POWERLINE A.D.

EXCLUSIVE INTERVIEW
Guitarist John Angus MacDonald of The Trews

Good straight-forward rock n' roll bands are hard to find. It always seems that rock bands are centered somewhere in a genre: Emo, Goth, Metal, Punk... whatever. But The Trews can only be classified as simply rock n' roll. 

Since 2002, this close-knit band from the small Nova Scotia town of Antigonish has been raising eyebrows on the Canadian music scene. Brothers Colin MacDonald (lead vocals/rhythm guitar),  John-Angus MacDonald (lead guitar/background vocals), cousin Sean Dalton (drums), and longtime friend Jack Syperek (bass), have just released their third album, No Time For Later, in the States. It was released to critical acclaim a year ago in Canada. 

Guitarist John Angus MacDonald gave us a Q&A recently on The Trews' evolution as a band.

POWERLINE A.D.: The Trews are formed like a family — two brothers, a cousin, and a longtime family friend — which can be a unique situation. It probably works for the better, no?
MacDonald: I think so. I don't know any other way, so I can't really comment on it if it's better or worse. But we definitely have a good working partnership and it's not threatened by any hostilities that may arise from being on the road and writing together. The bond is pretty solid underneath. I think it works.

POWERLINE A.D.: Well, as it's been proven, it's hard to get any group of individuals to create something together.
MacDonald: Yeah, and to have everyone play ball and see it through is rare, and I took it for granted because this is the only band I ever been in. We started this band when I was still in high school and the same with the other fellows, so... I took it for granted but the more I see other bands and how they operate, and to sometimes have a bunch of hired guns that won't necessarily put themselves on the line for the group every day in and day out like you have to.

POWERLINE A.D.: Is the songwriting a group effort?
MacDonald: It's a pretty collaborative effort. I think Colin being the singer ends up doing the lyrics because you have to be comfortable singing them night after night. But we all collaborate together. We even have some friends that are outside of the band that we write with a lot. And I think the best songs are where the four core-members of the band write together and rehearse.

POWERLINE A.D.: How did you go from a small hometown in Nova Scotia to your first band-base in Niagara Falls?
MacDonald: We weren't getting anywhere. We were from a small town called Antigonish. We did residencies in almost every place there was to play in that little town. And we decided we had to get out, if we wanted to be heard. 

We had own sights set on Halifax, which is the main city in Nova Scotia, but we've seen so many bands move there and run into the same rut. So we said, let's go to Toronto. The main center in the country. But we couldn't afford to go into Toronto. We all didn't want to get day jobs. We didn't want to be a weekender band kind of thing. So we decided to do what we could afford. And we started looking around, and we came across a house that was affordable that we all could live, on our musician's salary, and it was in Niagara Falls. And we lived there for a year and a half, writing and recording all day and then playing at night. We wrote almost all of our first record there (House of Ill Fame) and that became our base for a couple years.

POWERLINE A.D.: So that house in Niagara Falls became a nice foundation for the band?
MacDonald: Yeah, it really was, and it's because Niagara Falls is only about an hour south of Toronto, and we got ourselves a residency in Toronto, and it was through that that our manager discovered us, our first producer saw us, all the labels got a chance to see us... so it was sort of an achieved objective of coming in and breaking it in Toronto. 

POWERLINE A.D.: How does the new album No Time To Lose differ from your past material?
MacDonald: I think the new record is the best presentation of the band we have on record yet. The thing that plagued us ever since we started making records was that we were always deemed better live, because one of the functions of playing constantly is that you become really good live. And all of our hardcore fans always preferred seeing us live, you know. When you take away the audience and the ambiance of the environment and you're in a studio it can be hard to re-create whatever it is that makes us so special live.

There's an electricity to the new record that we didn't have on the past two records, and I think it's also the most immediate and pointed songwriting-wise that we've done. Hopefully, as we keep going, making records, we get better and better, and this is the best one to date.

POWERLINE A.D.: So when you say "electricity" you think the record has the energy of a live show, it has that feel?
MacDonald: It has an energy to it. It's never going to be like seeing us live unless we put out a live record. But it's definitely got that urgency that people get from us when they hear us live.

POWERLINE A.D.: The title of the new album, No Time For Later, seems to have a seize the day message to it... as in, it's our time now. This is the record that's really going to push us over the top.
MacDonald: We felt like that going into it. There are two sides to the title: an urgency where there's no time like the present, and let's nail this out of the park. But also that's where music is best made, being in the moment. Your best shows are when you're not there to be famous but to be there with the people in the room, in the moment, and that's where transcending moments in music are created. 

POWERLINE A.D.: I heard a big influence on the band was Cheap Trick?
MacDonald: Love Cheap Trick... love the idea of pop songs that can be played heavy... which I guess is a bit of a punk rock thing, too. Also love early Aerosmith and a bit of funk rock. And then there's stuff that you might not hear in us like The Band...their songwriting, the sensitivity, such a tight-knit live entity and everything. That's just a few of the millions we take influence from.

POWERLINE A.D.: Would you prefer to tour in clubs or open up for a larger act?
MacDonald: Well, obviously I would love to go open up for Aerosmith.
POWERLINE A.D.: As a music fan, I prefer to see bands in clubs...
MacDonald: The best shows I have seen in my life have been in clubs.
POWERLINE A.D.: As a band that wants to be introduced to new fans, you usually have to play the arena as openers, but I think bands lose a lot of that mojo when they start playing large arenas... that feel you get when you are playing a club. Have you thought of that?
MacDonald: Yeah, it's that kinetic energy. I totally agree and we thrive on it. For me, the perfect club is like 1,000 people, you know. Then it's like you have a big enough production and still in people's faces. I like that. But besides doing very well in a few key markets we are pretty much still an unknown entity as soon as you get to the midwest in America. So it will probably be a combination of getting on some bills with bands that appreciate what we're doing and then headlining clubs.

POWERLINE A.D.: Are you writing songs and thinking next record while supporting this one? I know, personally, I hate when bands wait 3 to 4 years, or more, to release new material.
MacDonald: Two is the most we ever waited. We like to keep the fans well-nourished.
POWERLINE A.D.: And the public has short attention spans nowadays. You can have all the fans in the world, if we you wait too long, you lose something. Look at Guns N' Roses.
MacDonald: That was fifteen years...
POWERLINE A.D.: Well, I hope you guys don't take fifteen years on your next album.
MacDonald: I guarantee you it won't be fifteen years. (laughs) Maybe fourteen.

Interview by Pat Prince

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EXCLUSIVE INTERVIEW
Italian Rock Ascends with The Gosh

The Italian rock band, The Gosh, named their newest release, Pineland, on the place where their music currently calls home. The five-member band also includes a VJ to accompany their moody European Goth sound. Touring, and the visual aspect that comes with it, is as important as the band's recorded music.

The band distinctly describes their sound as "dark-wave reminiscence," at once moody and pulsating, strongly influenced by the ancient European culture around them.

Powerline recently sent them a bunch of questions, which the band answered as a whole. 

POWERLINE A.D.: You put a lot of work into your live show. Explain your visual on-stage show. How does it differ from other bands?
The Gosh: Actually, it is different for two reasons: the main reason resides in they way videos are created. Indeed, visuals are mainly originated while the band plays in studio, during free, long lasting and creative sessions. This allows the vj to be part of the creative process. Moreover, it may happen that music is actually inspired by videos, while these are projected on the wall and the light surrounds the band. This is like a mutual inspiration process, which tries to amplify the harmony between music and sounds.
   The second reason is mainly technical: during live performances even videos are somehow ‘played’. Each video is actually made of a bunch of small fragments, i.e. small sequences, and these sequences are mixed together live. This allows a tight synchrony between music and visuals, and it makes improvisation possible too.

POWERLINE A.D.: So, your visual stage show is a fundamental part of the band’s personality?
The Gosh: Yes, it is. Live performances are the most powerful way to express our art, ideas and emotions. We like to consider sounds and visions like parts of the same emotion we want to represent.

POWERLINE A.D.: Do you consider the band more of a live band than a studio band? Or is it a good balance?
The Gosh: To represent is our final aim, although studio sessions are necessary to experiment and create. There, the freedom to try, explore, reshape and refine is amazing. We would like to have more time to spend in studio sessions, to give the same mood we feel during live to the recordings.

POWERLINE A.D.: VJ Lollo is listed as a member of the band on your website. Is he considered as equal as any other member of the band?
The Gosh: He is part of the overall creative process, playing instruments impacting on eyes instead of ears, but exactly with the same aim (the heart, you know ;-)  In this perspective the inclusion of a vj in the band may be considered a pretty new element for rock.

POWERLINE A.D.: You use the phrase dark-wave when describing the band. Can you explain what that means in your own words?
The Gosh: The term may refer to a sound having its roots in dark and new wave music from 80s. But we love to think that gosh sound is not dark nor Goth, it has many nuances, many colors, but always dark and melancholic shadows come and go in waves.

POWERLINE A.D.: Would you ever define your music as Goth? The image on the new album looks very Goth.
The Gosh: The image may actually look like it is Goth, but our original idea was to represent a powerful spiritual figure staring at you. He may be an ancient shaman, he may be just you, trying to get in touch with your spiritual side. We know it looks a bit scary, but, you know, sometimes this is the way this kind of processes go…

POWERLINE A.D.: Does Luca feel as comfortable singing in English as, say, Italian?
The Gosh: Well, for sure I am not mother tongue, but the sound of English language is the closest sound to the one that I have in my mind when I sing gosh songs. And I think it works. You know, language is meaning, but its essence is just sound(However I’m working on it to improve the final result.)

POWERLINE A.D.: Did you even consider the vocals to be sung in only Italian?
The Gosh: Frankly speaking, we considered this point a lot of times, but we did not found any really convincing reason to abandon our preferred sounds (i.e. English language) for gosh music.

POWERLINE A.D.: Did Luca learn the accordion at a young age?
The Gosh: Yes, I was just a child when I started practicing. It was fun for four years, then I gave up for a long time.

POWERLINE A.D.: The accordion adds a very European feel. Very original for American ears. Did the addition of the instrument in your songwriting come naturally?
The Gosh: One day I got bored to play only electronic keyboards so, five years ago, I realized that I needed again the accordion voice with me on the stage. Well, I think that the accordion contributes a lot in spreading some warm dark waves around…

POWERLINE A.D.: Do you think it will be harder for  a band to break the U.S. market with a European sound?
The Gosh: We would be curious to know your opinion on this…
Actually, we do not know almost anything about how the US market works, but what we felt from people is really encouraging.

POWERLINE A.D.: What are your influences?
The Gosh: A lot: The Cure, Joy Division, Depeche Mode, The Smiths, Clash and many others

POWERLINE A.D.: What contemporary bands do you admire?
The Gosh: Just for example: Radiohead, Interpol, Massive Attack, Portishead, dEUS…

POWERLINE A.D.: What does GOSH mean?
The Gosh: First of all a sound. Then an expression originating from surprise, revelation, amaze.

POWERLINE A.D.: What kind of music is most popular in Italy?
The Gosh: A huge part of the Italian market is dominated by foreign artists coming from us and uk. This may be ok, until unquestionable artists like dépêche mode, radiohead, u2, massive attack, and many other excellent bands rule us, but this is not exactly the case. A lot of crappy music is extensively imported. In Italy We have outstanding lyricists (the Italian ‘cantautori’) like De Gregori, Battiato, Fossati, Conte, Vasco Rossi, a lot of (cheap) pop singers and very few important bands. There is no much space for rock music and new projects in Italy.

POWERLINE A.D.: Is Heavy Metal as popular in Europe as it appears?
The Gosh: In Italy? No it is not that popular.

POWERLINE A.D.: You just finished a U.S. tour. What impressed you the most about touring the U.S.?
The Gosh: Actually the friendly smiles that we noticed on people approaching us during our live dates. Even in NYC, which is supposed to be a tough environment.

POWERLINE A.D.: How is the U.S. different than Europe, or even Britain?
The Gosh: Our feeling is that US people are more ‘open minded’. We saw a more easy, curious and respectful approach to new ideas and to the things that are not part of your culture. And this is probably a peculiarity of your culture.

POWERLINE A.D.: Are you constantly writing songs? Who are the main songwriters?
The Gosh: Yes, for sure. It is our passion. All the songs are created during practice room sessions: the drum, the bass, the guitar, the accordion and the voice develop their lines looking for the best balance.

To hear and learn more, go to www.thegosh.com, or
www.myspace.com/thefirstgosh

Interview by Pat Prince
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Stadium Rock Revisited

Jeb Wright's interviews showcased in the new book, Stadium Rock encapsulate the kind of person Jeb is, as well as the band at large. His love for the music bleeds through every question, and he's right there with every answer —  his passion and experience connects with every interviewee. This is the kind of stuff they don't teach you at journalism school. When fans read the interviews, they get questions they would ask, passions they would share, not dry reporting.

However, Jeb doesn't treat the musicians with overwhelming awe. He treats them as comrades who share the same interests. Some of my favorite parts of the book show this: He asks Sammy Hagar if he is becoming "hard rock's answer to Jimmy Buffet." Or, when he asks Styx legend, Dennis DeYoung "How does a rock star stay married 34 years?" — as if he's talking to close friends.

Stadium Rock contains twelve interviews no longer available on the Website. A sorta Best Of album from a Classic Rock guru. And like all great classic rock bands, other Best Ofs will surely follow. These, however, will be welcomed.

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LOVE PSYCHEDELICO Arrive

Written by Fred Verhoeven. Translation by Ling Liu.

It’s an unlikely venue, but standing in San Francisco’s downtown Apple Store waiting for the Japanese rock duo LOVE PSYCHEDELICO (the caps are the official spelling) to perform an acoustic set, the energy and buzz amongst the 150 or so people
crammed upstairs gives the impression that something special and important is about to happen. As Kumi and Naoki enter and perch upon their stools, the crowd is cheering enthusiastically and by the look on their faces, with obvious awe and admiration as the two musicians strap on their guitars. These are folks who know the band, who know they’re bona fide rock stars in Japan and who know the catchy and familiar, yet utterly unique songs LOVE PSYCHEDELICO has been gifting them with since they debuted in 2000. Yeah, they know something special is about to happen.

They open up with one of their biggest hits, “Your Song” and it sounds beautiful. You can feel people around you connecting with the unpretentious vibe. It’s as fascinating to watch those in the crowd singing along with Kumi as it is to watch her and
Naoki. But as they move at a relaxed pace through another five songs, including a down and dirty rendition of their debut hit “Lady Madonna”, they have the crowds rapt attention and appreciation. It turns out this is likely the best live music those of us watching are going to see this year.

Very often Americans get so caught up in our own perceived greatness in this country. So much so, that we tend to forget there’s actually other countries in the world that have vibrant, creative and amazingly jaw dropping music scenes. America doesn’t handle this reality too well and shies away from artists from other countries, especially those who don’t, at the very least, sing in English. For DELICO (as they’ve been nicknamed in Japan) that may not be a big problem, as most of their songs are a hypnotic blend of English and Japanese, giving them a chance to quite possibly be the first band from Japan to break into the American collective consciousness.

That’s what HackTone Records is banking on anyway. They’re the label that’s releasing the band’s first US release, “THIS IS LOVE PSYCHEDELICO”, a bold move that is admirable but not unusual for a label that handles acts and reissues music that
are either out of sight and mind, or somewhat risky as far as the mainstream goes. It’s a labor of love, so the pairing with DELICO seems like a match made in heaven. The band has a proven track record in Japan (over a million copies of their debut album sold there) but at present are relatively unknown outside of the American subculture that seem to know all things Japanese that are cool. HackTone is off and running promoting
the band and set up this intimate gig and another a few days prior in Los Angeles to the delight of existing fans and as a way to introduce the band to the uninitiated.

Kumi (left, above) and Naoki (right, above) carry themselves with the confidence that comes with artistic success, yet have a down to earth quality that puts one at ease immediately. We start our conversation in a small bistro around the corner from the Apple Store, a few hours before the show talking about their popularity in Japan in relation to building a new fan base in America. “We’re just happy to play our music anywhere”, says Kumi, “but wedon’t want to only limit ourselves to Japan. For this release in America, David (Gorman) from HackTone, had listened to our CD’s we have in Japan and liked them very much. He offered to put out our music in the US on his label. It was a very natural thing. We feel very lucky.” When I ask about any having any expectations for success here, Kumi replies with a smile, “Whatever happens is OK.”

Is DELICO worried that America may still be too narrow minded to be receptive to lyrics that are not completely sung in English? Kumi views that possible problem optimistically, “No, no worries for us. I think we still have a chance because we are using
English a little but, of course, at the same time we want to introduce our Japanese culture. Plus I think our sound is unique. I think we can express something through the music, not only the language. Music can transcend a lot of these things.”

If you haven’t heard DELICO yet, you’re in for a treat when you do. Kumi’s hybrid lyrics are very unique, often going from Japanese to English mid lyric. She shares a bit of the thought process that goes into that. “It’s normal for me. Usually my thoughts are in Japanese and sometimes I think in both languages, but usually English is only used for music. It’s a natural way for me to express myself.” Kumi spent several years as a child living in San Francisco so I ask if this had any influence on her writing style. “Sure,I think the sense of the English language had an influence on me from when I lived here because I was a little child. So I was young enough to just soak up influences from the culture and the music here.”

When it comes to writing their music LOVE PSYCHEDELICO give a little insight to their process. Kumi explains, “Naoki brings me a riff, just a riff and we play the guitar together. We try and find a rhythm and a groove. After we have that, we try and come
up with the sound.” Naoki adds, “Yes, first we should find the groove. The groove is the most important thing. A long time ago, the concert posters, like some of the Rolling
Stones concert posters, had writing on top that said things like, “Let’s Dance” for example. I think rock music was probably a kind of a dance music. We want to make music that makes people move. That’s why the groove comes first.” As for the the lyrics Kumi says, “Lyrics are last. For me they come from the sound, I take the words from the sound.”

For a band that has a very unique, identifiable sound conscious originality doesn’t seem to be in the forefront of DELICO’s mind. Naoki explains how it’s more about belief and love in what you do. “ We have no ego. Basically, music has a history of respect. Because there was Chuck Berry, there was John Lennon. Because of the Beatles, rock music developed harmony in the 70’s. In the 70’s there were bands like the Eagles and Fleetwood Mac and that helped launch new sounds in the 80’s. It’s like a form of respect. Especially in America, each generation is influenced by the previous ones and honors them with new sounds. Every musician respects the classics, the
greats that came before them. There’s no ego there, only love. Even though we’re Japanese, we have a great appreciation of this musical culture. The music of America is great, we exist because of it. It’s nothing we started or created, it’s just an expression of our love of the music here. I feel fulfilled by it.”

It’s been a unique road for DELICO vis a vis technology. Their first single, “Lady Madonna” was released as a cassette single in Japan. There are probably a few readers here who don’t know what a cassette is. It illustrates a huge shift in how music
is distributed among fans. “It’s both a good thing and not so good a thing” says Kumi. “It’s good to have music all around. Anytime, anywhere, we can enjoy music, lots of
different music and thats a good thing. But the bad thing is the sound quality of the music is getting lower. It’s becoming a cheaper sound...a little thinner. It’s not so good.”
Naoki adds, “I wonder how civilization came to this technically efficient level to spread music around, everyone, anywhere can get music, even in the remotest places. In the 21st century technology is moving forward but why does music, it’s sound quality, seem to be regressing when we share it with each other? I don’t know.”

Naoki muses about how technology affects the music business. “Not to change the subject, but in the time of Mozart, music wasn’t really a way to make money, it was more of a pure form of the art. Nowadays, making a copy of the music is reasonable so it can’t be big business anymore. That’s too bad for some people on the money end of the music business but I think it’s likely that music is going back to that type of pure art
form, not so much big business.” I ask if that’s why they were comfortable signing with a smaller label like HackTone rather than waiting for major label support. “Yeah, we’re real
happy it worked out this way” says Kumi. Naoki warmly adds, “They’re a part of the LOVE PSYCHEDELICO family now”.

The band returns to Japan at the end of May but will return to Los Angeles for the summer. They’ll write material for a new album in the City of Angels. DELICO seem to have a serendipitous path to their creativity. Kumi says “there’s no expectations, no ideas yet. It will happen when the time arrives.” They may do some recording there as well and seem excited about the endeavor as a whole. HackTone is hoping to set up some kind of tour during the time as well and as Naoki is looking forward to bringing the guys who back them up live out to Los Angeles, there may be an excellent chance of seeing more of the band out performing this year.

Later that evening Kumi and Naoki are sitting at tables set up in front of the Kinokuniya Bookstore in San Francisco’s Japantown. The mall is buzzing with nearly everyone who was at the Apple Store show, surprised shoppers who recognize DELICO
and store clerks pressing their noses against glass panes to sneak a peak at the celebrities. There is a long line to buy copies of “THIS IS LOVE PSYCHEDELICO” and for an opportunity to meet Kumi and Naoki, get an autograph and a handshake. They must shake 200 hands and sign as many autographs, each fan greeted with a smile and a heart felt thank you. One man asks Naoki to sign his shirt and gets weepy when he’s
obliged. It’s a touching reminder of the band’s status outside the U.S. Standing there, witnessing that, it’s easy to imagine this scene repeated in the future to larger and larger
crowds in the US. The quiet confidence, unaffected attitude and memorable hooks that LOVE PSYCHEDELICO generate seem sure to grab America. Combine an album inspired by the Southern California scene with those sensibilities and it could be just thing to catch the attention of everyone here.

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DETROIT7 Interview

Interview and photo by Fred Verhoeven 

Detroit7 is trio from Tokyo, Japan that I liked from the first time I heard them. I got a chance to see them live this past March in San Francisco during their stop at The Independent as part of the Japan Nite 2008 Tour. They rocked the house and were
easily the best band of the line-up and my level of liking them shot up to them being my favorite band right now.

The band is fronted by Tomomi Nabana, a lefty guitar slingin’ woman with an earthy, raw and honest voice and presence. On bass is Nobuaki Kotajima who really impressed me live, loads of energy and along with drummer Miyoko Yamaguchi, sustain
an intense, steady rhythm. Detroit7’s whole sound sounds larger than the three people playing and I attribute that to the tight rhythm they provide.

After that show at The Independent, they had one more stop in Los Angeles before returning to Japan. I was curious to ask them a few questions what it was like to tour America. Tomomi was nice enough to answer via email. 

POWERLINE A.D.: Audrey Kimura has become a very important person in the music scene. How did Detroit7 hook up with her and become a part of the Japan Nite 2008 Tour?
 
DETROIT7: We gained contact with Ms. Kimura through the band Go!Go!7188. We did a show together in September of 2007. But we actually met Ms. Kimura for the first time at the airport for the “Japan Nite Tour”. We were surprised by her powerful force and tiny physique!

POWERLINE A.D.:  Compared to Japan, America is a much bigger country. Was the tour hard for you, in terms of getting on planes and all the traveling required?

DETROIT7: It wasn't hard as we anticipated. We were able to finish the tour with enough energy to spare. We wanted to keep on touring.

POWERLINE A.D.: Did you notice a difference in the crowds around the country?

DETROIT7: We noticed some differences, like the timing and different areas where people react to the music. We only know the audiences of the US and Japan though.

POWERLINE A.D.:  Was it hard eating mostly American food all the time? Any favorite foods? Best Japanese food you had in America?

DETROIT7: It wasn't hard at all. We didn't try any Japanese food on this tour. The foods we enjoyed a lot were The hot dogs they had in Austin and the clam chowder in Boston.

POWERLINE A.D.:  Was there a difference for you playing the American clubs compared to the Japanese live houses?

DETROIT7: As far as playing music goes, there was no difference. We like the fact that US clubs have full bars.

POWERLINE A.D.:  Did you get a chance to visit any music stores or record stores?

DETROIT7: In Boston, I bought a guitar foot pedal call “Red Witch”. Has a sharp and piercing sound.

POWERLINE A.D.:  It's an exciting time to be a part of the indie scene. What are your thoughts about the fact that bands like Detroit7 can come to America and have a successful tour but many Japanese mainstream acts like Hikaru Utada seem to fail trying to gain an American audience?

DETROIT7: We can only say we felt the US appreciates Rock n Roll more.

POWERLINE A.D.:  More than America, I think Japan has some really great bands with women ranging in a variety of styles. Bands like Shonen Knife, Ex-Girl and Super Junky Monkey blazed the trail for female rockers. Were Tomomi or Miyoko inspired by any of these bands that came before you?

DETROIT7: We have been influenced by foreign artists much more than those Japanese artists but they stimulate us a lot.

POWERLINE A.D.:  To follow up on that question, do you notice any difference in the way Japanese males in the audience and American males in the audience react to you? Or is not even an issue?

DETROIT7: It wasn’t an issue. The only thing we noticed is that there were more camera’s in the US audiences.

POWERLINE A.D.:  When can we expect to see you tour in the USA again?

DETROIT7: No plans so far, but we would love to tour the US again.

POWERLINE A.D.:  Finally, do you have any aspirations to make America a part of your regular touring schedule? Is it important to you to have success here?

DETROIT7: It’s important for us. We have a dream of hosting a Detroit7 Rock Festival in Detroit!

Many thanks to the band for taking the time to tell Powerline A.D. their thoughts.

You can visit Detroit7 at their MySpace page here (links to Amazon so you can buy their CD’s) or their website here. Keep your eyes and ears open, I’m sure we’ll be hearing lots more from and about Detroit7.

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LAURA CHEADLE Q&A 

Laura Cheadle, pictured above performing at The Baggot Inn in New York City’s Greenwich Village in a photo by Carol Ann Goldberg, has been immersed in music for her entire life. Cheadle, a New Jersey native, released her debut album, Falling In, in 2006. The album is available on iTunes. Cheadle has also recorded a live album and a Christmas album. Her second studio album is due to be released later this year.

Cheadle’s music incorporates many elements, including blues, jazz, funk, and acoustic rock. Cheadle hails from a very musical family, and she was exposed to many different kinds of music while growing up. Cheadle’s band features two family members, her father James S. Cheadle on keyboards and older brother Jimmy Lee Cheadle on lead guitar. The band also includes Paul Galonsky on drums and Dil McDaniel on bass.

I became aware of Cheadle and her music through MySpace, and have since seen her perform live several times in New York City. Cheadle puts on an energetic and fun live performance. Cheadle’s onstage patter is quite funny, and she will often answer back to audience members that shout things out during the performance. And that audience is quite enthusiastic and is growing by leaps and bounds. Her last New York City show was packed and had a great atmosphere. This rising star from the Garden State is definitely a performer to keep your eyes on in 2008 and beyond.

Cheadle recently took some time out to participate in an e-mail Q&A with Powerline A.D. The results of the Q&A session are below. Enjoy.

POWERLINE A.D.: When did you start singing?
Laura Cheadle: I have been singing since I was about five years old.

POWERLINE A.D.: What was the first song you heard that really grabbed hold of you, that made you want to be a musician? And what was it about that song that interested you?
L.C.: It was this song by Stevie Wonder called “Whereabouts.” It is such a melodic, beautifully sung and written song. When I heard that song, I felt as if I needed to express a beautiful song the way Stevie Wonder did.

POWERLINE A.D.: Your brother and your father play guitar and keyboards, respectively, in your band, and the onstage rapport between you and your father is an enjoyable part of your live show. Can you talk a bit about how your brother and your father influenced you musically?
L.C.: My father is my main influence. Ever since I could remember, my dad was exposing me to funk, jazz, and blues as well as other various types of music. He definitely made me into the musician I am today and I am so grateful for that. He is an amazing musician and I aspire to be just like him. My brother has also inspired me as I would grow up watching him play guitar. My entire family just has this musical vibe that you can’t help but catch.

POWERLINE A.D.: When you were younger, you performed in a band with your brothers called Sibling. What kind of music did Sibling play?
L.C.: Sibling was a rock/pop band and I played drums in that band and sang.

POWERLINE A.D.: How many instruments do you play?
L.C.: I play drums, piano, guitar, and sing.

POWERLINE A.D.: Were you in the chorus and/or band when you were in school?
L.C.: Yes, I was. I played the French horn in middle school and was in the high-school chamber choir.

POWERLINE A.D.: How old were you when you wrote your first song? What was the song called and what was it about?
L.C.: My very first song was when I was eight years old called “We’re In Love” haha but I would say my first song that I still perform is called “Wrapped Up In You,” which is on my Falling In album. This song expresses never being able to get over someone and continuing to go back for more.

POWERLINE A.D.: The Internet has played a considerable role in growing your audience. Can you discuss the importance of the Internet as a means of getting the word out about your music?
L.C.: If it weren’t for MySpace, many people would never even hear of me. The Internet brings out the people to my shows and seriously exposes my music to all parts of the world.

POWERLINE A.D.: As an up-and-coming performer and recording artist, how concerned are you about all of the upheaval in the music industry of late (mass layoffs at record companies, free music giveaways by the likes of Radiohead, etc.)?
L.C.: I do feel that is a concern, but, as an independent artist at the moment, I sell CDs at shows and do hope people will respect and support the independent artists. I think you need to take it one day at a time and truly focus on the music itself.

POWERLINE A.D.: What is your favorite song of yours to play live? And what cover song do you enjoy performing the most at gigs?
L.C.: My favorite song to perform is “Midst of Your Mystery.” That is a true story that I wrote and I love the bluesy feel of it. It also has this awesome build up in it and I lose myself in the music. I love performing Stevie Wonder cover songs live!

POWERLINE A.D.: Can you walk us through your songwriting process?
L.C.: I usually wake up with lyrics in my mind and then a few days or months later, put music to it. I have, on several occasions, written a song in about an hour. It sort of builds up within you and comes out. It’s such a rush.

POWERLINE A.D.: How many songs have you written?
L.C.: I am still writing but I would say over fifty songs.

POWERLINE A.D.: What is your favorite venue to play and why?
L.C.: I love playing at The Baggot Inn in Greenwich Village NYC. The Baggot Inn has been so great to me. New York City has an incredible vibe and everyone treats me so wonderfully there.

POWERLINE A.D.: If you could perform with another artist, who would it be?
L.C.: Stevie Wonder!

POWERLINE A.D.: What do you do when you’re not making music? Are you a student? Do you have a day job?
L.C.: I am currently a student. Almost done!

POWERLINE A.D.: You taught yourself to play guitar. How difficult was that? Have you ever taken a guitar lesson?
L.C.: I grew up around amazing musicians. It wasn’t difficult for me to teach myself. It just came out of me. I am sure all of the influence of growing up with music made it a lot easier for me to do so.

POWERLINE A.D.: Are you working on new material at the moment?
L.C.: Yes I am, and my new album will be out later this year.

POWERLINE A.D.: After the gigs of yours that I’ve seen in New York City, you spent a lot of time talking to the fans that attended. What does it mean to you as an artist when your fans tell you that your music has connected with them?
L.C.: It makes it all worth it. That is why I perform: to make a musical connection with other people. It really means the world to me.

POWERLINE A.D.: Do you feed off the energy of the crowd at your live gigs?
L.C.: Absolutely! I live for it!

POWERLINE A.D.: Final question: What are your plans musically for 2008?
L.C.: Finishing my new album and to do some more touring!


For additional information on Laura Cheadle, see:
http://www.lauracheadle.com
http://www.myspace.com/lauracheadle

Interview by John Curley

NEW RELEASES

Living Things
"Habeas Corpus"

Review by Pat Prince

Living Things now add a 90s Jesus Jones feel to a contemporary sound. The thing is, I sold my Jesus Jones' CDs a long time ago. I'm afraid this new CD may have the same fate.

I really wanted to like this Living Things release. The band's punk/trashy aesthetic holds so much promise. They also hold the torch for political and literary expression, too (citing influences like Sylvia Plath and Henry Miller). But on Habeas Corpus, most of the songs start off with an edgy power but then settle in for a commercial chorus and polished studio enhancements that are like a quick bellyful of crappy candy. To be brutally honest, these songs would sound so much better without the chorus (can I edit it all out in Garage Band?!). It makes you think that the corporate suits of the recording industry had their awful fingerprints all over this. The recording industry has ruined many a good creation. The "industry" may cry poverty nowadays but they have impoverished many a band creatively as well as financially. Here, in the overall end-game, the attitude doesn't match the slickness in too many places.The band deserves better than this.

Where's Steve Albini when you need him?

There is still enough grit in places — "Post Millennium Extinction Blues," Dirty Bombs," and "Snake Oil Man" — to save the album somewhat, and this will make me return for more than one listen (these songs have a nice grind this side of BMRC). Otherwise I wait for the next release.

Grade: B-

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Franz Ferdinand
"Tonight: Franz Fredinand"

Review by Pat Prince

The new disc tries to make up for You Could Have It So Much Better's pitstop. Tonight:... tinkers a bit, here and there, with the Franz Ferdinand sound. It was already a jumpy and energetic hard rock pop. Now it seems evident that all  the musicians spent some time listening to the likes of LCD Soundsystem and MGMT, with some time to catch up with old school Depeche. In fact, a couple songs here could have been written by Martin Gore. 

I figured I'd prefer none of the grooves or synths FF was about to expound on, but in songs like "Lucid Dreams," I found the same FF catchiness (even if the song is almost eight minutes long).  A refreshing touch, instead of treading the same exact ground and trying to outdo the debut that made them famous. 

Downpoint: I can do without the romantic slowdown jargon of "Katherine Kiss Me."

Download: "Ulysses," "Lucid Dreams," "Bite Hard." 

Grade: B+

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The Trews
"No Time for Later"
The Trews are obviously influenced by the likes of Cheap Trick, in the sense that they are a perfect teetering balance between pop and hard rock.

Vocalist Colin MacDonald has the mixture of the uniqueness of an Adam Duritz (Counting Crows) and the melancholy tinge ala Phil Mogg (UFO). The only difference is that MacDonald doesn't have the morose influence of either singer.

The songs are electrifyingly eclectic without losing a distinctive style. This is a characteristic that forms success.

I picked the band as a band to watch out for in 2009 in our recent end-of-the-year tally. Nothing is sure thing in music. But The Trews have all the ingredients to make it happen.

Downpoint: There are a few songs passed over by me with every listen. But it isn't due to bad songwriting. More like personal preference on my part (I mean, there are thirteen songs!).

Download: "Paranoid Freak," "Dark Highway," "Gun Control," Burning Wheels."

Grade: A—

Review by Pat Prince

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Carbon 9

"The Bull"
(Advanced CD 2009)

OVERVIEW: Carbon 9 is a known entity to the Los Angeles music scene. There they are regarded by some to be the hardest working band in L.A. Until their advanced copy of their new album The Bull came to me, I had no idea of their existence.

A nice surprise, however.

I have always been a fan of both Nine Inch Nails and Queensryche. And Carbon 9 is a nice combination of both. In this style, they know how to merge cutting-edge attitude with a commercial hard rock style.

The new album, The Bull, contains the pure art of an indie band. Songs like "Crawling Over Me," for instance, are able to express the poignant thoughts of a starving poet; yet, a poet not willing to compromise his soul for food.

Downpoint: Carbon 9 has defined their sound well, but sometimes a definitive style breeds sameness (it has happened to even U2). The future may need to bring diversity and more experimentation to their songs. They are up for it.

Download: "What Is It We're Made Of," "The Bull," "Crawling Over Me," and the Danzig cover, "Mother."

Grade: B+

Review by Pat Prince

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The Verve
"Forth"

OVERVIEW: Everyone has heard The Verve, whether they know it or not. Their famous single, "Bittersweet Symphony,"  a masterpiece of hard-edged pop, is ingrained into modern culture.

On Forth there are no such phenoms, but songs do come close to greatness. For instance, "Columbo" is a contemporary capture of moody expression, while "Love is Noise" is a nice throwback sound to an 80s band like Simple Minds. Furthermore, "Sit and Wonder" is an easy alternative rock hit with its trippy, catchy driving force — a perfect brush stroke to emphasize the album. And, if you get a chance, pick up the single, "Love is Noise." The B-side has the brilliant "Chic Dub."

Downpoint: Songs like "Judas" seem more Adult Contemporary than the band would like to know — you know, like Sting.

Download: "Sit and Wonder," "Chic Dub," "Love is Noise," "Columbo."

Grade: B+

Review by Pat Prince

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NINE INCH NAILS
"The Slip" 

OVERVIEW: Perhaps not as overall masterful as other NIN releases such as Pretty Hate Machine and With Teeth, The Slip is beautifully cathartic with the same mixture of angry, disturbing, struggling, detached-from-society feelings, but intentionally-bodied with an almost gleeful drumbeat that pumps like a heart unwilling to give in — no matter how dire the atmosphere. In the end, it wants to beat on and persevere.

No need to convince you to buy this new NIN — it's free online. Go online, download it, and judge for yourself. But if you want to save downloading time, here are the best songs:

Download: Echoplex, Demon Seed, 1,000,000. 

Grade: B+

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TOKYO POLICE CLUB
"Elephant Club"

OVERVIEW: I don't know why TPC reminds me of Death Cab For Cutie on first listen. They are certainly more energetic, heavier in resonance, less brooding, livelier in outlook, and guitar-oriented. Maybe it is the singer, David Monks, or a synthetic pop backbone to the music. But all this is a good thing. The sound and album are very enjoyable in places.

Downpoint: The buzz was a Strokes sound-alike. The Strokes first album was a masterpiece; Elephant Hell, however, is not. With its quirky looseness, TPC is like a band that has yet to truly find itself. 

Download: Graves, Juno, Tessellate, The Baskervilles. 

Grade: B

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THE MARS VOLTA
"Bedlam in Goliath" 

OVERVIEW: Aberinkula starts a simulation of musical intoxication. Let's talk a speed high that doesn't let up through twelve intense lengthy songs. By the time you get to the last number, Conjugal Burns, your head will be reeling. But those are the side-effects of heavy narcotics such as these.

Not for the timid, The Mars Volta is for an acquired taste. Yet Aberinkula may be one of the best songs of the year so far. It has a hair-standing intensity that has not been created in years. This level of intensity continues from there: the guitar is beautifully chaotic, the vocals a shrill rhapsody.

Downpoint: Sometimes there's too much, too long... too many unnecessary bits to attack the synapses.

Download: Aberinkula, Goliath. 

Grade: A—

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VAMPIRE WEEKEND

OVERVIEW: The blog buzz is true. This band is the real deal. Indie rock that is as hip as it is nerdy. With accents of Elvis Costello, The Police, and even worldbeats ala Paul Simon.

Downpoint: There really isn't any. It's an exciting and enjoyable CD.

Download: Campus, Mansard Roof. 

Grade: A 

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The Walkmen
"You & Me"

OVERVIEW: The Walkmen can produce amazing songs in their usual clamor but sometimes the tin production sounds too 1965. This lack of production can be good, as in the case of Liverpool's Clinic, however, it really hurts The Walkmen in certain places, making it almost impossible to crank the whole album on an iPod.

Still, in this tin box The Walkmen manage to write gems like "The Rat" (off of 2004's Bows + Arrows). And, btw,"The Rat" is one of the best indie rock songs ever written. There may not be a classic like that on You & Me but there is that quality of craft.

"Canadian Girl" is what a song would sound like with Bob Dylan singing about a good 50s R&B romance; "In the New Year," a meandering piece that Jim Morrison would fit well in; and a spirited "Four Provinces" worth the price of admission.

Now if only they can hire Rick Rubin for the next album.

Download: Four Provinces, The Blue Route, Canadian Girl, In the New Year

Grade: B

Review by Pat Prince

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Foghat
"Live II"
Foghat has always been known for its energetic live shows and die-hard
fans. That much, at least, hasn't changed. What has changed is the
lineup -- most notably the vocalist.

Original drummer Roger Earl remains from the groups first foray into
recording a live album, the 1977 double-platinum release, Foghat Live.
Veteran rockers Craig MacGregor and Bryan Bassett fill in nicely for Tony
Stevens and Rod Price on bass and guitar, but former Victory frontman
Charlie Huhn is no Dave Peverett.

Sure, Huhn has pipes. He can scream and belt out the '80s German rock
as good as anyone. But he lacks the soulful, bluesy stylings of the sadly departed "Lonesome" Dave. Perverett left the rock world too soon, dying of pneumonia and complications from kidney cancer in 2000.

On some level, you have to respect Earl for trying to keep the dream alive, but when the rest of the band has either died or retired, it may be time to hang it up.

On the flip side, if you're a true Foghat fanatic this release offers 20 tracks of hits and favorites complete with self-indulgent guitar solos, crowd banter and even a few rehearsal tracks that are sure to please.

Rather than drop your hard-earned cash on Foghat II, pickup the 1977 live release or backfill your collection with any of the 70s albums and rock all night.
 
Review by Steve Justice

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