy Visions are definitely a band to watch.

Jake Orrall of JEFF The Brotherhood

Back in 2006, Jamin Orral left buzz band (and Thurston Moore favorite) Be Your Own Pet at what might have been the height of their popularity. One of the main reasons he gave for his departure was his desire to focus on JEFF The Brotherhood, his band with brother Jake Orral, also formerly of Be Your Own Pet. While some may have questioned his decision at the time, it’s clear now that Jamin knew exactly what he was doing. JEFF The Brotherhood delivers both live and on record. Somewhere between a punk and a rock place,  they play straightforward rock music with a punk attitude and a touch of psychedelic guitar experimentation.  Whatever you want call their music, it is fast and it is loud. Drummer Jamin was pounding away so hard on his kit that he knocked over his floor tom. He quickly assessed the situation and righted his drum without missing a beat. The band is currently touring behind their October 2009 album Heavy Days, released on their own label Infinity Cat.

Naoko reaches into the crowd during 'Giant Kitty'

Shonen Knife walked out on stage in matching tunic and pants ensembles to an almost full house and a barrage of applause. Together as a band for over 20 years, their audience runs the gamut from college students in their late teens and early 20s to aging ponytailed rockers in their 40s. After giving a shout-out to Allston, MA, the band got right down to business by kicking off the show with a blistering version of their usual opener “Konichiwa,” urging the audience to “Have a good time tonight,” and asking “Are you ready to rock?”

One person who was more than ready to rock was bassist Ritsuko Taneda. While Ritsuko  joined the band as a support bassist in 2007 when founding member Atsuko Yamano retired, this was her first tour as an official member of Shonen Knife. Her bass sound—reminiscent of early Green Day—and her unbridled enthusiasm, manifested itself in spontaneous headbanging and jumping up and down which made for a great performance.

Ritsuko and Naoko show Allston how to rock

Shonen Knife adeptly mixed material from their new album Supergroup, released on Good Charamel records, in with older material like “Bear Up Bison,” “I Like Choco Bars,” and “Devil House.” The band seemed genuinely surprised to hear audience members shouting for their favorite songs, telling the crowd that they didn’t think so many people were familiar with their material. One crowd pleaser from Supergroup that seems destined to become a fan favorite is “BBQ Party.” Guitarist Naoko Yamano joked about this latest addition to Shonen Knife’s large catalog of songs about food: “We like to eat,” she told the audience, “In America, barbecue is so delicious, so we wrote a song about it.” The pogo-inducing chorus of ‘Pig Out! Pig Out! Pig Out” was one of the show’s highlights.

Their new album also sees Shonen Knife experimenting with heavier styles of music. Naoko explained that Supergroup track “Muddy Bubbles Hell” is her attempt at writing a heavy metal song. Her admission that she was inspired after listening to 70s British rockers like Judas Priest & Black Sabbath drew cheers and “devil horns” hand gestures from the crowd.

'Pyramid Power' with Ritsuko, Atsuko and Naoko

For the encore, the Allston crowd got a special treat: The band invited former bassist/drummer and founding member Atsuko Yamano, who happened to be in attendance, up on stage. To the delight of the audience, Atsuko and the band performed  “Fruits & Vegetables” from their 1997 record Brand New Knife. After Atsuko left the stage, the current members of Shonen Knife closed out the show with one of their most popular songs, “Twist Barbie.”

Shonen Knife will be heading back to Japan for their SPACE bootleg Xmas TOUR 2009 this December.

Names like Woody Guthrie, Pete Seeger, Joan Baez and a young Bob Dylan are synonymous with the origins of folk music. In particular, Dylan and Baez are heralded as folk icons of the 1960s and will forever go down in the books as musical heroes and purveyors of the sound. However, there existed another man whose unabashedly direct songs became the under-appreciated anthems for the anti-war movement during the decade. Phil Ochs was his name, and he fought battles of racial inequality, war, the draft and corruption with only a guitar and pen in hand.

Wait a second, Phil Who?? Existing on the fringe of the high pedestal where Dylan and Baez stand, Ochs is a man who used his journalistic nature to craft modern day folk songs meant to incite and inspire individuals to open their eyes. He was a writer who saw injustice paraded in front of everyone’s faces and who vocalized his outrage. He was also a man that succumbed to serious mental instability and suffered through depression, addiction and delusion in his later years, ultimately taking his own life.

Ochs’ first two LPs for Elektra Records, All The News That’s Fit To Sing (1964) and I Ain’t Marching Anymore (1965), are absolutely stunning acoustic recordings that feature only a guitar and a voice that is pleasant to hear yet lyrics that are jarring, yet motivating, once comprehended. Songs about racism, labor unions, socialism, Marxism and protest all exist cohesively alongside two songs in poetic verse. Wherein Dylan and Baez leaned more heavily on poetic song structure, Phil was much more blunt with his writing and therefore stood out from his counterparts. His earlier Elektra recordings are very topical in nature due in part to his background as a journalist and writer at Ohio State University. Ochs had a knack for picking up the newspaper and crafting compelling songs about domestic and international affairs; songs that could make one laugh, sing in chorus or contemplate the blatant atrocities being committed.

Here’s to the people of Mississippi
Who say the folks up north, they just don’t understand
And they tremble in their shadows at the thunder of the Klan
The sweating of their souls can’t wash the blood from off their hands
They smile and shrug their shoulders at the murder of a man
Oh, here’s to the land you’ve torn out the heart of
Mississippi find yourself another country to be part of
-From the song “Here’s To The State Of Mississippi”

While folk superstars Dylan and Baez escalated into household names, Ochs failed to reach the notoriety gained by his fellow musicians. Since both Ochs and Dylan called Greenwich Village  home, it was known that they shared an on again/off again friendship. Tensions between the two reached a breaking point when Dylan infamously kicked Ochs out of a limousine and declared “You’re not a folksinger. You’re a journalist.” By the later half of 1965, changes in the folk circuit affected the music industry as a whole. That summer, Dylan left his mark by premiering his electric sound at the Newport Folk Festival, and soon after released the seminal Highway 61 Revisited. This innovative disc, which featured a cast of incredible musicians like Al Kooper and Mike Bloomfield, broke new ground and influenced an aspiring generation of musicians to amplify their sound therefore distinguishing themselves from the acoustic folk movement. NYC was no longer the legendary bastion for folk musicians as rock and psychedelia began to grow stronger roots.

By 1967, Ochs left Elektra Records and the struggling NYC folk scene, and signed to A&M Records in Los Angeles where he recorded a few albums—most notably Pleasures of the Harbor. It was there he opened up his writing to include more instrumentation and arrangements coupled with personal, reflective songs that distanced his sound from the folkies. He tried to appeal to a more pop-oriented crowd on some tracks, like “Outside of a Small Circle of Friends,” yet also retained some of his characteristic song writing from his Elektra years. As he continued to record for A&M though, his songwriting began to hint at signs of oncoming depression, death and despair. The riots and brutality surrounding the 1968 Democratic Convention in Chicago, where Ochs performed, also had a profound effect on his life and his role as a political troubadour as evidenced by the cover for his 1969 release Rehearsals for Retirement which depicted his own tombstone with the date and place of death being Chicago 1968. Many critics said that this was the death of Phil Ochs as a political folk singer and in some part this was true for the scant material he recorded and performed in 1970 and beyond took on interesting rock and roll flair, modeled after the likes of Buddy Holly and Elvis Presley.

The 1970s were a grim period for the commercial appeal of Ochs’ music and his personal life. Leading up to his death in 1976, Phil traveled throughout the world, becoming politically involved in Chile in the early 1970s and spending some time in Africa in 1972 where he performed with local musicians. Battling depression, alcoholism and drug addiction, he continued down a dark and lonely road where he no longer wrote or recorded any new material. Though the Vietnam War continued to rage throughout the early 1970s, interest in anti-war folk songs and their artists had waned dramatically. By 1975, the war was officially declared over but Ochs had already mentally checked out and in 1976, he committed suicide by hanging himself.

Hello, hello, hello
Is there anybody home?
I’ve only called to say
I’m sorry.
The drums are in the dawn,
and all the voices gone.
And it seems that there are no more songs.
-From the song “No More Songs”

Pete Seeger, Dylan and Joan Baez all continued their careers as musicians. Seeger and Baez, in particular, are still very outspoken regarding political rights and injustice throughout the world. As for Phil, though his music has lived on through staunch supporters and contemporary bands paying homage to his songs, his name has been on the fringe of remembrance. But for those who desire to dig deeper through the commercial history of the folk movement and get to the meat and bones of what the 1960s Greenwich scene was all about, should pick up some Phil Ochs vinyl or the comprehensive, highly recommended CD boxset Farewells and Fantasies from Rhino Records.

It is wrong to expect a reward for your struggles. The reward is the act of struggle itself, not what you win. Even though you can’t expect to defeat the absurdity of the world, you must make that attempt. That’s morality, that’s religion. That’s art. That’s life.

-From the liner notes of The Broadside Tapes 1 on Folkways Records

Check out this playlist for a sampling of outspoken OurStage artists who carry the torch and stand up against injustice through their music. Though not all are in the style of Ochs, their message helps keep the spirit of the 1960s folk movement alive.

Keep Digging!
-Gregorious-

Every musician—Jay-Z and Ryan Adams included—comes down with writer’s block at some point in his or her career. Just like swine flu, there’s very little you can do to prevent it. Then again, like swine flu, a full recovery can be made with a little help.

When you feel your creative juices dwindling, or when your well of ideas is as dry as the Sahara, use these simple tips as fodder for songwriting success.

• Feed your inspiration. If you’re running low on good ideas for lyrics, go take a walk around your neighborhood, read a book or watch the news. Keep a notebook on hand to jot down ideas. Sooner or later a story will present itself to you. If you’re looking for musical inspiration, turn on your iPod. What songs move you? Figure out precisely what element is resonating. Don’t try to copy it; simply use it as a starting point for your own journey.

• Stay focused. Keep whatever first inspired you to write the song (be it a lyric, melody, chord progression, etc.) as your focus. Don’t second guess that.

• Know when to take a break. It’s easy to loose perspective if you’ve been working on one song for too long. Put it down and come back to it.

• Record yourself. Even if it’s with a crappy handheld tape recorder. You will hear the song in a whole new light when you’re not distracted by the physical aspect of playing and/or singing.

• Call for backup. Sometimes two or three heads are better than one. Many great ideas come from collaborative environments. Recruit some of your musician friends and, for lack of a better term, jam. See what ideas rise to the top.

Follow these guidelines, and the symptoms of your writer’s block should improve. Truly great songs are a labor of love, so hang in there.

Erin McKeown Is Kinda Coy

The economic down-turn has forced many musicians to get as creative with their marketing as with their music. One artist that is especially inspirational in this regard is Massachusetts-based Erin McKeown. The singer/songwriter/ace guitarist hosted a series of Pay-Per-View streaming online concerts called “Cabin Fever” from her home and raised the funds to finance her wonderful new album, Hundreds of Lions.

The clever “Cabin Fever” concept paid off as great advance publicity for the album. Not only has Lions reached #1 on Amazon.com but the Internet series also helped Erin score a deal with Righteous Babe Records, as well. On December 3rd she will be featured on NPR’s “Song of the Day.”

All four episodes of “Cabin Fever” were shot last summer from Erin’s home — in her living room, on her front porch, in a river and in her front yard. Special guests include Sonya Kitchell, Kris Delmhorst and Garrison Starr among many others.

Playing an average of 200 dates a year, Erin is no stranger to life on the road. She’s been building her fan base that way for a decade. But she can now count Mike Mills of REM fame, who she met at a recent Future of Music summit in DC, among her growing legion of devoted fans. With a full schedule of shows through the end of the year and plans to tour Europe through January, Erin is currently traversing the country with fellow Internet fund-raiser, Jill Sobule on their co-headlined “Clash of the Legends” tour. I caught up with Erin in the midst of a 25-hour drive from Minneapolis to Seattle.

Listen to the track “Santa Cruz ” from Hundreds of Lions.

CD: “Cabin Fever” is such a great idea! How did that manifest?

EM: I self-financed Lions, so I was carrying a lot of debt around. I knew I could ask my fans for support but I didn’t want to do that without offering them something unique. So I sold them tickets to a live Internet variety show —“Wayne’s World” meets “The Judy Garland show.”

CD: Were you able to raise enough for the album through “Cabin Fever” to cover it?

EM: The album was not completely paid for but the notice generated by the series did help me find a label (Righteous Babe) and that put me in a less precarious financial position.

CD: Why did you decide to put this out on Righteous Babe rather than on your own? What do they bring to the table?

EM: Righteous Babe brings not only their reputation but their staff, which is incredible. What a group of smart, experienced and dedicated folks!

CD: You’ve been touring with Jill on the “Clash of the Legends” tour. Jill also funded for her latest album through fans. How did this pairing come about?

EM: Our managers knew each other. I’d certainly heard of Jill and was in awe of her funding success, but I didn’t know her. We’ve discovered we have a tremendous amount in common and I genuinely like her. She’s a fantastic musician and I never know what she’s gonna do next. (I hear ya, Erin!)

CD: Your bio mentions you were a session player. Who are some other artists you’ve worked with and what did you play on those albums?

EM: I played piano, guitar and sang for Kris Delmhorst; songwriting and vocals for Sonya Kitchell and played bass with Among the Oak and Ash. I also have a side project with drummer Allison Miller called Emma. I play guitar, piano and sing in that.

CD: The songs on Hundreds of Lions are so whimsical. How do those translate live since they have such lush instrumentation?

EM: They are translating very well live! They are intimate songs at the core, and I wrote them with the idea that they needed to work small as well as large.

CD: You have mentioned that the music industry has changed so much since you first began your career. Can you talk about the challenges of that and what specifically has changed?

EM: The industry has changed but my daily life has barely changed. I’ve always done a lot of things myself and played a lot of shows. Now I spend more time talking to fans and I make more of the decisions that affect me. Both of those are good things.

CD: How has an ethnomusicology degree from Brown helped your career?

EM: Before I graduated I had two albums out and was already touring. My degree was a convenient way to get credit for what I was already doing.

CD: What is the biggest challenge in touring now?

EM: Staying positive and physically healthy. Luckily I’ve been at it awhile and know what I need.

CD: When did you write the songs for this album?

EM: Between 2005 and early 2008.

CD: How long did it take to record?

EM: About six months. We did four two-week sessions over that period of time.

CD: Your bio mentions your activism around energy policy. Tell me about that.

EM: That is referring to a lobby day I participated in with Ani and the Indigo Girls around a climate bill in the summer of 2005. My current work includes partnering with non-profits in New Orleans to continue the rebuilding effort and maintain awareness of the important work that needs to be done there. I’ve also recently jumped into the campaigns for net neutrality and to increase low power FM radio access for communities. You can get more info at sweethomeneworleans.com and futureofmusic.org.

The scene was exactly what you would expect —one hundred or so hands-in-pockets wallflowers standing idly in a comfortably sized room, every single one of them gazing in awe of the minimally groomed wordsmith wrapping poetically bound stories of enlightenment and regret through the rafters. Not surprisingly, conversation amongst cohorts was nonexistent, and even breathing seemed to be calculated to avoid tarnishing the trance like spell Tillman had cast upon the audience. Methodical, wise and visibly convectional, Tillman’s vocal delivery validates his status as a folk purist. With eyelids remaining shut for the majority of the set, any onlooker can tell that Tillman’s creations come from deep within, and are designed to be enjoyed privately in order to attain the utmost sense of nostalgia and resolve. Sonically, the inconstant forms and occasional falsetto remind this writer of Jeff Buckley during his more musically skeletal compositions.

Tillman enjoying the day with shaggy Fleet Foxes bandmates

Instrumentally, the night was magnificently low-fi—consisting of lead guitar, rhythm guitar, slide guitar, bass, drums and the occasional dissonant recorder/ gong (glorified cymbal) / tambourine / handclaps/ and even car keys. The ensemble was in place merely to support Tillman’s storytelling at times, and— in other scenarios —was there to threaten noise-induced hearing loss. Few times in my life have I witnessed an artist physically contorting with the rhythmic pulse in every beat to the extent that J. did, and it wasn’t before long that the other musicians on stage had caught the same infection. In multiple occasions throughout the set, songs that began in the standard folk vein reached levels of a full blown rock song near their climax, replete with deliberate electronic feedback, chaotic percussion, and a hair-tossing, headbanging front man. He even converted an ordinary ride cymbal into a makeshift gong, hanging it from a mic stand and pounding it with ear shattering devotion while rolling around on the ground.

Tillman @ Middle East Upstairs, Cambridge, MA, 11.15.09

Lyrically, Tillman paints history through anecdotes and fables. With poetic output the likes of “Don’t want to live again / because I don’t want this life to end” and “begging for surrender as the black sky swelled with fire” he emits an omniscient perspective and universal imagery that benefits both audience and subject matter. One highlight of the night was the chilling “There Is No Good In Me.” Beginning as the description of a cold-hearted narrator possessing a “taste for blood,” and having “rendered families from their homes” the piece evolves into an uplifting thaw of a frigid heart though we are left unconvinced of the outcome. Performed live, this song disintegrated into a distorted collection of driving rhythms, leaving the audience member to believe that this song isn’t so uplifting after all. The most soothing segment of the night was J.’s solo encore, “Year in The Kingdom,” the title track off his new release. This song conveys an angle of remembrance of a Kingdom once enjoyed but since forgotten, “I spent a year in the Kingdom / On my way / On my way through the garden” … “I’d give back every night but some / every lay in the dawn / I’d give back my singing voice / for one more day / one more day in the Kingdom.” Fraught with longing, this tune is poised to remind folks in all stages of life to appreciate and make the most of whatever time they have left.

A Year in The Kingdom

The stage banter between Tillman and friends was brief, but charming nonetheless. Whether declaring that his heart would explode if there was any more love in the room, or acknowledging the goofiness of using car keys as an instrument through a sheepish smile, Tillman’s quiet yet noticeable charisma undoubtedly contributed to the lasting bond between artist and fan, and incredible speed at which time flew by. Before I knew it, the one hundred minute set had suddenly dissolved into a meet and greet in the corner.

Perhaps the best part about Tillman’s pieces is that they’re not restricted to any demographics. Whether resounding through the enchanted coastal forests of Tillman’s native northwest, or echoing through the serene Midwestern heartland, his songs just seem to fall into place with the American garden landscape. After all, you have to go exploring in the garden to find the Kingdom.

Tillman’s tour has plenty more dates, check them out here to see if he’s coming to a venue near you!

Jay Sweet recently sat down with the lovely Blake Hazard and asked her a few questions about how her solo career influenced her current project and asked her what advise she had for her fellow indie artists.

JS: Before you two formed The Submarines you were both involved in other musical endeavors, i.e. bands, solo projects, composing, producing. etc. What did you learn from that period of time that helped make The Submarines more “successful”?

BH: There have been plenty of frustrations along the way, to be sure, leading up to our becoming The Submarines. We both played in clubs locally, toured nationally and overseas some, and felt things weren’t building quite as we’d hoped. I suppose spending all that time struggling and “paying your dues” can have an amazing flip-side: if you come out the other end with your cynicism in check and still just love making music, you’ve won—no matter how great or small the reward. Not being devastated by every little (or big) thing that doesn’t go as you’d hoped is a helpful result of having spent a lot of time working. We’ve also learned to celebrate the things that do go well.

JS: It seems like your label, Nettwerk, is very progressive when it comes to generating opportunities for it’s artists; I know you have been with other “major” labels, can you explain why Nettwerk has been a good match for The Submarines?

BH: Nettwerk, as a label, has been very adaptive and forward-thinking. They’re always experimenting with different approaches and it seems that’s really served them well in the sort of natural selection process. Terry once told us he only works with people he wants to work with, and who want to work with him and the label—that they’d never keep a band who wanted “out.” As far as I know, most majors don’t operate that way. People who feel they’re working together by choice will usually have a better result. There are also just some great people there, whose company we enjoy.

JS: Knowing what you have learned in the last decade or so in the music business, what would you tell yourself if you were just starting a career in today’s environment?

BH: First, stay in school, if you can! That environment can be so electric—you may never have the time and resources to mess around creatively while being intellectually stimulated that way again. Savor the hell out of that, then throw yourself into your art 100 percent. I’ve spent a lot of time second-guessing, trying to be reasonable and brace for failure, and I don’t think it’s helped a bit.

JS: I know The Submarines are in the studio recording the next project. What are some of the things you are most excited about with the new material? What do you believe is the best way to get the word out about your music?

BH: The shock of the new! Just playing around with something, a melody, some chord changes, until it suddenly takes shape is still really exciting to me. When I write a song or a part, I always think it could be the last one. Collaborating with John and hearing his instrumental ideas for the first time knocks me out and we’ve been going a bit bigger, sonically. I love not worrying about what will happen with these songs when we’re finished. There’s a force field around the studio blocking out any thoughts of the business side of things right now.

JS: Where do you discover new artists?

BH: I spend time on MySpace, chasing connections between bands and music I like to find things they like. I look at blogs occasionally, too. But, friends have sent me me recent favorites, like Noah and the Whale’s “First Day of Spring” and Sam Amidon. John’s a bit better at seeking out new music. I linger with one record I love for a much longer time.

Paraíso Express (The Paradise Express) features some familiar themes, and “yes” the songs are about love for the most part. Still, the vocals are just a little raspy and completely intoxicating. The addition of lovely, female vocals adds just enough diversity to the record without overdoing the guest feature factor (anyone else bored with albums that use guest singers on every single track thus overshadowing the main artist?) which is exactly what R&B singer and pianist Alicia Keys does for the catchy, bilingual tune “Looking for Paradise.”

The new CD is available now!

Paraíso Express seems to have just a touch more life to it than Sanz’s past albums. From the playful nature of the opening track, “Mi Peter Punk,” to the unexpected rock emotion of “Lola Soledad” (Lola Loneliness), this is a CD full of pleasant little surprises but, of course, it keeps ballad-lovers satisfied. The album keeps the track count low at 10, but listeners won’t feel jilted by its content. The songs are all decent lengths for pop tunes; no 2 minute quickies here! So this express is definately long enough to last through your morning commute. Now that’s paradise.

SIDECAR AGOGO

A fiddle can be a violin and a violin is a fiddle—it all depends on how the instrument is used and in what musical context it is played. As an instrument in classical music, the violin is a standard in a string ensemble, producing smooth and eloquent tones from its taught strings. Fiddles, on the other hand, have more of a spotty history in terms of mainstream music acceptance during the past few decades. Veteran musicians like Vassar Clements and Papa John Creach popularized the sound in the 1960s but were largely associated with the bluegrass and country genres, though there was some crossover into rock and roll.

Sidecar Agogo

Enter Steve Uh, a New York City violinist whose credits in the classical world include performing with the legendary Itzhak Perlman as well as sharing a stage with Paige McConnell of Phish. Steve, along with the rest of Sidecar Agogo, helps erase the stigma of the fiddle as a more niche instrument in the genres of country and bluegrass by bridging the sound with more contemporary influences in the worlds of rock, jazz, Latin and other international flavors. That’s not to say that Sidecar Agogo doesn’t represent with some twangy bluegrass undertones, but their extremely well-recorded tracks make it hard for listeners to pigeonhole their music since the rhythms and influences are spread out across many genres.

The musicianship on “A Dance With Elise” is a ripe blend of styles. The mixture of bongos and bass set a spicy groove for the introduction, creating a funky afrobeat sound until the keyboard kicks in and something more reminiscent of a Latin flair begins to take shape. Once the fiddle takes the stage, the song transforms into something entirely new and the band flawlessly shifts into a musical avalanche of genres.

The group’s stand out number is undoubtedly “The Fiddler’s Return- Moser’s Jig.” The mood veers throughout the track—from upbeat and funky to a bit abstract and spacey. Touches of jazz, latin, rock, bluegrass and more all morph together into a melting pot of sound. Steve’s fiddle comes in and out at the right times during the instrumental, allowing the rest of Sidecar Agogo to demonstrate their skills as musicians in top form. “Coming Home” is yet another example of Steve Uh having a proficient and powerful grasp of an instrument that rarely takes the spotlight.

The band performs in various cities nationally and internationally, but it’s easiest to catch them in Boston or New York City. If you are feeling adventurous, take a trip to Bad Doberan, Germany and catch them at Zappanale, an annual festival founded by Germans held in honor of the legendary Frank Zappa.

THE CHRIS DASILVA BAND

I confess that I have a fascination for the culture that encompasses the sound of reggae music. Rastafarianism, Jamaican DJs and Selectors throwing sound system parties, the creation of versions and dub music, and the history of ska and rocksteady all contribute to my enthusiasm yet its always been the rhythms of reggae that have kept me passionate. My appreciation extends beyond those foundational vintage recordings and branches into contemporary artists who utilize the contagious rhythm of reggae and craft new melodies from their own styles and experiences.

The Chris DaSilva Band

The Chris DaSilva Band draws influence from the familiar sounds of some standard reggae guitar chords and crafts their own fun and acoustically pleasing sounds. The trio consists of bongos, bass and acoustic guitar—a formula that produces a crisp and inherently catchy sound when blended together. What separates this talented trio from their counterparts though is their ability for writing remarkably likable and poignant songs that couple well with Chris DaSilva’s refreshing vocals.

The track “Rasta Dog” stands out as one of their catchier, and probably most requested, tracks. The bass and percussion work well together to develop an effortless groove on top of Chris’ strumming and the song’s charming chorus. The band sneaks in a minimal, dubby effect at times via the bongos, which Fred Pisciotta holds court behind. The utilization of the bongos as the main percussion helps smooth out their sound, creating a danceable yet laid back musical encounter.

“Soul” comes off as being a more personal tune through the lyrics and soft vocals while “Smooth Down” develops into an upbeat, head-bobbing kind of track that leaves behind an infectiously happy sensation. Both of these songs exhibit the reggae influence of their creators whereas “Goosebumps” has the group straying a bit from that chord style by playing a more rock-oriented track that bumps Chris’ vocals a notch than the previous riddims needed.

Their residency in New York City means anyone in the Metropolitan area has the opportunity to catch this up-and-coming trio live. Listening to the output from these talented musicians though, the desire to hear a performance in a warm, outdoor venue on a sun-drenched beach directs any mental imagery far away from the fast-paced bustle of NYC.

Keep Digging!
-Gregorious-

• Don’t leave your album art to the last minute. For too many bands, the graphic part of the record is an afterthought, quickly thrown together before the CD is sent off to press. Keep in mind, your album art gives people the first impression of your band. You’re going to want to come up with a concept that communicates the message, theme or mood of your music. This takes a lot of thought and a lot of time to produce and refine, so start early.

• Look at the album for new and recent releases in your genre. Do you see any trends? Avoid them at all costs.

• Find album art that you love. Research those graphic designers and artists. Are they willing to do commission work?

• If you’re broke, trade. Do you have a friend or fan who’s a graphic designer? Screenprinter? Painter? Photographer? Borrow their talent for free CDs, show tickets or whatever else you have. Do they have an art opening or event coming up? Offer to play for free. Remind them that your album cover will serve as free publicity for their art. If you’ve got a large fanbase, run a contest to see who can come up with winning album art.

• Choose a design that will translate to other mediums. Instead of stressing about separate designs for t-shirts, posters and CDs, pick something that would work well for all your merch. This will have to be a strong visual if it’s going to work effectively as a brand.

• Can’t decide on a design? Throw your ideas out to your friends and fans. They’ll be able to give you some constructive feedback that may help you determine which way to go.

• Stay true to yourself. If the art going in a direction that you’re uncomfortable with, speak up. This is your image, after all. You don’t want it looking like something, well, the cat dragged in.

Punk trio Screaming Females could prove to be the most talked-about thing to come out of Jersey since the Sopranos. Much credit for that goes to guitar shredder/vocalist Marissa Paternoster, who has the stage prowess of Sleater-Kinney’s Carrie Brownstein and the chops of Jimi Hendrix.

The band recently put out their third album, Power Move, on Don Giovanni Records. Their performances at last month’s CMJ Music Marathon in New York City garnered tons of fawning press and a legion of brand new fans. How was it performing at a music industry-oriented event? “It wasn’t much different from any other gig,” Marissa observes wryly.

Screaming Females at play

Although her offstage demeanor is reserved, onstage Marissa is pure old-school punk intensity— singing one moment, yelling another moment and growling the next. She has been known to play so hard that her fingers sometimes bleed. With Marissa’s undeniable charisma at the forefront, it’s no surprise that the band’s audience and reputation is going nationwide. Village Voice recently named Marissa “Shredder of the Year.” And last summer Screaming Females were invited to open for super-group, the Dead Weather. In December, the band will play five dates with British alt rock darlings, Arctic Monkeys.

I asked the 23-year-old Marissa about her band, her home town music scene and the back-story behind the bloody fingers.

CD: How did you start playing guitar?

MP: I started playing guitar when I was about 14. I was sitting on the floor listening to Nirvana (I wish I were listening to something a bit more unique, but I was a very typical teenager), and my father came into my room and said, “I can teach you these songs on guitar. Want to try?” So I did. I got hooked on playing guitar, which astounds me in retrospect, because I had absolutely no interest in the instrument beforehand.

CD: What makes the New Brunswick scene unique?

MP: I’m a pretty big homebody. This question would be so much better for either of the boys, who are really pro-active about going to shows. I’m really lazy. I mean, New Brunswick is really neat and new houses pop up every year fully-equipped with new kids who want to throw house shows for touring bands. All of the houses have their own personalities and stories. It’s cute.

CD: Are you more influenced by bands in your scene or national ones?

MP: I’d say it’s a fair combination of both at this point.

CD: Who or what inspired you to be a shredder?

MP: I did not practice my instrument with the intention of ever shredding on it. I suppose it’s just natural for me to play the way that I do. I only listened to Smashing Pumpkins in my teens (among other things, of course, but not much), so it’s not really surprising. My biggest concern growing up was playing well enough so that I could be thrown into a room with other musicians and hold my own.

CD: Congratulations on being named “Shredder of the Year” in the Village Voice. What was that like for you?

MP: It was neat. Pretty funny considering all the metal dudes who could put me to shame.

CD: How often do your fingers bleed? (That really sounds painful!)

MP: Basically never. I think it happened once or twice because I have poor picking technique and I had a hangnail or something.

CD: Screaming Females has really had a great build over the years. How did you got started?

MP: We’ve never settled on decisions that are uncomfortable for us or made for us. We’ve never rushed ourselves. Common sense rules all, I guess. It helps that we’re all pretty easy-going, too.

CD: How does the band write songs?

MP: We practice in our basement. Someone will play a riff and then someone else will play something. If it clicks, we roll with it and it’ll turn into a song.

CD: Being called Screaming Females is almost like naming your band Blondie. It instantly puts the focus on you. Is it a challenge to make sure everyone in the band — the non-females — get some of the attention as well?

MP: I always hope that audiences notice what a great band we are as a whole. Everything we do, we do together and the combination of the three of us makes something really unique and special. I’ve always seen bands as big monsters, like events unto themselves. Personally, I rather hate realizing the human nature behind musicians that I admire. They are superheros to me and I like to keep ‘em that way.

CD: You’re touring with the Arctic Monkeys in December. Cool! How did that come about?

MP: They had asked us to do some shows with them on the West Coast at the tail end of the summer but it wasn’t really feasible at that time. So when they offered us a couple shows on our side of the country we said sure. Wish the story was a bit more interesting, but that’s pretty much it!

CD: What is the best thing you’ve heard about your band?

MP: That we ruuuuuule.

CD: What is the most annoying thing you’ve heard about your band?

MP: That I look like Thelma from Scooby Doo. Uhm, I guess that’s more personal but it’s all I can think of right now.

CD: What things do you enjoy doing when you are not shredding?

MP: I put my hair up in pigtails and daydream about kittens.

SCREAMING FEMALES TOUR DATES

11.21.09 – Asbury Park, NJ @ Asbury Lanes (Benefit for 180 NJ)
12.05.09 – Columbus, OH @ The Summit
12.06.09 – Chicago, IL @ Riviera Theater*
12.07.09 – Milvale, PA @ Mr. Smalls Funhouse*
12.08.09 – Washington, D.C. @ 9:30 Club*
12.10.09 – New York, NY @ Terminal 5*
12.11.09 – New York, NY @ Terminal 5* (SOLD OUT)
12.13.09 – Boston, MA @ House of Blues*
12.29.09 – Asbury Park, NJ @ The Stone Pony (Home for the Holidays!)#
* = w/ Arctic Monkeys
# = w/ Bouncing Souls