Tuesday, July 22, 2014

New Adventures for Old Hours - YabYum Sneak Peek

By Matt Marn
Published by YabYum Music and Arts

Nathaniel Walberer and Anna Carlson want to not only tell a story, but also connect with everyone who listens to their music. And with the vast range of attitudes Old Hours display over the course of their album, Even in the Sun, every one of those listeners are sure to find something that will resonate.

Walberer (acoustic guitar, drums/percussion, vocals) and Carlson (vocals) say we are all on a constant emotional cycle, and odds are, at least one song on the album will truly hit home.

"Somber, sad, angry, hopeful... You may like all of our songs, but we hope you connect with them - grab something to like and feel connected to, wherever you are in life," Walberer said.

Go to YabYum Music and Arts to see the rest of the article, and read all about Old Hours!!

Monday, July 14, 2014

Moovalya stays true to high-energy roots with new EP - YabYum article sneak peek

Here is a sneak peek of my latest article, reviewing Phoenix punk-rock group Moovalya. It is published by YabYum Music and Arts. Take a look, then head over to their page to read the whole thing!!

By Matt Marn

Phoenix punk rock group Moovalya is proud of its new EP, Sixer. With these songs, the performers are pushing themselves musically, and staying true to their high-energy live shows – not to mention their love for the music.

Ben Jones, guitar and vocals for Moovalya, said the group got great feedback from their last album, which also was a great showcase of the power and energy they show during their shows. He said they used that same energy they give to the crowd live to record Sixer.

“It’s what we love, what got us into it,” Jones said.

Jones said in their EP Sixer, the group wanted to push the boundaries of the music as far as they could with their instrumental talent.

“This is really pushing it for us,” he said. “We’ve accomplished so much – we’re happy with what we’ve done.”

Visit YabYum Music and Arts to read the rest!!

Sunday, July 6, 2014

The Hollow’s debut EP shows real emotion, great songwriting - Article sneak peek

Here is a sneak peek of my new published article, reviewing acoustic guitar duo The Hollow and their new EP release, "Let Me Never Be Complete." Check out the entire article over at AmpKicker.com at the link below:

Published at AmpKicker.com

The debut EP from The Hollow, the Phoenix-based duo of Shane Hunt and Jon Watkins, could prove to possess a very appropriate title. The album, Let Me Never Be Complete, may well leave you wanting to hear more… and even setting the album on repeat for many spins to come.
 
The duo began their partnership as simply one guitarist joining another to help provide lyrics for an incomplete original song. The bond has since grown to a number of shows, a brand-new EP, and more fun than either of the two expected...

Read more at the link to AmpKicker.com!

Sunday, May 11, 2014


Captain Squeegee rocks Marquee Theatre, ready for more
By Matt Marn

Fans who packed The Marquee Theatre in Tempe caught a great double feature, cheering on the funk-master George Clinton as well as local openers Captain Squeegee from Mesa. The two groups had styles all their own, but each left the crowd cheering for more.

Danny Torgersen, lead vocalist and trumpet for Captain Squeegee, led the group through their phenomenal set, including tracks from their newest album, To The Bardos! The crowd was thrilled during their whole set, but once Torgersen put down the microphone to return to his trumpet to hit the band’s last note, the venue seemed to lose control altogether.

When he went out into the crowd after Captain Squeegee wrapped up their performance, Torgersen was instantly met by fans ready with hugs, high-fives, and congratulations.

Torgersen has played The Marquee Theatre many times before with Captain Squeegee, often booking an evening and recruiting other local groups to open for them. But not tonight – tonight the venue called him about opening for Clinton.

“This George Clinton show has got to be the biggest show in the last 4 years for me,” he said. “It went great; it’s always nice when people dig it as much as they did. Clinton personally reviewed our material and confirmed his slot. That’s huge! I mean, George Clinton invented funk. I kept fantasizing about him letting some of our horns onstage for the finale.”

Torgersen was thrilled to be lined up to open for Clinton. He said that like Clinton’s group, Captain Squeegee is very unique, and finding groups to play alongside can prove tricky.

“I don’t really try to describe Captain Squeegee as a certain kind of band,” Torgersen said. “I just let other people describe it. I don’t really care what genre we are – just making sure what’s in my head matches the band’s interests.”

Torgersen said Captain Squeegee has been evolving as a group the last several years, including their roster. Not one current member of Captain Squeegee is an original member of the band.

“It’s kind of like how the Olympic torch is carried,” he said. “You don’t know the first few people, but the fire is burning, so you may as well run with it. It’s been called a dynasty, a legacy of sorts.”
Torgersen is excited how everything has started to fall into place over the last few years. And the biggest part of their success is their fans.

“We’re trying to develop a cult following – one hundred true fans are worth more than a million likes on Facebook,” he said. “True fans are who really matter. As a band, we really try to hang out with our fans. A lot of people gripe – they just want fans to materialize. Maybe they’re not big fans yet, but when they hang out with me, and I drive all the way across town to drop off tickets for them, and then they see me onstage… It really clicks. It makes all the difference.”

Torgersen said Captain Squeegee’s new album is by far their best yet.

“We’re really happy with it,” he said. “The fans really helped us there – our fundraiser for the album raised over ten thousand dollars. Things are great – we’ve got to pump out a couple more records like that. We’ll never sound mainstream totally, but we’re starting to penetrate into mainstream music. It’s only going to get more accessible… but still maintain the weird.”

As a group, Torgersen said Captain Squeegee has an undeniable bond, especially after this tour.
“All I can say to the fans would have to be… I can’t wait to give you more. If you think Squeegee has taken it to another planet, there are other galaxies. We’re going to see some shit. We’re not stopping.”

Monday, April 28, 2014

New group “The Skeleton Keys” knows the secrets to success as a team

The Skeleton Keys

By Matt Marn

Published in YabYum Music and Arts, 4-27-14

For Shane Hunt, music was always a conduit not simply for self-expression, but a way to relate to others.

"Music is the best catalyst for conversation I have ever discovered," Hunt said. "You instantly have something to relate to anybody with. I can channel all that energy, enthusiasm or anguish and create something that not only helps me, but will touch or affect others also. Music transcends language barriers, religious beliefs or ethnicities - it's a universal dialect. It's not difficult to be enthusiastic about that."

Shane Hunt, Sydney Sprague, and Sam Mitchell make up The Skeleton Keys, a new group in Phoenix ready to leave their unique mark on the Valley. Hunt plays guitar/mandolin, Sprague plays guitar/ukulele, while Mitchell plays violin/mandolin, and all three contribute on vocals. What's more, Hunt's comments show performing is something more to the trio than just playing music - they want to connect with their fans and make them feel something new.

Shane Hunt
"I tend to describe my songwriting as an attempt to encapsulate a particular moment or emotion," Hunt said. "It's like exorcism - you try to take an energy that is pervading your spirit and drive it out. Songs are a binding agent for that spirit. I look at where I am mentally and emotionally, feel what the tone of the song is, and imbue the melody and lyrics with the feeling I have currently, or with a past feeling that stands out to me."

Another sign of great performers is how easily they adapt to change. The Skeleton Keys have changed since they first began, and have risen to many challenges. When Hunt was first performing, he played solo, but once he saw Sydney Sprague perform at a local "Chicks with Picks" showcase, he just had to introduce himself.

"We had very similar interests and songwriting styles," Hunt said. "We blended very easily."

When Hunt and Sprague began playing together, it quickly became a natural fit. Later, while Sprague was working as an intern at a recording studio in Austin, Hunt began writing for a music journal, AmpKicker.com, covering groups in the Valley and national acts.

Sam Mitchell was playing violin for one such group when she crossed paths with Hunt. But while Hunt was present to watch the group perform, Mitchell's skills kept his attention through their whole set.

"I mentioned to her I was recording songs, and I would love to hear what it sounded like with her violin on them," Hunt said.

And later, when Mitchell parted ways with her former band, Hunt asked her if she would still be interested in working on the material together.

Eventually the three met and clicked instantly. The Skeleton Keys were born.

Sydney Sprague
"When we met, Sydney and I were instant friends," Mitchell said. "It's not fake, everybody is really into it - everybody loves playing music. It's music for music's sake. I wrote stuff that fit in with their music, and went from there. We did a lot of covers, along with their owns songs, to set the tone and develop our own rhythm and dynamic."

Hunt agreed, saying when groups sit down to write a set, there is often conflict regarding band direction.

"But with us, it was instant chemistry," he said. "Everyone got along great. When we first walked in, we played a blend of my songs and Sydney's songs... but we started to see the dynamic change. As a singer/songwriter, you write simply and for yourself, but I started to change in the way I approach songwriting. I write with the group in mind now, leaving space for Sam's violin or for Sydney's vocals."

Mitchell adds she truly believes strings elevate and provide depth to rock music.

"I was determined to show everyone violin will fit into rock music," she said. It does fit into rock music. It was hard getting into a band - first, because I'm a girl; second, because I play violin."

With the Skeleton Keys, Mitchell is thrilled to have found a group who appreciates her skills on violin, as well as builds their set around giving her a chance to shine.

Sam Mitchell
Before, in other groups, the fit just wasn't right," Mitchell said. "I came into this group now with bad experiences based on prior situations, but I was really blown away. I came home saying, 'I really like doing this! I really like music again.'"

Hunt said there is a tangible difference between Sprague and himself playing as solo songwriters compared to the dynamic of when they play together.

"I tend to write songs so I can still squeeze all the emotion, impact and intensity out of an audience I can when I play them by myself with an acoustic guitar," he said. "So when I started to write for the band, my process started to change a bit to incorporate Sam and Syd's strenghts and sensibilities into my own style. There is a definite contrast to things I've written on my own to what we are writing together now. There is space created for solos, and there is a lot of room for harmonies, for example."

The Skeleton Keys are ready to spread the word they are performing around town, and will soon head into the studio to record an album.

"Living off something we love so much would be amazing," Mitchell said. "We've played consistently for a few months. We plan to get photos, merchandise and our album going very soon. I don't care if we don't get crazy big; I just want to get where we can do this for a living."

Being an artist professionally is a major hurdle for most musicians, and Hunt knows there are many who are quick to condemn and sometimes dismiss performers. To every musical hopeful out there, he is just as quick to remind them for every criticism, there is a hand reaching out to offer help and support.

"You can't allow your expectations to dictate your action in the music business," he said. "You have to just exist in the moment and allow things to happen to you... it's an incredibly scarring and simultaneously intensely fulfilling experience. It's like being in love with someone - it has the capacity to make you rapturous or completely devastated... so much of it is contingent on the type of energy you take to the situation. So if you're open to good things, they will find you eventually."

The Skeleton Keys aim to open many doors in the music industry and in the minds of their fans for the foreseeable future.

For more information on The Skeleton Keys, visit them on Facebook and YouTube.










Tuesday, April 15, 2014

The Art of Busking with Jon Renner of "Tiger Heist"

By Matt Marn

As posted by Yab Yum Music and Arts

Jon Renner of Tiger Heist tries to play his guitar live every day. He practices, plans out his set list, dresses up, and heads out to play and spread the word about his performances. But the difference between Renner and many other acts is he plays wherever he wants, whenever he wants.

Renner is a member of the Phoenix "busking" community, a term for street performers. He brings his guitar out onto a street corner or near a busy concert or sports venue, and performs for passersby with an open guitar case for welcome tips.

"A lot of what I do is street performing," Renner said. "When there is a show at US Airways Center or Comerica, I go camp out and play. Fifty people have their eyes on me, and I'm a little nervous, but as soon as I start playing, it's all great."

Renner has been playing since September 2013, and January was his first solo gig. He plays as much as he can, sometimes more than one place or gig each day.

"I played 60 times in the summer - sometimes two or three a day," he said. "It really helped. Performing is only one part; the networking is great, too. I try to meet and talk to people whenever I play."


Learning the Ropes

Renner pointed out that now that music is his full-time job, a lot more goes into the craft once the food on your table depends on how well you can perform.

"You have to warm up and prepare for every time you go out and play," he said. "When you play and sing as well, it's a different muscle group. I can't just bail on the gig... it's my life. Also, when you get sick, it affects a lot - you have to cancel gigs, take time to recuperate. I also make an effort to dress up when I head out to play - to set myself apart."

Renner explained looking the part truly makes a difference. The first time he went out to perform on the street, he dressed casually for the heat, wearing jeans and a T-shirt... and didn't make much in tips.

"Later on, I went with a Johnny Cash look," he said. "I put on a black button-down shirt, nice looking shoes - and did a lot better. If you dress with confidence, the crowd picks up on that."

There are a lot of things he learned from experience from street performing. There is a proper etiquette among the busking community as a whole - a mutual respect which must be show to one another. He also had to learn on the fly about technique, amplifiers, what songs to play and when to play them, and so on. Most of all, he learned about how much you can make in tips, compared against the amount of foot traffic and people that stop to hear your performances.

"The secret is covers," Renner said. "At first, covers weren't what I wanted, but I got a lot of insight on great composers and artists. Learn a lot of songs, how chord progressions work. Then you can take that and adapt it, make it your own."

Renner has a number of original songs under his belt, as well. As for the inspiration behind his songs, he said it always varies based on the song, and what is happening in his life at the time.

"Some of my original songs I've been writing for years, while others I finish on the spot, before the hour is up," Renner said. "I usually start with a good chord progression - I've always been better starting with chords and melodies, then matching words to them, rather than the other way around."

An Early Start In Music

Renner said music had always been around his household. His father played guitar fairly well - he wanted to learn, too, but was afraid to ask. When he was in fifth grade, Renner's mother forced him to play the piano.

"I played nursery rhymes... I hated it," he said. "But I guess looking back, even that helped me learn the importance of practice, and it grew my ear for music."

He began to play guitar early, but it just wouldn't stick. Renner's true passion was revealed when his classmate took up the drums, and he followed soon after.

"My friend introduced me to Travis Barker, the drummer from Blink-182, and I tried the drums - and it just clicked," he said. "I loved it. I spent a lot of time practicing to get better. My friend taught me beats during the day at school, and I went to Guitar Center every day in the afternoon to practice them in the drum room."

Renner loves playing the drums, but in addition to drums, guitar, and a bit of piano, he also knows keyboard, ukulele, bass, and is trying to learn the violin. He used his talents to form a group during his school years first, where he played the drums, and brought in a guitarist and some other players. They played hip-hop/indie rock fusion, and called themselves "Tiger Heist."

"Honestly, we just picked the name because it sounded cool," Renner said. "We looked up the name to make sure it wasn't taken by another group. As it turned out, it was a slang term for an inside-job bank robbery back in the 40's and 50's. That locked it for us."

Unfortunately, the group as it was then did not last, but Renner kept the name as he went out on his own as a solo performer. He has since quit his job and devoted everything to music.

"I didn't have a set list or a plan... my first seven months, I lived on friends' couches, truly living the 'starving artist' lifestyle," Renner said. "I knew about street performing, I knew I could do that. But it wasn't until I heard about the performer Passenger - and saw his successful performances and videos on YouTube, and all his CD sales just from street performing - then I knew it was possible. I knew I could do it. I got the gear I needed, and started marketing myself as a street performer."

A Tough Gig, Indeed

Street Performing has come with its own set of challenges for Renner, including a territorial street performer from another corner, drunken pedestrians yelling into his microphone, and rough crowds.

"With street performing, you never know what will happen," he said. "Once, I had people not digging my music, and a really mean-looking guy walked right up to me and turned off my amp, right in the middle of my song. I guess you never know what might happen - but I still love doing it."

Another obstacle buskers have to work with can be legal barriers to performing. While Renner is fairly certain Phoenix accepts and welcomes street performing, other cities have more strict policies, particularly when it comes to performing plugged into an amplifier.

For example, Renner found out the hard way that in Arizona, some cities require a permit to play with an amp. He was stopped in Tempe by the police after 25 minutes of performing and told he needed a permit. When he tried to ask about getting a permit, he was told playing in Tempe with an amp requires $130 each time you play, and to get the permit, you have to state in advance where you want to play, and for how long.

"I would love to see the laws on street performing relaxed," he said. "I know the laws are there for a reason - if you take them away, a lot of people (who may need more practice first) might turn their amps way up, and hurt the reputation of street performing overall. And we don't want people with not enough experience or skill giving street performers a bad name, but on the other hand, they have the right to play, too... It's definitely a tough call."

A New Start for Tiger Heist

Renner has recently finished writing the songs for his upcoming album, and is now playing a number of pre-arranged performances at local restaurants, like Potbelly Sandwich Shop in Phoenix. While he continues to perform on street corners, he know performing in set venues is another great way to network and spread the word about his performances.

"You lose a lot of freedom playing in venues, but it's more professional," he said.

A lot of his attention is also moving toward getting his album recorded, as well as his CD release party, with a tentative date set for May 16.

"For me, it's a set date, but we've got a lot of work to do to get there in time, he said.

Renner also hopes to get a blog started, full of tips and advice on busking for street performer hopefuls. His dream for later on is to start a non-profit dedicated to sending used guitars to other areas, such as Africa, where they can find new life teaching new people to play and love music.

But for now, his advice to people hoping to learn to play guitar, or work their way up to street performing: Just do it.

"Ask someone - someone who won't just tell you what you want to hear," Renner said. "Ask them if you're ready to play in front of others. Memorize 10 to 15 songs, minimum. When you master those and get bored wiht them, then you're ready. Being on the streets is awesome, you get so much free exposure... I wish I'd known about street performing earlier."

Find "Tiger Heist" on ReverbNation, or catch him every First Friday in downtown Phoenix.

Tuesday, April 8, 2014

Rockabilly band '56 releases new album, Steppin'


By Matt Marn

The upbeat swinging tunes of local rockabilly band ’56 has had the crowd cheering for years now, but now they can bring them home with their debut album, Steppin'.

Steppin'
 is a superb example of capturing the rockabilly spirit with classic style. From their nine original songs to the rockabilly staples they cover in the album, their fast-paced beats have something for everyone. Bret Kaiser leads the group on vocals, Tom Mein shreds on guitar, Austin Case lays down the rhythm on the upright bass, and Jeff Garten sets the pace on drums. Together, they make a blazing, sharp-dressed rockabilly team, headlining music venues and events all over the Valley.

Mein remembered when lead singer Bret Kaiser came by Mein’s solo performance and proposed he join Kaiser in a new musical group.

“He told me he liked my playing, and wanted to know if I would be interested in joining a group,” Mein said. “He already had some really great, pro players I knew about, and I love rockabilly so I was excited to join.”

Mein has been playing professionally for the better part of his 40 years guitar experience. He was in a rockabilly band of his own called The Level in Detroit in 1980 or ‘81, just before the Stray Cats got their big break.

“We played all around town, mostly crappy little places, and then the Stray Cats hit MTV, and we started getting better gigs. That band didn’t last too long, but it happened during a formative time in my musical career, and I developed a deep affinity and respect for rockabilly and roots music. I really like a lot of different styles of music – I play a lot of jazz, and especially enjoy vintage, swing-era jazz. I also dig traditional country, bluegrass, rock, punk, and blues. Rockabilly kind of has elements of all those styles – at least the way we play it – so it is perfect for me.”

Mein’s favorite part of being in ’56 is that everyone in the band works so well together.


“The rhythm section – Jeff, Austin and I – really listen and play off of each other,” he said. “And I’m an improviser, so these songs evolve over time because I never play them the same way twice, and Jeff hears me and plays off of what I play. Not all musicians are great at listening like that. It makes for a tight, fun band.”

Mein is always impressed by Bret and his great showmanship and his stage presence, not to mention how the rest of the band wows the crowd on a regular basis.

“We have a lot of little things we do onstage together that are fun and look cool,” Mein said. “We never rehearse that stuff; it just comes up at shows and develops over time.”

Mein loves everything about music and performing live.

“Interaction – with the audience, with other musicians… creating, improvising, working really hard on a difficult passage and nailing it in performance,” he said. “Jumping off the drum riser, OVER Austin’s bass, and landing in a power slide on my knees into a guitar solo. Hopping off the stage during a solo and dancing in the crowd. Making good music and spreading it around to as many people as possible. I love it all – everything but hauling the gear after the show.”

’56 finishes the album strong with a cover medley, starting with “Harlem Nocturne,” an instrumental cover. They slow it down a bit with this haunting melody. Mein’s powerful soloing keeps it in great balance.

Halfway through the track, Kaiser’s voice reclaims center stage, and jumps right into “I Put a Spell on You.” His howling “Because you’re mine” is a tremendous finish to an album everyone can enjoy.

Whether you are a die-hard fan of rockabilly music from back in the day, or if you just love moving along with great tunes from fantastic performers, ’56 and their debut album,
 Steppin' will leave you cheering for more. Like they say in the song: “If you don’t like high-speed chases, you’d better not come along for the ride!”

If you want to see ’56 in action, visit them on their
 Facebook page, or head to their website (WARNING: music automatically plays. -Eds) to check for local performance dates. You should also check out the Steppin' promotional video on YouTube.