Until We Wake

Originally Published in The Front Magazine, Issue 1, October, 2004


Three nights a week, for two-and-a-half hours a rehearsal, the five boys from Until We Wake gather in the lower level of drummer CJ's home to knock out tracks that even its members have a hard time categorizing into one genre.

"We get bored really quickly," said bassist Daytron. "We're really scatter-brained, so our songs don't ever come out the same. We don't ever want to write the same song twice."

Collaborative influences include The Beatles, Faith No More and some of the more recently-developed metal. This progressive band comprises of lead-vocalist Mike, Pye as guitarist/keyboardist/sampler (all on foot pedals), guitarist Jon, self-taught drummer CJ and Daytron. The varied tastes mix uniformly into some very nontraditional song structures, eluding to a darker eclectic sound, which Mike has dubbed, "Post-prog-metal-emo-acid-electro-pop."

"It's ver spinal tap," said Mike, with a thick imitation Britich accent. "Back in the 80s, we were acoustic jazz, and now we're straight-up metal."

But hardcore metal bands wouldn't call these boys heavy metal.

"We're more of a soft-core metal band," said Mike.

Most comparable to At The Drive In, without the jazz or jamming, Unitil We Wake is constantly changing their style to suit their interests.

All five members say it's hard for their band to get booked because promoters are unsure of what to do with their sound. Too heavy for the mellow groups, not p[oppy enough to mesh wiht the electric pop-rock scene and too soft for the harder heavy metal, Until We Wake stands alone in their uniqueness.

"We don't write to fit in," said Jon. "We write to what's comfortable with us in the basement."

"We're more bad-asser that way," said Pye.

This affluent sound has since attracted a very diverse crowd of listeners - from electronic rockers to Emo-pop lovers and metal heads.

"We have a really well-rounded group of listeners," said Mike.

"We're very hardworking and persistent," said guitarist Jon, who, along with the rest of the band, spent every Friday for four months promoting their shows.

"We handed out 4,000 fliers for a show a few months ago and had 75-80 people show up," said Jon.

Along with fliers and word-of-mouth, the band has been in The Blasting Room, a local recording studio owned by Bill Stevenson, drummer of Black Flag, Descendents of All, to create their upcoming release of Europa. This full-length LP "represents a year of growth for a band that set out to write a few good rock tunes and failed, producing instead some of the stranges and most challenging music any of us thought we would ever play."

Check out www.UntilWeWake.com for news, shows and more on the band.

Beck's New Album Guero

Short Blurb on Beck Originally Published in The Front Magazine, Issue 1 October, 2004.



Revered for his musical appropriation of folk, hip-hop and psychedelia, 34-year-old Brazilian pop-rocker Beck has been through some rather life-changing transformations.

With a marriage in April to actor Giovanni Ribisis twin-sister Marissa and anticipation of fatherhood, Beck has been hard at work in the studio. Projecting a more aggressive, guitar-focused album, the new addition is reported to be a complete shift from his more melancholic 2002 release, Sea Changes.

The new album has yet to be titled, but some of the tracks boast talents like the Beastie Boys, Hanson and Jack White of the White Stripes. Beack has Also re-reames with producers The Dust Brothers, who contributed their skills to Beck's 1996 party album Odelay!.

Due out on Interscope Records, the sixth major-label album was expected in late November, but recent news from Beck's official website has the record pushed back for a release in early 2005. With Beck's constant sound eveloution, this one is sure to be startling and fresh.

Dieselboy: Dongeon Master Damian Dominates Stateside

Originally Published in The Front Magazine, Issue 3 December 2004

Once a best kept secret of underground music, drum 'n' bass (dnb) was pushed into America's mainstream awareness by a number of enthusiests, including Damian Higgens, a.k.a. DJ Dieselboy, who paved the way for many other aspiring American drum and bass (dnb) DJs to get their music heard, instead of sitting on the sidelines while the best of Britain pounded out the majority of the genre's material.

A self-proclaimed movie fanatic (he watched four to five films a weeka nd can recite any movie line) and breakdancing aficianado (a junior high school hobby that resulted from watching many episodes of Soul Train), Higgins DJed house parties for his fellow University of Pittsburgh friends. Higgins practiced his beat-matching (a mixing technique that involves shifting recording speeds to match the song played prior to change-up) on air at Carnegie Mellon University's radio station during a weekly hour-long radio show. Learning how to mix on the station's turntables, Higgins started making tapes and distributing them not to local raves and clubs, but via internet chatroom junkies willing to lend their ear to Dieselboy's talents. Listeners welcomed the change of pace and word spready quickly about Higgin's mixes.

It seemed that drum 'n' bass was everythwere; TV commercials, radio ads and background music in a number of box-office hits, for example 1999's Go, Drama/Thriller 15 Minutes and 2002 film The Bourne Identity. This subgenre, also known as jungle music, took listeners by storm and Higgins hadn't missed out by jumping in on the uproar.

Now hailed as one of the Founding Fathers of American Drun 'N' Bass, Dieselboy has compiled quite the impressive resume. A definitive persfectionist, Higgins has been part of the stateside electronic movement from the beginning and has a passion for the DJ genre that he considers not just a gratifying trade, but a serious art form.

He has maintained one of the longest-standing spots in a dnb weekly (Platinum in Philadelphia), was the first dnb DJ to land a single on the Billboard's dance charts and has even hda the privilege of playing Fabric in London. In 2003, BPM Magazine readers nominated Higgins for "Best Breakthrough DJ" as well as "America's Favorite DJ" in the annual American Dancestar Awards. Not too shabby when most of the dnb field is populated by artists customarily in the UK.

Higgins has also contributed a number of albums, including 1997's 97 Octane followed by A Soldier's Story and System Upgrade, both released on Moonshine, the premier American mix lable.

In such an uncompromisingly innovative venue of music, Higgins has been able to reinvent his music, progressing ever-so-nicely, which represents more of a departure from each past album rather than a continuation.

His newest album, Dungeon Master's Guide encompasses the expanse of his musical sensibilities that loyal fans have long-since appreciated, but also offers a dance music educated stronghold for new-comers.

The Fox Theater & Cafe features DJ Dieselboy on Dec. 4. For more info, visit www.djieselboy.com. *

Cross Canadian Ragweed Creates Their Own Alternative Country/Southern Rock Genre

Originally Published in The Front Magazine, Issue 4 in January, 2005



Grab some old records, eight tracks or cassettes spanning from the 1950s to early '90s and you'll find that country music was strictly about a man loosing his car/job/wife. Today, any average Joe is singing about any average thing, and it seems the particular genre has lost touch with it true, rockabilly roots. But Cross Canadian Ragweed (CCR) is trying to bring a little country charm back into the mix.

After eight years together, the laternative country/southern rock quartet of childhood friends from Yukon, Oklahoma have finally made their presence known in the Texas music revolution forefront. Drawing crowds in the thousands, frontman Cody Canada, drummer Randy Ragsdale, rady Cross on rhythm guitar and bassist Jeremy Plato or doing what they do best; making country music fun with a little more rock 'n roll flare.

Check the map for well-known cities renowned fro boasint a hot music scene: Nasvhille, Austin, New Orleans... but Yukon, Oklahoma? Not likely. Although the boys' hometown was not so music friendly, their passion for music never faltered, as the kindergarten friends pursued their goals, and did so at an early age.

Canada started on guitar at a mere eight-years-old, mimcking the southern-fried guitar licks of Stevie Ray Vaghan, Eddie Van Halen and Pete Anderson (of Dwight Yoakam fame). Even at concerts today, Canada wears Ozzy t-shirts and breaks into late '80s rock tunes in the middle of sets.

Fellow band mate Ragsdale wanted to play drums so badly when hew was younger that he dragged an old drum kit from a neighbor's trash bin into his family's cellar so he could practice at will. A year later, his parents started taking him seriously, namely his father, Johnny, who was one notable Yukon local as hehad been known for contributing his guitar talents to Bob Willis and Reba McEntire when she first began her music career. A strong supporter of the kindergarted friends, including his son, Johnny taught the future CCR members a wealth of musical knwledge, as well as encouraged their interests as a band.

Once the quartet had grown a little more into their music, the boys decided to move to nearby Stillwater, Oklahoma, where acts like Jimmy Laface and McClue's Great Divide had been established. The "North Austin/West Nashville (depending on your geographic standing)" location offered up enough of a local scene to really get CCR's music heard, as well as create a stir through word-of-mouth. A bit different from most Americana outfits, fans are surprised when they hear some of the cover songs coming out of the country-western group.

Although the band mates take influence from country greats Steve Earle, Merle Haggard, Waylon Jennings and George Straight, fans can expect to hear some hard-core rock 'n roll anthems thrown into their set list. Canada mentions covering the likes of AC/DC, Pearl Jam, Tom Petty and The Heart Breakers and Stone Temple Pilots.

The more CCR practice, the tighter they become. The strong bond is one that Canada says benefits the band greatly when on and off stage.

"Sometimes it doesn't even feel like the crowd is there because we're all so focused on each other - what the next person is going to do," said Canada in one interview. "That's the sould of this band... the friendship between us."

Prior to their recent signing with Universal South, CCR has released four albums independently: 1998's Carney, 1999's Live at the Wormy Dog, Highway 322 in 2001 and 2002's Live at Billy Bob's Texas, nicknamed The Purple Album for Ragsdale's nine-year-old sister Mandi, who was killed in a car accident after a 2001 CCR show.

In late March, 2004, CCR released Soul Gravy, their Universal South debut (fifth album overall), a moniker that came from an in-depth brainstorming session on the tour bus.

Canada declares, "It's fattening music for your ass."

CCR will perform at the Gothic Theater in Denver on Jan. 10, at the Aggie in Ft. Collins on Jan. 11 and in Telluried Jan. 12 at Sheridan Opera House. For more info: www.crosscanadianragweed.com

Kottonmouth Kings Trail of Smokin' Ten Years Deep

Originally Published in The Front Magazine, Issue 3 December 2004.



The self-proclaimed "psychedelic hiphop punk rock" outfit, The Kottonmouth Kings, materialized from Orange County, Cal. in 1994, bringing with them, "an institution in our American subculture; a movement and a lifestyle." For all of the teenage kids smoking pot in their mom's basement, they couldn't have been more right.

With a roster of seven, the Kottonmouth Kings (KMK) base their website, daily routines and music on their heartfelt affection for legalizing marijuana. On the Web: www.kottonmouthkings.com features bong noises and lighter flicks on every click, Jerry Garcia-esque design (tie-dye and bright colors) and a 'trippy' 15-second video on their Nov. 16 release, The Kottonmouth Xperience. KMK even released their last album, Fire It Up with songs like Rip It Up, Bad Habits and Who's The Criminal on April 20, a stoner's holiday nationwide.

"Their message is horrible and most people shouldn't listen to them," said David Friggero, a California native, now in Denver, who owns five of KMK's records. "But I find humor in [their music] somehow..."

Enough to have spent nearly $80 on their albums?

"Apparently," said Friggero. "i'm going to see them back in San Francisco when I go home for Christmas."

The Kings in a nutshell: Ringleader and founder of the group, Daddy X, considers the band a "modern-day Grateful Dead," as he is the organizing force behind KMK and the bands' independent label, Suburban Noize.

Taxman urges fance to fight authority "F-ck you to establishments in a youthful, natural and a-structural way. I'm not a Puppet." His bio offers little else on what he contributes to the band personally, other than the fact that he is the bands' anti-hero.

Bobby B, another member from inception, spins the turntables and has DJ-ed at every major club in LA (Centruy Club, Orbit, Roxbury and Truth) all the while contributin solo albums on the side of KMK band projects.

Hard-core stoner and high-school dropout, Johnny Richter, is a childhood friend of D-Loc (who is, "Realer than real, stronger than stell, tough as nails and dirtier that you... What!!!") attended six different schools and two rehab centers before being shipped off to boarding school at age 16. Lest you forget, he also sings vocals for KMK, has a five-foot iguana and boasts a killer party pad, never without for kegs on tap and two full-sized nitrous tanks in operation at all times.

Pakelika is seldom seen without his white ski mask,. As the bands' "dancing visual assassin," Pakelika has been seen miming in fron of the Hollywood Was Museum and has even worked with Janet Jackson on her Go Deep, and Together Again videos.

Lou Dog, KMK's drummer, while in a stoned-haze in Hollywood, invented his own innovative three-wheel low-rider drum kit. How influenced is Lou Dog by marijuana?

"I smoke everyday. I smoke in traffic... I smoke on stage... I smoke in the sudio... I smoke in clubs. I smoke when I explore the mysteries of the universe... I was smoking when I created the drum-trike," said Dog in his website bio. "I've burned with Tupac, Easy-E, Snoop, B-Real and Sen Dog, RVD, Violent J, Pakelika, D-Loc, Johnny Richter, Bobby B, X, Munchyz and thousands of Kottonmouth Kins and Kweens around the world... I've smoked at the Wheite House, Playboy Mansion, Cannabis Cup and on three continents..."

You get the point. Kidding aside, the boys have actually contributed to some major projects.

One being the Artist Groove Network, a project that both Brad "Daddy" X and Loud Dog are partners. AGN, a concept provided to gear up a solid start for struggling musical artists to make money so that they may pursue their art without having to be constricted to a 9-5 job. Some of AGN's clinetes; Gwen Stefani from No Doubt, Brian Baker of Bad Religion and Yogi from Buck Cherry. AGN's premier DJ, Rob Harris, had also been cinluded in this KMK's line-up, but was tragically killed in a skydiving accident while filming a Mountain Dew commercial.

The Kings have shared the stage with notable groups such as Red Hot Chili Peppers, Offspring, Green Day, NOFX, Jane's Addcition, Eminem and Blink 182. On Dec. 21, KMK will perform at the Ogden Theater in the "10 Years Deep" Winter Tour, also featuring Pepper, Kingspade, OPM and more.

***********

Ok... Can you tell what I thot of this band? hahaha.

The Derailers Croon "Music For Sale"

Originally published in The Front Magazine, Issue 4 - January, 2005



The occasion is rare when a pedal-pushing musician greets an unassuming homeowner. Instead, one endures the over-enthusiastic vacuum seller trying to promote the latest and greatest line of carpet sucker on the market. But self-proclaimed, 'door-to-door honky-tonk salesmen,' The Derailers are making a name for themselves, not only in Austin, but on porch steps the world over.

Following such country greats as Roy Orbison and Buck Owens, lead vocalist Tony Villanueva, lead guitarist Brian Hofeldt, bassist Ed Adkins and Derailers' drummer Scott Matthews are shakin' a honky-tonk outfit that you'd swear had been jetted forward to present-day Texas from half a century ago.

With their old-home country meets Ratpack/1950s' workingman charm, The Derailers are instantly recognizable to dance-hall patrons before they even hit the stage. Suited up like the Wonders from That Thing You Do, their slicked-back hair and sharply tailored suits are an appealing package to the rockabilly and Texas swing that loyal fans have been enjoying at The Derailers' 250+ shows every year since 1994.

Originally from Portland, Oregon, co-founders Villaneuva and Hofeldt both grew up in the Pacific Northwest. Although they came from very different backgrounds, Villaneuva listening to the likes of Johnny Cash, Hank Williams and jazz and opera influenced upon him by his Mexican-American father while Hofeldt loved Elvis and the Beatles, both ended up turning to music as a passion in their teens and found a kindred spirit to each other.

Early '90s near Seattle and Portland promptly brought grunge-rock bands like Nirvana to the airwaves, which had Villanueva tiring of the music scene. Just as The Derailers have always had an up-beat and positive tone as their hallmark, the moody ambiance wasn't doing much for Villanueva's musical aspirations. He packed his bags and headed to Austin. Hofeldt followed shortly after.

The Derailers joined forces, adding Vic Gerard Ziolkowski to the roster soon after the Portland duo had settled in Austin. The boys put out two albums, an LP in 1995 and 1996's Jackpot with a few different drummers until settling on Terry Kirkendall, who became a permanent fixture to the line-up shortly after the Jackpot release.

Reverb Deluxe came two years later in 1997, still rockin' the old-western charm the boys had been reveling in for over six years.

While the core co-founders, Villanueva and Hofeldt stuck to tradition, band members shifted from Ziolkowsky and Kirkendall to Adkins on bass and Matthews on drums. Signing on to Sony's lucky Dog mark shortly after, The Derailers made their label debut with Here Come the Derailers on Sept., 11, 2001. The Derailers did not get thrown off track. The world kept turning, the critics swooned, and the country circuit accepted the major debut warmly.

The new success of the album brought the band numerous opportunities. While keeping up their heavy tour schedule (nearly 300 shows per year), The Derailers also visiting the foreign market (Norway), chipped in on the Texas Music Round up Records' tribute to Buck Owens and even donated a portion of Here Come the Derailers proceeds to the Children's Advocacy Center of Austin, Texas.

In 2003, The Derailers once again presented their inspired blend of country, pop and rock n' roll on and 2003's sophomore album Genuine (pronounced jen-YOU-whitne), astounding critics with their high-energy and slick sound. When so many country bands were falling into the trend of sounding so homogenized, The Derailers stood apart with their Americana Act featuring Roy Orbinson-esque tributes (Alone with You) and hip-shakin' tracks like Leave a Message, Juanita and The Way to My Heart.

Writing the majority of the band's songs, Villaneuva credits the 1960's honky-tonks as some of the biggest heroes.

"They lived out of a small suitcase with a bar of soap, playing great music, said Villaneuva in one interview. "We hope to be even a shadow of the way those great people operated... but not drink as much whisky or take as much speed."

The Derailers will perform at the Bluebird Jan. 8 at 10:30pm. Tickets are $11. For more information on the band, visit http://sonynashville.com/TheDerailers, or www.derailers.com