Pinch Point - 4-20-94

Here's a virtual stroll down memory lane from the members of Pinch Point...

Jim McNamee: This is what I remember. I was a freshman. I think it was in the beginning of the second semester, 1993. I'd been a DJ at WVFI (can't tell you how excited I was when I saw WVFI in the list of activities I could do after I first arrived at school). We were coming out of one of the meetings in LaFortune and Jason (the advertising guy) approached me and asked if I'd like to be in a band. Huh? I don’t remember how much we might have interacted before this.

Kelly Daugerdas: Just to set the record straight I was the Advertising and Promotions Director at WVFI. I think Jason was the Station Manager.

Jason Lyons: I was Program Manager at WVFI. Basically meant hiring DJs and putting together the schedule. Nothing glamorous like Music Director or Station Manager, jobs that required actual talent.

JM: Anyway, from what I knew he and Kelly (both seniors) needed a singer for their post-Bother band. We also needed a drummer, which is where Bob “Sticks” Hoffman came in. I think that Doug McRock [-Eachern] had passed his name along after they met trying out for the marching band.

Bob Hoffman: What is it with nicknames for drummers? Doug and I met freshman year and happened to be from around the same part of PA. I was (and am) really thankful to him for bringing my name up to the Pinch Point crew. I actually had a tryout, in which I vaguely remember getting grilled about my musical influences. We then ran through these very intense songs that Jason and Kelly had started putting together, and it became obvious that my job was to play the drums (every one of them) as fast and loud as I could – again, Doug was very cool about this, since I used his drums.

JM: I’m not sure that we had the name right away, but Jason had it in his mind from a warning sticker he saw on construction equipment: Caution: Pinch Point (somewhere you don’t want to press your boob or dick on I guess).

JL: The name Pinch Point did in fact come from a steamroller we used for paving on my summer job. How ironic, I thought – the whole friggin machine is one big pinch point, but it's this one little bit where you engage a lever where you might lose your junk.

JM: Jason would pick us up for band practice from the main circle in his minivan. I can’t remember where we’d practice. Did Jason live in the house with Joe C and Doug M? Either way, I think the songs were already written.

KD: Yes, we practiced at Joe, Doug, and Jason's house.

JM: We didn’t get to play many shows since we were only around for a semester, but all of them were a blast. Dalloway’s, the basement show with emiLy, Crain, and Unwound, Stonehenge, and that year’s Nazz. I’m fairly certain the Nazz day was one of our broken up days. But we pulled it together and shook some bolts in Stepan Center.

BH: There was a review of that Nazz show in the Observer that said something about us blowing over many a small farm animal… something like that. I have the clipping somewhere in my attic. I guess that’s a good thing.

KD: Don't forget - we had the pleasure of playing on the quads too. We put together the tape in Jason's living room I believe. He mixed it himself and I think Jim did the artwork, no?

JL: I recorded the Dalloway’s tape on my 4-track and mixed it down to cassette, and I forget who worked with me on the tape case – I think Jim and I scanned some photos and did the layout. Kelly and I got the tapes duped. I still have a few of them.

JM: I just want to point out that it was during the making of our cassette that Jason introduced me my first web browser (Mosaic). He worked in the computer lab and had put a picture up on a website and showed it to me on another computer. At the time it seemed pretty amazing. It wasn’t porn.

JL: Listening to the tape again after all these years I realize that it was less about song structure and more about pure sonic assault and occasional dynamic shifts. And it doesn't sound quite as clever now as I swore it was back then. It does still rock me though.

BH: I forgot about the song titles: Dead Fish, Amputee, etc -- kind of a dark (comedic) theme, Jim! Laundromat is the song I was thinking of in my comment about the lyrics -- I didn't get the line exactly right, but pretty close. I had also forgotten Kelly's spoken word role -- sounds like she's struggling not to laugh. Fourteen and a half years ago -- ouch. I still mess around with some of those old beats, usually losing my voice humming Jason's and Kelly's parts. If we only all had chops like that today...

JL: It's funny, I still have all my rock gear (Telecaster, Marshall, pedals, 4-track, mics and stands), even though the closest I get to rocking these days is "Elmo Live". It's all relegated to a tiny corner of the basement, surrounded by craptons of multi-colored Fisher-Price. My 3-year-old daughter calls it the "scary guitar." "Too noisy, daddy, too noisy!" She much prefers the acoustic. Kid, if it's too loud then you're too, um, whatever. My 18-month-old just shakes her ass and screams "Wow! Wow!"

JL: What really blows my mind is how long ago it all was, and that we were only around for a semester. We did manage to squeeze a ton of drama into a fairly short period (and by "we" I mean "I"). I think that Kelly's and my 15-year reunions are next summer. I wonder if Dalloway's is still there. Reunion show?

listen/download:

Sweep The Leg Johnny - Circles All Around

Initial disclaimer: Sweep The Leg Johnny (“Sweep”) originated in the early 1990’s on the campus of the University of Notre Dame. Following graduation, the band moved to Chicago, continued playing for several years, and recorded a handful of albums on both Divot and Southern records. While in Chicago, the band underwent several lineup changes. Given the purpose of this blog, this discussion of Sweep will focus only on the band as they existed while in South Bend. If you are looking for additional discussion of the band’s lineups that included Matt Alicea, John Brady, Mitch Chaney, or any of their label-produced albums, you will not find that here.

No history of Sweep would be complete without first acknowledging the band Victoria's Real Secret. When a shake-up struck VRS’ lineup, and new drummer James Bukow (aka “the battery”) joined the band, Sweep was born. Steve Sostak (vocals, sax); Chris Daly (guitar, vocals); Ryan Hallford (guitar, vocals); and Wil Freve (bass) rounded out Sweep’s founding lineup. These five played together for a short period before creative differences (ever-present since VRS days) finally took a toll, and Ryan left the band. Sweep stuck together as a foursome, completing our sophomore year at Notre Dame playing some new material, coupled with some re-worked remnants from VRS.

At the beginning of our junior year at Notre Dame (1993) we started fresh, scrapped the old VRS material and began an intense and refreshing phase of writing new material. During this period, there was a marked difference and cohesion in our musical focus with Sweep. This time around, we seemed much more pointed in the same direction than we did with VRS. Perhaps we had “grown together” in our musical interests a little more...or perhaps (with Ryan’s absence) the creative duo of Steve and CD subtly took the opportunity to exert more control over the musical direction of the band. In the end, the combination of these factors and our collective experience during the VRS days laid the foundation for Sweep’s music.

The band’s evolution continued at a fast pace throughout our time at Notre Dame and beyond, never becoming asymptotic. Steve began incorporating punctuated saxophone as a unique textural element for our music. CD shined as the band’s sole guitarist, stretching his playing ability and style, as well as readily accepted the role of main creative director. Jim brought a new level of precision and sophistication to the rhythm section, and I simply did my best to keep up with the others’ musical growth.

Our music gracefully surrendered our youthful, starry-eyed attitude, and adopted a cynical, angst-filled vibe. It grew noticeably “darker”, abandoning the sometimes poppy power chords for dissonant, accidental-laden rifts. Despite these changes, the concepts of “unpredictability” and “intensity” survived the transformation from VRS to Sweep, and they remained central to our musical vision. However, with a more unified musical direction, the incorporation of these concepts became more subtle. Instead of experimenting with “intra-album” dynamic shifts (whole songs being loud or quiet), we began incorporating polarizing, “intra-song” dynamic variations. The constant battle between pianissimo and fortissimo within our songs became a calling card of Sweep. The overall native tempo of our songs slowed, as we realized that intensity could be born of other factors besides raw speed. Individually, we became more self-confident, and lost the need to “show off” by forcing complex, self-indulgent rifts into our music. We began viewing songs in their entirety, and contemplating the emotional response a listener would have. Simply stated, we became more musically mature, and this evolution was reflected in our music.

Sweep finished out its time at Notre Dame feverishly writing, evolving, and playing as many shows as we could. Our repertoire seemed to stay a constant size, as new material replaced older, dated works in our rotations. Following school, we collectively decided to move to Chicago, and the four of us (plus Ali) rented a house together in Wicker Park (aka “The Estate”). During our first year here, the combination of living together and working together in the same house again took its toll, eventually leading to the rhythm section calling it quits. Steve and CD remained, replaced Jim and me, and kept playing as Sweep the Leg Johnny. For several years after, the band continued its darkened and tension-filled evolution, underwent more lineup changes, and carved out a unique and lasting place in the college indie-rock scene. They garnered a strong Chicago fan base, and surprisingly drew fans on an international level, touring as far away as Tokyo, Japan, before finally disbanding in 2002. Before achieving such notoriety, however, Sweep the Leg Johnny managed to record a variety of material from their early years in “The Bend.”


Circles All Around was the first step in Sweep’s musical evolution, becoming the earliest “official” recording we made as a band. The tape was made at Studio X in Chicago and is the result of a whirlwind day in the studio. All songs were recorded and mixed in one day (not surprising, considering our college budgets). One of the musical objectives we had during this album was to de-emphasize the vocals in our songs; we wanted the vocals in our music to have equal weight with all of the other instruments, not supersede them. In addition, Steve began incorporating his saxophone playing into the mix in a very non-traditional way. The saxophone was typically not intended to be another “melodic” or “vocal” element... instead it was intended to be a rhythmic, textural addition. At the time Circles was recorded, I think Steve was still finding the balance of how best to incorporate the sax into the music. Its inclusion seems sometimes forced, and the focus on this instrument eventually lessened.

Track 1: An instrumental, “The Rolling O”, kicks off this recording. One of our friends at Notre Dame (we’ll refer to him as “Mikey”... ”B.D.”... ”Brrrummmm-Skiiii!”) owned a powder blue cargo minivan, which was surmised to contain a mattress in the back section. This vehicle therefore earned the nicknamed “The Rolling Orgasm”--hence the origin of this song’s title. The song is a straight forward composition, incorporating several different parts in a traditional song structure. The guitar varies from clean power chords to heavily distorted and bent notes. The dynamics of the song shift subtly at time, and at others slap you in the face with a wall of cymbals and Marshall generated distortion. The tension seems to build throughout the song, eventually being released in a final, chaotic series of random chords and cymbal crashes. There’s a brief moment of calm resolution before the second song on the album picks up.

Track 2: “Sunday” introduces the first lyrics of the album. The song begins with a syncopated drum rhythm that is soon joined by a bouncy low-high bass line. CD’s guitar plays around for a few moments before kicking into full-throttle, crunchy chords for several measures. These chords are then muffled to allow Steve’s vocals some space. Following the verses, the bass, sax, and some swanky guitar form a quiet, subdued section before the cymbals and distortion crash back in. This pattern is repeated a few times in the song until the ultimate conclusion of the song. The vocals of this song are noticeably lower in volume than they were on Pasta (VRS). Additionally, Steve’s vocal technique had improved significantly since that album, and this song afforded him an opportunity to sing in a more natural range.

Track 3: The final track on this album, “Teach”, was one of the first songs written by the band following Ryan’s departure, and it had a surprisingly long lifespan. This was one of the only songs written during our junior year that we played through our senior year and beyond. In fact, this is the only Sweep song that was recorded more than once (on this album, and again on a 1995 demo). Although this song followed the familiar quiet-loud, quiet-loud pattern found on Circles All Around, it was generally packaged in a more traditional “emo” structure. Musically, the song flows fairly well and was always well received by audiences. Lyrically, the message of this song always resonated strongly with me (and other members of the band)... a plea for patience, teaching, and sharing over selfishness and competition. I think the combination of the song’s mainstream feel and classic message kept it as a fan favorite for a long time.

Sweep is now defunct, and the five original members are scattered across North America. Steve Sostak is located southernmost, living with his wife in Peru. I believe they are both English teachers. Chris Daly stayed in Chicago, and is now married, with child, and continues to pursue other musical interests (see: Haymarket Riot) while working as a paramedic. Ryan Hallford spent many years in Scottsdale, AZ, where he also married and had two children, but he has since returned to his home state of Texas. Ry-Guy is an established alternative-medicine practitioner that serves the Dallas community. James P. Bukow moved back to his Boston roots, and is also married with three children. Jimmy-Jam is an electrical engineer that designs things that keep us safe at night. I have stayed in Chicago-land, and have transitioned to suburbia with my wonderful wife and daughter. I’m a recovering civil engineer, working for a national developer in primarily west coast markets. Questions or comments? I may be contacted at wil.freve@comcast.net.

--Wil Freve

listen/download:

Tackleloco - The Night Tackleloco Saved Christmas

Welcome to a very special holiday edition of Friends of The Bend...

Drink a Cup of Whiskey-Beer, or The Night Tackleloco Saved Christmas

By Robert Dahl

We never planned to save Christmas. But sometimes things need savin’. That’s when real men have to step up, stiffen their spines, and boldly relive their childhoods.

In the summer of 1999 I’d been out of college for a couple of years, was living in New York NY, and was ready for a change. When I say “ready,” I of course mean “desperate, clamoring, and ready to jump a train to anywhere” for something other than the clotted streets and scintillating odors of our nation’s most famous city. Circumstances conspired to send me to Washington DC, where I had several good friends and the promise of a better life.

This new life in DC first became manifest in the form of a makeshift band we called Tackleloco (no, not “Taco Loco.” We were not a mariachi punk band. Tackleloco was a game one of us used to play growing up. From what I understand it involved little more than a group of kids running around tackling each other (not unlike Aussie rules football)). This band was originally formed by a good friend of mine from way back (among those mentioned above) named Mike Larmoyeux, and a friend of his from college named Jim McNamee. Jim and Mike had played in various bands at Notre Dame, and Mike and I had played in various bands in high school down in Jacksonville, Florida (actually, Mike and I had played in only one band, but we kept changing the name. So it really counted as like 8-10 different bands. I stand firmly by this). The instrumentation was odd, but we were confident that it would work: Mike and I played guitar, and Jim played clarinet.

No singing. No rules. That’s how we rolled. Word to your mother/nearest female kin.

Jim and Mike already had a few originals written by the time I came along, so I was happy to be included and did my best to augment what they’d already put together. Some of the songs included such hits as “Away to Me, Fly,” inspired by the sheepdoging movie Babe, and “Broderick,” a very somber number written by Mike in a fit of despair after seeing Godzilla and wondering what the hell had happened to Ferris Bueller’s career. I started adding some material of my own, writing the unforgettable “I’m Not the Spaz You Know Me As,” and collaborating on “Well, I Never Knew a Rufus.” We had an iron-clad songwriting process… Mike and I would come up with the oddest arrhythmic guitar harmonies we could, and Jim would hold it all together with the melody. We did one cover early on, which was Brittany Spears’s incomparable “Hit Me Baby One More Time.” With our instrumentation and the speed at which we played it, it sounded oddly similar to “Hava Nagila.” That is to say, it was exactly what we were shooting for. Let us rejoice.

We recorded a demo and played out here and there, and had a great time. But the first big project we wanted to undertake was, naturally, to record a Christmas album. Doesn’t every young band want as much? Good artists borrow, great artists steal, and immortal artists record Christmas albums. Just ask Lawrence Welk. Why not us? By the Autumn of 2000, it was on. We would record The Night Tackleloco Saved Christmas.

The first and most vital step to recording a great Christmas album is, as everyone knows, to contact one’s parents and request as many pictures as one can from early childhood Christmases for the cover art. We accomplished this task toute suite. Next, we started to think about the music. We had two criteria: first the songs had to be something that we could do with our instrumental setup. There’s not a lot of music out there arranged for two guitars and clarinet, and even when Mike decided to play bass on the album it was a bit of an issue. Second, the songs had to be awesome. I’m talking like Charlie Brown Christmas Special awesome. It sounds difficult, but that kind of thinking gave us a very good place to start: the Charlie Brown Christmas Special.

We began figuring out “Skating” from said special, and away we went. “We Three Kings.” “Carol of the Bells.” “Ding Dong Merrily on High.” We tried to keep songs recognizable, but also to infuse each of them with that special “Tackleloco” something. Since we didn’t really know what that “something” was, we just mixed it up and tried keep it interesting. It was all exceptionally fun, and the best part was that we got to think back to what we loved about Christmas as children, find songs that captured that feeling, and then play them in musical ways that we’d learned and cultivated in early adulthood.

That all came to a head when we began figuring out how to end the album. How do we close this deal? With what song can we end such a project and have it bring everything home? We needed one more song. It had to be good, and it had to be fun (and don’t forget, also playable and awesome). Fortunately, we were able to benefit from the expertise of another Notre Dame musical alum, Doug MacEachern. He lived in DC at the time as well, and he came over one evening to help out with some of the recording. As many of our dear readers are aware, he is not only a good recording engineer, he is also a spectabulous percussionist. He came over, and the four of us sat down to figure something out. We decided to take the last song in an entirely different direction.

We decided to play Twisted Sister’s inspiration for “We’re Not Gonna Take It,” and returned the favor on their behalf. “Oh Come All Ye Faithful,” heavy distortion, clarinet, and banging on whatever bits of percussion we could cobble together in our basement. In figuring it out, we realized that not only were the chord progressions of “We’re Not Gonna Take It” and “Faithful” very similar, they were both very much like “Auld Lang Syne.” So we turned it into a two-tune medley. And we decided to sing. But none of us knew the words. So we did what any self-respecting band would do… we hit “record” and started playing. Here’s how Auld Lang Syne came out, near as I can figure, Tackleloco style:

Should old acquaintance be forgot,
And we’ve done sing to mine?
Should old acquaintance be forgot,
Just don’t forget about auld lang syne.

For auld lang syne,
Yeah, auld lang syne,
We’ll drink a cup of whiskey-beer,
For auld lang syne.

[Repeat]

Done. Hit “save.” Make copies. Wonder what “whiskey-beer” is and try to figure out where to find some.

In any case, we finished the album, gave it away to whoever would take it, and kept playing for as long as we could. We never broke up, and we later added a fourth member (my brother Taylor Dahl), but we haven’t done anything for a long while.

Tackleloco is not dead, Tackleloco merely sleeps. Like Arthur and his England, Tackleloco will rise again in Christmas’s time of great need, should such a time come.

Or something.



see also:
Tackeloco on MySpace

emiLy - the "Dwayne Dibbley" EP

Before Mike went off to London for the spring 1995 semester, we booked time at Miami Street Studios to record as much as we could in the little time we had. John, the owner of the studio, offered us a discount rate because he claimed to never make any money off of us since we worked so quickly. In the end, we recorded 16 songs (plus one throw away improvised noise track to kill off one of the reels) in the space of a weekend during October 1994. Five songs went to our second seven inch, Tinkertoy, and another five songs went to a short tape we put out as a self-titled release. Well, it was officially self-titled, but the unofficial title is The "Dwayne Dibbley" EP, in honor of the uncool alter-ego of Cat from the BBC sci-fi comedy series Red Dwarf.

Speaking of cats, the actual cover photo is Edgar and Puck, the two cats who lived at the Miner Street house where Doug and Joe also resided. The actual tape covers were printed on either red or green cardstock, and then the emiLy logo (a lightbuld with an "e" in the middle, originally drawn by Lael T. for the Finer Time cover) was silkscreened over the cats. The tape was also notable for being the first emiLy release to include a lyric sheet. The second, and last, emiLy release with printed lyrics was the riverrun CD.

As far as the songs go, this tape rivals the CD for my favorite collection of songs. It starts off with the tense "Beef" before kicking into "Red Line Metro", written by Joe for his younger sister. "Tactical" is one of my very favorite emiLy songs, built out of one of Mike's bass lines that I recall having to hear a ridiculous number of times before I sorted out the timing of the intro. When we played "Fearless" at a house party for the first time, there was a guy standing in front of Joe the entire time who blurted out something along the lines of "MAN, IT SOUNDS LIKE YOU'RE PLAYING TWO GUITARS!" in the middle of the song. "He Had A Loud Mind" was written for Dave M. of hace frio, and musically inspired in large part by the NJ hardcore band Merel.

listen/download:



see also:
emiLy on MySpace
emiLy on last.fm

The Stonecutters

Taking their name from a Simpsons parody on the Freemasons, The Stonecutters were a fun yet short-lived poppy punk endeavor from an assortment of South Bend rock regulars. The band consisted of Kate B. (July) on vocals, Mike C. (decaf) on guitar, James J. (Hace Frio) on bass, Mark H. (Tacklebox, True North) on drums. A couple of these folks were kind enough to weigh in on this recording:

The Stonecutters wrote 11 songs in 11 days then played our first show at the Green House. We then proceeded to play a handful shows (Archi party, Angela Blvd) and recorded and mixed this cassette of 12 songs, including a cover of emiLy's song "Red Line Metro," in about 2 hours in Mark's basement. I remember each practice we'd hit a store to buy cigarettes, a 40 oz for each of us, then we'd drive to Mark's parents house out in Mishawaka to practice. I think we existed for just about 2 months. It was quite a fun experience. -- James J.

-----

The song "Humans" was written the day we made the tape, and was recorded the second time we had played it. Also, there was no PA so I had to sing directly into the 4-track, for better or for worse. Great, great fun, I really miss that summer. -- Kate B.

You gotta admire a band that has the stones to cover an emiLy tune ("Red Line Metro") and do a pretty decent job of it at that. "Blister" is a snappy little ditty that shines in it's pleasant simplicity. "East Race" refers to either the kayak course in the middle of downtown South Bend on the St. Joe River, or the liquor store that was around the corner from the Red Star house. Album closer "August" alternates nicely between a peppy ska-beat and some serious hard rock chops. Also worth noting, the track "Shameless" is a take-off of Heavens To Betsy's "My Red Self," a song originally written about menstruation.

This self-titled cassette was recorded on a 4-track and mixed in two hours in Mark's basement in May of 1996. It was released on Rent To Own Records as RTO12.

listen/download:


see also:
The Stonecutters on MySpace

Victoria's Real Secret - Pasta

Victoria’s Real Secret (“VRS”) was the precursor to the later, better known band, Sweep the Leg Johnny (“Sweep”). VRS featured the creative nucleus of Steve Sostak on vocals and Chris Daly (aka “CD”) on guitar. Ryan Hallford supplemented this pair as a hybrid “lead” guitarist and occasional vocalist. Marty (Master of Time) Mennes on drums and yours truly, Wil Freve on bass rounded out the lineup. We played as VRS during our sophomore year at ND (1993-94). This band was young, inexperienced... metaphorically in its adolescence. The members brought some semblance of individual talent, though admittedly less than we all thought (save, perhaps, for Ryan). We shared a love of playing music; however we lacked a cohesive creative direction. Each of us attempted to pull the band towards our individual musical interests and styles; our songs reflected this, becoming syntheses of many rock ‘n roll styles including indie, alternative, progressive, punk, blues, and classic rock. Everything we did was a new experience, and frankly, a musical experiment. VRS developed a reputation as a unique, eclectic, and stylistically diverse band.

Fifteen years later, I listen to some of VRS’ songs and instantly remember the individual who crafted the song’s main concept, and the creative battles that ensued. Albeit counter-intuitive, I personally believe this stylistic tug-of-war became the primary strength of the band. The resulting musical library was a melting pot of musical genres, styles, and influences. In the end, we all agreed that whatever musical styles would be combined within a song, they would be done so with intensity. This became the unifying concept for our music. Perhaps it was this intensity, and our predictable unpredictability that shored up a consistent (and passionate) following for VRS’ live shows. Although I look back on our music and think it unpolished, and sometimes clumsy, it represents a musical time capsule that appropriately captures our early development as musicians. Much like reading a term paper written during high school, listening to Pasta reminds me how green we were, and how much we grew in the years to come.

It has been ten plus years since I last listened to this album. One thing in particular struck me when hearing it again: I loved the layering and interplay of the guitars in this album. Both CD and Ryan complemented each other extremely well. From their styles and training right down to the gear and stage presence, each brought unique contributions to the band. Although I generally consider our VRS compositions to be of lesser “quality” than those of Sweep, being able to play with a tremendous guitar duo was a definite bright spot of my experience with VRS, and something that was noticeably missed with Sweep.

Track 1: This album starts with the driving and energetic song, “It Depends.” VRS did its best not to have a consistent, signature “sound;” although, if we did, this song embodies what that would have been. After a brief guitar introduction, Marty, Master of Time, reveals the songs true tempo with a punishing, percussive barrage. CD kicks in with the song’s primary guitar rift, and he is eventually mimicked by Ryan (playing it with a blues-twist, of course). These crunchy, Marshall-produced power chords are underlain with a bouncy, octaval bass line that has an annoying habit of falling one chromatic step short of the root note... an unexpected juxtaposition of indie-rock accidentals with major-scale, blues chords. For this song, VRS borrowed from traditional blues theory, then sucker punched it, turned up the tempo three notches, ran away and never looked back.

Track 2: The album starts in fifth gear, but “Stained Glass Window” dramatically downshifts, showcasing certain band members’ “emo” influences (in fact, the song’s name is a tribute to Buffalo Tom, who had a knack of randomly naming their songs). The songs ethereal introduction begins with Ryan’s restrained and melodic guitar part accompanied by CD’s screeching background guitar and my harmonic tappings (inspired by Alex Lifeson’s harmonics in the song “Red Barchetta”). When the drums and bass finally kick the song into full swing, I still get chills down my spine. The song progresses through a fairly conventional song structure, rewarding the listener with variations of the main melody and some notable textural breaks. When the song resolves back to its final chorus, this transition feels nothing short of triumphant (Marty’s syncopated ride cymbal is like icing on the cake). I always loved this song...although it is more a “mainstream” than we were used to. This song has an organic quality and just seemed to “work.” During the creation of this song, our musings were operating at a higher level, and it felt like the song wrote itself. The end result was, in my humble opinion, powerful and expressive. My biggest regret of this song was trying to cram too much into my bass part. I learned later in my musical study to appreciate moments of understated bass and the incorporation of rests and silence. Used appropriately, these concepts can be powerful additions to a song, augmenting rhythms and varying texture. I wish I recognized this better before recording this song; the end result might have been very special.

Track 3: “Why Ask, ‘Why Ask Why?’” begins with an obviously Chilli-Peper-esque bass introduction. Although I love the funk & slap style of bass, this song represents the one time Steve and CD let me bring (ehh... bastardize) that style into one of our songs. What can I say... we made the most of it and had lots of fun with our funky selves. Eventually all of us indulged our funky sides and viewed this song as a welcome departure from our other work. My favorite part includes the popping and tapping bass breakdown in the middle of the song, followed by a tidal wave of distortion and percussion that crashes in, culminating in a blistering guitar solo by Ryan. As a side note, at the end of his solo, Ryan was unhappy with his track and he casually slid his hand up his guitars neck, thinking he would be re-record the solo. CD and Steve liked the way this sounded and eventually persuaded him to keep this in the recorded version.

Track 4: “Backwards” is the final song on the first side of the album. This song mimics the mellow feel of “Stained Glass Window,” but in my opinion falls short on energy and intensity. When I first heard CD’s guitar part, I thought it sounded like a rift that The Edge from U2 would play. Therefore, as a quasi-tribute to that band, I modeled my bass line after Adam Clayton’s simple, legato style. I don’t regret experimenting with our music, but with such one must expect a few failures. In my opinion, this song is the weakest on the album. It has an overly simplistic structure, a completely uninspired bass breakdown, and an incredibly misplaced distorted guitar part at the very end of the song (every time I hear it, I think of the old theme song for “Entertainment Tonight”). This song had potential, but overall, it severely underachieved.

Track 5: “Proper pH” thankfully picks up the tempo on the second side of the album. This work features lightning fast guitar riffs, alternating tempos, and a pulsing, intentionally staccato bass line. There’s a lot of dynamic variations in this song, and at times the bass switches from being intensely “in your face” to being a rolling, subdued ditty, on which the guitars gradually rebuild the song’s intensity. I feel obliged to point out that the slowed bridge portion of this song was intentionally crafted to be “cheesy” and “poppy”... a satirical counterpoint to the unconventional remainder of the song. After hearing many fans’ critiques of this part, I am convinced that the members of VRS were the only ones that were “in on the joke.” This song is a fitting introduction to the second half of the album, and provides a representative foreshadowing of the tempo and dynamic changes that would eventually become mainstays of Sweep.

Track 6: The final three songs on the album are older songs whose creation predated my time in VRS. When I came aboard, I was asked to respect their original bass lines, so these remained largely intact. The first song, “The Green Iguana,” needs to be listened to, as no description will do it justice. I might futilely try to describe it as acid-numbed Primus meets Pavement, getting their asses kicked by a speed metal band strung out on cocaine. The inspiration for the song came from Steve’s pet iguana, and he penned lyrics that contemplated living life crawling around like an iguana. It’s weird. Just listen to it.

Track 7: “Been Around the Block” has a straightforward song structure like “Backwards;” however it triggers a more effective emotional response. I’ve always been a fan of hypnotic grooves, and this song brings a Fugazi-like bass line that tries its best to get your head subtly bobbing. For this alone, I enjoy this song. Although I’m not crazy about the guitar’s flange effect on the recorded version, I think this helped the mood of the song when played live. Given this song was a remnant of Schwa (that’s a whole ‘nother review), VRS sure got a lot of mileage out of it.

Track 8: “Fish” is another one of the first songs written by VRS. Steve conceived the song’s lyrics to chronicle the cyclical romance of two of the band’s close friends. It contains poppy and lively guitar with some acoustics layered in. The rhythm section pushes the tempo, but generally allows the guitars and vocals to carry the song. Although a simple composition, this was just an up-tempo song we always had fun with. Ryan throws in an over-qualified guitar solo to complete the song, and thus, the album. I feel that ending the album with such an early song was an appropriate reflection of how the band started, and an acknowledgment of how far we had come.

In conclusion, Pasta was a joy to record. Not all the songs were first rate, but it’s a good demonstration of the diversity of styles, tempos, dynamics, textures, and moods that VRS brought. More than anything else, I remember VRS as a band that was FUN to see live. We always had a great time stirring the audience into a frenzy and playing off each other. This album is a product that I feel is still pretty unique, and I’m thankful for having my experience and memories with the band. Questions or comments? Feel free to contact me at wil.freve@comcast.net.

-- Wil Freve

listen/download:


see also:
Victoria's Real Secret on MySpace

The Go-Lightly's - Metallica Party Live

The Go-Lightly's were a rompin' saucy rock-n-roll party machine! The band consisted of Kristi R. on bass and vocals, Zoe M. on keyboard and backing vocals, and Andy Yang (of Obstruction fame) on drums. Let's check out what a couple of 'em had to say about the history of the band:

"Originally, The Go-Lightly's were Kristi, Chris O. and Andy. Chris found out that I played the piano, then asked me to join. In fact, it was his electronic keyboard I used for the duration of the band. Our first practice (in Ron, Andy, and Travis' basement, aka The Hive) was, I think, also the last practice Chris partook in before leaving the band. Let's call it... over 'artistic differences' and leave it at that. Kristi was sort of the main song writer and band leader, and sang vocals with me backing her up. The band was sort of the illegitimate offspring of Leslie Gore and Heavens To Betsy. (You know, the offspring that goes off to state college and nurtures an ever-growing beer gut while trying to decipher The Doors keyboard solos). Complete with out-of-tune singing, no guitar, Kristi on bass, Andy on drums, and me on a cheap electronic keyboard.

Yes--the Metallica Party. I remember we all wore metal. Literally, I had on a tin foil skirt. I also remember our first (and last) show in a bar--remember that swanky bar that was just up Hill Street from the Red Star House? It had the shag carpeting and private vinyl booths? Super 70s swank? Well it was transformed into a Domer haven, and somehow we scored a show there opening for The Butterfly Effect.

We did a few covers: 'Dumb Head' (Ginny Arnell), 'Axeman' (H2B), a couple more... we also played 'Time of the Season' by The Zombies, and oh my was the keyboard solo ever challenging to figure out. But I did it, damn it! Our own song, 'Do It Right,' however, was probably our signature tune. It's the one that made them all scream for more, except we didn't have any more since we usually saved that one for last." -- Zoe M.

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"I remember how we would come together to write songs in The Hive basement. The girls had worked on some things and when we all came together, it would just be a jam session at first. They would lay down some melody and lyrics and I just kinda made up drum beats to go with the stuff. I can't even remember how many songs we had, I think only 6-8 songs. But the most memorable for me was 'Ash Rash,' which Kristi wrote after my smart move of putting actual ash from The Hive basement fireplace (there was one on the opposite end of the drum kit) on my face under my eye as 'makeup' for my halloween costume that year. I think it was a last minute thrown together costume of a beat up boxer, that I just threw that shit on my face. I would have been better off with a damn sharpie because the next day, my left eye had developed a peculiar rash where the ash had been and stayed there for a week or so. That was one of many dumb moves, but it gave way to the song... 'Ash Rash!'

I think we only played a few shows, the biggest one being at a bar that I can't remember the name of. Of course, we played at The Hive a couple of times. I mainly remember how fun it was to mix it up with those cool girls and how different and unique our sound was. It was a nice, refreshing change of pace from the other sounds on campus." -- Andy Yang

Unfortunately, I never had the opportunity to see The Go-Lightly's perform, having moved away shortly before they got together as a group. But when Zoe gave me a copy of this live party recording a couple years later, it was like I could've just as easily been right there when it all went down. Listening to the cassette, everything felt so familiar. Perhaps because basement shows in The Bend for the most part all shared some common yet distinct, intangible qualities. As someone once wrote, "Just imagine 20 or so friends, an unimpressed out of town band or two, a pony keg, shoes, beer, and friendly insults flying..." --that's a pretty clear picture, and this show was no different. I'm glad this is the first live recording we are featuring here on our little blog, because it really captures the feeling (for better or worse) of so many of the dozens upon dozens of basement shows that were put on back then. It's nice to be able to re-live that a little, even if it's only for the 26-minute duration of The Go-Lightly's rockin' good set.

That said, there are some really enjoyable moments on the Metallica Party Live recording. Lots of laughs, plenty of "ALL-RIGHTs!!!" a-hollered (see the fellow to the left), fuck ups, false starts, and a brilliantly timed call-and-response "GO!"... "LIGHTLY!" intro from the crowd to get the whole thing started off with a bang. Zoe's keyboard solo in "Time of the Season" is truly off the chain. And "Do It Right" lives up to it's billing as the quintessential Go-Lightly's smash hit.

If I had to hazard a guess, I'd say this was probably recorded by Hardcore Ron, with something a little fancier than a mic hanging from the rafters of the basement ceiling. The cassette never had any official release, but rather was just one of those things that you dubbed yourself and passed out to your friends (I got mine as filler, if you can imagine, on the other side of a taped copy of a Neutral Milk Hotel record!). The Go-Lightly's did at one point record in Ron's studio, but it was one of those "let's hurry up and put something to tape before everyone leaves town" kinda deals, was never mixed or released, and promptly faded from the memories of the parties involved. Who knows, maybe y'all will get lucky and it will resurface and see light on this blog one of these days. Until then...

listen/download:


see also:
The Go-Lightly's on MySpace

Hey, Dummy - Fall In Line 7"

Welcome to another edition of Friends of the Bend! This time we welcome Jason, former frontman of Hey, Dummy, to drop some knowledge on us about the history of the band and their powerful 7" EP, Fall In Line:

My friend Dennis recently posted a photo album on Facebook titled, "Bowling Green, 1995-96: If You Can Remember It, You Weren't There." And this, my friends, sums up why it's taken me several months of prodding from Theodore and my own self-flagellation for being a flake to actually sit down and write up what little I remember of the Hey, Dummy years. What follows is a loose recap of a period in Hey, Dummy's life -- as told by the only guy in the band who, unlike his former bandmates, isn't making any kind of contribution to music these days.

Hey, Dummy was me, Tony Cavallario (Aloha), Mike McNeeley (No Sanctuary), and Eric Koltnow (Aloha, Six Parts Seven). The band was born from the ashes Chunk Iron Chest in the early 1990s when Mike and I were fortunate enough to connect with Eric and Tony to start what we hoped would be some amazing amalgamation of the indie/punk/hardcore/jazz/experimental music that we were each into individually and collectively at time. Earlier in Hey, Dummy's career, we tended toward really basic (and fast-as-fuck) punk rock, but Fall In Line can more accurately be described as a more mature (read: schizophrenic) Hey, Dummy that had finally grown into ourselves as a hardcore band benefiting from the skills of a classically trained percussionist and a superbly talented guitarist. Add Mike's ferocious bass and my untrained vocals to the scene, and Hey, Dummy was a case-study in controlled chaos. During rehearsals, I would watch Tony, Mike, and Eric work together to write the songs while I worked on lyrics primarily inspired by my own personal reckoning with what it means to be a white political activist in rural NW Ohio. While early songs were sarcastic jabs at our punk rock activist subculture, later Hey, Dummy covered more theoretical issues about white privilege, personal accountability, and animal rights (we were all vegetarian/vegan at the time).



The Fall In Line 7" followed our cassette demo Products of the Industrial (R)Evolution, which was recorded in the early 1990s at an old town hall in Rudolph, Ohio -- about 10 miles from our home base of Bowling Green, Ohio and located across the street from a cemetery. The demo was recorded in 1 1/2 days, but could have been done in a day. On the first day, we practiced and recorded all the songs to our satisfaction. Unfortunately, at the end of the day, we turned to the guy (whose name escapes me) to see how things sounded, and he told us that he accidentally forgot to hit the record button on the deck. He had been checking levels and monitoring our progress without ever actually recording anything. When our rage reached a peak, we looked at the guy, and he was asleep at his mixing board. He was purportedly narcoleptic and dozed off when things got a little stressful. We came back the next day and plowed through the songs and called it a day.

Learning our lesson, we recorded Fall In Line with our friend Mike Pennington at Eric and Tony's house, our practice space and future house-show mecca. The 7" received some favorable reviews in HeartattaCk, MRR, and other zines that put us in the Born Against or Submission Hold camp -- brilliant family with which we were all pleased to claim kinship, though never felt quite deserved. Incidentally, the sleeve and liner notes were designed by me and cruelly document my early career as a self-taught graphic designer. I loved collecting old encyclopedias and children's books -- lifting illustrations and photos with abandon for use flyers, zines, and myriad other projects.

Recording Hey, Dummy was a small part of our history, though. The joy we got from the band was playing live shows around the Midwest on a handful of small tours. A trip down the East Coast to play with Pink Collar Jobs, Griver (future Hellbender) and others took us all the way to Gainesville. Midwest tours took us to South Bend to play with our friends, and we even found ourselves in Kalamazoo and Chicago playing shows with Los Crudos and Charles Bronson. And here's where the "if you can remember it, you weren't there" comes in. So much of our short history was enveloped in brilliantly great parties with friends and extended punk-rock fam that it's all a nostalgic blur to me. It's hard for me to point to specific instances where Hey, Dummy changed my life, but the overall experience of learning from these guys and just sharing in the experience of playing music that made people happy (or challenged people in some instances) was an overwhelmingly formative experience for me. Bad recording quality and all, I still love to listen to this shit.

-- Jason

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I go back a long way with the guys from Hey, Dummy. Jason, Mike, and I all went to high school together, and I spent a lot of time traveling back and forth from The Bend to Bowling Green, OH throughout the mid-90s. I witnessed the earlier incarnations of the band (Chunk Iron Chest, The Schlitzed), and watched their sound mature and gain momentum as Hey, Dummy. Their shows were always so much goodness, and was lucky enough to see them play numerous times in various locations. For me, there's really something special about witnessing good friends create great music, which was part of the reason for starting this blog in the first place.

Hey, Dummy was kind enough to host Chikkenhead and Obstruction for various shows in BG, and we did what we could to return the favor. They played in South Bend twice; once at the Green House with Ground Round, and another time at Clifford the Big Red House with The Mad Dogs, Obstruction, and a couple others I can't recall at the moment. The first show was a lot of fun, as they let me stand in on second guitar for a few songs (which they probably regretted soon after). The second show was a tad bittersweet, because although their set was through the roof, Jason ending up losing his voice, putting "the big kabosh" on the Hardcore Ron Studios recording session planned for the following day. A real shame, as the band was near the top of their game and would've really shined under Ron's recording mastery.

Thus, we are left with this great EP, Fall In Line. Whatever is lacking in production is more than made up for with energy and emotion. I, too, still love to listen to this shit. It was self-released by the band in 1997 on Saturnalia Records.



And here's a link to the Hey, Dummy bandcamp page, where you can find the rest of their recorded works.

Hace Frio - The College Years (1995-1996)

Say hello again to Hace Frio, your indie pop rock friends. Hace Frio was Dave McM., James J., Vinny C., and Rose S. (though I don't believe Rose is featured on this cassette). Let's hear what a couple of these guys had to say about the band:

"Hace Frio was a band for the fun of it. None of us could play instruments except Vinny on drums, but we had loads of fun making up little pop songs. We actually played a load of shows from Michigan to Chicago, and did a mini-tour with emiLy, which was a highlight of our life as a band in the summer of '96. Over time we got a little tighter, wrote better songs, and rocked Nazz into oblivion. Our best show was playing with Chisel in the basement at 702 W. Angela Blvd, or perhaps playing University of Chicago with an audience of about 60-70.

The College Years was the first recording, with loads of songs. We were inspired by the general output of bands like Guided by Voices, although we fell short in the lyrics and music departments. What was great about Hace Frio was that even though we were short on instruments and green behind the ears, we got to listen to far superior bands like emiLy and learned to appreciate Joe's masterful guitar playing, and the general elan of the band. Plus Vinny covered up any musical lapses we had." -- Dave

"When we started, Dave and I seriously had no idea how to play. Our first show was quite awful, but we all loved music, had an idea and went with it.

So many good times! Early on we hijacked the WVFI van for a weekend, it was 107+ degrees outside and we headed to Chicago to record our first demo songs in Sweep the Leg Johnny's basement. Quite an insane experience, we probably shouldn't have made it there and back, but we survived. We had a mission, what that was is anyone's guess. Vinny's awesome drumming, and Rose's sweet violin sounds, along with sheer determination, led to much better song writing and towards the end some really amazing shows." -- James

This cassette features a diverse selection of sounds and directions, from indierock and punk to instrumental noise and poetry. Who could forget "Anne" -- a poppy toe-tapper that is sure to stick in your head all day once you give it a spin. You've gotta also love "Dyngus Day" -- an homage to the Bend and it's most beloved local holiday. And "Center Aisle" brings the rock with it's full-on Dead Kennedys-style choruses.


The College Years was recorded in 1995, and released on the eSTaTe record label (what is it with capital letters in the middle of words with this crowd?). We'll leave you with a little something from an unlisted cut at the end of the tape:

"Ahh the College Years... when old Smitty said, 'Kick back, look at the spectacle of life kid, absorb all the wonderful French minds and let it all slide down your throat like a Werther's Original,' he had it right! And this, this is our gift to you: The College Years by Hace Frio 1995-1996. Yes... and then I'm going to kill you and eat you. But that's alright. People will call me a cold-hearted fiend, but enjoy the recording."

listen/download:


see also:
Hace Frio on MySpace

July - April Twentieth

Who better to speak on behalf of July than Ms. Kate B.:

Most teenage girls today wouldn't think it, but in the pre-Alanis days of the early 90s, when a strong woman in music meant Janet Jackson or Madonna, or maybe Pat Benatar (which was on occasion mistaken for Kate's vocals?) a band with a woman singing about taking charge of her life and wreaking havoc on those who wronged her was, apparently, a revolutionary thing for some of the female audiences who heard us -- or at least that's what I heard at shows, especially the few times we played away from the band's house. The sad fact was that very few bands in the Notre Dame family had female singers at all, and those who did generally opted for a sweet and gentle delivery. So when July appeared on the scene, we turned some heads if only for the sheer novelty of it. And personally, I think the time was ripe for women to be getting up and demanding attention, on stage and in general, which is something that happened a lot in the early and mid 90s, especially in the punk and indie scene. Still, I don't see July as a chick rock band, even though I tried to sing it that way. I was amazingly lucky to start off playing with a group of amazingly tight and talented musicians who could craft powerful and catchy tunes that could stand up to my novice singing and songwriting. What I lacked in stage presence, those guys made up for in strength and ability, and if I had it to do again, I would have just done more of it.

Here is the official story: Prior to coming together as July, Ernie C. (bass), Ted K. (drums) and Justin M. (guitar) had played with another singer as Grope for Luna. Two weeks after starting to practice with Kate B. on vocals, we played our first show at the "Farewell to Bush Bash" at Stonehenge on the ND campus, which consisted of four songs. Not so great with names, we played our second show as Freezehead, and Kate also vetoed Sweep the Leg Johnny as a potential name (we'll let the history books weigh in on that choice) before we settled on July as a name.

In practices, Ted's drums were so loud that the other instruments had to be turned up to match, so the boys usually never heard the vocals until it came time to play live with a proper PA. I think the balancing act between an art-rock guitarist, a jazz drummer, a riot-grrl singer, and a Fugazi-loving bassist produced something really special and unique, if very much of its time. Or, to quote Joe C. from our entry in Maximum RocknRoll's Book Yr Own Fucking Life, "A great great grindy power pop punk kinda sorta thing with PJ Harvey-esque vocals."

April Twentieth was recorded live at Dalloway's Coffeehouse on, natch, April 20th, I think 1994. Rommell DD is taken from a Richard Brautigan poem. The cassette was released on the Rent To Own label as RTO5.

listen/download:


see also:
July on MySpace