Unplugged Magazine May 2013 (#5) by Unplugged Magazine

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INside: - Remembering Chi Cheng. - new national outlook. - Warped tourâ&#x20AC;&#x2122;s must-see acts!

- New kid cudi: flop or not? - Completely redesigned!

Letter from the staff:

Music or the memory

was asked to write about what music means to me, and the first thing I thought was, “that’s describing what the color blue is to someone born blind.” So we’ll see where this goes. To me, life is like a timeline, except each tick isn’t represented by a year or even some monumental event. Sure, I’ll remember the milestones in my life, but what I’ll never forget is the music that was playing during any given situation. I won’t ever forget driving my first car off the lot listening to The Academy Is..., or skating around at night, freezing to death with Brand New’s “Your Favorite Weapon” blowing out my earbuds. I’ll always remember listening to The Fray’s self-titled on the drive home the day my life fell apart. I haven’t listened to the album since, though I’ll probably never take it off my iPod. I won’t forget Jack’s Mannequin, Lydia, Linkin Park or New Found Glory albums on repeat, or what I was feeling when they were playing. But I can’t tell you what I saw or smelled or tasted at the time, because that’s not what resonates. I can’t describe what each field of cows or rest stop looked like as The Wallflowers’ “Bringing Down The Horse” was the lone soundtrack to a five-hour ride to a soccer tournament because everyone forgot to bring CDs. But I still remember every note on that album, and that was eight years ago. They say scent is the strongest sense that’s tied to memory (and by “they,” I mean Bayside says it word-for-word in “Choice Hops and Bottled Self Esteem”), but all my memories worth remembering, and even some that aren’t, are somehow tied to music. Music means the world to me. It means the world to a lot of people; people whose taste leans toward obscure genres I’ve never even heard of and people who could be my musical twins. And the idea that all of those people, despite varying preferences, could be equally as passionate about music as I am makes me happy. It makes me happy because music can pick me up or mellow me out, and has at times saved my life. I think everyone deserves that kind of outlet. And that’s what music is to me: an outlet. Sincerely,

Alisha Kirby Editor/Writer

Top 5 Albums On Repeat Have You Seen My Prefrontal Cortex? A Great Big Pile of Leaves

One

Paramore two Paramore

Maybe You, No One Else Worth It

three Brave Bird Devil Four Lydia

The Upsides The Wonder Years

Five

Table of contents

Drop the needle again Vinyl review of two Paper + Plastick records Listen A** Hole

Ian and Alisha talk about the appeal of John Mayer and his “best” album PG

And the record rolls on

Artist Spotlight

Scottish John talks about the progression of an artist’s music PG

March Into Paris talks about their sound and reveal some embarrassing admissions PG

Album reviews

Alisha and Daniel break down some hot releases from April including: Kid Cudi, Allison Weiss and more...

mag

Editor in chief

Steven Condemarin

editor/Writer alisha kirby

Writers

Josh Jurss daniel Romandia Ian La Tondre (columnist)

Copy editors

Cody Alexander Megan Houchin

Photographers Allen Dubnikov

Contributors Kendra beltran Thomas nassiff

MY SCENE MY MUSIC 07 Introducing a brand-new running fea-

ture where Unplugged’s newest contributors from across the nation talk about what’s popular in their music scene

Warped tour’s top 5 12 Alisha and Steven browse through the

massive catalogue of bands and pick out the top five you should catch this year at Warped Tour

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1417 R street sacramento aceofspadessac.com

Tickets Available @ Dimple records, The Beat, Armadillo (Davis) Online: AceOfSpadesSac.com By Phone: 1.877.GND.CTRL OR 916.443.9202

5/3 OLEANDER

ALLINADAY, TRACK FIGHTER & G.O.D.

5/4 SOME FEAR NONE

ARE WE HUMAN, MISAMORE, VANISHING AFFAIR, EGOSTALL & HIGHWAY 12

5/8 MACHINE GUN KELLY & PLUS SPECIAL GUESTS

5/9 REHAB

BNMC & ANGEL’S CUT

5/10 MUSHROOMHEAD FINAL TRIGGER, DEAD IN SECONDS, LYDIA CAN’T BREATHE, CHERNOBOG & IONIA

5/14 TURQUOISE JEEP & PLUS SPECIAL GUESTS

5/16 PEPPER

& PLUS SPECIAL GUESTS

5/17 INCREDIBLE ME @ THE BOARDWALK

& THE SEEKING, LIFEFORMS, BEFORE YOU FALL, ALTESSA & THE GREAT DESTROYER

5/17 TYLER, THE CREATOR & EARL SWEATSHIRT

5/18

DILLINGER ESCAPE PLAN THE FACELESS, ROYAL THUNDER & JOURNAL

5/22 TURBONEGRO & TORCHE

5/25 VOLUMES

@ THE BOARDWALK GLASS CLOUD, BEYOND THE SHORE, OUTSIDERS, MAID OF THE MIST & WITH WOLVES

5/26 TWISTA

5/18 FLOBOTS

RAE ROCK, X-QUISYTE, JAY SICKLES, G-DYNASTY, VON VATTON, THE COUSIN’$ & PHRANCHYZE

5/19

5/29 FOR THE FALLEN DREAMS

LIFEFORMS

HUNDREDTH, UPON THIS DAWNING, SWORN IN & CITADEL

@ THE BOARDWALK & K-OTTIC

THE BATTLE FOR ROCKSTAR MAYHEM FESTIVAL @ THE BOARDWALK DROP S7VEN, CHERNOBOG, LEGION’S REQUIEM, MURDERLICIOUS, OH, THE HORROR, KINGDOM OF GIANTS, ELLIPSIS & DEAD BY NIGHTFALL

@ THE BOARDWALK

5/31 CAPITAL CITIES & PLUS SPECIAL GUESTS

aper + Plastick records is known for their creativity when it comes to packaging. Whether it's a durable trifold with vibrant art and a thick booklet or wild pressing variants, this is a label that knows what they're doing. These are some of my favorite records from P+P.

Drop The Needle Again

Anthony Raneri - "New Cathedrals": Clear with Coffee/200 You may know Anthony Raneri as the vocalist/guitarist for Bayside, but this is his more acoustic-based side project (though it’s far from “acoustic singersongwriter” territory). This release is an example of P+P doing something different: real coffee grounds are pressed into the record. I won’t lie to you, this record hardly plays. It’s more of a novelty thing (which makes me wish I’d have the money for a second copy that I could actually listen to).

Stories by Alisha Kirby/Photos by Daniel Romandia

Flatfoot 56 - "Toil": "Baseball"/200 What better way to listen to blaring bagpipes and “rowdy folk-punk” than on a turntable? Each layer sounds clearer; acoustic-based tracks such as “Toil,” “I’ll Fly Away” and “I Believe It” sound warmer, and there are bits and pieces you may hear for the first time in “Strongman” and “Winter In Chicago” that get lost in the scuffle when listening through headphones or car speakers.

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LISTEN LISTEN

A**

Ian

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.

ohn Mayer has been out of the spotlight for some time: no controversies, magazine covers or high profile break-ups. However, his name seems to come up a lot when it comes to arrogant musicians who are tolerated because their music is excellent. But we had to ask ourselves: is he really that great?

Is John Mayer Alisha really THAT great?

V.S Ian: You can listen to live albums like “Any

Given Thursday” where you have 10-minute versions of “Covered In The Rain,” and it’s so good because you’re like, “Dude, I can so chill out to this.” At the same time, it’s a great 10-minute fuck-fest. And then you get a 10-minute version of “Neon,” which is this huge drum and bass jam and everybody gets a solo. Listen to “Any Given Thursday.” On so many levels, it’s so good in the sense of individual musicianship from his whole band and from him personally.

Alisha: (sits up and interrupts) But I feel

like that’s a jam session. That sounds more like, “Oh, they’re just getting together and jamming.” But I’m saying he’s a good musician, he is...

Ian: (interrupting) Great musician. Alisha: But I feel like he just writes a lot

of filler. I feel like he puts all of his time into one or two songs, three or four depending on the album, and those are huge songs. They’re great, they’re radio songs, everyone loves them. Like children, old people, everyone will love those songs, and then the rest of it is just kind of the same stuff over and over.

Ian: See dude, I guess I just disagree with

you on that. I mean, dude, take the song “Comfortable” for example. He’s very upfront and subtle.

Alisha: But “upfront” and “subtle” are Check out John Mayer’s “Any Given Thursday” album on Spotify 06.unplugged.May.2013

opposites...

Ian: That’s the beauty of John Mayer’s lyrics.

He saying, and I’m going to paraphrase, “I remember this time at the market where, something-something, you hopped into my shopping cart,” and they crashed a rack of magazines and then the people at the grocery store asked him to leave. It’s a simple little cute, kind of fun story you know?

Alisha: (nodding) Mm-hm.

Ian: And it segues into this idea of that kind

of fun little relationship. But then he talks about sleeping with this new girl that he’s still getting used to, and how his friends all tell him that she is going to be good for him. And he talks about how the Bible is all that she reads and prefers he not use profanity. It’s all these simple little things, but it comes out clever, and then he finishes with, “Your mouth was so dirty.” The delivery does it.

Alisha: And again, he can write a song,

he can. But I feel like most of his songs. I mean, take his entire catalog; how many albums does he have?

Ian: I don’t know; four, five? Alisha: OK, so he has about 60 songs, giveor-take, and 20 of them sound almost the same. Probably 15 of them are really good, they’re solid, but that’s not enough to carry it. I mean, that’s an album and some bonus tracks worth of good stuff.

Ian: So you’re saying that you’ve listened to his whole discography?

Alisha: Almost. I’m not going to lie; I got bored of a couple of tracks, and skipped tracks.

Ian: Which is cool, that happens on albums.

I’m not saying that every song that he’s written is the best thing in the world.

Alisha: Just album-wise, he doesn’t grab

me. I just feel like he’s a good enough musician that he should be able to write something that grabs you in and keeps you there, but I feel like he gets lazy.

Ian: Listen a** hole, just listen to “Any Given Thursday.”

Alisha: OK, I’ll try it and I’ll let you know how it goes.

Ian: Dude, I don’t think you’ll be disappointed. It’s so good.

My Scene, My Music In making the jump to expand with more pages and a revamped design, we at Unplugged realized we needed to expand our coverage geographically as well. Though we may know the inner workings of Sacramento, we can’t speak with

intimate knowledge of other local scenes. So what better way to include other cities than by going straight to a source who lives there? We asked some friends from major music cities across the nation to chime in on various topics.

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

riting was my way of dealing with adolescence, but after college it transformed into a full-time hobby. Chuck Lorre, one of my writing muses, said all one has to do to be a great writer is “write a lot.” I took that literally and currently write for my own blog, a pair of entertainment sites, hip-hop blogs and two geek-centric sites. Now to tell you about the West Coast; it, especially Los Angeles, is filled with artists trying to “make it.” Bus boys double as bassists, and that Hot Topic cashier is likely from Ohio and singing in a band after work. That’s one of the things I love about it here: it’s full of dreamers. And while a lot of people migrate here for fame, there are bands who were born here who work their asses off to survive; from the coast to the valleys and every congested freeway in between. I’ve gotten to know a number of bands through this writing deal. There’s Back Pocket Memory who have developed into their own since we first met, and Culprit, and Currents, who inhabit individuality in their techniques. As far as heavier rock, look to Dose of Adolescence. Save The

Swim Team has you covered if you’re into ska. Other bands that make the golden coast proud are Deer Park Avenue and indie-pop outlet Night Riots. Thankfully, there are a number of venues out here to house all your musical needs. We have huge arenas like the Staple and Honda Centers, but those are reserved for Top-40 acts. For shows that don’t cost a month’s paycheck, there are spots that hold not only concerts, but immense history like the Roxy and the Troubadour. But the best places to see shows are hole-in-the-wall venues that are dingy but still have charm; Long Beach’s diPiazza’s, Canoga Park’s Cobalt Café and, of course, Chain Reaction. That’s the gem of Southern California. The walls are covered in band tees (and vermin), but it’s the absolute pinnacle of “you’ve made it” if you play there. Well, in the punk/pop-punk/all-that-jazz scene. I’m a girl with very little social skills who prefers shows to night clubs and is proud to call the West Coast home. When you have a cascade of talented bands representing and more than enough venues to go to, what more could you ask for?

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Josh Jurss Chicago, IL Neck Deep Media writer

@JoshJurss

y name is Josh Jurss and I write for Neck Deep Media, an online music media outlet and press agency based out of Chicago. Whenever I’m asked about music in the Midwest, I immediately think of my hometown in Wisconsin. Growing up, there weren’t many hometown hero bands or people from Wisconsin you could look up to and claim made it big. If you were in a band, you were either shredding the metal or copying some form of alternative rock. It wasn’t until I left my hometown that I realized how much we had to offer. We have jazz, which found its way up the Mississippi spawning sections of speakeasy sin. “King of Swing” Benny Goodman (Chicago) took the United States by storm with his big bands and inspired generations to come. Chicago became known for its unique blues style. Bob Dylan (Duluth, Minn.) took the singer-songwriter to another level. Les Paul (Waukesha, Wis.) was a pioneer of the solid-body electric guitar and overdub recording techniques. The Midwest spawned legendary labels such as Chess Records, which gave us Chuck Berry (St. Louis), and Motown, which gave us The Supremes (Detroit),

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The Temptations (Detroit) and Michael Jackson (Gary, Ind.). We host the Rock and Roll Hall of Fame and it’s one of the only things in Cleveland to be proud of. We claim Eminem (Detroit), Atmosphere (Minneapolis) and Kanye West (Chicago) as some of our hip-hop. We were, and to some extent still are, an exporter of emo and indie music like Cap’n Jazz (Chicago), Into It. Over It. (Chicago) and Cursive (Omaha). Chicago is one of the hotspots of Midwest musical activity, giving the world bands like Smashing Pumpkins, Rise Against, The Lawrence Arms, Alkaline Trio, Wilco and Born of Osiris. We’ve also taken part in the recent pop-punk popularity surge with Real Friends (Chicago), The Swellers (Flint, Mich.), Mixtapes (Cincinnati) and Fireworks (Detroit). More recently, the Midwest has been into a lot of what’s popular on the radio. There’s some Wisconsin pride in Bon Iver winning a pair of Grammy Awards in 2012. I’ve only been in Chicago for a couple months, so I don’t know the scene here as intimately as I would like to. I do know, however, that I’m not as stoked on the Lollapolooza lineup as I’d like to be. Luckily, there are plenty of house shows and a plethora of up-and-coming musicians that call the Midwest home.

What’s popular where you live? Hit us up on Facebook or Twitter with the hashtag #myscenemymusic and we’ll publish our favorite answers in next month’s issue!

My Scene, My Music @sacunplugged fb.com/sacunplugged

Thomas Nassiff New York, NY Fuse web content editor

@ThomasNassiff

write a lot about music. Sometimes I write about other things too; sports, technology, what have you. I don’t often write about myself, but here goes nothing. My name is Thomas Nassiff. Over the past four years, I’ve filled a few different roles in the music industry. I’ve written for AbsolutePunk.net since 2009, been label manager of Paper + Plastick Records since 2011 and have run my own publicity company since the same year. I just graduated from the University of Florida in December with a degree in journalism. In March, I moved from Gainesville to New York City after I got a job offer at Fuse – you know, that TV channel you might have watched Fall Out Boy music videos on when you were in middle school. So now I’m in a new city (with a lot to explore) and I’m learning about the music community here as I get used to working in a corporate environment and waking up at more adult-ish times.

Obviously, in New York, there’s a lot of - shit to do. Just because I’m not as familiar with the venues here as I was with those in Gainesville, Orlando and south Florida doesn’t mean I’ve been discouraged from going out to shows. On any given night, if you’re in the mood to see a band, there’s a good chance that a group you’re familiar with is playing in the city or very close nearby. No matter what kind of music you like listening to there’s almost always something for everybody. Yes, the city is enormous, but it offers every opportunity to become a part of any niche you want. I’m looking forward to writing this column while I learn the ins and outs of a new city and all of its music. For the record, I’m most into punk rock, pop-punk, indie stuff and Taylor Swift. Sometimes I think about the fact that we could all be too lazy to check out a band that’s constantly being retweeted into our Twitter timelines and they could potentially be our favorite band ever. Doesn’t that bother you?

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And The Record Rolls The On: Sophomore Slump

t’s safe to say that the period of life between your teens and mid-twenties is one hell of an emotional roller coaster. You’re hormonal beyond belief, always horny, and you’re either spending every night you can out with your friends making memories, or locked in your house like a sad snail with Netflix and some Taco Bell, contemplating if you’re making the “right” choices (that is so my life right now). But it’s from this heaven and hell of an age that tons of great records are made. Think about it. You’re twenty years young, in a bitchin’ band; you have all this pent up energy and emotion. All your heart and soul goes into your records. It’s all you really have (well, that and your fat stack of cup of noodles in the pantry at home), and let’s be honest; everyone loves a song with great feel. Those songs that come from hungry musicians who simply want to make it big as badly as they

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want to breathe. Now I’m not saying growing old makes bad music. I mean, for God’s sake, Kanye West is 35 and have you listened to “Cruel Summer (G.O.O.D. Music)”? It’s like a rap cathedral, man; big, beautiful and lined in gold. But there’s another struggle that artists deal with. Once an artist or band gets “discovered,” signed, gets this big budget for making studio records, goes on tours, gets groupies for their happy-go-lucky-funtime, etc., they fight themselves with their next piece of work. How are they supposed to top the songs that launched their career so well? Now there are two paths this artist can go down. Well, three if you count just stopping. Option one is they can go on making roughly the same music, not really changing anything. They’ve found what works for them and they intend to keep their records within very similar ballparks. For

example, Bands like Blink-182 have done this successfully (not counting post-hiatus). So have a lot of metal and hardcore bands who, don’t get me wrong, change slightly over time, but they aren’t necessarily trying to reinvent the wheel. I don’t think there’s anything wrong with this. It doesn’t always seem to work though. People can grow stale of the same sound for a lot of bands. Like buying the exact same thing at the grocery store every time you go. You may like it, but over time maybe you should try that different kind of bread that’s caught your eye. It’s still bread. There’s a second path though. I think it’s obvious what I’m going to say. An artist can realize that at the level of success they’re on they can use their budget, fan base, label backing, etc. to help drop-kick them into new musical bounds. To throw them out of the box they just put themselves into. Again I’ll bring up Kanye West.

Once you figure out Kanye West, he’s doing something different. Listen to the difference between “Late Registration,” “Graduation,” “808s & Heartbreak,” etc. They are all hip-hop albums, but they, without question, are significantly different than one another. Look at Radiohead, tons of different albums but they head in more directions then a beautiful stumbling drunk girl trying to get home. Just compare “Hail to the Thief,” to “In Rainbows,” to “OK Computer.” It’s all quite diverse, but it’s all Radiohead. Despite which direction an artist may choose, it doesn’t mean one is wrong or right. It’s just whatever’s felt out and decided. The most important part is just to be true to what you want to do, and remember to brush your teeth. Well boys and girls, that’s all the time I have today. With peace and love, Scottish John

scottishjohn.unplugged@gmail.com

Unplugged M

From the magazine you’re reading now, to our online content, we’re expanding! @sacunplugged fb.com/sacunplugged

Go follow our Facebook and twitter to discover new music! Visit our website for daily updates on new releases! sacunplugged.com If you have any questions or comments, email us at sac.unplugged@gmail.com. ask us how to be featured in our next issue or how to advertise in our next issue!

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Staff PICKS

“MUST-SEE”

OUR AT WARPED tour 2013 list Alisha Kirby:

the wonder years

Mixtapes All right, it’s more pop-punk, but what do you want from me? It’s summer. Half the albums released are going to fall under this category. At least I’m filtering out the cliché acts, right? Mixtapes write “simple” music and blunt lyrics, which adds up to a discography of short, catchy tunes. Mind you, when I say “catchy,” I mean catchy like the plague in 14th century Europe (and don’t you dare say “too soon”). Odds are you’ll hear a few new tracks off “Ordinary Silence,” out June 25.

If you make it out to Warped this year, you need to stop by whatever stage The Wonder Years is playing at. If high energy emotional pop-punk is your thing, you’ll probably be there anyway. If it’s not your usual go-to genre, this band may change your mind. They’re not your stereotypical three-chord act; the guitars are more intricate and thought out, the percussion is ridiculously great, and you won’t feel like a cheesy kid screaming along to the lyrics. (And pick up “The Greatest Generation” on May 14).

Defeater

The Tower and the Fool

Swellers

What’s great about Warped is the diversity among acts. I finally got into this band (something which makes my friends incredibly happy) and I can’t wait to see them live. Few things make me happier than a good set from a talented hardcore band, because few things can match the energy in the crowd. From what I’ve heard, these guys put on an impressive show, so I can’t wait to see for myself. Now fingers are crossed it won’t conflict with another band’s set time.

There’s always a band or two that don’t necessarily make sense when you look at the Warped bill. This is one of those. These guys mix folk, rock, country and a little punk all into each song. It sounds like a potential mess but trust me, their debut LP “How Long” is a work of art. I’m sure their set will be the most mellow I’ll see (aside from the acoustic basement acts), but I couldn’t be more excited. If you plan on catching any new acts, here’s my recommendation.

There are two absolute truths when it comes to this band: One, I have no idea what genre label to file them under. Melodic punk? Poppunk? Some weird indie-punk thing? Regardless, they’re high energy and fun. Two, they have never released a bad or “meh”-inducing album or EP. It’ll be cool to see their set list what with the number of songs they have to choose from. Here’s hoping for a mix, and maybe even a taste of what their upcoming album will have in store.

Steven Condemarin:

Go Radio

Relient K

Jason Lancaster. That is all I should have to say to convince you that Go Radio should be under your “mustsee” list this year at Warped. Not only was their last album an amazing, roll-the-windows-down-on-a-roadtrip kind of album, but Lancaster continually brings passion and soul into his lyrics. Who doesn’t want to witness that in person? I’ll tell you who: suckers. This band has proven again and again how great they are, and I’m ready to see it live.

Not too long ago, I realized that I had a very strange affinity for Christian rock and when I did realize it, you can bet your furry whiskers that I was listening to these guys. On top of being incredibly talented musicians, I feel like watching these guys give their hearts out to the crowd and watching the crowd give everything they have back to the band is one of those “very few times in a life time” kind of events and I wouldn’t want to miss that (again). Unfortunately, the original line-up will not be there, which might put some people off, but hopefully it will still be magical.

Chiodos

Sleeping With Sirens

Now I won’t lie; I couldn’t really get into their last studio album “Illuminadio.” But I am hopeful. For those of you who didn’t know, Craig Owens and Derrick Frost are back in the band, which makes me so happy. Owens’s voice belongs in Chiodos, end of story. The angsty, pre-high-schooler in me is really excited to see how many songs they play from their first two albums. On top of that, Thomas Erak, former guitarist of The Fall of Troy, is playing with them as well, which will make me scream like a little girl (in the best possible way).

This band picked up a lot of speed last year and they don’t show any signs of stopping. After hearing their single “If You Can’t Hang” while working the harsh front lines of the retail industry during the 2011 Christmas season, I was instantly hooked with catchy guitar riffs and a story that I could totally relate to. Playing to their strength with Kellin Quinn’s voice, they sound amazing through my speakers and with the momentum they’ve gained, I can’t imagine their performance being anything but good.

Dates in California June 19

San Diego, CA Sleep Train Amphitheatre

June 20

Pomona,CA Pomona Fairplex

Motion city soundtrack Although they’ve drifted away from their fastpaced, alternative-pop originality to a slightly less “in your face,” radio-ready alternative sound, MCS is still on my top five. Why? Because I can’t wait to hear some of the tracks from their earlier albums that will be sure to get me stoked on life and make me leave smiling and whistling.

June 21

Pomona, CA Pomona Fairplex

June 22

Mountain View, CA Shoreline Amphitheatre

June 23

Ventura, CA Seaside Park

Check out warped tour’s spotify sampler! may.2013.unplugged.13

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Critically-acclaimed duo Middle Class Rut has been hard at work in the studio recording their upcoming album, “Pick Up Your Head.” The album is set to release on June 25 and the guys already have multiple tours scheduled over the summer. Unplugged Magazine got a chance to ask them a few questions about the new album, their recording process and the importance of selfdetermination in a band Story by Steven Condemarin

Q: Let’s start with who you are and what you do in Middle Class Rut. I’m Sean (Stockham) (right), I play drums and sing sometimes. Zack Lopez (left), I sing and play the guitar. Q: For those who haven’t heard MC Rut yet, how would you describe your sound? Sean: If “shitty” is too nondescript, I would fumble around for a minute or two and probably throw out a couple generic words like “aggressive rock.” Zack: I wouldn’t, I would send them a link or a CD or a cell phone recording. It’s next to impossible to think there’s really someone that only has my description to go by and no other way to access music. I’d much rather someone make up their own opinions about the music than go by my really bad description of what it is we do. OK, fine, it’s polk-punk-prog-indie. Q: You guys have been around for about seven years now, and you have a pretty extensive fan base. What do you think was your guys’ defining moment, like your “big break?” Sean: We got a gig at The Max and Casey Kasem happened to be there. Everything changed after that. Zack: I don’t think we ever had a “big break.” Our career in music has been a slow build made up of a million smaller moments versus one large one. My mom picked up a hitchhiker named William Bailey outside of Indiana back in the early ‘80s. I was in the back seat. I think that’s where it all started for me.

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Q: Your debut album, “No Name No Color,” was released in 2010, and since then you’ve released one single. It sounded to me like the guitars were a little heavier. Is that a sound we can expect to spill over into “Pick Up Your Head?” Sean: I think the new record could be considered a little heavier but it’s also more refined and cleaner than the first record. Zack: (It’s) heavier maybe in a different way than our first record was. “NNNC” has a lot more heavy, fast rock riffs. “PUYH” is heavier in the way it grooves -and the fact that there’s bass on the record. Q: What is/was the song writing process behind “Pick Up Your Head,” and is it any different from the debut?

Zack: I only watched foreign silent films during the six - 12 months most of those songs were written. At night I would sleep with a small hand radio under my pillow tuned to the AM Spanish stations. In the morning I would write down the first thoughts that came to mind. The films influenced the riffs and the radio gave me a grasp on where I wanted to take it lyrically. I had to make a conscious decision to remain unconscious when it came to the approach. There are 12 songs on the record, one written to symbolize each calendar month. “PUYH”: Pressure. Undulation. Yields. Habitat.

reverse-engineered, where we started with something simple like a drum beat, and just built a song on top of it, like a house, or a frozen yogurt.

Sean: Most of the songs on our first record came out of marathon jam sessions, playing for hours until something clicked. Most of the new songs were almost

Q: If you were to join a tribute band, what would it be and why? What would be the name?

Q: Now aside from all this serious stuff, where’s your favorite place to eat in Sac? Sean: Nothing beats home cooking, but we ate a lot of sushi at Mikuni downtown while we were recording. There’s also a Mexican-Italian place in Elk Grove called Todo Un Poco that’s really great. Our new guitar player Evan would want to give “Sampiiiiiiiinos” a big shoutout here.

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Sean: I’d probably have a band called Eeyore’s Revenge, and we’d play death metal versions of all the old “Winnie the Pooh” songs. Zack: There’s a legendary underground jam band called Hot Carl that never really broke through to see mainstream success. They had a lightning-fast guitarist named Farbod. I feel like more people should hear their music – maybe forming a tribute band would prompt some sort of reunion? Either way, we’d be called The Dutch Oven. Q: What do you guys do to relax while in the studio? Sean: 99 percent of the time in the studio is spent sitting on a couch reading three year old magazines. If we were to be any more relaxed, we’d be dead.

Go to their Facebook to check out the video for “Aunt Betty,” the single off their upcoming album “Pick Up Your Head”

Zack: Just being in the studio is relaxing. One of the few places where you’re left alone to do nothing but create. Things can get too relaxed. Better to focus on staying motivated and keeping the energy levels up. Q: So you guys just played at the SXSW, how was that? Any fun stories or favorite performances? Zack: SXSW was fun, it was our first batch of shows as a full band playing stuff off the new record. We played one show sandwiched between Iggy + The Stooges and The Not-So Specials. While getting our gear situated, a girl offered to blow the whole band if one of us would get her into the show. Let’s just say we pulled the ol’ bait ‘n’ switch routine. Sean: I seriously didn’t see a single performance outside of our own band, which I only saw from the back. SXSW is a big mess, and I usually don’t look forward to getting it spilled all over my shirt. Our shows went great this year though, and I was able to avoid all the madness and actually had a pretty decent time. Q: You guys have a few shows set up in May, including a date here in Sacramento for Concerts in the Park. Do you already have plans after that? Zack: We’ll be out all of May. First half is all West Coast, then we head to the

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May 10

Middle Class rut with:

East Coast for a few dates, then fly to London to do a small string of shows. We’ll be touring on-and-off throughout the summer promoting this new record. We start the Uproar Tour with Alice In Chains, Jane’s Addiction, etc. the beginning of August. That’ll be a wang dang doodle. Q: What advice would you give to struggling Sacramento bands? Sean: Put the songs before everything else. Lock yourself in your room and

Jonny Craig

I’m Dirty Too

Dogfood

RCK:RMX

don’t come out until you’ve written some truly good songs that ideally sound like nothing you’ve ever heard before. Zack: The generation has shifted between us and the newer crop of Sac bands coming up. I don’t ever remember feeling aimless as a kid though, or wondering, “How do I get my band off the ground?” Any band that’s writing great music and playing out as much as they can already know what they need to do.

Artist spotlight

March Into Paris

No band enjo selves, but it’s be ys labeling themen The band ha you were to look agreed upon that if new songs duri s been playing a few for March Into ng Pari your local record head into the st recent sets and is set to store, they’d mos s in ud io to re be found alphab t likely full-le et ngth, which you cord their debut “Alternative Roc ized among the other can (safely) expe later this fall. k” bands. ct “I think our band Th e ba is nd di sh ffe rent from other bands in ou shameless confes ared some fun facts/ r sions: don’t have to stic genre because we k Jenn Cameron: check box,” expl to the same genre “I’m obsessed musicals and ha ains Jenn Camer ve always consid with on (vocals/piano), who ered my life a m st via Craigslist ne umbled upon the band free usical. So when no one’s home, style in a ‘20s si arly six years ag nging voice, and I o. “I don’t know ab ly ri my cs ar e (a ou bo t most bands, ut) w but we get bore time, but in a ve hat I’m doing at the d with ourselve ry s ea said Eric Davis fashion. (For ex musically dramatic (bass). “We’re al sily,” ample,) ‘Here I ways looking to push am, uming the room ou , I’ll sing this ha vacua bit further, an rselves and our sound pp hey, where’s my d then just a bit f ’n broom?’ Yup, y tune, more.” The latest change ki I’m that nd of crazy.” in directio the back of the band’s newest m n rides K evin McCar em Jordan Ballou (d vocals, “I help w ty (guitar/backing rums), who join ber, rite”): “I have a ed line-up this past the lo with Neil Diam N ond and sing K ve affair has become even ovember. “Our music e$ ha songs in th e shower.” more eclectic w ith Jordan on board,” said Davis. “He’s R andy Medeiros brought a lot of new idea (lead guitar): “I have bl s and sounds in with him stro own up two amp heads and de when he joined .” yed five guitars while in this ba So what should nd . ” Er ic yo D av u ex is : “K pect from a band full of fres naked at every m evin has streaked h id otel we’ve stayed tions? According eas and new inspiraLos Angeles” at in to Davis, when all five members are “o n fire at the sam Jo rd an Ba llo e time,” it’s best to just w naked with Kev u: “I plan to streak ait and see. in at every motel we stay at in LA.”

Check out their music at www.marchintoparis.com

Story by Alisha Kir

Every family has its disfunction. here at Unplugged Magazine, that’s definitely true. It happens when we all like diffent things and disagree with everyone in the room.

Go check out our “Unplugged Family Mixtape” playlist on Spotify and hear first-hand how different our tastes are! may.2013.unplugged.17

Album Reviews

Allison Weiss “Say What You Mean” Take a standard pop-rock song and simply gut it. When you remove the cheesy, cliché lyrics and typical chord progressions that the radio hits from the genre are known for, you’re not left with much. That’s where Allison Weiss differs. If you attempt to strip down any of her songs, you’ll still find there’s substance and emotion. “Say What You Mean” is 10 well-crafted songs that you won’t be embarrassed to have stuck in your head. Tracks including “Making It Up,” “Nothing Left” and a reworked version of “I Was An Island” are proof one can write an infectious love or break-up song without inducing nausea and eye rolls. Though if you’ve listened to Weiss before, you know she’s always written like that. For longtime fans, its acoustic numbers like “Wait For Me” and the closing “I’ll Be OK” will remind you why you fell in love with her music in the first place. Other highlights include the title track, “How to Be Alone” and “Don’t Go.” If you don’t check out this album you’re only doing a disservice to yourself. This album will only make your life better (or sadder, or happier, depending on the song). Story by Alisha Kirby

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Kid Cudi “Indicud” One of the most anticipated albums of the year was easily Kid Cudi’s “Indicud.” Cudi took time from rap in 2012 to try to make a “rock” – and I use the term loosely – album. That was awful. So it would be easy to think that, since he decided to go back to what has made him popular, that it would be good. “Indicud” is also awful. Entirely produced by Cudi, there is no surprise that this album is full of fat, distorted synths that overpower production so that melody is almost entirely lost in some songs. The guest spots are another problem. Most overpower Cudi’s abilities; Kendrick Lamar, A$AP Rocky, King Chip and even Michael Bolton all lend their talents to the album and all of them outshine Cudi. It’s no wonder that “Just What I Am” with Chip and “Solo Dolo Pt. 2” with Lamar are the best songs on the album. Maybe this can be a study into the idea of hype and anticipation over albums. Cudi has made some great music with the “Man on the Moon” series. He took the chance to experiment with a new genre and that, at the very least, was brave of him. Now he’s back to hip hop and everyone was excited for it. Too bad he couldn’t live up to the hype. Story by Daniel Romandia

Album Reviews

Big K.R.I.T. “King Remembered in Time” The South has been home to some of the best hip-hop to ever be created. Big K.R.I.T. is the best example of an artist from the South still being able to throw their weight around while staying important to the genre in 2013. His latest mixtape, “King Remembered in Time,” is one of the best releases this year. The tape merges different influences; from jazz samples that sound like they’re part of the soundtrack from a “Spike Lee Joint” to smooth R&B vocals laid over heavy bass lines and synths that belong on old Nate Dogg tracks. While “Remembered in Time” may be inspired by different sounds, it maintains a Southern feel. Samples of blues-tinged acoustic guitar and hard snares are no strangers to the tape. K.R.I.T. is like the Kendrick Lamar of the South with stories of the ghetto but with the intelligence of an Ivy League graduate. He produced all but one track on the 16-track mixture. K.R.I.T. wants to tell everyone that he has made it with “Remembered in Time.” Not only has he made it with this tape – all of Mississippi has. Story by Daniel Romandia

Visit SacUnplugged.com for frequent reviews throughout the month!

Young Statues “Age Isn’t Ours” EP For those who don’t know, Young Statues is a four-piece indie-rock band. There was more than a hint at growth from their selftitled debut in 2011 to their EP of covers both in songwriting and in cohesiveness as a band. “Age Isn’t Ours” seems to have blended the two to form a foundation and has built upon it by releasing six of the band’s most accessible songs to date. “Eraser” kicks off the EP with a quick buildup from an introspective, mellow number into an energetic indie-pop sing-along. Things flow better than any of the band’s previous releases. The track list includes “So You Wait,” which has the sort of rhythm you’ll tap along to long after you’ve taken the headphones out. “Ghost Passenger” is the strongest track of the EP, and one of the best in the band’s catalogue. Things start to get a bit folky with the tangled acoustic and electric guitars laid out over surging bass in “My Only Friend” before falling into the oldschool pop feel of “Foolish.” This is the type of EP that casts a wide net, holding onto old fans and picking up some new listeners as well. Story by Alisha Kirby

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remembering

Chi Cheng: Big man, bigger heart

Go to www. oneloveforchi.com and donate. Every little bit counts.

here’s a hole in the earth.” I think every Deftones fan knows that this holds more meaning now than ever before. As most of you already know, on April 13, 2013, Chi Cheng, beloved bass player for Deftones, passed away. I consider this heartbreaking. I’m a bass player from Sacramento. I grew up blaring bands like Deftones and other acts that went from hometown heroes to worldtouring giants. My nights consisted of spending hours trying to figure out how to get my bass to sound like a monster was rattling the seat I was sitting in like all these awesome heavy metal bands, and Chi was one of the coolest bass players; rapidly swinging his dreads and covered in tattoos. It was nu metal at its finest. The music community lost an amazing person, but the worst part is that the whole world has lost a genuinely great soul. And those are so rare to come by these days. Ask anyone who was close with Chi or the band. He was the most positive, sweetest dude around. He was the kind of guy you felt comfortable telling your life to, and the kind of guy who did things wholeheartedly and passionately. We haven’t even gotten into his performances yet! That dude could throw down like there’s no tomorrow. As a musician, you realize that it can be hard to just leave everything behind on stage. To really just be there in the moment with your fans as one huge, breathing, rocking organism. Chi did this like a natural. You could see without a doubt that this guy was born to be there. Plus, if you were lucky enough to go see him jam with his band,

you’d see this six-foot-three-inches goliath of a man onstage after the set, just thanking fans for being fans. That was Chi. In an article posted on the Deftones website, Stephen Carpenter (Deftones lead guitarist) really summed up the best way to take it all in: “There are so many things I can say, and yet at this moment, none of it matters or compares to the loss everyone feels. There will be a hole in our lives where Chi once was. But that will be filled everyday with all of our love and memories we all have in our heart. He will always be here because of love. It’s time we all give our love and best, and do our best to love. Especially ourselves, Chi would want that for everyone. All our healing will begin with love. I love you, Chi.” That’s the best advice: to “give our love and best, and do our best to love.” My heart goes out to everyone in Deftones and Chi’s family. I was speaking with a buddy of mine recently, and we ended up on the topic of the bond between band members. It’s like a marriage, especially when you get successful and tour year-round. You’re making the same records, sleeping in the same rooms, on the same busses, and are eating in all the same spaces, with the same people, for a lot of the year, every year. You’re there for the good and the bad, and with the Deftones, a marriage of 25 years, that’s got to be one hell of a brotherhood and one hell of a loss. So again, my heart truly does go out to Chi’s family, Deftones, and every fan. But Carpenter is right: “He will always be here because of love.”