album review: Joe Hanna

Joe Hanna
Social Ritual
SELF-RELEASED



On his third solo record, Louisville singer/songwriter and guitarist Joe Hanna has brought together some of his — and our — favorite musicians, including Java Men vets Todd Hildreth (keys) and Ray Rizzo (drums), Picket Line bassist Danny Kiely and journeyman guitarist Mark “Lupe” Hamilton. Make no mistake, though, this is one man’s show, when it’s all said and done and the neon bar sign’s been turned off. Hanna’s Texas-via-Midwest soul/folk material, a well-balanced collection of jovial rockers and tender ballads, should appeal to fans of more famous acts such as John Hiatt, Lyle Lovett or Van Morrison; to be fair, they’ve all been at this longer, but Hanna is no mere pup and deserves his shot on public radio. The recording is crisp, and the band does an admirable job of providing subtle and supple support. Judge for yourself on Monday (Jan. 2), where they’ll perform a full-band set at Clifton’s Pizza at 7 p.m.

c. 2011 LEO Weekly

Affirmed but not forgotten

Nathan Salsburg’s first solo album, Affirmed, is a collection of mostly solo guitar compositions, performed by an archivist, radio presenter and LEO columnist who spends much of his time interacting with music old and unjustly forgotten.

LEO: Why make your first record now, at the advanced age of 30-something?

Nathan Salsburg: The short answer is that I’ve wanted to make this record for a long time, and it took this long to make. The long one is that some years ago, I got really burned out on playing music with the fairly paltry tools I then had at my disposal, and instead devoted myself to becoming a better listener. Over time, that devotion increased my attentiveness, adventurousness and sensitivity as a listener, which started expressing itself in my playing, and in the development of a style that felt like mine. The style started begetting tunes, and the tunes begat the record.

LEO: You work in the music industry, working with digital files all the time. So why do I have a CD in my hands?

NS: I wouldn’t say I work in the music “industry.” My livelihood doesn’t rely on how much music I can sell, but rather the efficacy with which I make music available. And as people, including me, interact with music in all forms of media, I’m glad that Affirmed is available in as many formats as the label saw fit to produce: CD, LP and MP3. I love cassettes, and if they had been a feasible medium to produce, I would have been happy with that, too.

LEO: What should people do while listening to your record?

NS: I would hope people would be satisfied just listening to the record. If they are, it’s a success.

Learn more at noquarter.net.

Photo by Tim Furnish.

c. 2011 LEO Weekly

Mixing it up for 20 years on ‘World Café’

Even after two decades of hosting public radio’s “World Café” (heard locally on 91.9 WFPK, weekdays from 6-8 p.m.), David Dye has trouble explaining his job to some people.

“The parents of the kids at my kids’ school — I don’t think they know what it’s about,” Dye laughs. “I try to explain it, and I go, ‘Well, it’s sort of semi-popular
music …”

The Philadelphia-based show features semi-popular Celtic folk, garage rock, hipster dance, ’60s pop, funk revivalism and any other sounds that interest Dye and his staff. Sometimes it actually reflects popular taste, from recent guests like Foster the People to early discoveries like Sheryl Crow.

“I remember seeing her at a convention,” Dye reflects. “Everybody was talking with everybody and having lunch, and nobody was paying attention to her, and I thought she was great. You look at Sheryl Crow now and you go, ‘How could you not have realized that?’”

The early years were defined by singer-songwriters, but Dye and his staff evolved with the times. “We went where the inventive music goes. We went with people who were doing more interesting things. It’s what we’re listening to, and it just made a lot of sense.”

Adapting has been a large part of why they have been able to continue — not just financially, but as music fans. Dye continues, “The original AAA artists are … I guess, in some ways, they’re not being as creative. We’ve lost a few stations who wanted a more folky thing, but that’s not really what we’re doing.”

Dye has interviewed almost 5,000 musicians. Occasionally, it doesn’t go as planned. Lou Reed behaved typically. “It wasn’t really a disaster — I think it was pre-planned. He just gave me one-word answers for a long time.” With pop singer Jewel, a misunderstanding interrupted what should have been a breezy chat. “Jewel and I didn’t click. I probably clumsily asked a question and she reacted; she thought I was insulting her, so she insulted me back. Like, ‘Whoa, all right!’

“Generally speaking, the staff here has found that my interviews are best with people I really like. If I don’t really love somebody, I can get myself into trouble,” laughs Dye.

More often, Dye has been able to spend time with artists and learn more about them. “I think one of the major things is not being afraid to ask the question that you’re nervous about. Or that you think might offend somebody. Because you have no idea … you can’t get inside their head.” Dye has the advantage of being in a studio with his subjects. “I try to be very conscious of reading people’s cues — either vocally or what they’re saying, just watching how comfortable or uncomfortable they are.”

Dye agrees with those who tell him he has “a dream job.” “We just started up this new ‘Sense of Place’ series, where we travel to various cities and talk to musicians. I mean, wow! It’s a fabulous, fabulous job.” A recent voyage to Dublin will soon be followed by trips to New Orleans and London. “People always say, ‘Why don’t you go out to see much music?’ Well, every day I’m seeing something coming in to me.”

One problem Dye has, which many share, is a lack of time to listen to all the new music that pours in constantly. He now commutes via train, and recently began a morning workout routine that adds an additional album’s worth of tunes to his day. Recommendations from staffers, colleagues and the web help him focus.

Even after what’s already been an amazingly long run, the world of “World Café” continues expanding. A 2007 book compiled some of Dye’s favorite interviews, and two live performance venues branded as “World Café Live” have opened in the Philadelphia area.

Dye’s biggest goal is to keep the sounds diverse. “People’s record collections are not one thing, and the more I remember that, the better. It’s great to have the Black Keys on, but it’s also great to have the Chain Gang of 1974, or something with Yo-Yo Ma. I like to mix it up.”

photo by Michael T. Regan

c. 2011 LEO Weekly

Mercy Me

You might recognize Tender Mercy’s Mark Kramer from his years behind the counter at ear X-tacy. The music Kramer himself makes could be described just as he can: tall, lean, quiet and powerful. The new Tender Mercy EP is The Road To Good Intention Is Paved With Hell.

LEO: How did the band come together?

Mark Kramer: Although in the past I’ve had help, it is just me that represents Tender Mercy. I thought about going under my own name, but I really liked the title, and coincidentally, it kept appearing in books I was reading. I took it as a sign. So to answer your question, the band came together at conception. Careful with that one — I know this is a family paper.

LEO: Your music is often quiet and slow yet, for this EP, you worked with some of Louisville’s most notable hardcore musicians. What did they offer the project?

MK: The operative word here is “musician.” They are wonderful, generous, multifaceted individuals whose use of their ears isn’t limited to hardcore or heavy music. What did they offer? Their respect and kindness, and a much different way of hearing what I do. Their impact was nothing but positive for this EP and a huge part of why I am so proud of it.

LEO: You worked for a long time at ear X-tacy. Is it extra bittersweet that you won’t be able to sell this EP there?

MK: Extra, extra bittersweet. One of my hopes was not only to have it sold at ear X-tacy, but, having seen so many inspiring performances there, to kick off its release with an in-store like so many amazing local bands have.

LEO: What is your favorite Robert Duvall movie?

MK: “Days of Thunder.”

Learn more at tendermercy.bandcamp.com.

photo by Sean Bailey

c. 2011 LEO Weekly

album review: Dane Waters

Dane Waters
Dark Waters
SELF-RELEASED



Music can have such an odd effect on memory. Though Julee Cruise is hardly a household name today, chances are many would instantly recognize her voice from the “Twin Peaks” soundtrack. The only song I remember from my wedding reception was hers. It’s a sound not heard often enough, and it’s the first thing one might hear upon entering these Dark Waters. The well-trained local vocal champ, who has collaborated with many of Louisville’s best artists across multiple genres, has finally released this, her first (almost entirely) solo effort, and the freedom afforded here suits her well. The album is a haunting, lush collection of minimal soundscapes that probably work as well in a spa as they do in a gallery or an intimate nightclub. Some of the mostly one-word song titles give a fair approximation of the mood here: “Winter,” “Blue” and “Dream Again” deliver on their promise — but just because she sounds mellow doesn’t mean she’s not fierce and mighty.

c. 2011 LEO Weekly

album review: Supertruck

Supertruck
Supertruck
SELF-RELEASED



I wasn’t really lucid in the ’70s (but then, who was?), but I am a student of music history. Such a time was fertile for what we now call classic rock and Southern rock; it was the best of times and the worst of times for each. Louisville’s Supertruck has clearly done some of the same homework, and knocks out a promising collection of boots-wearing, truck-driving rock that should help establish them as a band to watch. Though cuts such as “Whiskey Cut Tea” and “She’s a Drinker” might make them sound predictable, there’s more going on here than just drinkin’ anthems. While lyrically they fall short of Skynyrd’s best story songs, and singer Jordan Humbert’s everyman vocals can’t match the beauty of Dickey Betts or the grit of Gregg Allman, Supertruck’s guitarists, Sturdevant and Jordan Humbert, kick out jams more than worthy of the Outlaws or the Marshall Tucker Band. A fluid rhythm section and extra touches of piano and fiddle help flesh out some good ol’ listening.

c. 2011 LEO Weekly

Foxy like a craze

The Foxery invade Headliners on Tuesday, Dec. 20, to celebrate the release of their new album, Life Is Still Beautiful. LEO asked Travis Beck about their year.

LEO: What changes and opportunities have you gone through this year?

Travis Beck: This year has been quite full of changes and opportunities, and has probably been our most busy year to date. First off, this is the first full year with our current bassist, Mike Stewart, so it’s been a growing opportunity for the band to develop with a new bassist. He has been a wonderful creative influence on all of us, and has really fit perfectly into the direction we have taken with our music. This band has always been a sort of brotherhood, first and foremost, and Mike has been a wonderful addition both musically and as a friend and brother. In the last couple months, we have also been working in a second guitarist, Dean Bryant, and I am so excited to see where he takes us musically, going forward. He has been great to have around.

We have been blessed to play on some pretty cool shows this year, such as opening for Ra Ra Riot and Pomegranates, and those bigger shows have really helped us to gain a strong stage presence. It’s been a wonderful year for all of us, and I think we have grown a ton. I know I can’t wait to continue growing and developing with these guys in the years to come.

LEO: Who are your favorite local bands?

TB: There are quite a few bands we would call brothers right now in Louisville, and new ones seem to be coming up pretty regularly, so that’s cool. Sadly, our closest friends, Young Lions, are breaking up, but we certainly hope that they all continue with making great tunes. Other bands we are close with and love are Via Animo, Anwar Sadat, Fork in Socket, Brain Trust, Jovian and Jubalson, who also will be joining us onstage at our CD release at Headliners.

Learn more at thefoxery.com.

c. 2011 LEO Weekly

Former Thieves’ First World Blues

LEO spoke with Former Thieves vocalist Matt Schmitz a couple weeks ago as the band was enjoying nice weather while touring the West Coast. The Cedar Falls, Iowa-based band has spent most of the year touring behind their No Sleep Records release, The Language That We Speak. This show will pair them with two Louisville bands also signed to the Southern California label.

LEO: You’ve been here already twice this year, at ear X-tacy and Krazy Fest.

Matt Schmitz: Yeah, it was cool. We love Louisville.

LEO: Our record store, ear X-tacy, just closed down after 26 years.

MS: I just read that the other day! That’s a bummer, man.

LEO: Are you hearing those stories everywhere you go?

MS: Not so much. The ones that we’ve played, everything’s fine so far, but that one — that was a real big bummer. That was a really cool record store, and everyone that worked there was super, super nice. The show we played there last March was awesome.

LEO: You’re playing a house show here.

MS: Yeah! The Chestnut House, we are so excited about that!

LEO: Do you play lots of house shows?

MS: That’s how we started. We basically played living rooms, basements — anywhere we were able to play. Since then, it’s been mostly venues, so when we can get back and play house shows and get back into that environment, we’re really excited about it. It’s going to be a nice change of pace to go from playing on big stages every night in front of a lot of kids who aren’t 100 percent sure who we are, to playing in a basement with a bunch of bands we really, really like.

LEO: And you’re friends with the bands here.

MS: Yeah, we’re best friends with the dudes in Xerxes. We’ve known those guys for years now. They’re one of our favorite bands. We’ve done some touring with them in the past. They’re on the same record label we’re on, and Frontier(s) is playing, too — we’ve never played with them before, but they’re on No Sleep Records as well, and the old singer from Elliott’s in that band, which we’re all big fans of, so we’re really stoked to see them play.

LEO: What inspires you when you write lyrics?

MS: It’s a big blend of issues. I have a habit of putting myself in a really uncomfortable position, in public — like, for instance, I’ll go into a coffee shop, or into a really crowded bar, and listen to people’s conversations. It really brings out a lot of issues. Most of our songs are about the ups and downs of the reality of how people are, the good side and the bad side of it. It’s been really cool to grow as a writer. When we started out, it was pretty one-dimensional. Since the last full-length, I’ve really gone in some new directions. We’re working on a new EP now, and we’re trying to spread out a little bit further with ideas, so it’s cool.

LEO: You sound like a reporter or a critic.

MS: Yeah, I think “critic” is the best term to use, because you’re putting yourself 100 percent out there, and surrounding yourself with stuff that’s really annoying or repetitive in people’s lives, just picking stuff apart and finding an issue, then trying to go a lot further … When we were working on this last full-length, a year ago, we’d been on tour for a long time, then we had to get home and finish up all these songs. We had a bunch of songs, but I had to really get down and finish all the words for them. We were getting down to the wire, so I basically had to go somewhere and pile through everything, so that’s what happened. “I’ll just go to a coffee shop and see if this works.” And I realized, “Wow, everyone here sucks!” I got a lot better material as I put myself in that scenario.

Former Thieves
with Frontier(s), Xerxes and Lay Down & Die
Sunday, Dec. 18
Chestnut House
714 E. Chestnut St.
facebook.com/FormerThieves
$5; 7 p.m.

photo by Tim Dodd

c. 2011 LEO Weekly

Josephine Foster’s little life

Outsider folk-artist Josephine Foster has traveled from her native Colorado to Chicago and on to Spain, exploring different facets of her music — as a solo artist, or with Born Heller and other combos, creating music that runs from the contemplative to the raucous. Arthur magazine’s Jay Babcock called her “A Grace Slick for the 21st century — and that’s all grace, no slick.”

LEO: You draw on many different historical eras to inspire your music. Do your non-musical hobbies or tastes inform your musical education? Or do you just seek out music from earlier periods as a music lover?

Josephine Foster: I am a music lover. One influential hobby when I was very young was being a water-ballet swimmer. Listening to crystal clear music from underwater speakers and dancing in synchronized motion with other girls was very magical. I chose LPs from the public library — Bach, The Beach Boys, Mantovani Orchestra, television-Western theme music — and made spliced compilations that flowed together into a three-minute routine. Then I choreographed very wild water dances to this music. Sometimes there were lightning storms and you would be watching the flashes of light as you came up for a breath, and the music was above and below the water. This activity led me to listen to many types of music, especially thinking of dance, and it was very influential on my imagination.

LEO: Have you learned anything from teaching music to others that you’ve applied to your own music? Do you study with any teachers yourself?

JF: One thing I feel reflected in my music directly, especially, was working with children, very young children — I prefer ages 3 and 4. To me, (that is) the age of a most fascinating aperture of that imaginative child state. They did affect me a lot, and some of my children’s songs I wrote to invite them into spontaneous improvisations within song. I did study with teachers, various ones, in my days of aspiring to an operatic career and, boy, I learned some good things, and sometimes got extremely confused. Hopefully I didn’t confuse too many people when I was a voice teacher, but being confused might be the nature of it. Learning to sing is not for everybody; I think it’s a Western modern activity, at the heart of it a healing process to unite divided, confused people. Some people have an intuitive flow with their voice and body, and others have psychological barriers reflected in their voices, which ideally a teacher can help out with. I love to teach singing and accept students to this day.

LEO: Ukuleles have become trendy recently, but you’ve been playing them for a long time. Does it make you happy or sad to see Eddie Vedder clutching a uke?

JF: Ukuleles are fantastic. My brother just picked it up, even. To me, any trend involving actually playing an instrument is a very, very good thing.

LEO: Some find your music romantic, some find it spooky, and some say it’s both. What do you hear?

JF: Well, I hear all those things, and other things, too. I am a romantic, for sure! Romanticism has its inherent shadow side.

LEO: Your husband is from Spain. Where is the best environment for you to make music?

JF: I’ve lived there for the past five years. The best environment for making music is with resonating people and even animals, and within acoustical reverberent structures, whether from architecture or nature.

LEO: What’s next for you?

JF: More songs from Spain, more of my own songs, and new collaborations from Nashville to New Mexico.

Josephine Foster with Parlour and Dane Waters
Friday, Dec. 16
Zanzabar
2100 S. Preston St. • 635-9227
myspace.com/josephinefoster
$10; 9 p.m.

photo by Jessica Knights

c. 2011 LEO Weekly

A lifetime of Black Sabbath

The founding father of heavy metal pretty much lied to me. Despite being a kindly English gentleman overall, Black Sabbath guitarist Tony Iommi tried to deny one important question, for understandable business reasons. It happens, and the LEO music department has certainly dealt with worse through the years — and where would heavy metal be without a bit of mischief? His new memoir is “Iron Man: My Journey Through Heaven & Hell With Black Sabbath” (Da Capo, $26, 416 pages).

LEO: How are you enjoying your new life as an author?
Tony Iommi: It’s different. Yeah, very.

LEO: Has it given you any new understanding into your life?
TI: It has, yeah. I’ll tell you, it’s certainly given me a shock — when you see in print the things that went on in your days … (laughs)

LEO: Do you think it’s worth it?
TI: I’ve never really done anything about my private life — that was the hard thing for me. I’ve always talked about the band, about Sabbath, for 40 years. To talk about your private life’s a little bit different.

LEO: Have you set anyone’s beard on fire recently?
TI: (laughs) No, I’ve stopped that now. Those days are gone. Yeah, that was in my silly younger days.

LEO: Is there nothing you do now that falls in the category of “silly”?
TI: I still play a bit. I can’t help it — it’s embedded in my psyche. I’m always pulling pranks on people and joking around. What’s life all about? You’ve got to have a bit of fun.

LEO: What is it about the temperament of a musician that keeps them from settling down like the rest of society?
TI: Well, I do do what everybody else does. I’ve settled down, but I do something else as well. When I’m at work, playing, it’s a slightly different life, but when I’m home, I’m like everybody else — I watch movies, go out to dinners and see my friends, and walk, and do whatever it is you do.

LEO: I interviewed Henry Rollins today, and he told me that he’ll be moderating a press conference with Black Sabbath soon, announcing your new record.
TI: Really? I’ve not heard that. That’s a new one on me. My goodness. Unless they’re doing one without me … (laughs) “Henry Rollins is playing guitar!” When was that supposed to be?

LEO: He said a couple weeks, in Los Angeles.
TI: OK. Well, I’ll investigate that. I’d like to know what album he’s announcing, as we haven’t done one!

LEO: What other future plans do you have?
TI: Well, we have been in talks about the original Sabbath getting together, but that’s not definite yet. I’ve got a few different projects underway.

NOTE: LEO spoke with Iommi and Rollins on Nov. 2. On Nov. 11, Rollins hosted that press conference with the band, announcing that the four original members of Black Sabbath have been rehearsing, will be touring, and will record a new album. Rolling Stone reported that Iommi said, “It’s now or never. We get along great. Everything’s really good.”

c. 2011 LEO Weekly

album review: She & Him

Shim’s adorkable She, Zooey Deschanel, has had quite a fall season. She’s become a mainstream TV star, she’s getting divorced, and then there’s this, a classic Christmas album. By “classic,” I mean “as expected,” or surprisingly lacking in surprises or innovations. She and M. Ward (Him) do their usual thing, including typically skillful guitar textures from Ward, but if you like Christmas music and/or have any Christmas albums — well, this is another one of those. She tries to do her best Ronstadt, especially on “Blue Christmas,” and yes, the audiophile duo do take on tunes from the Beach Boys and NRBQ, but if you aren’t charmed by blue-eyed devil Deschanel, you probably won’t enjoy her solo ukulele rendition of “Silver Bells.” If you are, you will, and so on. It’s as if the pair have gone so far beyond irony that they forgot to not take this so seriously. Is it bah humbugable? Not necessarily, but is it worth $15?

c. 2011 LEO Weekly

album review: The 23 String Band

Kentucky’s 23 String Band seem like a lot of guys we know and love around here — regular dudes with exceptional skill. Their bluegrass attack is fueled by high-octane rock ’n’ roll energy, skillfully guided here by producer Kevin Ratterman. A rascally sense of humor also helps distinguish them from some of their peers, dropping in quotes from other songs like jazz musicians and mimicking trains or jugbands or whatever else strikes their fancy. While some exponents of this genre can be overly reverential at times, the Strings are too raucous to settle for easy sentimentality or religiosity; they’re more about liquor and girls. The sources of their cover material here — including a John Hartford beauty and an early Tom Petty FM classic — indicate their relaxed attitude, though they put everything into these performances. Author Silas House, a better scribe than I, wrote, “Their shows are electrifying, their songwriting is top-notch, and their vocals are as tight as the cork in a jug of moonshine.” And we think you’ll agree.

C. 2011 LEO Weekly

Sampling White Rabbits

The founders of the sextet White Rabbits moved from Columbia, Mo., to Brooklyn in 2005, inspired by Ska and its New Wave descendants. Since then, they’ve expanded their sound and found mentors in the popular Austin-based Spoon, whose leader, Britt Daniel, has produced for them. The third White Rabbits album will be released early next year.

“We spent the summer in Austin. We were there for three months, from April through the Fourth of July,” says singer/pianist Stephen Patterson. “It was the longest continuous stretch we’ve ever had to be able to record a record.”

Like most young bands, White Rabbits have had to patiently pay their dues. Though their indie pop/rock is undeniably catchy, they haven’t had a hit song yet for radio or car commercials.

“Out first record (2007’s Fort Nightly) was done by sneaking into a studio every weekend, or whenever we could,” Patterson says. “The second record (2009’s It’s Frightening) was done over the course of four weeks, in two two-week sessions. It was really fast. So it was nice this time to stretch out and have time to experiment with stuff, try different arrangements, go through wilder sounds than we’re used to.”

Patterson clarified that their new songs aren’t wildly different, but involve a new way of writing for the band. While some of the new material came out of playing together live, others came from recycling aspects of those performances. “We got into the idea of sampling ourselves. I would record the band, or just a few of us, playing in our rehearsal space in Brooklyn, and find a little moment that sounded cool and use that as the basis for a song, (a sound) that would go through the majority of the song as the main building block.

“We knew that we wanted to apply the rhythm stuff in a new way. That was one thing we were aspiring to do — instead of doing a straight drum sound, putting a little something or other on top of the drums, giving some special quality to that part or arrangement … I grew up playing drums, so I love working on those parts with those guys, and it’s still a big factor in the music we make.”

Whether it’s Animal Collective’s modern take on psychedelic and tribal rhythms or Vampire Weekend’s more accessible, Paul Simon-inspired Caribbean style, it’s become increasingly easy lately to find bands more interested in percussion.

Patterson concurs, “I think that’s great for the most part — drums are cool, they’re a pretty timeless instrument. But I feel like there are many other ways this concept could be applied than the ways I’ve been seeing it lately. It’s not just simply about power; it’s also about all the different textures it can get.”

The members of White Rabbits have found inspiration in the Ethiopian music series Ethiopiques, as well as “a lot of R&B and a lot of hip-hop.” Patterson says the band also draws inspiration from “a lot of Afrobeat stuff. We really learned to play as a band touring through the last record, so on this one we got really into getting a locomotive kind of rhythm going and trying to keep it continuous throughout the track.”

You learned to play as a band on your second record?

“Yeah, I would say so. Repetition — you do it enough (laughs) and you start to figure out what we can do, between the six of us, that sounds cool. We stopped trying so hard to replicate the album live. That forced us to only be listening to each other in the room, at the moment. That’s a very obvious sort of thing, but a lot of times those very obvious things can take a while to totally sink in. The main thing is, you just tour for a long time and … we toured for long time on our first record, and our second — for two years off of that one — and we’re starting to figure it out.”

WHITE RABBITS WITH SONOI
Thursday, Dec. 8
Zanzabar
2100 S. Preston St. • 635-9227
whiterabbitsmusic.com
$10 adv., $12 DOS; 9 p.m.

c. 2011 LEO Weekly

Big Baby Band

Old Baby is a new group featuring members of local bands Young Widows, Workers and King’s Daughters & Sons. Their debut EP, Misunderstanding Human Behavior, will be released by Hawthorne Street Records soon.

LEO: Tell me about your new supergroup.

Jonathan Glen Wood: Drew (Osborne) and Evan (Patterson) wanted to play music together, and then Todd (Cook) wanted to play. Since I became friends with Evan, we’ve always talked about playing music together. Then we asked Neil (Argabrite) if he wanted to play. It just worked out, man. We got together in, I guess, February, and we set a goal that we were gonna try and write and record something pretty quick. It was cool, going into the studio and having everything come together, and it actually sounded really great.

LEO: How do the members’ different influences come together?

JGW: From my end, there are some darker folk elements. From Evan’s end, there’s some really great washed-out guitar stuff. It’s definitely heavy, but it’s not like loud heavy, it’s just really intense. There are some repetitive elements, but we don’t have any long tunes — everything is pretty concise. There are moments when it all opens up. Definitely influences are late ’60s/early ’70s rock ’n’ roll; for me, ’70’s folk … some Krautrock stuff … even some pretty raw punk stuff comes in, musically.

LEO: And the name?

JGW: Old Baby was one of the first ones that Todd came up with. We cycled through so many names, and none of them really clicked. That’s the one that stuck.

LEO: Todd was previously in a band called Dead Child.

JGW: (laughs) Right.

CAVE and Old Baby play Sunday, Dec. 11, at Zanzabar at 9 p.m. Go to othersideoflife.wordpress.com for more info.

C. 2011 LEO Weekly