Unplugged Magazine October 2013 (#10) by Unplugged Magazine

Unplugged October 2013

INCREDIBLE’ ME

INside: - The Swellers talk about their new album - Will Yip talks about Studio 4 - top 5 songs to work-out to - Get to know tiny Engines label - reviews of MGMt, elton john, touché Amoré & more

Letter from the staff:

Turn my headphones up T

here is a war going on in your ears. Well, not necessarily a war, but this issue is named “The Loudness War.” Basically, all of our music is over-compressed. It all started with the CD. Everybody was striving to have the loudest record. Essentially, what audio compression does is amplify quieter sounds and keep louder sound around the same level, making the entire audio file louder as a whole. The problem with this is that many records are pushed beyond their limit. It causes audible distortion, which is tiring to the ears, and any noise that was in the recording before but was too quiet to hear (static, low hums and rumbles, room noise, etc.) is now amplified as well. Dynamic range is also compromised through this process. Music is directly tied to emotion, and dynamic range is a big part of creating emotion. Softer, more intimate parts are supposed to be quieter so that when a song builds to the climactic chorus you’ve been waiting to sing along to, the song is also reaching its peak loudness. Because of compression and limiting, dynamic range is absent in many recordings. On top of all of that, most people listen to MP3 files on their iPods rather than higher quality options such as WAV files. MP3 files are compressed versions of higher quality formats. This is called digital compression, which creates more distortion, destroys space in recordings (which is also important) and gives the audio a surreal, metallic sound. This is a problem that should never have occurred. Every device that plays sound has a dial, knob, slider or button that controls volume. By turning this knob up, you will increase the level of your audio without compromising its quality (unless your speakers are total shit). It’s that easy. If you’re complaining that an album is too quiet, you’re just being lazy. If you’re complaining that it’s too loud, you’re probably right *cough* Death Magnetic *cough*. I feel the era of The Loudness War is coming to an end. Vinyl is back in a big way and many albums are getting separate vinyl mastering, which utilizes compression to a lesser extent. More people are becoming audiophiles and demanding higher-quality audio file formats. Music websites actually allow you to download these high-quality formats as a substitute to the lower-quality MP3 formats that are commonplace. It’s time for us to jump on the bandwagon and demand quality listening standards for music. Josh Jurss Writer

Top 5 Albums On Repeat “Intersections” Into It. Over It.

One

“Ups and Downsizing” The Swellers

two

“When Life Gives You Lemons, You Paint That Shit Gold” Atmosphere

three

“Just One More” Mad Caddies

Four

“The Arrogant Sons Of Bitches”

Five

The Arrogant Sons Of Bitches

Table of contents

Drop the needle again Alisha talks about her favorite liner notes in some of her favorite albums PG

And the record rolls on

Listen A** Hole

The Swellers

The Michigan band talks about taking some steps back to progress their careers PG

My scene My Music

We ask: Who are your favorite, most famous bands from your area?

Staff picks Megan talks about the top 5 songs tfor your work out PG

mag

Editors in chief

Copy editors

Writers

Photographers

Steven Condemarin alisha kirby Josh Jurss daniel Romandia Ian La Tondre (columnist)

Intern

Jorden Hales

Robert Aguilar Megan Houchin Allen Dubnikov

Contributors Kendra beltran Eric Delgado

artist spotlight

LAUNCH

Unplugged talks to local, self-made producer/hip-hop/R&B artist Stealth

Jorden and Daniel argue: Loufest or Launch? PG

Will Yip

The Philadelphia producer discusses about his time at Studio 4 and about his projects

Scottish John breaks down one of the essential musician in any band, the guitarist PG

17 18

Jorden reviews the fifth-annual Launch event in Sacramento Behind the scenes

D.I.Y. record label Tiny Engines strives to produce honest content Album reviews

MGMT, Elton John, Touché Amoré, Balance and Composure, Moving Mountains and Signals Midwest

I’M

HOURS: Tuesday - Thursday 11:00am - 8:30pm

Friday & Saturday 11:00am - 9:00pm

Sunday & Monday Closed

Catering also available Have your party or event call for details.

3535 Elverta Road Antelope, CA 95843 (916) 332-7041 To see our menu visit www.thehouseofbbq.com

n my “Letter From the Staff ” last month, I talked about why I choose to purchase music and a part of that had to do with how much I love holding an album and reading the liner notes. I figured it would be appropriate to share a couple of recently released albums that have some of the best liner notes.

Drop The Needle Again

by Alisha Kirby

The Gaslight Anthem - "Handwritten:" Blue 180g Within the first run-on sentence, I knew I was going to enjoy the opening letter that was welcoming me into The Gaslight Anthem’s third full-length album. By the time I got through the first sarcastic, honest paragraph, I felt like I’d read the intro before. Then I saw it at the bottom; “Nick Hornby, April 2012.” Hornby is one of my favorite authors (you may know him as the author of “High Fidelity,” “About a Boy,” or “Long Way Down”), and his mature humor fits this record perfectly.

& The Wonder Years "The Greatest Generation:" Dark blue/ 600 The Wonder Years’ latest record was all about growing up, dealing with mistakes you’ve made, and moving past them. It was about standing up and not holding yourself back with fear of failure. Right as you open the record, you’re greeted with a call to action. “Why can’t we be the greatest generation?” it asks. “Your depression, your anxiety, your pain, your disillusion with the world; it’s time to put it all aside. We’re sick of settling for good.”

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And The Record Rolls On six strings, thousands of possibilities

ne, two, three -- count ‘em -- six strings. Each one progressively getting smaller and smaller, ending with a metal (or nylon) cable just a tad thicker than a hairline. These six strings laid across a carved and crafted fretted plank of wood, coiled tightly together by two adjustable ends holding them down. These six strings right here, this is the foundation of rock, blues, and so many other genres. This is the guitar. What would life be without this? Without a guitar? I mean, I know it sounds like a stoner question you ask your friends when you’re baked, listening to Zeppelin, but seriously. Think of modern music, and how different it really would be. Rock and roll is all piano, there’s no pop-punk or punk for that matter. There’s no acoustic guitar, and lord knows that even electronic and hip-hop music would be influenced! No more jazz guitar samples in Mos Def records, no up-stroke, spacey sounding Bob Marley. No Hendrix. No Hendrix,

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people! He’d just be this really cool black guy with a message, a spirit, and no publicity. I’m not entirely here just to theorize on what life would be like without it, though. This is a continuation of the series I’ve been writing (and hopefully you guys have been reading) about the roles these instruments and their players perform inside and outside of the music. Now I’m going to hit this with the same disclaimer I’m putting on each one. This is all to be taken a bit in stride; I’m speaking in generalities. There are obviously going to be artists outside the norm of what I’d have to say and break these “rules.” All right, let’s begin. The guitar is this beautiful instrument. It holds this magical ability to be the melody, and all at the same time hold down the rhythm. Now, I know what you’re thinking: “But Scottish John, doesn’t every instrument have that ability?” Well, yes. The difference here, however, is its freedom gives an artist the ability to lay down melodies, rhythms, and chords all within a sonic range that’s

pleasing to the ear. It doesn’t have the supporting low end of the bass, or the bang of the drums like we’ve talked about in the past few issues. It’s not restricted to a lead-like high end similar to a Tenor Sax or Viola. It’s within the mainly listenable range, which gives it a balance of lows and mids, and still holds the ticket to get screeching highs when necessary. The only other instrument I feel holds this same capability is the piano. Piano, however, is on a much larger scale which, when you have a full 88-key keyboard, covers the entire range of notes we use in modern western music today. I’d say what makes a guitar so special and stand out from a piano is how we, as humans, have interpreted and modulated it to make it sound, well... make it sound fucking incredible. Here’s what I mean by that: We’ve taken an acoustic six-string instrument and amplified it. We put magnets in the physical body of the instrument and have shot it into speakers. We made that machine noisy, swelling and screeching with

“

Swing on over to our website to check out some more cool stuff!

We wanted to legitimately destroy our guitar sound to make it cool; to make it rock and roll.

volume with each individual strum and without a single external microphone. From then, we used amps to change sound, adding treble, bass, experimenting with tube electronics. Then we started breaking tubes. We wanted to legitimately destroy our guitar sound to make it cool; to make rock and roll. From that point, we’re talking about effects and different techniques of sound and blah, blah, blah -- the rest is history. I could go on forever about it. The point is that it’s different from so many other instruments because of our human interpretation of it. You can say that pianos have turned into tons of different sounds and well, that’s kind of true. We’ve created the synthesizer and used the keyboard as a way of controlling it. But you never see a piano on stage with pick-ups on the inside of it picking up an acoustic sound and then running through a pedal board of different effects. It’s just not the same. Now let’s talk about the people holding guitars: guitarists. First of all, I’ve only met one guitarist who has felt he actually needed to be quieter when jamming or practicing, and I’ve met a fair amount of guitarists. I will say that, in general, most musicians are kind of like their instruments; personality-wise that is. We’ve discussed how drummers are loud and how bass players are more laid back. I always feel like guitarists are just a bit of a wild card. And maybe that’s the beauty of the instrument connecting with

that person. It really grasps that concept of adaptability. It’s probably why guitars are the most common first instrument in the modern age; because it’s so accessible. Take someone like Jimmy Page, a bitchin’ rock-blues guitarist with a bit of mystery and who, in his hay-day, revolutionized the instrument. Then take someone like B.B. King, an amazing blues guitarist and singer who did the same, in the sense of changing the game and being an artist. All this was achieved despite having very different personalities and coming from very different backgrounds. Yes, we can discuss how “all people of all instruments are different and it’s beautiful and everyone deserves a hug,” but that’s not the point. These are two people that influenced millions with their art, and played their instruments the way they wanted to; using their individuality to their advantage. I think that’s the big thing about the guitar. It starts off with people wanting to sound like one of their heroes and if they stick with it, they end with sounding like themselves. We can do that with all instruments and forms of art, but the guitar has been one that has impacted the most in today’s world, at least in my opinion.

With Peace and Love, Scottish John Oct.2013.unplugged.07

LISTEN LISTEN

A**

Daniel

HOLE Debates about music we love and songs we hate are common place within our group of friends. Sometimes they’re lighthearted and amusing. Other times arms will flail in frustration and the volume of everyone’s voices will rise.

his past month was stacked with festivals. The second-annual Launch festival was right here in our backyard in Sacramento, but one of our writers opted to attend LouFest in St. Louis, Mo. We questioned whether or not the travel expenses were really even worth it. Here’s what we got:

LouFest or Launch V.S

Jorden: Launch was incredible. It wasn’t just the music, you also have things that people do around music. There were mobile boutiques there. We had food, we had local companies and designers at a fashion show before the concert. There was a great line-up of bands, [including] local acts. There was Imagine Dragons and Girl Talk. It was like a big party. Daniel: That’s exactly what LouFest was. Aside from that fashion show, they didn’t have that. They didn’t have that week [of events] building up to it. They just had the actual festival itself, but I think they had a much better line-up anyway. There were much bigger bands, like the headliner for Launch was Imagine Dragons. Yeah, they’re cool right now, but-Jorden: Blonde Redhead. Daniel: Not that many people know Blonde Redhead though. That’s the thing. Jorden: Everyone there seemed to know them. Every person I asked about who they were there to see, everyone mentioned Blonde Redhead. Daniel: Really? Wow, I’m kind of surprised by that. But when I went to LouFest, their headliner was The Killers. I mean, that’s huge. Jorden: All right, I’ll give you that one.

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Up Stay up-to-date on releases, shows and more on our website! sacunplugged.com 08.unplugged.Oct.2013

Jorden

Daniel: One thing I was thinking about is the location for [the festivals]. Like, Cesar Chavez is a pretty small park. Things were really close together. LouFest was held in this place called Forest Park, which is actually bigger than Central Park. The festival wasn’t all throughout the park, but they were able to spread things out, where two different bands could play at the same time and the sound would not overlap whatsoever. Also, LouFest had their boutiques, but they had them set up in this little marketplace. They had the local foods, they had the local bands. It was all pretty good. Jorden: At Launch, I would say they had great performances. They had people like Grieves, or smaller groups like Doomtree, with [an audience] who didn’t really know them, but they

were getting the crowd into it. They’re doing new content. They’re having people ask to buy their album. And about the stages, that’s what I liked about Launch. That you had two different stages and you didn’t have to miss anything. If you have simultaneous performances like that, you’re going to miss it. Part of big festivals like that is getting to discover some new music and you get to hear some stuff you haven’t heard in a while. So if you have one favorite group that you want to see, you might be missing this other group over here that might be a new favorite. That’s kind of lame. Daniel: The thing is about the stages, at LouFest they used to only have two so you would go back and forth and not miss anything. Now that they added in the third one, they have more space to add in more bands so it’s possible for you to see much more. You could see part of one set and then go see another one. You don’t have to stay the entire time. I discovered plenty of bands too, like Wild Belle. Jorden: And what about costs? Daniel: Well, yeah LouFest costs more. It was $95 compared to $75 for Launch, but I feel like the lineup was so much better in terms of bigger bands. Not necessarily better, but definitely bigger. They had The Killers, Wilco, Edward Sharpe, Toro y Moi, Local Natives, The National and they were all fantastic. Plus the smaller bands, local or not, were all really great. There was one problem I had, since Forest Park itself is so huge and they didn’t put signs up to where the festival was, specifically. Jorden: At Launch, the setup was nice. You come in, you get food, there are different vendors right up front. There’s this cool art and statues around. The stages were set up in the back and everything was easy to find. Between sets, they had live DJs. One DJ, Shaun Lopez, he got really into it and the crowd was definitely into it. Then with Girl Talk, who is sort of a DJ, ending off the night, it was like an after party at the festival --and then we went to the actual after party. Daniel: You know, I don’t know if LouFest had any official after parties.

Backtracking to move forward

head over to sacunplugged.com to read the full interview with lead singer/guitarist Nick Diener

n December of 2010, Flint, Mich.’s The Swellers asked one of life’s greatest questions: What happens to your pets when they’ve been getting sick and you can’t get to the vet? We finally have an answer. “I’m pretty sure your pets die,” says lead singer/guitarist Nick Diener. “It’s a sad tale. Geez, I forgot about that video. That was our best material.” The band has had a busy year. Last October, they independently released a 5-song EP titled “Running Out Of Places To Go.” As Diener puts it, “We had absolutely no deadlines and no one telling us what they think we should do. It was super organic and felt great; a lot like it did when we started. We definitely needed that.” The EP ended up being a lot more work than the band expected, but it all paid off in the end. Earlier this year, the band signed with their longtime friends at No Sleep Records and re-released their EP. “We wanted to go with the closest thing we

The swellers talk about releasing their EP independently before signing with No sleep

could to being on our own label, so working with a dear friend was the next step up,” Diener says. Since then, the band has been working on their new material. The new record, “The Light Under Closed Doors,” had a similar writing process to the EP; no deadlines for the record and nobody was breathing down their necks. “This was the very first record where we gave no shits about what anyone thought, or what a Swellers record ‘should have.’ It’s strictly a record of songs we really love.” In terms of playing the record live, Diener feels the new songs are some of the most fun, specifically “Got Social.” Some of these new songs have been peppered in at the band’s recent shows in Brazil, which went off without a hitch. “We like playing foreign countries because people are too good to us,” Diener says of the tour. “I can see why some bands quit touring the U.S. and strictly play overseas,” though he men-

Story by Josh Jurss

tions the band was well aware of the horror stories that seem to come up frequently when playing foreign countries. “We were very well taken care of while we were in Brazil.” Although luck is a big factor in how well shows go, a lot can be learned in how to play live. The band took a lot away from their local scene when they were starting up. “The Flint music scene was perfect,” Diener says. “We had such a strong local band scene. It’s where I made all of my friends, learned everything about playing shows, what to do and especially what not to do.” Currently, The Swellers are promoting their Weezer Cruise competition video with hopes to play with Weezer on their cruise tour in February. Besides that and touring to promote the new record, nothing else is certain. “We have no idea what comes next. It’s kind of exciting.”

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My Scene, My Music

Kendra Beltran Los Angeles, CA Founder of Golden Mixtape goldenmixtape.com

Josh Jurss Chicago, IL Unplugged Mag. Staff Writer

@JoshJurss

Eric Delgado Abbeville, SC Contributing Writer blessyerheart.com

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Who are your favorite, most famous bands from your area? Most people would have said Blink-182, but I couldn’t. So where did I have to go from there? I decided to branch out of my home state to explore what else the west had to offer — should I have taken a change of clothes for this trip? First I headed to Vegas and thought of Panic! At The Disco because they were unlike anyone I’d heard when I saw them back in 2005 (side note: Nintendo Fusion Tour, we miss you). While I don’t think they’ll ever top that first record, Brendon Urie’s diva-like attention to vocal detail will always make me a fan. I couldn’t settle on them though because they aren’t the same band they started out as, so I then went to Arizona.

The Summer Set wouldn’t rank on my personal list of 20 favorite bands, but I can’t deny the fact that they are impressive, with their catchy songs that sound like dirty Disney tracks and smiles that could (and likely do) grace a glossy teen magazine spread. I feel like a cougar saying this, but damn… they make me feel young again! I even went and saw them at a mall a few months back. They played in the juniors’ department and I stood in the back like I’d taken my niece or something. When it comes to a favorite band from my hood, I’d have to go with The Summer Set because that’s what my inner 12-yearold is screaming behind a glitter sign.

The best: debatable. My favorite: The Get Up Kids. I cringe to think of who the most popular is. The band that best fulfills all three of those descriptions: Cheap Trick. The “American Beatles” have been a band for forty years as of this year. In terms of talent, there’s no doubt these guys are chockfull of it. Lead guitarist Rick Neilson owns hundreds of the best and coolest guitars on the planet and can play the crap out of them. Robin Zander has the voice of a god and the list of vocalists who claim him as an influence is impressive to say the least. The band has been popular for decades, especially in Japan. The millions of albums they’ve sold all over the world might be another tell-tale

sign of popularity. Also, for seven seasons, their cover of “In the Street” was the theme song for “That ‘70s Show.” As for personal favorite, I’ve loved this band since I was a little kid and was introduced to them by my best friend’s father. This man had every Cheap Trick album to date and I’m sure he was pleased to hear the sounds of actual rock and roll in between our terrible adolescent selves’ taste in music. Cheap Trick has also greatly influenced my own music and writing and I consider them to be one of the greatest American rock bands. So really, if you don’t listen to Cheap Trick yet, I would suggest you do so. Today. Right now.

I’m from South Carolina. My favorite band from my state to ever make it big is Hootie and the Blowfish. Yeah, throw stones at me. I get it. Liking Hootie isn’t hip. Hating Hootie is. Well, lets just be honest. If you are just now turning 18, it’s more than likely that you were conceived when your father’s condom failed at a Hootie and the Blowfish concert in the mid-‘90s. Everyone owned a copy of Hootie’s debut, “Cracked Rear View.” Take a look at the highest grossing albums of all time and you’ll find “Cracked Rear View” next to the “Eagles Greatest Hits” and “Thriller.” Their music was different than all the grunge music that dominated the radio. It was upbeat, rootsy pop. There were no false pretensions. Hootie was just a few

guys from South Carolina doing what they love and somehow, like Forrest Gump, these dudes were just different and poppy enough to succeed by being at the right place at the right time. Regardless, the only other bands to make it big from SC are Crossfade and The Swinging Medallions, and I don’t do butt-rock or beach music. I’ve actually enjoyed watching Darius Rucker’s rise to fame in the country circuit over the past few years. He is one of the few black men outside of Charley Pride to break into country music. Yet hipsters constantly debate the merit of Rucker’s version of “Wagon Wheel.” I like both versions. But what do hipsters know? It’s not like they buy music.

What did YOU say? This is where we grab our favorite answers from Facebook, Twitter and Tumblr!

Among Giants @amonggiantsfl Orlando, FL

I’d say flashlights. They just got picked up by hard rock records and we love those guys to death.

The Main Event @MAIN_EVENT_band Lodi, CA Las Vegas, NV

Papa Roach. No question one of our favorites

NEXT MONTH: What’s the most popular genre taking over your region? Hit us up on Facebook or Twitter with the hashtag #myscenemymusic and we’ll publish our favorite answers in next month’s issue! @sacunplugged fb.com/sacunplugged

mag

Top 5 songs to listen to while working out

Staff picks

great playlist is the foundation for a great workout. But nobody wants to spend hours shuffling through their library to figure out which songs are best, which is why I took care of it for you. Here are the top 5 songs for every part of your workout.

by Megan houchin 5. Survivor – ”Eye of the Tiger” Nothing can get you hyped for the gym like a song used in every workout montage ever made. Play it to get in the mood for working out, play it while you’re working out and play it for other people while they’re working out (they’ll thank you later).

4. Walk the Moon – “Jenny” This beat is perfect for nearly any cardio workout. Plus it has the added bonus of being on an album with ten other great workout songs — just let the whole thing play! Fun fact: “Tightrope” matches up perfectly with the 4.5 speed on the treadmill.

3. Passion Pit – “Take a Walk” For those moments when you can’t run a single second more but want to keep up some speed, this song is coincidentally perfect for walking. And if you’re not ready to start running again by the time it ends, “Rumor Has It” by Adele should be next on your playlist.

2. Panic! At the Disco – “This Is Gospel” Maybe it’s just the nostalgia talking, but I can’t get enough of Brendan Urie’s vocals. This song in particular is energetic and almost even aggressive, which makes it easy to match the emotion and take it all out on those damn pushups.

1. Europe – “The Final Countdown”

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Having trouble getting through those last few reps? Time to pull out your secret weapon: the song used in every workout montage that didn’t use “Eye of the Tiger.” You’ll be amazed what you can accomplish with this song cheering you on. It’s great for finishing up at the gym, but it can be just as effective in every other dull task you have to complete. No one can encourage you to get it done quite like Europe.

In the beginning...

Read more about Yip’s experience with Studio 4 over at sacunplugged.com

Talented recording veteran Will Yip shares his origin story Editor’s Note: This is part one of a two-part story. Visit Sacunplugged.com to read part two.

Story by Josh Jurss

ou may have heard of the bands Title Fight, Balance and Composure, Man Overboard, and Circa Survive, but you might not know a lot about one of the men recording these bands on the other side of the glass: Will Yip. Over the past eight years, Yip has recorded these bands and many more from the studio he now co-owns in Philadelphia called Studio 4. How Yip came to work with these artists and own his own studio is a story of its own. It all starts with Phil Nicolo. Nicolo founded Studio 4 with his brother, Joe. Nicolo is one of the area’s most decorated producers, having worked with artists such as Billy Joel, Aerosmith, The Fugees, and Bob Dylan. He is also a Grammy award winner and one of the founders of Ruffhouse Records. Most importantly, for Yip, Nicolo is also a teacher at Temple University. Nicolo is the reason why Yip decided to go to Temple. “A part of me really didn’t want to go to college,” Yip admits. “My only reason of going to college was to meet Phil and take his class.” With the help of a generous scholarship from his high school, Yip was able to attend Temple and take Nicolo’s class. On the first day, Yip asked to come to the studio, offering to help by sweeping floors, getting coffee, taking out the trash and performing any other day-to-day tasks.

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“He was like, ‘Come today,’ so I did. I’ve been there every day since. That was seven, eight years ago,” Yip said. At the time, the studio was going through a transitional period and was trying to find its place again. Big acts had stopped coming through the doors as frequently and Nicolo had recently gone from owning the studio’s building to renting. “Growing up, that was a studio I thought I could never touch,” Yip said. “However, at this time, it was a transitional period for the music industry. All the bigger blockbuster studios around [Philadelphia] were shutting down. It was kind of a perfect storm in terms of me working with Phil.” Yip was independently working with bands out of his basement at the time. He was beginning to build relationships and make a name for himself as a producer in Philly with local bands. It was then that he decided it was time to start bringing bands into the studio. Yip worked out a system with Nicolo where he would take bands into the studio, charge them a set rate, and give all the money to the studio. “I just wanted to get my bands in here. I knew they would love it,” said Yip. He was determined to show Nicolo that he was worth keeping around. “I can be an asset to the studio, not just an intern or an assistant. I should make money for the studio.”

INCREDIBLE’ ME Every once in a while you get to experience a show where the local openers are just as kick-ass as the national headliners; Incredible’ Me is one of those bands. Consisting of an awesome mixture of heavy, hardcore screaming and super-catchy pop melodies, I’M has quickly become a Sacramento favorite. Their passion for music comes through in their showmanship on and off stage. Unplugged got a chance to catch up with vocalist David Jones and drummer Jaime Templeton right before their tour with Dance Gavin Dance. Interview by Steven Condemarin Let’s start with basics. What’s your name and what do you do in Incredible’ Me? I am Jaime Templeton but a lot of people call me “Jaimeboobs” because I love boobs! I play the drums and programming. My name is David [Jones] and I’m the Chinese frontman for I’M. I know that a lot of the members had other projects before this one, how did you all come together for this band? Templeton: The band started with David and I. We had both been wanting to write music because our bands had broken up. We just started writing lyrics and trying to find some friends that were dedicated and wanted to get weird with us, then we added our friends to the roster and just started writing some music and the rest was history. Jones: We’ve known each other for years, besides Dillon [Jones] and Alex [Strobaugh]. Christian [Shroyer] and I were in a band a few years ago, Lexie [Olsen] and I were in both of our first bands together and Jaime and I went high school together. We’ve always wanted to make music with each other.

There was a significant buzz around the band before you guys even released a song, how did you guys manage that? And what advice would you give to a band who wanted to follow in your steps? Jones: I think it had to do with the mindset placed going into the band. That mindset was portrayed through our name Incredible’ Me. We really wanted to create something that would make an impact. Mine and Jaime’s past bands were pop and hardcore so I think that probably had people curious. But a huge part of starting out is giving off the professional look and vibe. Make a page where people want to know the sound of the band that has a great logo and pictures. Templeton: We just tried to get our name out as if we were already an established band and tried to show people who we are. We made a lot of videos and posted them of us being dumb and funny and telling people to keep looking out for us because we were going to release music, and by the time the song came out we had a butt-load of people and friends ready to listen. My advice would be just have as much fun as you can, be yourself and make the music you want. And then just work

your little booty off and show as many people as you can! One year after signing onto Artery Management, you guys signed to Artery Recordings/Razor & Tie. What was that process like? Templeton: It was cool signing to our management and then writing the rest of the album and getting picked up by Artery Recordings/Razor & Tie. We are stoked that we released the album with them and we are super excited for our future with them. You finished recording “Est. 2012” last December with Colby Wedgeworth. How was it working with him? Templeton: Working with Colby was legit. Everything he touches is gold. He really helped us find our sound and was super easy to work with. He’s a funny-ass guy and has already done amazing with recording bands. I really hope that we get to continue working with him. Jones: He couldn’t have made it any more awesome; He took our vision and standards for our songs and pushed them to the next level. He is absolutely one of

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the best producers out there and really helped us develop our sound and portrayed our vision in the best possible way.

Who is Trevor and what’s with the hidden message in the lyrics of “Call Trevor (337-0626)” off your debut? Can you actually call him?

With six people in the band, songwriting probably gets a little rough. How do you guys manage that?

Templeton: Trevor is my best friend. He is pretty much my brother or partner but we aren’t gay. He is just the shit and he and I have written music and played in bands and have been best friends for a long time. When we wrote our album we wrote a song about friends and how important they are to us and how we wouldn’t be anything without them so I thought, what a better song name than “Call Trevor (337-0626).” Oh yeah, and that is his phone number. We made him sign a five-year contract that he can’t change his number so if you’re a fan or you just want to talk to someone, call Trevor. We want his phone to literally break one day from fans calling him to see if he is there. His area code is 916. Call him and he will either pick up or call back.

Jones: It started out really rough, but after getting songs back and hearing each other’s ideas in recording we developed a respect which helped us write better songs. A perfect example being “Divine Departure.” It’s the last song we wrote as a band, a few months after everything else, and I think it shows more growth than some of the other songs. Templeton: Everyone wants to be able to express their ideas. But it’s fun once we get a structure down. We all just kind of add and add until we have something we all love. Do you have any funny stories from recording?

Jones: We love to include Trevor in everything, in hopes that he will become more famous than the band, so any excuse to put him in anything is used. He answers every call and text.

Jones: Well, I threw up while recording “Tastes Like Heaven.” Templerton: Ratface.

How have fans been reacting to “Est. 2012”? Do you expect it to be any different while on tour with Dance Gavin Dance?

Do you guys listen to any local music? If so, what bands/artists? Templeton: I think we all listen to a lot of local music, not just because it’s local but because all the local bands are so damn talented and good right now, there’s no reason not to listen. Some of our good friends are Nasty Martin, The Seeking, Merchants, Outsiders and I Wish We Were Robots.

Templeton: I am really stoked on the fans’ reactions to the album! And we are so excited to be going out with Dance Gavin Dance, Abandon All Ships, and Stolas.

Jones: The Seeking, The Seeking, The Seeking. They are one of my favorite bands and I know that my whole band feels the same. But I definitely listen to as many local bands I can. I love how talented our local scene is. Jaime, why are you frequently naked? Templeton: Because it’s what everyone wants to see, ya’ know? A tall, skinny, naked white kid with long hair just walking around. Just kidding. Because I like to be naked! I like to just chill and party with my friends and be naked and now that I am in a band that’s touring and doing music videos, a lot of people are noticing that I’m naked, but I’m just being me. If I could, I would just be naked and walk around but I am already cutting it close. If you guys had to start over and become a cover band, what band/ artist would you cover and what would your band name be? Templeton: I would be a Panic! At The Disco cover band, because they’ve been my freaking idols since I was, like, 13 and my band would be called “Naked! At The Disco.”

Jones: Fans have been too amazing. The responses have been overwhelming. I try and stay as connected with them to let them know how much it means. I think the tour won’t make a difference on the reception of the album. It will just help us reach more people! Does the band have any plans after the tour with DGD? Templeton: After the tour with DGD we get to come home because it’s winter and spend some time with family and promote our album and hopefully getting back out on the road around January or around there. Anything else that you guys might want to add or say? Jones: We can’t thank all of our fans and supporters enough. Feel free to message any of us on Facebook. We are here if you guys need anyone to talk to or for any advice. There isn’t enough we could do to give back enough. Thank you again! P.S. Super sorry to those who were affected by us dropping off the WBTBWB tour. Hope to make up for it and meet you all soon!

HEAD OVER TO INCREDIBLE’ ME’S FACEBOOK TO LISTEN TO THEIR DEBUT ALBUM “EST. 2012”

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STEALTH

Artist spotlight

tealth is a hip-hop and R&B producer based in Sacramento, Calif. Stealth got his start in 2005, after purchasing his own studio equipment and teaching himself how to write, record and produce music in his free time. He has since developed a favorable reputation throughout the music industry and is now regarded by several of urban music’s biggest names as an “up-and-comer.” “[25 Eight artist] G. Keys came up with the name,” Stealth says. “We were kind of just messing around [in front of a camera] and he was like ‘We get it in 25/8!’ This was right around the time we were trying to think of a name, so it just made sense.” Stealth’s recent work has brought him into close quarters with chart-topping names like The Dream, Nelly and Hitboy. One of his most reassuring moments came while present for a studio session with The Dream, who overheard a song that Stealth had produced and stated his approval. “That was a good feeling,” Stealth recounts. Like many other artists who have struggled to seat themselves apart in the digital era, Stealth sees crippling flaws in the structure of the industry. He cites the typical issues, but believes Sacramento talent has an especially hard time. “There’s not a good fan base here, there’s not a lot of money here and there’s not a lot of venues here,” Stealth says. “Being here kind of confines me.” Seeing Tower Records, a Sacramento-based industry powerhouse, close just one year after he started his career also had a profound effect on him and his professional conduct. “This is where people used to buy music; it hurts.” Stealth says. “I still go to record stores and buy vinyl. LPs, EPs…You have to go to the old vintage stores when you can. You can’t expect people to keep making music if you aren’t willing to buy it.” With things beginning to pick up, and some promising opportunities on the horizon, Stealth wishes to reassure local followers that his future endeavors will not take him too far away from home. “I’m working the L.A. thing and the New York thing, but I’ll always bring it back here,” he promises. “I want to be a part of putting Sacramento on the map.”

Go listen to Stealth’s music here for free!

By Jorden Hales

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music, food, great atmosphere

We take a look at this year’s Launch event Story by Jorden hales // Photos by Allen Dubnikov Nearly 10,000 people filled a one-block radius and scurried for hours between stages during Sacramento’s second annual Launch Festival. The lineup featured 27 bands and three DJs, including headliners Girl Talk and Imagine Dragons. Dubbed a “celebration of creativity” by promoters, the city-central outdoor venue was filled with abstract art, mobile boutiques and custom clothiers. Though many of the bands brought their cult followings with them, discovery of new music seemed to be the pillar of the Launch experience for many in attendance. “I didn’t know anybody that was performing other than Girl Talk,” said Miguel Orduño, who made plans to attend Launch back in April when he returned to Sacramento from Coachella. “I went to get to know some indie bands. It’s perfect to get to know random bands in all different types of genres.” Performers were curious as well. The Sacramento-based Bell Boys were impressed with the out-oftowners on the lineup. “It’s humbling and encouraging to see [new artists],” said Erik Bell, the group’s guitarist and lead vocalist. “[Here] you get a bigger variety, you get a bunch of different genres in one day. It’s a very diverse crowd, so it all works.” Among the standouts was Doomtree, an indie hip-hop collective from Minneapolis. The sevenmember ensemble features five members as vocalists and live sounds from its two DJs/producers. The collective’s chemistry was palpable and helped to engage the crowd to a degree rarely seen from hiphop groups. “We never practice,” said P.O.S., one of Doomtree’s several vocalists who also did a solo performance at the festival. “We’ve been playing 10 and a half years, and goofing off with our friends pretty regularly for 10 and a half years, [chemistry] is going to tighten itself up.” Before Imagine Dragons closed out the festival on Sunday evening, DJ Shaun Lopez took the stage for a set that was one of the more memorable parts of the weekend. “I didn’t even look up until five songs in, but when I did, I was like, ‘[They’re] really feeling this shit,’” Lopez said of the crowd. Artists and fans all seemed to leave with a lasting impression and a plan to attend the event annually. “It’s hard to compare it [to other festivals] because it’s so [new],” Orduño said after the festival, “but it has the potential to be a [marquee] festival.”

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Imagine Dragons’ lead singer Dan Reynolds performing at Launch on Sept. 8. Pittsburgh’s Gregg Gills of Girl Talk performing at Launch on Sept. 7.

Head over to SacUnplugged.com for more pictures from Launch!

TINY ENGINES When you read Unplugged, you’re reading about bands and their newest album or the tour they’re on. Rarely do you get to read about the hard work and hours that go into promoting that band, or their album or tour. More often than not, there is someone, or a team of people, pushing media outlets to post news or review albums and those people tend to go unnoticed and are under appreciated. Will Miller is the co-founder of Tiny Engines, the little record label that could, and is an instrumental force in Beartrap PR. You’ve most likely seen these names attached to bands including Dikembe, Signals Midwest, Restorations, Banquets, Into It. Over It., and Tigers Jaw. “I think, like most things in life, there’s really only one way to learn and that’s just by doing it and gaining the experience yourself,” Miller says. “I had very little experience [running PR campaigns or a record label].” “Chuck [Daley] and I had worked together previously at Deep Elm Records,” he explains. “I mainly focused on mail-order and Chuck was the label press dude at the time, so I would assist him on certain things. After I left Deep Elm, I started a music blog called ‘Sound As Language’ that ran from 2005 to 2010.” Being on that side of the equation taught Miller what he liked and hated when it came to receiving press emails, which would later help immensely in doing press for Beartrap and juggling it with his Tiny Engines obligations. “Both can be boiled down to creating and nurturing relationships,” he says. “With Beartrap, Chuck and I have always held firm in only working projects we genuinely enjoy. And, of course, with Tiny Engines, we only put out records we love by bands we respect and admire.” Tiny Engines was intended to be a part-time label that released one-off 7 inches, but by the third and fourth records, they were already releasing full-length albums. “We are very choosy when it comes to bands we work with and the records we put out,” he says of the label’s ever-growing catalogue. “The biggest thing with Beartrap and Tiny Engines is that I think we’ve created brands that people can trust. Or at least that’s what we are striving to do. If we’re pushing an album via Beartrap or we’re putting out a record on Tiny Engines, we hope that quality is conveyed.”

behind the scenes

Carolina-based D.I.Y. label pushes to bring quality content to your ears Story by Alisha Kirby Photo by Ally Newbold

Check out Tiny Engines’ site to browse their artists and merch

Oct.2013.unplugged.17

Album Reviews

Balance and Composure

Visit SacUnplugged.com for frequen

Elton John

MGMT

“The Things We Think We’re Missing”

“The Diving Board”

“MGMT”

Balance and Composure have really stepped up their game on their newest album, “The Things We Think We’re Missing.” Everything from the production, to the lyrics, to the songwriting, to the musicianship and performances of each member shows the band is further realizing their potential. Each song is raw and thick. “Ella” is a hauntingly beautiful instrumental interlude showing how strongly emotions can be expressed in only 1:30. “Reflection” starts with one of the best riffs and buildups of the year and the closing number, “Enemy,” features a bridge section worthy of the highest praise. The problem comes when trying to listen to the album in whole. First off, “The Things We Think We’re Missing” is an album that really grows on the listener. What harms this particular record is the fact that it’s a tiring listen, making the album even harder to get used to. Each song is so heavy and distorted that it’s easy for the listener’s ears to wear out over extended periods of listening. On top of that, almost every song on the album follows the pattern of starting with a riff that leads into a thick blast of distorted guitars. Although it’s wonderfully heavy, exciting, and easy to get into, too much of a good thing is proven to be true again. The album becomes predictable and irritable. It’s only when you reach the eleventh song on the album (a depressing acoustic track called “Dirty Head”) do you find a break in the pattern. It’s this repetitiveness that makes an otherwise outstanding record just mediocre.

A playful little piano riff: it’s slow, it’s adult. You can tell this isn’t someone’s first attempt at writing a song. There’s maturity and a little bit of dust on the keys across the piano. This is Sir Elton John’s new album, “The Diving Board.” I’m one song in and I automatically realize the knighted musical mastermind isn’t in the same character as he was 30 years ago, belting out high notes and telling us stories about Benny and his Jets. This album is much more neutral and doesn’t excite me. His voice is thick with the timbre of a well-seasoned musician. The record has a much simpler approach compared to the “golden era” of the ‘70s and ‘80s, which was filled with layers of exciting synth lines and almost toy-ish sounds that paint a sonic picture of being in space like a real “Rocket Man.” Though as the album progresses, you get a little sucked in. Elton’s undeniable knack for storytelling and natural sense of song structure is still listenable. Despite a few parts that have drawn me in, maybe I am too young for this record. It’s harder for me to connect with this compared to a song like “Your Song,” and the record tends to stay in the safe zone. So if you’re over 40 years old, there’s a good chance you’ll love it. If you’re 20 and you don’t even know the songs I’ve cited in this review, this is probably not the album for you.

This album epitomizes versatility with its steady pace and consistent quality. Having reunited with producer Dave Fridmann, I expected a more familiar sound, reminiscent of the group’s 2008 debut, but this project is quite original. The most striking thing about this is its broad appeal. Without any uncharacteristic gimmicks or radical deviance from previous MGMT work, it simultaneously provides easy listening and thought-provoking lyrics. I listened to it once with the intent of critiquing it and got caught up in the psychedelic melodies. At one point I thought my Rdio app had spontaneously found its way to some unfamiliar Beatles album. The music keeps the album steady but the lyrics have a broad range. It’s rich with metaphors and poignant adages. If you pay close enough attention, it will be an emotional experience. “A Good Sadness” and the single “Your Life is a Lie” feature two very different paces and styles of delivery but best display the group’s ability to blend their musical and lyrical talents. Every track on this album has value, so finding the “best” song will really be a matter of personal taste. Each and every track could be a single. No matter your level of interest, it will be pretty difficult to be disappointed by this album. Whether you’re a legitimate fan, it pops up in your Pandora, or you hear it on a cell phone commercial, this album will be in your ear sooner or later. And you will have no issue with that.

By Josh Jurss

By Ian La Tondre

By Jorden Hales

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ent reviews throughout the month!

Moving Mountains

Signals Midwest

Album Reviews

Touché Amoré “Is Survived By”

“Moving Mountains”

“Light On The Lake”

Moving Mountains has outdone themselves with the continuity of their selftitled album. There’s more of a flow of sorts to their latest record than in any of their previous releases. Every three tracks fit together seamlessly, all the while forming a record that feels full and vibrant. Of course, you’ve still got the ambiance ebbing in and out of each track. The opening cluster of songs, “Swing Set,” “Burn Pile” and “Hands,” blend a stronger vocal presence from Greg Dunn with the smoothness of the rest of their back catalogue. The second trio, “Seasonal,” “Eastern Leaves” and “Hudson,” is one of the best batches of songs the band has ever written. The band’s new guitarist, Josh Kirby, stands out in both “Seasonal” and “Hudson,” despite the equally powerful drumming of Nicholas Pizzolato. “Eastern Leaves” ties the whole album together at its midpoint, and it features Evan Weiss (Into It. Over It.) as a guest vocalist. It’s a fantastic song in every aspect that can make or break a song. The album takes a turn with “Under a Falling Sky.” Once this song starts, you feel the album wrapping up. It glides into “Chords,” which is almost poppy in its upbeat structure, and once more into the ambiance of “Apsides,” which brings everything full circle and closes out the album in a way that forces you to take a breath before starting the journey all over again. And that’s what this album is: a musical journey.

Signals Midwest has stepped up their songwriting in a big way with “Light On The Lake,” to the point where I’ve now listened to it nearly three times as much as their last album in the weeks that I’ve had it. These guys have perfected what it means to write a chorus (“San Anselmo”), how to write one of the catchiest songs without one (“The Desert to Denver”), and when to pull back and bring in the strings (“Greater Plains”). Vocalist/guitarist Max Stern diversified his delivery, not just from song to song but within each track as well, transitioning from a well-honed urgency into something more subtle, and the rest fell into place. “Lowercase” is three minutes of different movements, and is a prime example of how this band as a whole has improved, while “In The Pauses” implements perfectly placed gang vocals, a longer instrumental intro, a brief guitar solo, and a hushed bridge. Another highlight comes in the form of “St. Vincent Charity,” which starts with the simple line: “You were easier to meet than to get to know.” It’s one of the handful of songs you’re bound to fall in love with. But the band’s real strength is knowing how to close out a song. The best part of nearly every track on this record is the final minute or so. And in a world where so many almost-great songs fizzle out at the end, it’s a nice change of pace to listen to an album like this.

To say that Touché Amoré’s “Is Survived By” was highly anticipated would be an understatement. Fans seem to almost live and breathe by the words growled out by lead vocalist Jeremy Bolm. Touché has grown to have a legion of followers who will go to great lengths to obtain their music and to see them live. If their latest album is any indication, then Touché deserves these devoted fans. Like their previous releases, “Is Survived By” has a sense of sadness and uncertainty, but with a gleam of hope that balances out the tone of the album. The bass lines are more prevalent, giving it much more rhythm amongst the harsh guitars and lush, cymbal-filled drums. It’s all something that can only be described properly with a personal listen. There is something about “Is Survived By” that makes me inherently happy. It’s not uncommon for bands to gain popularity and to change their sound for the worse. There is this feeling that as more people like their music, then it needs to become more accessible to keep those new fans around. Touché hasn’t gone this route. They are incredibly relevant in the new wave of emo, melodic hardcore and poppunk that has been steadily growing. What is so refreshing about “Is Survived By” is that Touché isn’t a new band with their latest release. They are still those five guys from Los Angeles making the honest and striking hardcore music they always have. They are still the band that we all love.

By Alisha Kirby

By Daniel Romandia

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