10 Questions: Denyse Tontz

Child star turned song-writer, 19 year-old Denyse Tontz has made her way in the entertainment life since she was 10.
With numerous roles on the small screen and an Emmy to her name Tontz has got a head start on a lot of other artists twice her age.  Sharing her time between acting and her music she is a very busy young lady.
Her music is an addictive blend of playful lyrics and catchy pop melodies that are nearly impossible to avoid dancing to.
I decided to let my daughter Cassidy Inman take the reins in this interview; where she talked to Denyse Tontz about her music, acting and what lies ahead.    


CI: Do you enjoy acting or singing Better?


DT: Although I love both acting and singing very much, songwriting was actually my first love. I've always felt the need to express myself through writing, so it was something that just came along naturally. Acting was something I didn't know I loved until I did it. Really, if you think about it though, they actually go hand in hand. The acting chops were necessary to sell my lyrics, and the lyrics act as a script of sorts for the singer. Ideally, though, I'd love to be able to find success in both fields.


CI: What musicians inspire you the most?

DT: I love musicians that are clever. I really respect people like Alanis Morissette, Lily Allen, Marina and the Diamonds, Gwen Stefani, Sara Bareilles, Taylor Swift, Katy Perry, etc.


CI: Where do you get ideas for your songs?

DT: Most things I write about are based off some event or situation in my life. Boys, most often. Ha! If not that, then I tend to write observational songs. One of my favorite things to do is poke fun. :)


CI: You speak both Spanish and English do you find one language easier to sing in?

DT: Obviously English is my primary language, so it's a million times more natural for me to sing in English than any other language. However, I do love the way the Spanish language sounds sung. It's so beautiful. I really want to learn more languages and be able to sing in those as well.


CI: From your song “Use It,” have you found more motivation from positive or negative influences?

DT: I'd say it's about fifty-fifty. Positive reinforcement is of course one of the best forms of motivation, but sometimes you don't always get that. Over the years I've learned to take negative energy from other people and adopt a different attitude toward it. Instead of letting it affect me, I try to use it as an incentive to prove that person wrong. Don't they say the best form of revenge is success?


CI: You’ve been a model since you were 10 how did you get your start in music?

DT: My parents put me in piano lessons as a kid, and though I hated it half the time, I'm really grateful they did. I sort of developed an ear for melody from playing, and eventually started mimicking pop songs I really liked. I would replace the lyrics with ones I'd made up, and later on I started experimenting with my own ideas. By middle school it became sort of an outlet for me. It was almost therapeutic.


CI: Do you have any albums coming out soon?

DT: I am planning on releasing a steady stream of singles (starting with "Use It", clearly,) and I'm hoping to release each one with a video as well. The next one in line is a song called "Mr. Hipster".


CI: How did you and your manager meet?

DT: I met my producer when I was fifteen, and he's been developing me since then. It's been almost a year and a half since we've been with my manager, Danny Goldberg. Danny had heard our stuff through a mutual friend, and so we set up meeting, ended up clicking, and the rest is history. It's truly a privilege to be able to work with someone with such an amazing track record in this industry.


CI: What’s it like hearing your song used in a TV show?

DT: It's kind of surreal. You don't realize it at the time you're writing it, but once it's airing and the song starts to play, it kinda starts to sink in. I'm really lucky to have been able to write for All My Children, and it was an enormous surprise when I found out my song had been nominated for an Emmy. I definitely owe everyone at Prospect Park one for trusting in me not to write a crappy song. LOL!

CI: What are some artists are you currently listening to?

DT: Ooooh. That's a toughie. I like everyone from Arctic Monkeys to Bob Marley. To list each one would be a pretty long task. Ha!

"Seven Day Forcast" with Blue Skies for Black Hearts: 10 Questions: Pat Kearns and Mike Lewis

Pat Kearns and Mike Lewis,  two parts of the talented team behind Portland Oregon's Blue Skies For Black Heart took some time to talk to BLS about the band, their upcoming new album and Afghanistan.

BLS: You have a new album set for release in July. What do you enjoy the most about the new album?

PK: It's new! For me, the music needs to change and evolve. This album brings longer songs, new and more sonic textures. Keys are as much a part of the picture as guitars on this record. They've been on our past recordings, but not so prevalent. I think the songs have a sense of perspective to them that we didn't have on earlier records. It's all part of evolution.

ML: The vocals harmonies. I've been singing in vocal groups since I was five...with the addition of Grant Law and Mark Breitenbach, we are able to do four part harmonies on almost everything. In past lineups, we've worked toward this, but never quite got there...but this band nails it. I haven't had so much fun singing in ages.

BLS: Blue Skies for Black Hearts has been producing music for over ten years. What do you equate your longevity?

PK: Persistance. And when things got rough, I had even more desire to make music than I did before. Making music is important to me in the way that I connect with the rest of the world. Some people call friends on the phone. Some people go to the bar and watch football. I write songs. That's all the sense I try to make out of it.

ML: We're stubborn, I guess. But really, for me, the first time I tried out for Blue Skies over 13 years ago, there was a magic there...especially between Pat and I. I can't imagine giving that up. It's what gets me up in the morning, centers me when times are rough...those moments of magic, on stage, in the studio, when rounding out a new song...it's what I live for.

BLS: Your music has a palatable retro sound, what do you sight as the defining influences?

PK: I grew up listening to a lot of college radio and underground music, but my heart has always been in Rock and Roll. My earliest memories are listening to Elvis Presley records on my mom's player. And still, no music can stop me in my tracks like primordial Rock and Roll. Arthur Alexander, Smokey Robinson, and Roy Orbison all knock me out.

ML: As the songwriter, Pat should really speak more to this. However, as a guitarist, I love simple, ear grabbing hooks. For me, The Edge and Mike Campbell are huge inspirations. Those guys can make two notes stick in your brain forever.

BLS: Michael Lewis, you’ve been recently working with Rock School Kabul in Kabul Afghanistan. Can you tell us more about the work you’re doing

ML: I am volunteering as a music instructor at the rock school. This time out, my friend Jerry Joseph (a fabulous Portland songwriter who I look up to immensely) is here with me. He busted his tail end and raised a bunch of money for the school. Because of that, we were able to bring a big shipment of equipment out to the school...drums, guitars, pro audio gear. Music has meant so much to me in my life...given me so much, I just wanted to give back to those who don't have the access to it that I had. I am honored that Jerry and his fans have been so generous in helping out the school. And have to give a huge shout out to Humayun and Robin, the founders of the school...they are doing the work day in and day out for nearly three years now. (also check out Robin's killer band, Arc Iris!)

BLS: With the busy lives of the individual band members, how do you manage to keep the band vitally active?

PK: Lots and lots of coordination. This is also why it takes a few years in between records for us.

ML: Lots and lots of coordination. It's a lot of work...but worth it in the end.

BLS: Other than your album release, what dose the summer have in store for the band?

PK: We'll be touring the west coast in July and we have a few festival dates in August around the NW.

ML: As much sunshine and days on the river as possible!!!! Plus touring and festivals and generally kicking ass.

BLS: The Blue Skies in the name, is that wishful thinking being from Oregon?

PK: I'm sure it's not an accident that our name references it. When the sun comes out here, after six months of rain, everybody smiles.

ML: Pat named the band...but I think it is as apt a description of what it means to be a Portlander as any.

BLS: As a long time Portland Band, What do you love most about the hometown scene? What’s you least favorite element?

PK: I love that there's so many different scenes that have evolved here...but I also hate that we don't easily fit into any of them. We're not punk enough for the punk scene, we're too indie for the alt-country scene, and too retro sounding for the pop scene. I just think of us as a Rock and Roll band. Although we don't fit, I never had a desire to follow the rules of a single genre. My favorite songwriters all move around.

ML: I love the artistic pressure cooker...there are so many artists, that it pushes everyone to greatness, because you can't be a slacker band in this town if you want to play. But I find it to also be a little overly clicky and competitive. At any given show, half or more of the crowd are musicians, arms akimbo, standing in the back, not moving a muscle. In New York, people still go out to see music, because music is what they love, and they dance and freak out and don't care about who's looking, what they're wearing, or whether the band is cool enough for them to be into them. They just love music.

BLS: What's the one Portland venue that’s no longer around that you miss the most?

PK: EJ's. Man, I miss EJ's.

ML: I loved playing shows at the recently departed Langano Lounge. House show vibe with a good bar.

BLS: Name 5 bands you love but who few people have heard of?

PK:

Hillbilly Dumbass (Portland, OR)
Toyboat Toyboat Toyboat (Portland, OR)
Moving Sidewalks (Seattle, WA)
Troublegum (Oakland, CA)
Exploding Flowers (LA, CA)



ML:

The Virals (UK)
The Plimsouls (old school 80's west coast band)
Jerry Joseph and the Jackmormons (Portland/Salt Lake City)
The Knast (Seattle, WA)
The Equals (UK...their early stuff, when Eddie Grant was in the band...they wrote Police On My Back, my favorite cover by The Clash)

"Finals Week with The Hard Lessons" 10 Questions: The Hard Lessons

The Michigan power trio The Hard Lessons have been rocking the world with their great bluesy rock 'n' roll for the last decade. An amazing feat for any band, they continue to fight the good fight with the recent release of their latest album Start What You Finished.
The band took sometime to talk to BLS about, amongst other things,  the new album and what it takes to survive as a band for ten.

BLS: You’ve just released Start What You Finished, your latest full-length album. What do you enjoy the most about the new album? Sonically and technically, how dose this album compare to your past material?

HL: It was the easiest record we've ever made. After ten years of playing in this band, we just feel a lot more comfortable writing and recording. I love the fact that we captured a lot of what people love about our live sound on this record. All of the things people know and love about our band are there (big riffs, boy/girl harmonies, Ko's soulful vocals, some poppier hooks) but it is definitely the closest we've ever come to capturing the live sound and that distinguishes it from our past records.

BLS: Start What You Finished sees the new addition of Steve Warstler on drums. What made you choose him to join the band? What dose he bring to the band and the sound of the new album?

HL: Steve started off as a fan of our band, later we had his band Mind Fish (featuring Dean from Silent Lions) open for us at some shows in Michigan and Ohio. When Mind Fish broke up and Steve stopped doing stuff with Silent Lions we found ourselves in need of a drummer and just asked him to fill in. The first thing he did with us was film the video for "Sit & Argue" before he had even played a show with us!

BLS: As a married couple do you find that there are unique benefits and disadvantages of being in a band together? Dose your relationships effect the dynamics with the other members of the band?

HL: Before we had our son, I would say that it was mostly all benefits. Most of my friends who toured would get into it with their significant others because they're off traveling the world while their boyfriend or girlfriend sits at home. Visiting 7 countries with my girlfriend (and then wife) was awesome. However, now that we have a son it provides some unique challenges. Rehearsal? Gotta get a sitter. Show? Gotta get a sitter. Recording? Gotta get a sitter. Luckily our families are more than happy to help. 

BLS: As a band you’ve always believed in presenting a distinctly unique image, from pressing your music to vinyl to screen printed gig posters. Is this a conscious effort, or is it the result of the skills of those around you? What makes vinyl records so appealing to you?

HL: We do all of those things because we are FANS of music first and foremost. I'm not calling out someone who doesn't press their music on vinyl, or saying that if you don't have silk-screened posters that you're not a music fan. But there is just a different mentality with some folks - and they know who they are. We grew up in record stores, obsessing over every detail of records, collecting posters, mentally cataloging record labels and limited releases. We wanted our band to be a part of that culture. I get that people want access to music in the palm of their hand, but I want something I can stick on my shelf and admire both sonically and physically.

BLS: You recently reached an amazing mile stone of 10 years as a band. How has the band and you as artists evolved in this past decade? What steps have you taken to be able to survive the tests of time? 

HL: It is not easy to reach 10 years. But we love doing what we do, and there are still people that love our band. If either of those were to go away, I might not see a reason to continue. I will always play music in some way, but the band The Hard Lessons (especially live) is about interacting with a CROWD. If no one was coming to our shows, we couldn't do this. Our fans complete us. They are part of us.

BLS: What would you like for the next ten years to hold in store for you and your band? 

HL: I feel like we just now have figured this whole thing out. I wish I knew as much as I know now - songwriting, traveling, recording, performing, etc. - when we were starting out and had such a strong spotlight on us. It's embarrassing to see how green we were, but I think that youthful, naive enthusiasm is what really endeared us to people. 

BLS: In the early 2000’s you received a lot of attention on a national level that has unfortunately receded in the last few years. Do you feel this is the result of the industry or did the focus of the band change? Are you concerned with trying to regaining that past momentum?

HL: I think the answer is twofold. First, at 10 years no band receives the attention they get when they're new. I watched that Pearl Jam documentary and they went from selling 10,000,000 copies of their debut, to selling 500,000 at 10 years. But they still have this rabid fan base who supports them. I think that is a natural trajectory for bands, even on our small level. The other thing is this is not the only thing in our lives anymore. We have a family, we work at other jobs, we have a home. Before our life was this band. It is still extremely important to us, but we don't live or die by it anymore. 

BLS: You guys are huge proponents of the local scene both in supporting your own and encouraging others to support theirs. With the ups and downs of your own musical journey how has your hometown scene made a difference? Do you think that the salvation of music lies in the bands and artists in your own back yard?

HL: I'm proud to have made such an impact in Detroit, Lansing, Ann Arbor, Flint, Grand Rapids... We love Michigan, and to have inspired bands from our home state is very meaningful. I'm not sure if a Michigan band will change the world tomorrow, but as the White Stripes proved, sometimes the underdogs from the forgotten parts of the country can end up on top.

BLS: So with a new record in you back pocket, what dose 2014 have in store for you? 

HL: More shows, but no tours. I think the two-months-on-the-road version of this band is no more. But we're trying hard to make it to places that have been really instrumental to our success in the midwest. Grand Rapids, Flint, and Lansing are next.

BLS: Name 5 bands you love but who few people have heard of? 

HL: I already mentioned Silent Lions, who are from Toledo. goLab from Toledo is also amazing. Korin and I used to work at the School of Rock with this little girl named Blaire Alise who has grown into a kick-ass artist in her own right. But I'm always amazed by what "few people have heard." Who could be included in that? T. Rex? Hum? The Pixies? Link Wray? In my opinion most people only have room for a few artists and it is like Eminem, Miley Cyrus, etc. After that it all comes down to more specific tastes. All I know is that my son loves some Iggy Pop!

"Cannibals Week" 10 Questions: Summer Cannibals

Portland Oregon's the Summer Cannibals have made amazing head way in their short time on the scene. With the most recent release of their Make You Better EP, the band is quickly claiming 2014 as their own.  In addition their sweet fuzz-crunch rock 'n' roll the band has an awesome live show that should be not missed if possible. If that wasn't enough, the founding members are also the driving force behind the New Moss Records label.
Thankfully the band was able to find a little spare time to answer our questions and treat us to the other pleasures of "Cannibals Week."      

BLS: You’ve celebrating the release of your Make You Better EP. What do you enjoy the most about this new material?


SC: I love that this EP gets super heavy in parts. That's really fun for us, especially live. But the cool thing is that it comes and goes and “That Feeling” and “Make You Better” show a little softer side. I really think this EP serves as a good growth for us and is a good representation of where the next album hopes to go.


BLS: You just released your debut album No Makeup back in August. What made you decide to do such a quick turn around with this new EP?


SC: Making deadlines helps get things done that I might not do otherwise so a couple months ago we made the decision to just go for it and record an EP. The fourth song "Sit Still" wasn't even written at that point but I think the pressure of getting this done was good for us. I think as a band it's easy to slack a little since you're the one making the rules but being productive and continually writing and creating and releasing is a goal that I'm trying to maintain with this band. I also think we wanted to document where the band is right now after a ton of shows and really getting to know each other as musicians.

BLS: You’ve released both No Make Up and the new Make You Better EP on the Portland record label New Moss Records. Tell us about your relationship with the label? What’s the benefit in working with people from your hometown?

SC: It's actually our label! Marc and I (Jessica) started it last year to release Sun Angle's debut LP Diamond Junk. It's been a really fun project and it is really nice to have total control over the stuff your band is putting out. It can be a lot to juggle sometimes but I definitely feel like it's been worth it.

BLS: Make You Better is the second set of recordings that you’ve released on cassette tape. What makes cassettes so appealing to you?

SC: It's cheap and has a super quick turn around time. I also like the packaging and the way they look a lot better than CD's. We're aware that most people who buy them are buying it for the digital download -- at least they're getting to hold something in their hands that I see as an interesting physical representation of the music that's inside.

BLS: With only 100 hand numbered cassettes with packaging by the band, this EP is slated to be an exclusive commodity. What is it about the hands on process and limited numbers that interests you?

SC: With this EP we wanted to do it this way because we know we're going to use these songs on the next full length. We didn't want to do an extensive release and make it widely available because we still want these songs to be new for some people when the record comes out. The limited/handmade stuff is for the people who are real fans of the band and who enjoyed the last record...I think it's important to try and do things that feel unique and special for the people that are supporting you.


BLS: What is the most important thing you would like for readers to know about the band? Any rock ’n’ roll secrets we should know about?

SC: Ha ha! no secrets here really...we're all pretty weird though. I think the most important thing we'd like people to know about the band is that we're making something we're super proud of and having a lot of fun with it. I hope people feel stoked and have fun when they see us play or listen to our music.


BLS: Marc as the only guy in the band. How is it working with the ladies? How would you say the dynamics differ from other bands you’ve been involved with?

SC: Marc: Man, people ask me this all the time. I'm not going to lie, when I first realized that I was now in a band of all women I was kinda worried (why I have no idea) but its actually no different AT ALL than working with other bands I've been in with men... or mostly men. This band is rad and everyone is so fucking talented and super easy going and fun to be around.

BLS: As a staple of the Portland music scene, what are some of the best and least functional element of Portland’s musical environment?

SC: I love that there are so many people creating here, it's awesome to know that every night of the week there are bands out there playing shows. It's definitely an environment that is conducive to that sort of thing and there's always going to be a venue for your band to play at, no matter what level you're at. The one thing that I'd like to see more of is an atmosphere that promotes a sense of healthy competition. I like the feeling of bands really pushing each other to be better and I don't see a ton of that here. I want someone to be like "hey that was a great set now I'm gonna get up there and play way harder".

BLS: So with the new EP coming out this month, what else dose 2014 have in store for you?

SC: 2014 is off to a super rad start! We've got a few really cool Portland shows over the next few months and then head to Boise, ID for Treefort Music Fest at the end of March. In between the shows we'll be working on the new record and hopefully we'll be able to get that out sometime next summer. We're very stoked about what this year has in store!


BLS: Name 5 bands you love but who few people have heard of?

SC:
Hurry Up (PDX),
Charts (PDX),
Sun Angle (PDX), 
Grandparents (PDX),
Wimps (Seattle) and
Bloodbirds (KC)
I know that’s six but I couldn’t leave any of them out!!

10 Questions: The Black Whisky Union

LA's The Black Whisky Union was fittingly born in a dive bar in Burbank called the Tin Horn Flats. With just a tinge of Hollywood seediness their jazzy rock 'n' roll  is infectiously fun. Bold and powerful, this talented three piece is fronted by the stunning Brit Sheriden who might look familur from her work in front of the camera as a model and actress in shows like Supernatural.
Set to release part three of their EP trilogy in early 2014 the band had a lot to talk to BLS about.

BLS:  To get started, why don’t you tell us a little about the band. How did you guys come together? Where did you derive your name from? What made you choose it?

Jim: We met at this dive bar in Burbank called Tin Horn Flats... Brit was a waitress and Michael, and myself we patrons looking for a singer.  As we were started writing songs, we would drink a bit... Brit would have her Irish Whisky, I would have my Scotch Whisky, and Michael would have his tequila or Jager... Aka Mexican Whisky/German Whisky.
Combine the 3 whiskers and you get Black... The Union is our bond as friends and partners.

Brit: I had been looking to form a band for a long time and when I met Jim and Wess I knew we were gonna create something awesome. We all clicked from the beginning when we met at good ole Tinhorn Flats. Every writing session we would reward ourselves with a drink of our choice. Which all of our drinks combined makes up the Black and being from the South I love my Whisky. The Union to me is what means the most. We all have so much respect and love for each other. We are a little family.

BLS: From instrumental phrasing to vocal delivery, your music holds a lot of Jazz elements, how does this speak to your influences as both a band and as individual musicians?


Jim: For me it's Steely Dan... They have always spoken directly to my soul. So I typically incorporate major and minor 7th's on just about every song I write. I think blending jazz chords over rock progressions and grooves helps to separate us as a band from the normal.

Michael: For me I would not consider myself a jazz drummer/player. I’m more of groove orientated rock drummer but I feel this blends well with the other styles in the band to help create our unique sound and I’ve also always been a fan of major and minor 7th’s in songs.

Brit: A lot of my inspiration comes from country and old rock music. It is what I grew up listening to. Coming up with the vocal lines for me is so much fun. I love creating something people can groove to and sing along with.

BLS: For music, LA is a complex environment being one of the main hubs of the industry. As a band what are some of the benefits of being located in LA?


Jim: The industry is down the street and lots of amazing musicians! 

Michael :Having the opportunity to have the industry here, meet people and get your music heard. You never know who you’ll run into, where they work, and how they can potentially help with getting your music heard.


Brit: There are so many benefits. We all moved here to follow our passion. I love that this town is so full of opportunity. I dreamed of getting the chance to play at some of the places I am getting to play now.


BLS: On the flip side, LA has also become known as a crowded Mecca of struggling bands and Musicians. What are some of the obstacles you face in such a saturated market?

Jim: Well.. I never think of this as a competition... We just do what we do, and if people like it... So be it.


Michael: No matter where you are major city wise there’s obviously competition. For us we really try to concentrate on good song writing, lyrics and melody. You’d be surprised how many bands don’t focus on that down here. I feel we pride ourselves on these things and helps set us apart.

Brit: In this industry you have to have tough skin. You have to believe in yourself and keep on going. 

BLS:  You’ve been sticking close to home, are there any plans in the works for more extensive touring?

Brit: We would love to. We have not had the opportunity as of yet but I have a really good feeling that is about to change.

BLS: Brit, you’ve had some great success in acting. Which came first the music or the acting?

Brit: The Music has always come first. I begged my parents for a piano at age 5 and started singing at age 8. I always loved performing though. Something about being on that stage. I didn’t get the acting bug till I was a little older and came out to LA for the first time. 


BLS: You all have individual efforts outside the band. With your busy schedules how do find time to put the work into your music? Is it hard at time to balance both?


Jim: Nights and weekends... You squeeze every ounce out of everyday.

Michael
: You find the time whenever you can. Whether it’s song writing or rehearsing. We love playing together as well so we make the time for it.


Brit: I consider music a full time job as well. It is where my heart is and I want to make a career out of it. Any time I have to dedicate to the band and music I do it. 

BLS:  As a band you have released 2 EPs in a 3 part series. Why did you choose to release your music in this format versus a long play album? When can we expect Part 3?


Jim: Well having EPs released over time meant that we could concentrate on just those 3 songs... And the audience gets us in small doses. Breaking it up into 3 parts just seemed to make the most sense. Expect part 3 in Jan... Followed by the entire collection on CD with bonus songs. 

Brit: We wanted to do something different. Not a lot of bands release their EP’s out this way. We thought it would be fun for our fans and also a great way for us to concentrate on only a couple at a time. 

BLS: From your show posters to your website, there seems to be a lot of emphasis the design of your band. Is this a conscious effort? If so why is this important to you as a band?

Jim: I think there are so many bands who don't put the effort into the details... But to create posters that look as big as signed bands... To create band ass imagery. It just all seems to fit what we are all about... The whole package.

Michael: I agree with Jim and I also feel the posters are something not only for image but also nice to look back at and see all the places you played around town.

Brit: I think it is important to have to have an image for the band. Through our posters and designs it is a way of expressing ourselves and showing who we are.

BLS: Name 5 bands you love but who few people have heard of?

Jim: Jellyfish, Dan Reed Network, Tommy Spase, Hayley Gaftarnick, King Washington.

Michael: The Shore, Doves, The Joy Formidable, Remy Zero, Dan Reed Network as well -

Brit
: The Head and The Heart, The Royal Concept. Josh Abbot Band, Ben Rector, Ryan Keen

10 Questions: Lennon Bone of Ha Ha Tonka

With the release of their fourth and latest album Lessons and an extensive US tour in support, the Midwest sweethearts Ha Ha Tonka have been busy.
Thankfully drummer Lennon Bone was able to take some time out of his busy schedule to tell us about the new album and answer our questions.
When your done with reading the interview check out the our review of the new record.

BLS: You have recently released your fourth studio album Lessons. How has the band changed artistically over the last few albums and how did it affect the songs on this record?

LB: I think more than anything, we've just done this for enough years that we seemed to finally find our footing when it came to putting all of the pieces together. Huge nods have to be given to the producers, Dan Molad and The Ryantist, as well. When we went to the two of them, we knew we wanted to make a record that felt fully produced, and just wanted to try new things in the studio, so that's what we did. I think all of the effort we've put into the last 3 albums allowed us the chance to just do what we know how to do, and let the producers help shape the songs in new ways. It was an absolute blast seeing it all come together.

BLS: With and album titled Lessons; what lessons did you learn with this album and were there any pitfalls you were able to avoid this time around?

LB: I'm not sure what we've learned, lesson wise, with this album. Most of the lessons were from all of our previous experiences. There's so much that goes into releasing an album, much more than just recording. So, we're still bound to learn a few things as this one gains more momentum. As far as pitfalls, I guess we were able to avoid any major disagreements with each other on this record. It all just came together really easily.

BLS: What do you enjoy the most about the new album?

LB: The sonic structure of it. There's so much detail put into tones and phrasing. I love that from song to song, each has its own aural personality, beyond just chords and rhythms. Bass tones are different, different drums, guitars and vocal effects. It really feels like we've graduated to a new place.

BLS: Lessons, is the latest album released on your long time label Bloodshot Records. What is it about this Chicago indi-label that has encouraged your long-term relationship with them?

LB: Well, for one, we signed a contract. Ha. And two, they keep us boozed up when we see them. Very important factors. In all seriousness, they're really making some hard moves for this record to get out there, and we're super grateful for that. Good people, them bloodshot folks.

BLS: There is always talk of the regional aspect of music (like Southern Rock). Do you feel that there is a recognizable Midwest sound? If so, how does your band fit in to that musical pallet?

LB: I don't think there is anymore. If there was, people started ripping it off and making it their own thing, which is what we all do as musicians. I hear a lot of Kansas City bands taking the indie rock sound that's coming out of Brooklyn and making their own thing out of it, etc. There's really no regional separation between sounds anymore, since everything is at everyone's fingertips all the time. And to me, that's great. Music is just music, and it feels like we're seeing genres start to bleed together more than ever.

BLS: In your opinion, what are some pivotal Midwest bands that have influenced, or helped define your band’s sound?

LB: I'm not sure who helped define our sound in the Midwest. There are many bands that have helped us along the way, like Big Smith, Someone Still Loves You Boris Yeltsin and Murder by Death, just to name a select few. It's tough to narrow down or distinguish who exactly is responsible for helping define our sound, as I'm sure we've pulled from a ton of influences individually as well as collectively.

BLS: As an independent band the key is always getting your name out there and your music heard. You’ve worked with companies like Marlboro and recently were interviewed for Elle. Have you found that these unique outlets have provided you with avenues for new audiences?

LB: Oh, I'm sure they have! The weird thing about the industry now is that it's really tough to tell exactly where people are hearing you. We feel very fortunate to have worked with some of these people and companies, but we also just do as much as we can and hope that all the content helps expand the options for people to find us. It's very rare that we turn down any type of press opportunity.

BLS: Having taken your band’s moniker from the State Park of the same name, what is it about this Missouri location that’s garnered such honors? Does the band have a favorite part of the park they like visiting?

LB: We initially decided on the name for a couple of reasons. 1. It wasn't taken. Very important these days. 2. It was unique, and a part of the Ozarks. We've always been very proud of where we're from, and we love having the opportunity to pair ourselves with it in a way that we can talk about it when we talk about ourselves.
We all love visiting the castle there, although there are many beautiful areas of the park. If you're in the area, you should definitely check it out.

BLS: You’re touring in support of the new album. Do you have any good stories from the road?

LB: Nothing too crazy from this tour so far.... but we're pretty early on in the album cycle. If you could check back in a few weeks, I'm sure there would be a few. Or at least some that we'd have to keep off the record. Ha.

BLS: Name 5 bands you love but who few people have heard of?

LB:

Luke Temple

Someone Still Loves You Boris Yeltsin

Lucius

The Spring Standards

Antennas Up

10 Questions: Brandon Day of Marmoset Music

A boutique music agency based out of Portland, Oregon Marmoset Music has been providing music for creative mediums of all shape and size since 2010. Mainly working within the public eye including films and broadcast television commercials Marmoset is known for crafting original music and maintaining a hand picked roster of independent artists for licensing opportunities.  On an ironic, it's a small world note, the first seeds of inspiration for what would become Marmoset Music and my own interested in music journalism were both planted from experiences working as DJs at Radio KSOC at Southern Oregon University.

Earlier this fall I had the opportunity to meet Brandon Day who's Marmoset's head of artist relations and also scouts new artist/band to add to their licensing roster. He was kind enough to answer some questions about Marmoset Music and the work that he dose there.
    
BLS: To start us off, why don’t you tell us a little about Marmoset Music; what exactly does the company do and what’s your job there?

BD: Marmoset is a boutique music licensing house based here in sunny Portland, Oregon. We started off as an effort to help solve what we though was a problem in the music industry: creating revenue for independent artists. With independent record labels struggling to stay afloat, we've grown to utilize the untapped potential in music licensing. What was once thought of as "selling out" is now a widely accepted form of income for artists.
We started with local artists here in Portland and have since grown to include artists from around the globe that have a similar mindset as we do. We're proud to help pair music made with heart with projects that compliment their aesthetic and creation. It's been really rewarding to see artists such as The Dimes, Derby, NTNT and Kye Kye get substantial enough income to help push their projects to the next level.
My job at Marmoset is to scout and sign artists that we believe have a good chance at meshing well with our audience. We have filmmakers and ad agencies around the world with unique projects who have identified with the music we represent. I get the fun (and rewarding) position of helping pair these two worlds.

BLS: Could you describe the different levels of licensing that Marmoset works with?

BD: There are two ways we license music: though our website (marmosetmusic.com) and through working hand in hand with our music supervision team. For independent filmmaking projects, we've found that finding the perfect song on our site, and licensing it on the spot, is an efficient and valuable tool for making projects come to life. When we're approached by a larger creator, such as some of the largest ad agencies in the states, we custom pick songs from our roster that we feel will compliment their spot. If the vignette needs a bit more customization, we also have a talented Original Music team that digs deep and creates wonderful songs.

BLS: What exactly does a new music scout and the head of artist relations do?

BD: I get a chance to listen to a huge amount of independent musicians and determine which ones I believe we can help support. There is no genre or type of music off the table, and I always welcome artists to submit their work for us to listen to. If we feel the music is a good fit, I'll have our AR team sign the artists and help get them up and running on our website and roster. From there, we have a weekly meeting in which all new music is shared with the team. This makes our process work smoothly and allows new artists to have top-of-mind when it comes to pitching their songs.

BLS: With numerous licensing houses in the industry as well as a few within Portland itself, what advantages do you bring to the table in regards to your clients and the artists/bands your represent?

BD: We take pride in having personal relationships whenever possible, whether it be between the artists we represent or the clients we work with. Oftentimes, I meet with our artists over coffee (or whiskey) and learn a bit about their lives and their creative endeavors. We also make it a priority to travel to the cities were our clients live and set aside time to shake hands and get to know the people we place music with. When projects are largely pieced together through digital means, there can be a loss in personal contact with the people you're interacting with. By helping bridge that connectivity, we aim to make our relationships more meaningful and ultimately make licensing better.

BLS: Do you find that when scouting for a piece of music to use for a project it’s more productive to look for a the song itself or a band or artist that creates music with the same emotional presence that your looking for?

BD: This largely depends on the type of project we're working on. For instance, if the project is going custom, we'll utilize an artist or composer that we feel will help capture the emotions in the direction we're going for. For most projects, we're looking for the perfect song that will take a video production to the next level. Oftentimes, we're searching for that song that just nails it. It can really be an "aha!" moment.

BLS: What specifically are you looking for when you pursue a relationship with a band?

BD: I take everything into account, because I believe it all matters. It's important to take time to get to know the artist a bit (through past interviews, reading through bios, etc) as well as listening to the music. At the end of the day, I look for music that we can help support through licensing. It's always a leap of faith (so to speak) as to what we believe will license, seeing that our clients ultimately make the decision of what they will use. For every artist on our roster, we feel there is an opportunity to create income for them to help support their work and I'm conscious that I'm only signing artists that I feel we can help.

BLS: Are there things that a band can do to be more attractive to licensing outfits like Marmoset?

BD: The best thing a band can do is create music they believe in. Music that follows a story works really well for us, as it often times contains a cinematic element to it. If an artists finds expression through electro or folk or whatever they're into, being true to themselves really shows.
Also, due to voice overs, having instrumentals available is crucial.

BLS: Say that someone is interested in the music industry specifically in the area of working with licensing music. What avenues would you suggest to break into the industry?

BD: Taking the time to know the music landscape and their local music scene is a key factor. I believe it really takes immersing yourself in music culture to get a good sense at it. Many different types of backgrounds can come into music licensing. At Marmoset we have people that have traveled the world in touring bands (such as Fruit Bats and The Shins), people that are growing their local bands (such as Norman and Alameda), business students, and filmmakers. There is no specific background that makes someone fit perfectly into this world. Having a good ear and the drive to create will win over.

BLS: Marmoset is very active in supporting the local music scene here in Portland ; from MusicfestNW events to fundraisers for the Rock 'n' Roll Camp for Girls. Why does Marmoset Music take such an interest in Portland’s music scene?

BD: We've grown from the music scene that we've started in. A majority of the people at Marmoset have been raised in the Pacific Northwest or have spend considerable time growing from the music scene. We are proud of the people who create music here and hope to give back whenever possible. Above all else, there is just a lot of great music here.

BLS: I’ve read that you’re an avid music aficionado. So what’s the name 5 bands you love but who few people have heard of?

BD: Oh wow! Let's see. Some of my favorite bands at the moment are:
Yellowbirds,
Angel Olsen,
Typhoon
Outrageous Cherry
Sonny and the Sunsets

10 Questions: Andy Rosenstein Of JC Brooks & the Uptown Sound

The powerful Neo-Soul group JC Brooks & the Uptown Sound have been making some of the most groove luscious music to come out of Chicago in years. Extremely busy with the release of their latest album, Howl,earlier this year and a tour in support. The band will be swing into town to play Lola's Room this Thursday, August 15th.(See latest Triple Crown)
Andy Rosenstein, who lends keys, percussion and vocals to the band was generous in taking some time out of their busy schedule to talk to us about the band and their latest release.  

BLS: It’s been about a year since By the Light of the Stereo checked in with you. How has 2013 treated you? Are there any new developments with you and the band?

AR: 2013 has been pretty wild so far. In the winter and spring we finished the new record Howl and got all of the new music ready to perform. Since May we've been on the road. We played South By Southwest again and hit up the Firefly Festival out east, which was amazing. We went to France and are heading back for a tour all around western Europe in October. It's been great.

BLS: Back in May you released your latest album Howl. With this being your third album how was the recording and promotion experience different this time around?

AR: I wasn't in the group when they recorded the last record (Want More) but I joined months before it officially came out and did the entire Want More tour as a member of the band. I can say without hesitation that we did a lot more driving last time around. This time, thankfully we've done some flying to gigs, mostly for the west coast. It has made it a lot easier to travel so much. The other big difference this time around is that we've been getting a little more radio play, which really helps.

BLS: Compared to the rollercoaster energy of your last album, Howl plays with a more sedated and even keel. What do you attribute this too?

AR: I think on this album we were looking to make music where we didn't restrict which of our influences we would include. That allowed us to think about post-60s/70s sounds that we like, but that the band had pushed aside in the past-- synths, brit-pop, disco, modern electronic sounds, etc. Somehow when we added all of that together, it might have come out a little less rock'n'roll.
Another factor might have been me joining as the band's first keyboard player who wasn't just a side-man but who worked on the songs and arrangements. Unlike Billy and Ben I don't come from Post-Punk music, so I might have softened things a little.

BLS: Emotionally this album has more prevalent themes of loss, pain and regret. What dose this reveal of your head space when writing these songs?

AR: We wrote Howl during the year and a half of touring on Want More, so we definitely had plenty of time away from people we loved, and complications associated with that. I think that's part of it.
We also recorded Howl in Montreal because we wanted to work with Howard Bilerman, a producer with both Arcade Fire and Wolf Parade albums to his name. Going away to record was also meant to keep us focused on the work, and a little isolated from everyday pressures. It definitely succeeded in making us isolated. Montreal is great, but December there is grey and cold, and I think that comes through, even though it's not a wintery or downtempo album.

BLS: In the process of creating these last three albums have you picked up any new influences along the way?

AR: Everyone in the band is always listening to music that's new to them, whether it's something that just came out or an old gem they just discovered. We also share things that we each take for granted but that other members of the band don't know. And we definitely keep up on what is happening in the music world.
For example, we wrote and recorded Before You Die months before Get Lucky was released, but both songs have Nile Rodgers and Chic as major influences. It must have just been the right time.

BLS: You’re currently on the last leg of a fairly extensive US tour with a European tour looming in the near future. How has the road been treating you this time around? Are their any new experiences waiting for you across the pond.

AR: There are always new experiences out there. This will be our biggest tour of Europe yet, and I know everyone is really excited. The road can be incredibly fun, but it can also be pretty challenging. The trick is to roll with the punches as best you can and try to have perspective and appreciation for all the strange things that happen.

BLS: You recently released a video for “Rouse Yourself” staring Aubrey Plaza (of NBC’s Park & Recreation) and Jake Johnson (of FOX’s New Girl). What was it like to have such recognizable individuals working on this project?

AR: It was very cool for both Jake and Aubrey to make time for us. Jake's an old buddy of Billy's and has come out to see us a handful of times. He also put up a JCBUS poster in his 'bedroom' set on The New Girl, which I know a lot of people saw. With a music video-- and with making an album more generally-- the goal is to get the most people possible to hear your music, and having some big names helps on that count.

BLS: Do you find the road as a source of inspiration or do you feel the studio is more conducive to your creative process? With your busy schedule have you had a chance to write any new material?

AR: For me, it's the studio all the way. I can't write on the road because there's no privacy and quiet. When I'm at home alone is when I can clear my mind. I think to varying degrees that's generally the way the other guys work, too, but I don't want to speak for everyone.
On the other hand, I saw a shouting hobo in a park in Toronto a few weeks ago and I intend to lift a few of the things he said wholesale for a song at some point. He had some really top-shelf craziness.

BLS: If you could open for any of the forbearers of Soul, alive or dead, who would it be, and why?

AR: Hard question. I think Sly Stone, but not because our music and his have a ton in common, but just because he's my favorite.

BLS: Name 5 bands you love but who few people have heard of?

AR:
Bailiff : Great chicago indie rock trio with a lot of blues influence, but done in what I think is a unique way. They're about to put out a brand new record, which they let us hear, and it's amazing.

Wild Belle: Chicago brother-sister group with a really sexy, spacey dub reggae kind of sound. They may be famous already-- hard to say what counts these days-- but they're really excellent.

Escort: killer disco band from New York. Think we're going to playing some gigs with them sometime soon.

Rubblebucket: horn-section lead indie rock band from New York with tons of character and humor. Fronted by a super bad-ass gal who plays baritone sax. Every member of the group is an insanely talented and tasteful player.

Hudson Branch: Another indie group from Chicago. Beautiful, expansive tunes, interesting orchestration, and a lead singer who sounds a lot like Paul Simon. Think these guys could be massive if they get a break.

10 Questions: Luke Winslow-King

The rag time jazz and post war blues of Luke Winslow-King carry the feel of his transplant home of New Orleans.
Currently on the road in support of his latest album The Coming Tide on the Bloodshot Label, he'll be playing two free show here in the Portland area.

Friday, August 16th
McMenamins Edgefield
2126 SW Halsey St
Show: 7PM
Free
21 & Over

and

Sunday, August 18th
Elizabeth Caruthers Park
3508 SW Moody Ave
Show: 3PM
Free
All ages

With the new album and a busy touring schedule, we're very thankful he could take some time out of his busy life to talk to us at BLS.

BLS: Back in April you released your debut album The Coming Tide on the Bloodshot label. Though you have a long history in music, what was it like recording your first album?


LWK: I have self-released two other albums over the years, but it was very exciting to release The Coming Tide with Bloodshot last April. We put a lot into the songs and it was great to see them reach a wider audience. We recorded it at Piety Street Studios in New Orleans with a cast of great instrumentalists from the city.


BLS: The Coming Tide is ripe with a jazzy ragtime feel. As a transplant to New Orleans which came first the music or the city?


LWK: I had always been interested in jazz and blues music growing up, but I developed a specific interest in ragtime and traditional jazz after moving to New Orleans in 2002. The music appealed to me because it was improvisational yet danceable, complex yet still melodic enough to be ‘peoples music’. I’m glad to have had the opportunity to discover my own musical voice in New Orleans surrounded by these influences.


BLS: Your music is a sweet throw back to post war blues and dustbowl jazz. At what age were you introduced to this style of music? Is there a particular individual you have to thank for the introduction?


LWK: I started playing old time music in high school. I first was interested in Woody Guthrie, and then later discovered Charlie Patton and Jelly Roll Morton. There were a lot of great musicians that influenced me along the way; Seth Bernard, John Boutte, Roberto Luti, and Washboard Chaz, to name a few.


BLS: You have been studying music since a teenager. What are some of the benefits of having all that knowledge to draw on? Are there any drawbacks?


LWK: Yes, I’m glad to have started studying music from an early age. Having a understanding of music theory and composition has informed my writing and arranging along the way.
It makes it easier to create the sounds you are imagining in your head, and articulate them to others. Sometimes I do try to ignore certain elements of my training when writing though. It is refreshing for me a times to write clear and relatable melodies without involving too much sophistication.


BLS: In your schooling you spent time studying music in the Czech Republic’s Prauge. Did your time their influence your music in any way? Are there any other international influences you pull upon?

LWK: I do still find my self reminiscing about my time studying in the Czech Republic.
I spent time there analyzing scores from Dvorak, Martinu, Smetena, and Mozart. I was inspired to learn how these composers had transformed their regional music into classical forms, Taking simple folk themes and morphing them into symphonies.
This is not exactly what I am up to with my music today, but it’s definitely something to strive towards. I also enjoy Bela Bartok from Hungary.


BLS: On the album you are joined by the lovely vocals of Esther Rose who also plays wash board. Who else is on the record with you? Do they make up your touring band? How did you develop these collaborative relationships?

LWK: The Coming Tide features; Esther Rose on washboard and vocals, Cassidy Holden on bass, Ben Polcer on trumpet and piano, Rich Levinson on drums, and guest appearances by Rick Trolsen on trombone, Chris Johnson, Bruce Brackman, and Tom Saunders on saxes. On the road I’ve been performing as a trio with Cassidy and Esther a lot, but we add drums and a horn section at the bigger gigs. We have a really active music scene in New Orleans, and we are glad to have relationships with so many great players around town.


BLS: On the album your cover of George Harrison’s “I Got My Mind Set On You” is a truly unique treatment of the song. How did you arrive at this version? Do you have a specific approach you take when considering to cover a song?


LWK: I came up with my version of ‘ I’ve Got My Mind Set on You’ while strumming the guitar on the porch one day. I was inthralled by these repetitive droning pattens that I had learned listening to North Mississippi blues (Fred MacDowell, R.L. Burnside). I simplified the song by removing the bridge and major parts of the melody. I tried to approach the song like I imagined Jessie Mae Hemphill would have.


BLS: How does your style of music affect your instrument choices?

LWK: I gravitate towards older instruments that have a rich tone. It seems that some of the instruments I find along the way are just waiting to be played again.


BLS: Your music pulls on both jazz and blues. Though inarguably these styles are derivatives of the same root elements, they are still considered in many circles drastically separate genres. In your opinion, both musically and chronologically, when are/were these genres more similar than separate?


LWK: I think that jazz and blues were more closely related in the pre-war days.
Through the 1950‘s, as these genres became more urbanized, they started branching out into bebop, jump blues, and eventually rock and roll. It seems that in the teens and 20’s they were harder to decipher.


BLS: Name 5 bands you love but who few people have heard of?


LWK:
Karen Dalton,

Mance Lipscomb

Lil’ Bob & the Lollypops

Joseph Spence

Bukka White.

10 Questions: Keith Littlefield of Volume Bomb Records

As the guitarist for Portland punk outfit 42 Ford Prefect and the head of Volume Bomb Records Keith Littlefield is doing his part to make Portland's music scene  one of the best in the world. With the release of the Blown Fuses and Bloody Ears compilation, we took some time to find up what he was up to.

BLS: As the guitarist of the band 42 Prefect and the driving force behind Volume Bomb records you wear many hats. What would you say is the hardest thing about being an independent artist and running your own label?

KL: Playing in the band is easy. I'm lucky to play with three great guys who all want to do stuff and are excited about it. Getting the comp together was surprisingly smooth, considering there's 9 bands to organize. What is really hard, honestly frustrating rather than hard, is the PR and networking part. I want every band involved with this to do well, which means I've spent countless hours contacting music journalists and blogs, doing design work, and putting up fliers around town. As a musician I want to let music stand on its own, but there's a lot of background work to do.

BLS: You spent years in the music industry, most recently as an active part of the Portland scene since 2009. How did you get started? What is you favorite thing about our towns music scene? Your least? How does it compare to other scenes you’ve been a part of?

KL: I started playing live music in a band called Black Ops (Denver), but I grew up in a household full of musicians and have been surrounded by musicians my whole life. Portland's music scene is undeniably great. There's an overall level of talent here that is staggering if you're coming out of a small town. I've seen bands here playing for 5 people that would be rock n roll icons almost anywhere else. Which brings me to my least favorite part: we are so inundated by great acts that we take them for granted, and I wish bands and crowds were just a bit more excited about the sheer number of solid shows that are happening on a nightly basis. As far as other scenes go, there's parts I miss about Denver, but from what I gather it was the decade not the location. It was a good time for blistering rock n roll, but there's no way in Hell I'd trade the scene here to go back.

BLS: You’ve just released the compilation album: Blown Fuses Bloody Ears. How did this project develop and what’s the inspiration behind it?

KL: Our bass player (Chris) and I were drunkenly ranting one night about how much we missed good punk comps like the Punch Drunk and Give Em The Boot series. We realized how many bands turned into our favorites because we picked up a cheap comp based on one or two other bands. I believe that the final decision was a slurred "If they can do it, so can we!"

BLS: How did you decide which bands were included on the compilation and which songs were presented?
KL: All the bands on the comp are bands that I have gone to see purely because I enjoy their live set. I've played with all of them and play with a few of them on a regular basis. Basically, this is my favorite mix of bands that I've had the pleasure to play with over the last year. Picking the songs was a little bit trickier since genre wise the bands are so spread out. I asked for their fastest and hardest 3-4 songs and picked 2 that would fit well in a mix. The comp jumps around a bit, but I'm a fan of spastic mixes.

BLS: In the bigger picture, what would you like to do with the Volume Bomb label? What future projects do you have floating off in the ether?

KL: The goal right now is to get a comp out every year with some different and recurring bands. I've discussed, but not finalized, doing some split 7s between some of the bands, including my own. Even if this works well, I still can't see running Volume Bomb as a business. I'd rather it be a stamp on a record jacket that people recognize, and a way to further any project that fits and wants to be affiliated. We will see where it goes.

BLS: On another note, what developments are happening with your band 42 Prefect?

KL: After the comp comes out, we are spending a few months writing some new stuff and revamping some older material. Between the comp and the video we put out, I feel like I want to get back to just playing hardcore and not producing it. Expect a 7-inch of new material before we go on tour next summer though. With Patrick, our new guitarist, we've been able to add some elements that I feel were missing before he joined.

BLS: Besides these two projects, do you have any other musical irons in the fire?

KL: Only minimally. I do some home recording and production work for buddies making demos and that sort of thing. Chris and I have an older recording project called Night Ghast, based around HP Lovecraft, that we've been wanting to bring back.

BLS: I hear that you’re a big jukebox fan. In your opinion of all of the bars in Portland which three have the best jukeboxes?

KL: The Water Trough's (4815 SE Hawthorne Blvd)  jukebox goes from MC5 and the Murder City Devils to Willy Nelson and Iron Maiden. They also have been good about throwing in local stuff every once in a while. The comp may be in there by the time this comes out.

Hanigan's The Vern (2622 SE Belmont St) has a solid punk rock jukebox and every time I go in there I'm impressed.

Gil's Speakeasy (609 1/2 SE Taylor St) has had one of the better jukeboxes in town since I moved here in 2005. It's always changing, but it has always been good.

BLS: You are having a release party for Blown Fuses Bloody Ears Saturday August 3rd at the Tonic lounge. What should we expect from the show?
KL: The 6 bands that could do the show all have high energy live shows and I would make every single one of them the headliner if I could. I'd expect to see a lot of singers on the floor and a few people getting up on stage to scream along. There will be dancing if you can call it that; it should be fun spastic night. The sound system has been redone at the Tonic and I plan on taking full advantage of every watt they have.

BLS: Name 5 bands you love but who few people have heard of?

KL: 
The Pine Hill Haints (Alabama): Acoustic Americana and their shows are more punk than most hardcore shows I've seen.

The Motards (Austin, TX): Snotty as hell, treble-charged, drunk punk.

Criminal Damage (Portland, OR): The closest to Blitz style punk rock I've had the pleasure to see.

The Tee Vees (Vancouver, BC): Just solid garage rock.

Bright Channel (Denver, CO): Dear friends from my Denver days and proof that shoe gaze can be ballsy as all hell.

10 Queations: Pussycat and the Dirty Johnsons

Photo By Toby Amies

The UK based garage-punk psychoabilly band Pussycat and the Dirty Johnsons will catch your ears and eyes. Mixing a glam theatrics to their live performance that effortlessly translates on to CD and vinyl this band makes some fun and wildly gritty music. Having just released their sophomore album Dirty Rocknroll and signed to STP Records, this band is making some awesome strides, so we're thankful that they could take the time to answer some of BLS's questions.
    
BLS: For those people that are unfamiliar with Pussycat and the Dirty Johnsons, why don’t you tell us a little bit about your sound?

PDJ: We get called Punk, Psychobilly, Garage, etc but we've always described ourselves as Dirty Rock'n'Roll, which I guess has elements of all of the above.

BLS: You’ve recently completed your new album Dirty Rocknroll. What do we have to look forward to on the new record?

PDJ: There's lots to look forward to! Something a bit more diverse, but it still sounds like us. Phil Polecat guests on a couple of tracks playing double bass. The rest of the album was recorded as a 3 piece, which we're having a lot of fun being.

BLS: What’s different about this new album compared to Exercise Your Demons? How has the band and your sound evolved or gown in the time between albums?

PDJ: It's evolved on it's own really, unconsciously.. just by the nature of the new songs. And the fact that we are a 3 piece now, so most of the songs are just one guitar, drums, and vocals, although I play guitar on 3 songs. We still make a bloody racket though! And the majority of listeners said they didn't miss the bass, a lot of them didn't even notice there wasn't one!

BLS: You have found a way to have fun with your music without losing this assertive punk energy or coming off as cheesy. Is this element of play important to you as a band and will we see it in the new album?

PDJ: I think when we're on stage we are having fun, except on occasions when the sound is bad, but if the audience are enjoying it we really feed off them and it doesn't matter. I can never force myself to write songs, they just come out naturally when I feel inspired. So I don't think we really ever try to do anything.. the music just is what it is. I am fond of the odd pastiche though, Vampire Sugar from the first album was a tongue in cheek nod to The Rolling Stones, and there's a punk track on the new album which is a shamelessly blatant amalgamation of a few classic punk rock songs, and a bit of Bowie.. it's a fun one to do live as people catch on and sing along. And the song is about being of a certain age and still living with your mum and dad, which isn't very punk... or is it?!

BLS: You are known for the wild pageantry of your live show. What techniques did you use to capture that element of your music in your studio recording?

PDJ: We recorded live and then re-did the vocals, just like last time.. the room we record in at Space Eko Studios is a great space, lots of atmosphere. I think there's something about that place that just makes stuff sound big and lively, and of course Alex McGowan did an ace job recording and producing it with us. It's a great shame that the studio is moving, as the building is being made into posh flats.

BLS: What were some of the highpoints of 2012? What doses 2013 have in store for the band?

PDJ: Playing at Miss Peapod in Cornwall was a highlight for me, very unexpected reaction from the crowd, most of whom didn't know us. Peapod is a small cafe that turns into a venue at night, it was sold out and the people just went nuts. It was a proper, sweaty, mental gig. That is my bag. I hope 2013 will see us traveling across the pond to play gigs abroad. We've just been signed to a small Manchester label called STP Records, so I think this will be an exciting year for us.

PDJ: Pussycat, as the female lead of a punk band you seem to have been able to find a way to balance the aggression of the music with a feminine sensuality. Who are other female leads from which you’ve gained inspiration?

PDJ: Ooh spank you! I have always just felt around what I'm doing, the performance is just a product of the music really, I've always seen it as quite an organic thing. Disappointingly for some, I don't really have any obvious female influences, I know people expect me to say Patti Smith, Polly Styrene, Siouxsie Sue, etc but while I like some of their stuff, for the most part it doesn't really do it for me. I have to say I'm pretty much one of the boys when it comes to music, Iggy Pop, Jon Spencer, Nick Cave, Captain Beefheart, Bowie, James Brown, Small Faces, to name a few.. I'm not against female artists in any way (I am one!) I just personally haven't fallen in love with any, yet. Actually female fronted band DragSTER, who are also on STP, they really float my boat I have to say, Fi (the singer) is wild and really doesn't give a fuck when she's performing, I love that. And 100% Beefcock And The Tits Burster - a 2 piece female band (bass and drums), they're fantastic too, so much noise from just two people!

BLS: What tools (i.e. social networking, internet video, etc.) have you found worked the best to reach and build your audience?

PDJ: Facebook probably, it used to be Myspace but now that's pretty much a deadzone.. I don't know how the new Facebook rules will effect things in the near future, I know not as many people see our posts which is very annoying. If you sign up to something you wanna hear about it, right?!

BLS: One of the greatest challenges for bands in the US is the enormous amount of geographical space in which they have to conquer in the order to establish a following. Do you find that there are benefits to having a smaller geographical area to develop your notoriety? On the other end, are there any obvious draw backs?

PDJ: I find it tough, I don't sleep much on the road.. and even when I'm not! Most of the time I lie awake all night in the hotel room after the shows because I'm too wired and it's a strange place so I can't sleep. At the moment we only spend about 3 nights away at a time on a tour as we can get home after some of the other gigs. I feel stir crazy by the end, even though it's fun and I love doing it. So I can't imagine what it would be like to tour the US and not go home for weeks.. I would probably die, but what a way to go!

BLS: Name 5 bands you love but who few people have heard of?

PDJ:

Heavy Trash

Atomic Suplex

DragSTER

Blurt

100% Beefcock And The Tits Burster

10 Questions: Birds of Chicago

Born from the collaboration of JT Nero and Allison Russell the band Birds of Chicago creates a soulful urban folk. Having recently released their debut album and wrapped up an extensive US tour the band is primed to strengthen their following.  Thankfully they found some time to answer some of BLS's questions. 

BLS: You have both experienced success individually or in other bands. How dose this experience differ form your past musical endeavors?

BOC: it feels like a natural evolution: each of our bands had been collaborating, to an increasing degree, for the last several years... this freakish canadian-american hybrid is the final biomusical result of all those years of experimenting together.

BLS: J T, I heard that you did the lion’s share of the songwriting of your self titled EP. How dose your process change when taking into consideration what Allison brings to the musical equation? Are there benefits / drawbacks to developing songs around two voices and personalities?

JT: I thank you for using that phrase - I consider the lion one of my spirit animals, along with the northern pike and the meerkat. Alli's an amazing writer -- as her couple selections on this record and her Po' Girl work reveal, I just tend to spit em out faster. As far as writing for her, however -- it's a hugely exciting thing to have another voice - a woman's voice - to write for; particularly a voice as dynamic and nuanced as hers.


BLS: Your EP is filled with elements of soul, classic country and grassroots rock. Which of you encouraged what elements? Are their influences which both of you equally draw upon?

JT: All of those influences are Alli's -- I bring more of a Norwegian Black Metal flavor to the group. Sadly, all of the songs that had more of that feel didn't make the final cut for this album... uh, seriously, one of the main reasons we gravitated towards each other in the first place is a shared love for all those musics and for the touchpoints between them...

BLS: You are currently on tour. How does the make up of your band change when you’re on the road? Have you brought any additional musicians along with you?.

JT: Basically Birds of Chicago was designed to be a collective, one that revolves around Alli and me -- but when we are at full strength, we have all the Clouds on stage with us... The Clouds plus a couple other stalwarts - namely Joe Faulhaber - our frequent Texas ax-man.

BLS: Do you find it easier to gain an audience for Birds of Chicago from fans of your past musical endeavors? Are they receptive to this new project?

BOC: For whatever reason or combination of reasons, there's been a nice groundswell of loving feeling from lots of sectors for this project, right from the start... That's the kind of thing I don't think it pays to think very much on; we're certainly happy about it, though, and we're gonna keep working really hard

BLS: As artists you have reached a level of success that awards you the opportunity to access resources that help you promote your music, book your gigs and other important aspects of growing your audience. Do you still find you’re doing a lot of work in these areas as well? If so what tools do you regularly use? Do you have any advice to pass on to bands that are just starting out?

BOC: We are just getting to a position for the first time in either of our careers, where we have a team around us that we trust implicity and that are savvy in all the ways we need people to be savvy about moving this thing forward; we're learning to let go of some daily operations a little bit, but we still spend many hours a day on band admin and promotion! Our advice to anyone just getting started will always be: nobody cares more than you do about your music! you are gonna have to be willing to be the main shepherd/advocate for getting your music out into the world, and to get yourself hip to all the social media tools at your disposal.. trust me, if we could eventually make ourselves do that stuff, you can..

BLS: From Ella & Louie and June and Johnny, the musical world is filled with male/female musical teams. What are some of your own favorites?

BOC: Etta James and Harvey Fuqua, Marvin Gaye and Tammy Terrell, Iris Dement and John Prine, Emmylou and Steve Earle (I know most folks would insert Graham here, but I've always loved the blend of emmylou and steve's voices best of all) --and we've been really digging the new Shovels and Rope album O' Be Joyful - which is Cary Ann Hearst and her husband Michael Trent

BLS: In honor of your bands name what is your favorite breed of bird?

Alli: Magpies and Crows

JT: Hawks and falcons amaze me more than almost any other thing in the world.

BLS: Ideally what would be the perfect state of the band if you had a choice? Recording in the Studio? Playing Live? Or just sitting around making music?

JT : As much as I love being on the road AND making records, there's probably no single greater continual thrill than the moment a new song gets finished -- or actually, sometimes, not the actual moment it gets finished, but the moment you realize it will, actually get finished. That's the main high for me, the thing that keeps me coming back.

Alli: I love that moment too - -but the greatest high for me is collaborating with musicians who inspire me and playing for a receptive/interactive audience- that perfect communion and joyful exchange which happens when all the elements align and you hit it just right..

BLS: Name 5 bands you love but who few people have heard of?

BOC: We'll just name 5 that we know, no matter what their present level of recognition, definitely deserve a lot more, and in no particular order...

Anais Mitchell -- people seem to be starting to get it with her now - but they can't do it fast enough. Her most recent record -- Young Man in America -- is flat out brilliant

The Record Low -- our favorite Chicago Band - staying for the moment, in self-imposed obscurity.. Lonesome, seriously melodic dudes with good rock n roll hunger, dissonance...

Nels Andrews: a serious poet (don't cringe at that phrase - it's beautiful!) with understated melodies that Jackson Brown would like to call his own...

Sean Hayes : the grooviest, weirdest superman lover of folk-hop.. one of a kind.

Awna Teixeira -- Alli's partner in Po' Girl just put out her first solo album, where the darkness goes... it's a quiet stunner -- sad and joyful and gorgeous all the way through.

10 Questions: Crushed Out

The dynamic team of Frank Hoier and Moselle Spliller that make up the band Crushed Out (formally Boom Chick) have recently released their debut full length album and are on tour in support.  A sweet mix of garage growl and surfer's soul blues their music is both soulful and lusty. Live, their energy is undeniable as Spiller's drumming is at times a ferocious explosion of movement that hypnotizes the audience whiles Hoier surfs through her waves with is own masterful guitar.
During their recent stop in Portland the band took the time to answer some of BLS's questions.

BLS: The release of Want to Give in November was your first full length album. Other than the basics how did the recording process differ than your EP Show Pony?

CO: For this record we did some of the recording ourselves and some at Bunker Studios in Brooklyn. This whole year has been on the road, so it was all recorded quickly and mixed at The Bunker. We did sparse overdubs like doubling guitars here or there or redoing a vocal. Pretty bare bones and live though, and mixed to tape.

BLS: So how does a skater from California and a woman from New Hampshire find two-part blues?

CO: Hah, well when you are very into rock & roll you run smack into the blues, country and folk music. I personally found the blues thru Robert Johnson and Bob Dylan. I got really into slide blues from lots of the delta blues greats and some electric players like Hound Dog Taylor from Chicago.

BLS: I’m sure that you grow tired of comparisons to the White Stripes, So how do you see that you differ from them? What other musical duos do you appreciate?

CO: Well yes we get a little tired of the comparison, although we really dig the White Stripes. We differ from them in as many ways as we are similar. We are very rooted in 50's music, surf guitar and more rock & roll than blues. When I play blues its coming from the country blues, the open tuned acoustic stuff, I just electrify it. Also, Meg and Moselle could not be more different drummers. We really dig Meg's style but the two are like night and day. Another duo we love is the Dex Romweber Duo, they really rip. Other musical duos we love are Everly Brothers, MGMT and Bruiser Queen from St Louis.

BLS: How has your music been shaped by elements of your individual backgrounds?

Frank: I grew up in Southern California around a lot of punk rock and hip hop. Skate video soundtracks shaped my taste in music early on. Just so much diversity from Motown to Beastie Boys, Wu Tang, Beatles, Black Flag, Stevie Wonder etc. I think this is why I like to jump around in genres, I could never play one style or kind of music.

BLS: Moselle as a former Junior Olympic athlete how has the discipline you learned in your training translated to being in a band?

Moselle: I think being 'body aware' is the biggest thing I gained from being so involved in sports as a teenager. I also cross country skied and ran long distance. Now being a touring musician, drumming for an hour sometimes 6 nights in a row is very athletic too. You need to take care of your body, stretch, eat right and not drink alcohol every night otherwise you will crumble after a month!

BLS:The musical world is filled with some amazing female drummers, Moselle are there any female percussionist that you sight as inspiration? Beyond gender, who are drummers you truly respect?

Moselle: For female inspiration, Sarah Romweber of the Dex Romweber duo, hands down. Beyond gender, I love the theatrical antics of Keith Moon, and while I clearly don't drum in his style, I've been inspired to be more of a show person and at times outrageous personality behind the kit.

BLS: Frank, as part of the band the Messengers your father learned the ups and downs of the music industry. What are the greatest lessons you’ve learned from him about the industry and music in general?

CO: Well the music industry couldn't be any more different from then to now, so honestly not much. I guess I learned not to sign with Motown!

BLS: What are some benefits and drawbacks of being both a band and a married couple?

Moselle: No drawbacks for us. We don't think we'd be doing this if we were not a couple.

Frank: The couple part makes it easier. We just sometimes wish we had backup singers and people to help us load in the gear. The benefit is we can share our lives and creativity together. And we don't have to be apart if we don't want to.

BLS: This last year has been filled with some great highlights for your band including opening slots for Social Distortion? Which highlights were your favorites? What about 2013 are you looking forward to the most?

Moselle: We've been honored to open for some killer acts in the past year. In 2012 we opened shows for The Gories, Band of Skulls and the John Spencer Blues Explosion. Then we kicked 2013 off opening 3 sold out shows for Social D! For 2013 we are looking forward to the infinite possibilities of the universe. We hope to continue to be surprised.

Frank: The Social D shows were a highlight for sure. Playing to a packed house of that size was really eye opening. That kind of energy changes you, you rise higher than you knew you could. We are really looking forward to 2013 as we'll have more time to be creative, write new songs and incorporate some new sounds.

BLS:  Name 5 bands you love but who few people have heard of ?

CO:
The Weber Brother

Feral Foster

Shilpa Ray

Caged Animals

David Mayfield