BandWagon Magazine - February 2022 - The Collection by BandWagon Magazine

MUSIC reviews

BandWagon Magazine

FAST EDDY PG. 4 ONE PEACE PG. 6 THE BURROUGHS pG. 9 ISADORA EDEN PG. 9 BEKKA JEAN PG. 9

BANDWAGMAG.COM

BandWagMag BandWagMag

Publisher

G. LOVE

Editor

STIR IT UP

ELY CORLISS

PG.11

PG.28

& THE JUICE

KEVIN JOHNSTON

art director

PG.24

CARTER KERNS

CONTRIBUTORS GABE ALLEN DAN ENGLAND VALERIE VAMPOLA DIEGO FELIX

Soulfly's

Max Cavalera

PG.20

HUNTER JAMES &

THE TITANIC

BANDS AND MUSICIANS Submit your MUSIC for review:

PG.16

BANDWAGON MAGAZINE 802 9TH ST. GREELEY, CO 80631

kevin@bandwagmag.com

Editorial Info/Requests:

THE

COLLECTION

kevin@bandwagmag.com

Any other inquiries:

FAST EDDY Take A Look

Valerie Vampola

BandWagon Magazine

As modern rock groups lean into synthesized productions, Denver’s Fast Eddy keeps the standard rock ‘n roll traditions alive in their new full-length album Take A Look. The album is fun, upbeat and packed with influences from classic rock, hard rock and 2010’s alternative. After three years of recording bits of the album in Atlanta with producer Tuk Smith (Tuk Smith and the Restless Hearts, Biters)

Fast Eddy teased audiences with the title track “Take A Look” accompanied by an excellent music video featuring members of the USA Shaolin Kung Fu Academy. The song serves as a great introduction to the record, with upbeat grooves and a catchy guitar riff, coupled with flashy martial arts fighting sequences and an anti-bullying message. The rest of the album, such as in the lead guitar on “Milwaukee,” maintains that same, kicking energy. A few of the songs dip into a harder realm, reminiscent of The Foo Fighters, like “Kill City,” a minor-key growler. “Dead Eyes” uses some of the same techniques toned down a bit, but on a whole, Take A Look weighs on the brighter side of accessible hard rock, including some punk flashes as heard on “Hurricane Alley.” Staying away from heavyhanded production can give

bands a throw-back feel, sounding like The Rolling Stones with their poppy, upbeat grooves and gritty vocals. Fast Eddy does so, even making some blatant quotes from the early days of rock and roll. In “Lost,” for example, bluesy riffs recall staple Chuck Berry recordings. Sticking to the classic rock band set-up makes the record appealing to analog die-hards and keeps a fun, well

executed art form grounded in basic traditions. The album dropped last month at Denver’s HQ – now that it’s out, be sure to take a look and a listen.

Catch Fast Eddy on an upcoming East Coast tour and find Take A Look on vinyl and streaming at fasteddyband.com

one peace

A GLORIOUS ONE Diego Felix

BandWagon Magazine

A GLORIOUS ONE finds itself at the crossroads of trunkknocking production, emotionsoaked sampling, and vivid, unapologetic songwriting. Released in December 2021 on independent Fort Collins-based record label Lion League Music, A GLORIOUS ONE from rapper One Peace and wunderkind producer Sagan Petr Smith is a nostalgic, yet relevant, album that feels as diverse as it does cohesive. It’s like the Alchemist and DJ Screw co-produced an album and postmarked it for the Colorado MC to pen a 16-track journey reflecting on life, love, and the law. What he penned is essentially a therapy session recorded to a syncopated 16bar form, with OP’s speaking voice alone commanding more presence than the average MC yelling full volume into the mic. Sonically, this project could stand in as the score to a Tarantino flick, while also being the tracklist for a forthcoming

Grand Theft Auto radio station. And like a movie, all the album’s tracks are scenes; different, but contributing to the bigger story. Take for example the first 4 cuts, which kick the album off aggressively. “THE LAW,” a dark and knocking, noir-style intro track; “FRESH OUT,” featuring booming 808s and a Memphis grit (think Three 6 Mafia); with the menacingly smooth “SNAGGLETOOTH” and riotinducing “THE PIT” rounding out the first act. Moving into the emotionally reflective second act, “WATCH,” “RED WINE” (OP’s personal favorite), and “ROSEGOLD,” touch on OP’s experience navigating relationships – spotlighting past missteps and contemplating future connections. Rounding out the album’s final third is a collection of mood music for all areas of life. Want to vibe and cruise around? Try “HELLBOUND” or “WAIT.” Touch on social issues or get introspective? Listen to “POPO” or “ABANDONMENT ISSUES (REMIX).” Just want some barred-up rapper shit? “BUTTERFLY HOUSE,” “FEMUR BONES,” and “INNER PEACE” bring us home.

A GLORIOUS ONE by One Peace is available: smarturl. it/onepeaceagloriousone stream, purchase and follow. March 6, later performing at Treefort Music Fest. More at linktr.ee/N3ptune

SINGLE REVIEWS VALERIE VAMPOLA

THE BURROUGHS "My House My Car"

The

Burroughs

progress

their

continue sound

while

retaining some of the retro vibe

that first captured the hearts of Northern Colorado. Their new single, “My House My Car,” out January 28, shares stylistic similarities to the Anderson .Paak and Bruno Mars project Silk Sonic. It has many of the musical tropes of the 70’s and 80’s, including a flirtatious (and almost goofy) female response chorus, a loud synth and their 4-piece Stax-style horn section. A rap from baritone sax player Hayden Farr adds a fun new bit, with a delivery that harkens back to the 90’s hip hop of Sir Mix-a-Lot and LL Cool J. theburroughssoul.com

ISADORA EDEN

"“Glycerine” [Bush Cover]

Isadora Eden, in collaboration with Duke Justice, releases a cover of Bush’s “Glycerine” in her dreamy and ethereal style on Feb. 25. It’s part of a forthcoming

covers album, each track with a different collaborator. Eden’s reimagining fits the mystical and mysterious feelings of being in love by surrounding the listener with ambient synths and heavy reverbs. Justice’s vocals have a grungy texture reminiscent of Bush frontman Gavin Rossdale, a nice call-back to the original. The track also includes the little “instrumental” section at the end of the original recording, but instead of strings, it fills up the space with vocals and synth pads. Eden’s cover delivers familiar material to her existing fans, and should earn her new ones. isadoraedenmusic.com

Bekka Jean

“What If I Forget About You ='(”

Following the passing of her mother, Greeley’s Bekka Jean independently

released

her

new single “What If I Forget About You ='(” on January 7. The folky, shoegaze ballad addresses the struggles her mom faced during her battle with dementia. Delivered via lush vocal harmonies and a lightly plucked acoustic guitar, the lyrics cry Jean’s frustrations out, like Phoebe Bridgers or a timid Delores O’Riorden of The Cranberries. References to the every-day become totems of the bereaved as she sees her mom become a stranger and hopes she doesn’t have the same fate. instagram.com/bekkajeanmusic

Featured ARTIST

OF THE MONTH

es, there really is a "Dirty Camaro." For the characters in the song which bears its name, and the subsequently titled Zachary Williams album, it’s a symbol of tough times, but also a symbol of escape.

Williams, who’s voice drove him out from the Brooklyn Bar4 open-mic world and onto the international stage, is best known as the belting leader of The Lone Bellow. Dirty Camaro is indeed an escape from that band’s gravity, one that’s weird, head-turning and fresh.

ZACHARY WILLIAMS

“For better or for worse, The Lone Bellow created this pretty heavy burden of art,” Williams tells BandWagon. “We always worked with these big producers and we like slave over the songs,” he says. His departure from that weighty work is palpable. From the swanky suits in the “Game For Guessing” video to the playful theatrics in the title track’s video, he’s clearly here to let loose and tell the truth. “I just wanted to be like: ‘This is mine, and I want to have fun,’” he said. “And that's what we did.” The record screams with Williams’ famously passionate vocals but it swings with a new band who “burns rubber,” in his words, and the freedom of man set free to talk about what he wants. As it turns out, that’s family. “You can be mad but you can’t be mean” from “Game For Guessing” comes from a lover’s spat with his wife and life-long partner, while “‘Dirty Camaro” is a piece of family lore. “It’s a story about one of my aunts in the 80’s who had to get away from an abusive situation,” Williams says. “It got very southern gothic in real life, where my uncles took care of the bad guy.” Williams has come a long way, but hasn’t forgotten who he is or the vehicles which transported him. - by Kevin Johnston

ZACHARY WILLIAMS (OF THE LONE BELLOW) PERFORMS SUNDAY, FEBRUARY 20TH AT THE AGGIE THEATER IN FORT COLLINS. HEAR HIS SOLO RECORD DIRTY CAMERO ON 105.5 THE COLORADO SOUND!

REASONS TO LISTEN TO THE COLORADO SOUND • MORE COLORADO ARTISTS • KNOWLEDGEABLE DJS WHO LIVE HERE • NO COMMERCIALS • • UNIQUE PROGRAMMING YOU DON’T GET ANYWHERE ELSE FROM BEASTIE BOYS TO BILLIE HOLIDAY •

105.5FM & ONLINE AT COLORADOSOUND.ORG 11

RED IRON PUSH @ THE OUTLAW

BANDWAGON PHOTO OF THE MONTH

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THE

COLLECTION BETTER TO GET LOST THAN NEVER TO HAVE LIVED AT ALL

In the video, Wimbish, the lead singer and songwriter for North Carolina-based alt/pop band The Collection, spins around in a rolling desk chair and lip syncs the words to a snippet of a demo.

The demo is a perfect snapshot of what The Collection does best. The instrumentation is catchy and neatly arranged (though not yet imbued with the energy of the full band), and Wimbish inhabits the unambiguous emotion of the song with his vocal performance. The lyrics are not shrouded in metaphor. They are intense, vulnerable and painfully relatable (“another lockdown stuck inside this shit town I can’t find a way round my intrusive thoughts now”).

“I’m losing my attention while the whole world dies. Been scrolling through addictions with no appetite,” Wimbish sings.

Though gen Z is just catching on, The Collection has been making music for more than a decade. Last time BandWagon talked with Wimbish, both he and the band

n the last day of 2021 David Wimbish, a millennial, posted a viral video on TikTok.

“Compared to anything else we’ve ever posted, it took off. I’m still getting so many notifications on my phone — every day, even every hour,” he told BandWagon.

BY GABE ALLEN

were going through a sea change. He was in the middle of a divorce and healing from a nearly debilitating mountain biking accident, while the band had been pared down from its original 12 members to a few key players. In the years since, things have gotten better. Wimbish is free from injuries aside from intermittent neck pain that is often induced by his on-stage theatrics. In 2019 The Collection was selected as “top shelf judge’s pick” for the NPR Tiny Desk Contest and the band recently picked up with the same management team that brought The Lumineers to fame. Still, as things started to solidify for The Collection, the world around them fell victim to a global pandemic.

“The feeling of things falling apart has never really stopped,” Wimbish admitted. “I’ve had to integrate the realization that nothing is forever. I’m just trying to be more present for the good things when they’re here.” When asked how he had been able to keep making music through his lowest points,

Wimbish laughed. Music is what helps him process what has happened, he explained. It is his tool for healing and reflection. Healing is front and center on The Collection’s latest single “Get Lost.” In it, Wimbish meditates on the process of shedding people’s expectations and perceptions in order to find authenticity. It’s something that he has had to do over and over again. “There have been many times, whether around substance, getting divorced, or coming out, where folks have told me that I've ‘lost my way,’” Wimbish wrote in the liner notes. During his divorce, Wimbish was overwhelmed by messages and invocations from members of the conservative community that he was raised in. It seemed like everyone had an opinion about what he was doing, while no one wanted to hear how he was doing. It was hard not to give in to the pressure. “I went from someone who was trying to please everyone, to someone who is open and outspoken about my sexuality,” he told BandWagon later.

In the music video for “Get Lost,” Wimbish’s journey unfolds visually. As the camera follows him down a country road, characters roam in and out of the shot. “I wanted it to grow from this child-like pleasure to more adult eroticism,” Wimbish said. Over the course of the song, kiddie pools and bubbles give way to smoke bombs and a passionate kiss. “Why are you so afraid of pleasure,” he sings. This celebration of pleasure is on full display at the Collection’s live shows. Wimbish twirls his mic stand theatrically from among the folds of flowing white clothing and band members bounce around the stage wildly during instrumental breaks. Huge grins and perspiration are the band’s unofficial uniform. While their music is centered around Wimbish, The Collection is undoubtedly a team. They are magnanimous with each other and abide by a “no sarcasm” rule while on tour. This attitude of acceptance — just the way you are — is central to the band’s message. It’s what has earned them die-hard fans and even a viral TikTok moment. With Wimbish at the helm, The Collection fosters a safe space to let loose, be yourself and “get lost.”

BANDWAGON PRESENTS THE COLLECTION LIVE IN CONCERT ON MONDAY, FEBRUARY 21 AT THE MOXI THEATER IN DOWNTOWN GREELEY WITH PLAIN FARADAY. FOR MORE ON THE COLLECTION, VISIT THECOLLECTIONBAND.COM – GET TICKETS AT BANDWAGONPRESENTS.COM 17

WRITING AT THE HELM:

HUNTER JAMES &

THE TITANIC

ON THE CRETIVE PROCESS BY GABE ALLEN

wenty years ago now, Radiohead blew the lid off of pop with Kid A, a much anticipated album that refused to be confined by the neat lines drawn between genres. In the two decades since, musicians have increasingly gravitated towards sounds that blend together a dizzying array of influences. “A lot of bands that I’ve been in or heard or produced say ‘well, we can’t box ourselves into a specific genre because we play funk and jazz and rock or whatever,’” Hunter James & the Titanic guitarist Taylor Marvin told BandWagon. “It’s nice to be in a band that says, ‘we play rock and roll 109% of the time.’” Hunter James & the Titanic refuse to be lured into the postgenre vortex despite that impossible percentage and their lineup of eclectic players. They play Americana — no caveats. Well maybe a couple. “I really wanted to have this band feel really focused.” Hunter James explained. “But, there’s something inside of me that won’t let me just write like that. I always have to have a song or two on the album that’s a little psychedelic, or maybe the harmony is a little bit strange or maybe there’s something fucked up going on with the guitars. But, we always sound like us no matter what.”

In just three years, the band has put out an EP, five singles and two full-length LPs. Their latest album, 2021’s La Liberté, finds the band settled even deeper into a roots rock sound. Songs like “Over the Line,” “Adeline,” and “See You Again” are sprawling country rock ballads with the full force of the seven-piece band behind them, while “The Way I Remember You,” “Too Different Pictures”[sic] and “Tight-Walkin’ Man” are subdued singer-songwriter tunes with expansive instrumentation. The Titanic’s prolific output stems from James’ enduring dedication to songwriting. When he is working on new mate-

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rial, he writes for hours every day. Though there was once a time when he relied on heartbreak and angst for creative inspiration, these days he draws inspiration from the practice of writing itself.

steering the creative ship. In his former band, the prog-pop project Petals of Spain, an abundance of songwriters had led them to release albums with wildly different vibes from track to track.

“IT’S REALLY DANGEROUS TO BE CHASING THAT MOOD AROUND,” JAMES SAID. “I THINK IF YOU JUST SIT DOWN AND WRITE FOR FOUR OR FIVE HOURS, YOU CAN FIND YOUR WAY INTO SO MANY DIFFERENT PLACES IN YOUR HEART AND SOUL THAT YOU MAYBE WEREN’T IN THE MOOD TO EXPLORE. IT’S A CONSCIOUS CHOICE OF ‘HEY I’M GOING TO SIT DOWN AND WRITE.’ THEN YOU LET THOSE FEELINGS COME TO THE SURFACE.”

“I always loved that we were such different writers coming together to play on each other’s songs,” he said. “But, it was almost too spread out. There was no central focus.”

Perhaps it is this habit of letting his mind wander while he writes, that gives many of James’ songs a nostalgic quality. On “Take One Minute,” he reminisces on an old flame.

“Isn’t it funny how your laughing knows no time. I can still hear it at the corner of my mind,” he sings. The moment that James captures is beautifully wrought and devoid of melodrama. He’s not asking for much.

“Come on, just take one minute and remember how good it used to be.” When James founded the Titanic in 2017, he put his name on it. It would be a band with one songwriter — one man

Now, after a few years at the helm of the Titanic, James is loosening his grip on the songwriting mantle. And he’s glad to do it. “In this band, we’re really all on the same page as far as the sound we're going for,” he said. While writing “Head On,” a hard-driving country tune from La Liberté, James got stuck, so he called in for back-up. “Hunter came to me and basically said, ‘I’ve got the whole thing written except for the break up verse and, ‘hey, you just got dumped.’ Want to take a swing at it?’” Marvin recounted. In addition to Marvin, James now shares songwriting duties with vocalist Lizzy Gogolowski and slide guitarist Jason Brazzel. “It’s become far more of a cumulative group. I had always wanted that in a band,” James said. No matter who is writing, Hunter James & the Titanic’s songs go through a very specific selection process: they have to make you feel something. James says he knows something is worth pursuing if it either makes him cry, or gives him goosebumps. “If I can have a real visceral reaction when I’m writing it — that’s how I know it’s a good song. If I can’t feel that, it's going to be hard for other people to feel it too.” This emotional litmus test is evident in the music. Some songs are sad while others are joyful, but each one is rooted in the emotion of a specific moment – a devastating breakup, a bankrupting poker hand, or just a nostalgic daydream.

HUNTER JAMES & THE TITANIC RELEASE LA LIBERTÉ ON VINYL AT TWO CONCERTS, BROUGHT TO YOU BY BANDWAGON PRESENTS: THURSDAY, FEBRUARY 10 AT HQ IN DENVER (WITH ANTHONY RUPTAK AND MLADY) AND FRIDAY, FEBRUARY 11 AT THE MOXI THEATER IN GREELEY (WITH MIKE RING). TICKETS AT BANDWAGONPRESENTS.COM

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You Can't Bullshit Metal Fans

Soulfly's Max Cavalera BY DAN ENGLAND

es, you will hear “Jumpdafuckup” when Soulfly plays at the Moxi Theater in downtown Greeley, but that’s the only resemblance between the 2000 band that recorded the hit metal album Primitive and the current one on tour 20 years later.

an interview for BandWagon. “As I get older, you’d think I’d get more mellow. I should be listening to Pink Floyd or something. But I like the heavier and heavier stuff. When you get older, you play what you like. You play what you feel.”

Bandleader Max Cavalera finds himself going back to his roots more and more as the years tick away.

Cavalera’s roots are about as heavy as a two-ton truck. He fronted Sepultura, one of the more brutal and influential thrash bands of the 80’s and 90’s (think Slayer, not Metallica) with his brother,

“Little by little, my own tastes came through for Soulfly,” Calverra said in

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Igor, before straying into industrial metal and some hardcore punk. He continued that sound by starting Soulfly during the so-called nu metal era (though Cavalera prefers to think of it as groove metal with tribal influences). The band took off using that sound later championed by bands such as Limp Bizkit, but Cavalera quickly grew discontented. “It was exciting, but that style went commercial and pop, and that wasn’t for me,” Cavalera said. “I’m an old-school

metalhead. I’m still pushing the boundaries. That’s always been interesting to me, the different things you can do in metal, but I have no interest in popularity, and that’s a testament of where I stand today in metal. I’ve achieved all my dreams. I’ve met my idols and played big shows, so now I don’t have visions of grandeur. I’d really rather make a record for the right fan. That’s the hardcore Max fan.” Lately that’s meant hardcore thrash and death metal, just like his time in Sepultura. He’s proud and thankful for getting the chance to play all styles of metal as well as the music from Soulfly’s early successes. He doesn’t shy away from it now, although he may have at one point. For many years he didn’t play “Jumpdafuckup” live.

“It’s fun and it feels right, and it’s cool to hear those songs,” Cavalera said. “The fans, they kinda want to hear it. It doesn’t matter that it came from that era. The song itself stands on its own.” He plans to release Soulfly’s 12th record before this summer, and he will play two new songs off the record at the live show. He calls the forthcoming record “a really cool free spirit” because of the way the songs don’t follow basic rules. A couple, he said, don’t have a chorus, and the producer demanded they record all the songs live. “You don’t rely on Pro Tools,” he said. “You just play your ass off. That’s how records were done in the 80’s. I wanted that element.” He plans to revisit those 80’s by touring with his brother Igor after Soulfly’s tour wraps up. He and Igor will likely play Sepultura’s classic material such as “Arise” and “Beneath The Remains.” He also will continue at some point to play with Cavalera Conspiracy, another band he started with Igor, and Killer Be Killed. For him, it’s all metal, and when he writes songs for all those bands, they all have one goal. “Riffs are my church,” he said. “That’s my paradise. I will spend hours riffing on the guitar and just chugging on the guitar. I call it Chug Life. When you finally find a killer riff, man, it’s like you’ve won the lottery. “You can’t bullshit metal fans. They see right through you if you aren’t approaching it with passion. You have to come from the heart, from a pure place. I still write with that intention. I never let the young Max in me spoil. I never lost that fire.”

Catch Soulfly live at The Moxi Theater in Downtown Greeley on Saturday, February 26 with support from Draghoria. Tickets and more information at BandWagonPresents.com

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STILL THIRSTY G. LOVE

& THE JUICE

STIR IT UP BY DAN ENGLAND

he band still carries his name, but G. Love is taking a step back from the spotlight.

G. Love was as synonymous with the Special Sauce as a Big Mac and fries, but he’s now touring with The Juice, and the move signals a shift in musical direction, both in his music and the way he approaches it. In the first summer of COVID-19, he and some friends he also respected felt like a bunch of shipwrecked musicians, he said. No one was going anywhere, as gigs were scarce. He had a lot of time to reflect — didn’t we all? — and the band he put together to get those friends some work turned into The Juice. The band, an eight-piece blues outfit full of fiery players, was significantly different from Special Sauce, a trio. The experience rejuvenated him. Since their beginnings back in ‘93, he’d always felt nervous before a show with Special Sauce, the kind of pressure a quarterback, goalie or starting pitcher might feel before a big game: He knew it was on his shoulders. “Special Sauce has been great, but I’d been thinking about a bigger band for some time,” G. Love said in a phone interview for BandWagon. “It was a chance to play with a lot more soloists instead of just a trio. It was a lot of fun for me. “If you know sports, you take the player out for a bit so he can catch his breath. Even if you are able to have a couple other soloists, it gives my voice a break. I like to pass around the mic a bit more now. It takes the pressure off me.”

the Aggie in Fort Collins on March 4 — and preparing to release his second album with the band later this year. He has big plans for the ensemble, saying he’s hoping for another Grammy nomination, just like the band’s first album he released in January 2020, and he wants to headline Red Rocks, just like he did in 2008 and ‘09.

“That was one of the big pinnacles of my career, and I’m trying to get back to that,” he said. “When a musician wants to try and get up to that next level, a lot of times it involves making changes. I need a fuller sound.” He put that first, self-titled Juice record together with icon Keb’ Mo’ and calls the style “hip-hop blues,” or really, blues with G.’s signature sound, but it’s still a vastly different direction for him. It was a direction he had wanted to pursue for years.

“I’d wanted to work with him a long time,” G. said of Keb’ Mo', praising his meticulous songwriting and production methods. But the coronavirus interfered with that writing and recording, of course, and it ended up taking three years to make. G. loved the process, but it’s also what made his upcoming album so refreshing. It was exactly the opposite. For this record, he worked with blues legend Luther Dickinson of North Mississippi Allstars fame – the Grammy nominated act who have played the Greeley Blues Jam. In Dickinson’s personal studio, G. collaborated with a bunch of younger players who contributed both solos and songwriting to the tracks. He cut the album in four days. “We got some hip-hop artists as well,” he said. “It was a lot more spontaneous. We’d lay a groove and write to it on the spot. It was really cool to see all the artists step up and let the creative juices go. That’s the best thing about collaboration. Everyone is supportive. Really cool things happen. “This record is really special to me,” G. continued. “It’s a lot different, but it’s unreal and really strong.” He’s also excited to be on the road with his new lineup. He finds them inspiring enough as people and musicians to change what he’s done after decades of playing and touring in a trio. “There’s still an edge there, but generally before I hit the stage I just think ‘OK, this is going to be fun,’” G. said. “Let’s go rock this.”

He’s now on tour with The Juice again — he plays four gigs in Colorado over the first weekend in March, including

G. LOVE AND THE JUICE PLAY MARCH 4 AT THE AGGIE IN FORT COLLINS, AS WELL AS MARCH 3 AT THE BLUEBIRD THEATER IN DENVER, MARCH 5 AT THE FOX IN BOULDER AND MARCH 6 AT BELLY UP IN ASPEN. VISIT PHILADELPHONIC.COM FOR MORE.

PECOS & THE ROOFTOPS @ THE OUTLAW

BANDWAGON PHOTO OF THE MONTH