Arthur Killroad
The Longest Day of My Life
June 2010
Self Release
I Don’t Eat Syrup, I’m a Man
Life in the Malebolge
Once again I have spent way to much time considering how I should approach a record that is miles away from my cup of tea but one which I have great respect for in terms of song writing and recording. What can you say when a guy simply does what he does really damn well. Arthur Killroad’s music reminds me of a good and dear friend who, even when surrounded by the snobbiest of snobby indie kids, says “I write great pop songs, I can’t help it, and I’m not going to run away from it.” Arthur Killroad, or Mike Petruccelli if you prefer real names, has recently self-released The Longest Day of My Life, a seven track pop-core confection that shamelessly employs nearly every hook in the book producing a record so easy on the ears you almost forget the constricting waistline of your Skinny 511’s™. Killroad’s latest effort has markedly improved on his last venture, which was similarly hook laden, but this time around he has not only kept the lyrics clever, but he has cradled his words in a soundscape of music employing much more than his flicker fast acoustic guitar and gruff impassioned voice.
The addition of a trap set, bass, and the occasional crunchy distorted guitar punch in has added considerable value to his project. This is not to say that his solo recordings are empty, but he has simply written better music that functions in large part due to layers and contrasts. In some ways I think he could go even further. Fine…he can keep the hooks, keep the borderline emo-nouveaux melodies, keep the Ben Folds inflected voice; keep ‘em, but The Longest Day of My Life demonstrates that Killroad knows how to orchestrate, he knows how to arrange and I am interested to hear what comes next. Killroad hails from Athens, Ohio; though I am pretty sure I spied him walking around Alphabet City last year. His myspace mentions that he is on his way to Chicago, a town I am very familiar with. With new plans, a new city, and new friends, he will have a whole new pool of experience from which to draw. Killroad has let it be known that he has turned a corner in his life and his music clearly reflects that.
Thought & Memory
Time EP
Unsigned
January 1st 2010
“Man is a wolf to man” (“lupus est homo homini” Plautus: Asinaria, 495). This quotation from Though & Memory’s myspace embodies the reflexive and philosophical frame through which their debut EP ought to be absorbed. Referencing the atrocities man inflicts on man, Thought & Memory have built and self-released an epic four song EP titled Time, a record wrought with an animistic serenity, ruptured by the thunder of collided sheet metal and the feral intensity of natural violence. Song titles like Wing by Wing, Sixty Sunsets, and What Are We Now, are the only words attached to the music. They are also indicative of the thought put into every moment of the EP. The music is both beautiful and obscure, sophisticated and primal, calming and destructive. The band sprouts from the post-rock genre, finding fraternity with the likes of Explosions in the Sky, Mogwai, or early Pelican, but the cutting juxtaposition of instrumentation on the record reveals a unique and compelling band who do not wear the tag of “knock off,” rather they have orchestrated a brilliant mélange with considerable energy, which culminates in the sixth minute, fifty-sixth second of the fourth and final track What Are We Now. The EP is short and definitely leaves the listener wanting more. Having seen a few of their live performances, I know that more will be released soon enough.
Upcoming Shows
January 23rd 8PM – Mr. Beery’s – Bethpage, NY
February 14th 1 PM – Sinclair’s Pub – West Babylon, NY
February 27th 9PM – Bartin – Babylon, NY
Color Radio
Be Safe, Be Aware
September 2nd 2009
Unsigned
Not to contradict the legions of intelligent and insightful music critics who have commented on the worth and wonder of Color Radio’s newest EP Be Safe, Be Aware, but the best you can do is compare these kids to Coldplay, Arctic Monkeys, Doves, Travis, and Radiohead?! Let me set the record straight, if they must be compared to something or someone, let’s talk about Matt Johnson, Morrissey, and Tim Kasher smoking reefer in an alternate universe where 1984 and 2009 collapse into an eternal nightclub in Manchester. In this sense I can see why some might compare them to Doves, but not necessarily because they sound alike, but because Doves actually used to hang out at The Haçienda in Manchester in 1984. Some may say Tim Kasher, really? And I say yes, he is there, at least for a moment or two. But that would only be if I wanted to compare them to anyone at all.
Color Radio’s music is modern-it is heart felt-it is a topographic tour of dreamscape melody. Jonathan Ifergan and Tohm Ifergan, are an excellent guitar drum duo charmed by the familial fact that they are indeed brothers. The two are only increased in beauty by Matthew Thomas and Joel Chasco who in infuse the intense ambiance with their respective contributions of keys and bass. I would be excited to have this group meet and pair up for a couple of nights in New York City with another great Midwestern band Eagle Seagull. Color Radio are what their band name says they are. They pulse with color, attitude, and passion. Better yet, they are having a three date stint next week in New York, so December calls people, let’s go…
Other Music
Newest News- 2009
Feeling Like You Used To EP- 2008
Tour
December 11th 9PM Skully’s w/ Loyal Divide Columbus, Ohio
December 12th 8PM TBA Pittsburgh, Pennsylvania
December 14th 8PM Arlene’s Grocery New York, New York
December 15th 8PM Midway Cafe Boston, Massachusetts
December 16th 8PM Glasslands Gallery Brooklyn, New York
December 17th 9PM Lulu’s Village Pub Port Jefferson, New York
December 18th 9PM Cranky’s Manatee Pub Cleveland, Ohio
December 19th 8PM TBA Fort Wayne, Indiana
A review of Hollands first EP Faces simply does not require the verbiage of the common critique. If that’s what you want visit their web-site. Granted, a review drenched in metaphor and simile has its purpose—to convey a description of an artistic aesthetic that cannot be truly experienced without an encounter, a close approximation by deference to a literary and poetic image. My first thoughts on Hollands are uncomplicated and antique in their creativity. I believe that by deferring the experience of Hollands’ music to memories of our bucolic summer evenings, and self reflective and still mornings we are missing an opportunity to tell it like it is. Save the gobbledygook; save the bullshit.
Hollands is a wide ranging band that draws heavily from early 70’s classic rock and country. The band has the pop sensibility of Rick Springfield, the poeticism of The National, and the sincerity of Wilco. The band is simply excellent. John-Paul Norpoth plays guitar and sings, sometimes with the awesome discipline of CSN&Y, and sometimes with the raucous croon of Uncle Sticky. In this respect they’d get on exceedingly well with the likes of the Whiskey Go Gos. The energy is strong and the music well written. Though Faces is a mere 5 songs long, it covers a lot of ground. Hollands release their 2nd EP this fall. Having begun from such a sturdy, straightforward debut, Hollands is destined for good things, great times, and increased attention.
Tour
Sat Sep 12 2009 – 6:00 PM Boulder Coffee Company – B…Rochester, NY
Sat Sep 12 2009 – 8:00 PM Lovin’ Cup Rochester, NY Age
Fri Sep 25 2009 – 9:00 PM Nines Ithaca, NY
Sat Sep 26 2009 – 8:00 PM Lovin’ Cup Rochester, NY
Tue Oct 13 2009 – 8:00 PM Mother EP Drop Drop! New York, NY
Brian E
Yellow Light District
Record Label Records
July 15th 2009
“Don’t Stop—Just Slow Down”
This motto on the cover of Brian Ellis’ newest project speaks volumes. Yellow Light District, due to be released as a limited series of 500 individually numbered 12” vinyl in July, is vintage sonic pornography for those who get a hard-on when they listen to the likes of the Beverly Hills Cop soundtrack, or are obsessed with 1988’s Bloodsport…err anything Jean-Claude Van Damme. This record is no conservative, veiled throwback; it is a neon headband inspired synth-feast.
I listened to the LP while jogging through industrial Bushwick and Williamsburg. I quickly transformed into Little Mac training for my final bout with Mike Tyson in NES’ Punch-Out. Yellow Light District’s most penetrating hook is its style; It isn’t intellectual—it isn’t professorial—it is its own weird science. The first track, Theme, flawlessly begins the record with rolling waves of soft synth melodies that eventually starburst into a dance floor beat, textured with free form keyboards. As every track passes, Mr. E never lets up, always reintroducing the listener to an era some wish was long forgotten. But like the venerable Dov Charney seems to believe, some things don’t die for a reason, and there should always be those creatives out there to remind us why.
Brad Hoshaw
Midwest Dilemma
Peasant
The Living Room
May 20th 2009
The miserable venue—cynically named The Living Room*—was cold and covered with stickers and fliers advertising upcoming and past shows. Songwriter Justin Lamoureux of Midwest Dilemma sat in the back corner, humbly offering his merchandise while Brad Hoshaw completed his brief sound check. Hoshaw, a folk singer from Omaha, sang songs that recounted low life moments and hurtful memories. It isn’t that these songs were uncomplicated because they were thoughtless or uninteresting; they were uncomplicated because they dealt with the “oh fuck” moments of every individual who has drank in bars too long and made bad decisions with clouded and deluded minds. Some may say these states of bar stool savagery are rooted in some inner turmoil born in childhood and thus are necessarily complicated, but Hoshaw isn’t a damn psychologist. He has a formidable voice and a sharp stage personality. While many might criticize his attachment to the stagnant genre of whiskey pickled folk music, he could just as easily explain that this music has existed forever and will continue to exist as long as there are local watering holes willing to cater to the legions of eager drinkers roaming the mother-fucking world. Oh and that Blue Bicycle song was so damn cute.
Justin Lamoureux took stage, traveling to New York under his pseudonym Midwest Dilemma. He explained to the folks listening that he often feels conflicted when playing the City. He comes here wide eyed and wondrous, but he sees people move through New York without awe or interest. Do they know where they live? Is he supposed to expend every ounce of energy and soul, playing in a city where people are despondent and unimpressible? Should he sing his guts out for a few navel gazers? The thing is, Mr. Lamoureux is good enough that he can ask these questions. He can have these expectations. His record Timelines & Tragedies is simply incredible. Despite all his ambivalences, Lamoureux picked up his high-action, nylon acoustic guitar and told his family’s stories with piercing emotional expenditure. His lack of accompaniment did not detract from the songs, which are typically performed by a multitude of musicians. This is not to say that the 22 other musicians heard on Timelines & Tragedies are unnecessary or superfluous, rather simply that the heart of Midwest Dilemma can be defined by the narrative told by Lamoureux. The stories are without question prime.
Peasant began his set without so much as a peep of a sound check. For those who have not been hip enough to know who Peasant is, take some time and do yourself a damn favor. Go out and buy, steal—whatever—Peasant’s latest release On the Ground. As Frederick Foxtrott has been mentioning for nearly two years, Peasant, aka Damien DeRose, has a voice that is as tender and contemplative as they come. He simply began his set performing his material chronologically, singing some old dusty songs. Peasant’s stage presence continues to be unassuming. Another Brooklyn musician sitting in the audience mentioned to me that he couldn’t believe DeRose’s voice was coming out of his body. The dude’s voice is flawless. His set of love damaged ballads was a great match up with the other voices and stories in the night’s line-up. Musically, the night was well worth the trip to the Lower East Side.
* The Living Room is the worst fucking venue in NYC. Okay this may be a bit of hyperbole at work, but here is what you need to know about this shit hole. The shows are free, but the catch is that every audience member has to buy one drink every set in order to stay in the venue. Now I have to say, I am not one to go to a show and lay off the sauce, but for fuck’s sake! My 5’4” girl had a beer and wasn’t exactly ready for a second when the waitress approached. She asked what she could bring Hills, who naturally declined. Hills was then informed that she’d have to leave. I had drank 2 pints during the last set, you would think that the boyish bodied waitress would have had enough brains to put this all together. So I kindly ordered two more beers, both of which I drank. This fucking bar is so insecure about their ability to sell alcohol that they mandate a drinking schedule to their guests. I suppose Hills should have had to drink 5 pints in 3 ½ hours. I count the days until The Living Room goes out of business.
Kinase Moves the Audio After Silence Part 1
December 24th 2008
Unsigned
Kinsase Moves the Audio- The Flawless Veil
Scientific moments, measured and compartmentalized, structure the expansive debut EP from Lansing Michigan’s Kinase Moves the Audio titled After silence Part 1. However, the aesthetic projected out of that structure is proto-science; it is alchemy in the sense that the band transforms regulated units of time and sound into something else, something that reaches beyond its natural parameters. The ubiquitous Ryan T. Johnson, producer of the EP, writer of much of the music, and band member, has taken up a project of ambiguity. Perhaps stemming from his academic interest in the sexual dimorphism of the amygdala, Kinase Moves the Audio transverses the categories of masculine and feminine. They are at times brooding, while other times deeply melodic. The music shuttles and negotiates the boundaries between mechanistic synthetics and the natural elements of Afro-Latin rhythms, which are themselves an instantiation of music as mestizo. Even the track titles reflect an interest in hybridity. Anthrobotic, Idiology, and A Flawless Veil, are all titles that imply subtraction, compromise, and impurity.
“Fancy Cars and wine and women. Flashy clothes and gold and fashion. Now you sport a freshly sculpted face. Now you stand out in a crowd.”
The music is a garden bed expressing the pollination of an unmentionable number of influences from Maynard James Keenan to Bowie’s short introduction to Diamond Dogs. John Gapp’s vocals are impressive, exuding a noir romanticism and Aristotelian condescension. Modulated effects are woven through a mesh of organic drums and accenting Brass instruments. The orchestration skillfully assembles layer over layer without digressing into a cacophonous annoyance. This skill is a product of exceptional recording and production, as well as the ability of the numerous musicians to coalesce. Kinase Moves the Audio takes disparate parts and makes them one. The energy accumulated and exploded throughout this process is epic.
While it might be true that After Silence is conceptualized and anchored by a specific objective, the self-proclaimed genre that Kinase Moves the Audio operates within allows for an exceedingly large range of sounds. Mod prog—can we move on to post prog yet?—is a tricky genre to attach one’s self to. As a simple label it does little to describe the mode of music production, except to say that the songs are probably long, experiential, and mathematical in terms of composition. After Silence, while containing these components, is an EP that does not commit the foul sins of pretension and hyper-convolution. The aside comment being that prog often misunderstands the nature of music; it is not a collection of notes and time signatures; complication alone is not art. It should also not be contrived, having artificial meaning clumsily masking a clearly blank expression.Kinase Moves the Audio understands this and have sought to produce an opus that stands monolithically unified. The music is the album art.
Darla Farmer and Wintersleep are starting 2009 with bright proclamations.This week Wintersleep are #26 on the College Music Journal‘s Top 200 chart. They released Welcome to the Night Sky last November and have toured with a number of great acts including Wolf Parade. Their mix of calculated, guitar driven rock gives Canada a good name. They left us wondering, what is in their water… just how many bands can Canada export? They are now touring their homeland and will zip over to Europe February 10th. They will be back in the US soon enough though, and we’ll be happy to welcome them.
Matt Mays & El Torpedo
Terminal Romance
September 30th 2008
Sonic Records
What is going on in Nova Scotia? To borrow a phrase from a dear friend, “What the fuck’s in that water?” Perhaps we as children of the 70’s and 80’s have some strange Freudian obsession that lingers late into adulthood. We want to destroy our proverbial fathers and godfathers, not to dispose of everything that they stand for, but to take their place in the hard fought legacy of rock and roll. This is the difference between acts that sound in style like their forbearers and those that so completely embody those that have come before them that they simply aren’t recognizable as part of our time. When a band of this caliber is discovered your affinity for them is involuntary. Innovators like John Cougar and Rick Springfield drew on trend heavy subcultures to create the most perfect pop radio rock songs. Matt Mays & El Torpedo are so stylistically imbued with this same project that it is difficult to claim mere mimicry. The band recorded in England with Chris Tsangarides, a producer who has had experience channeling pop rock in its greatest days. Having produced for Thin Lizzy, Tsangarides is sure to have been shuttled back by their performance.
Terminal Romance is kids living in the city, looking at the lights, riding downtown with nothing but adventure in their hearts and perhaps a touch of coke in their nose. It is big guitars and youthful melodies that together sing celebratory anthems to the night. It is ¾ sleeves and cut off jeans. I mean com’on, this guy owns a fucking DeLorean! Or at least he drives one in the video for Tall Trees, easily one of the album’s best cuts. Digital Eyes and the record’s title track cement Matt May & El Torpedo as visionary time travelers—faster than 85mph and we are back to the future. This ain’t no costume party—this ain’t no remake.
Like any pop-rock anthem of any era, the lyrics, while invocative, aren’t exactly fine art. The words aren’t completely vacuous in that Sarah Palin sort of way, but it’s fair to say the songs rely more on their pop appeal and accessibility than deep rooted meaning. It is incredibly difficult to write a song about loving someone until the end of time without coming off as a complete tool bag. Terminal Romance figures out that it isn’t always the words that matter— it’s the alcohol content. Matt Mays & El Torpedo have put together an entirely entertaining record worth every moment that we are shuttled into our former selves. They give us the ability to see the modern city through a different lens, one that frames it as a playground for the rebel, for the lover, and for those unsatisfied by the quiet streets, dim lights, and slow nights of small towns.
Other Music
Matt Mays- 2002
Matt Mays & El Torpedo- 2005
When the Angels Make Contact- 2006
Tour
Oct. 1 Middle East Upstairs Cambridge, MA
Oct. 2 Jammin Java Vienna, VA
Oct. 3 Piano’s Bar New York, NY
Oct. 7 M Room Philadelphia, PA
Oct. 9 Club Cafe Pittsburgh, PA
Oct. 10 Beat Kitchen Chicago, IL
Oct. 11 First Avenue Minneapolis, MN
Oct. 15 Garrick Centre Winnipeg, MB
Oct. 16 Odeon Events Centre Saskatoon, SK
Oct. 17 Dog House Rocks Medicine Hat, AB
Oct. 18 Edmonton Events Centre Edmonton, AB
Oct. 21 B.J.’s Grande Prairie, AB
Oct. 22 Blue Grotto Kamloops, BC
Oct. 23 Queens Hotel Nanaimo, BC
Oct. 24 Sugar Nightclub Victoria, BC
Oct. 25 Commodore Ballroom Vancouver, BC
Oct. 28 Red Deer Memorial Centre Red Deer, AB
Oct. 29 Flames Central Calgary, AB
Oct. 30 Pump Roadhouse Regina, SK
Nov. 1 The Outpost Thunder Bay, ON
Nov. 4 Barrymore’s Music Hall Ottawa, ON
Nov. 5 Barrymore’s Music Hall Ottawa, ON
Nov. 6 Phoenix Concert Theatre Toronto, ON
Nov. 8 The Casbah Hamilton, ON
Nov. 11 Element Night Club Kitchener, ON
Nov. 12 The Ale House Kingston, ON
Nov. 13 Cowboy’s Ranch London, ON
Nov. 14 Les Saints Montreal, QC
Nov. 15 Chez Dagobert Quebec City, QC
Nov. 28 Cunard Centre Halifax, NS
Nov. 29 UNB SUB Fredericton, NB
