Prairie Music Festival: It’s All About Choices

Written by Greg Hettmansberger

What to do on a September Sunday when the Packers don’t play until Monday night? Well of course there’s plenty, but it may be worth a drive to East Madison’s neighbor, Sun Prairie, for the Prairie Music Festival.

Presented by the Prairie Music Academy, the Festival consists of a wide variety of local artists performing simultaneously at three venues: the Cannery Grill, the Prairie Music Academy and the Beans ‘N Cream Coffeehouse. With all three within a long touchdown throw of each other, you can play mix and match genres from 2-6 p.m.

 It’s the Cannery Grill Band Stage that features a mix of rock, country and jazz, with each band beginning on the hour starting at 2 p.m.: The Soggy Prairie Boys, Mark Croft, The Rowdy Prairie Dogs and Daniel and the Lion.

 The Beans ‘N Cream Coffeehouse presents four singer-songwriters: Erin O’Brien, Kris Adams, Derek Ramnerace and L.A. Byrd.

 The Prairie Music Family Stage offers the greatest variety, including some dance, ethnic and even kid-friendly opera arias: David Landau at 2, Granny Awards at 2:30, Storybook Ballet Demo Class at 3, Piano Campers at 3:30, Roots of Brazil Capoeira at 4, Fresco Opera at 5, and Fusion Dance at 5:30.

Top 5 Reasons an Artist or Band Should Ditch the Label

By Tyler Barnett of likeZEBRA.com

Below are the Top 5 Reasons an artist or band should ditch the label – brought to you by likeZEBRA.  Help reignite the indie music movement!

1.       Competition for Attention- Music artists are already forced to compete for the attention and interest of fans; they shouldn’t have to compete for that attention within their own record label. Labels divvy up their focus between multiple signed artists.  Whereas an artist may be giving 100% to developing their music career, a label can only allocate a fraction.
2.       Quantity over Quality- A record label’s main concern is the monetary return on their investment, but  an artist’s main passion is the quality of the music being produced.  Conflicting core values between labels and artists unnecessarily inhibit the creativity and uniqueness of the artists’ music.
3.       Taxation without Representation- Labels take a cut of the money earned by artists for performing tasks that the artists could actually do themselves with the right access to resources and guidance.  Web sites such as likeZEBRA.com offer recording and promotional tools to get the music directly out to an audience without being an expensive middle man.

4.       Out of Touch- Labels have a toxic fixation on record sales. This is an anomaly in today’s low record-selling music industry.  With the easy access to cheap or free music online, labels are rapidly losing their relevance for turning their focus more towards the importance of live performances.  Even major bands like Radiohead and Nine Inch Nails addressed their labels’ irrelevance by selling recent albums directly to fans online.
5.       Trade-Offs of Contracts- What does an artist really get in return for signing with a label? Lack of creative control? A portion of their own paychecks? Restrictions and inflexible deadlines? Binding obligations to labels leave much to be desired when artists can now rely on themselves to get their music produced, promoted and purchased.

–
Tyler L. Barnett
Tyler Barnett PR
Public Relations | Marketing
Phone: 323.937.1951
Cell: 818.929.8166
Fax: 323.658.1903
8484 Wilshire Blvd | Suite 242 | Beverly Hills | 90211

Bob Manor and the Getaway Drivers @ the High Noon Saloon – January 8, 2010

Written by Karl Tollefson

The High Noon Saloon played host to a CD release party for Bob Manor and the Getaway Drivers in honor of their latest EP entitled The Truth Is Where It’s Alway’s Been. It was a superb turnout for an early show and the band performed with all the passion and beautiful harmony they have come to be known for. The  haunting and ethereal voice play between Bob Manor and violinist/madolinist/vocalist Sheila Shigley is reflected in the joy in their faces as they perform, and their chemistry works its way from the ears to the very soul.

Barb Chusid (Photo by Karl Tollefson)

The Getaway Drivers describe their musical style as somthing all their own, yet their is something comfortably familiar in their approach. Comparable to performers such as Fleetwood Mac yes, but not to be so alike that its musical plagerism.

The cello of Stephen Pingry flows around and intertwines with the picking of Sheila Shigley on one of the many string instruments she may be playing, while rhythm and lead guitarist Dan Kennedy adds colorful and tasteful flourishes.  Tom Broeske’s bass Gail Campbell’s drumming and percussion  fuel the machine with precision. Every instrument, down to the keyboards and melodica played by Barbara Chusid, serves to harmonize and puncuate without intruding on the song structures. All these elements fall in behind the lead vocals of Bob Manor and it’s his rhythm guitar playing and the vocal duets with Shigley that complete and define the Getaway Drivers.

madtownlounge.com/getawaydrivers

Sheila Shigley and Bob Manor (Photo by Karl Tollefson)

Sheila Shigley (photo by Rick Tvedt)

Bob Manor (photo by Karl Tollefson)

Gail Campbell (photo by Karl Tollefson)

Steve Pingry (Photo by Karl Tollefson)

Tom Broeske (Photo by Karl Tollefson)

Dan Kennedy (Photo by Karl Tollefson)

The Return of Vinyl or P.K. Hears His Calling

Written by Cory Schultz

Patrick is poor. He has no full time job and his humble attire could use a spin through the nearest laundromat. But he’s not unhappy about it, because he manages to scrape by doing what he loves. And what he loves just happens to be on the upswing as music passes through its next phase: selling used vinyl records.

Thought to be completely dead in the late 1980s when digital compact discs (CDs) were on the rise, vinyl records started popping up store shelves again shortly after the turn of the millennium, circulating around small LP and used music stores. This summer marked the return of vinyl records to large chain stores such as Best Buy, suggesting that the medium has experienced full resurrection.

The reasons for this renaissance are vague. Patrick, who prefers to be called P.K., is certainly happy about the rising interest in vinyl and has closely watched this product’s progression.

“One summer, about ten years ago, I unpacked all my records – perfectly preserved – and decided to set some out on the curb for people to take,” said P.K. “They were gone before I knew it, which is when I started throwing rummage sells that made more for me as time went on. Eventually it took on a life of its own.”

P.K. went on to describe the days he spent living in Montreal for a year, when selling LPs was his only source of income.

What seems to be driving the vinyl revival? Some speculative explanations include the addition of free digital download coupons with many new vinyl records, or the distribution of record players with digital transfer capability from vinyl to mp3. Dave Zero, owner of MadCity Music on Williamson Street, had a more dramatic answer.

“I think it’s a rebellion among music fans,” said Zero, “a natural reaction from the people that have become dissatisfied with mp3s and the download world.”

Zero believes music fans want something tangible they can own to show as a testament to their favorite bands, and the convenience factor of CDs doesn’t hold up anymore.

P.K. mentioned that in the late 1980s he “made the same mistake everyone else did” by packing away thousands of vinyl records he’d amassed over nearly a decade of collecting, and switched to CDs.

“I don’t regret it, though,” said P.K., “it turned out to be a good investment!”

Now with much of his original collection sold off, P.K. continues to search for used records in various stores and rummage sales around the area to keep his pseudo-business alive. In his experience, the factors that make a good buy for used records is rarity, condition and popularity. Much of his days not spent selling he occupies with cleaning the records to get rid of surface noise and distortions.

P. K., who is not a fan of corporations to begin with, believes large chains are selling LPs simply to make money  but with  little or not regard for the  customers’ passion for music. Zero  agrees.

“Large chain stores treat vinyl as a novelty item,” said Zero. “Used vinyl has become a bloodline for us, so we want to know and connect with our customers.”

P.K. plans to expand his venture into a legitimate small business, potentially including a coffee shop, sometime in the future. He’s already surpassed a crucial hurdle: establishing a clientele. My interview with P.K. was interrupted more than once by patrons who had stopped by to shop or talk music with him at the coffee shop where he sells his records.

“Just like any business, I’ve gotten to know a lot of people on a first name basis,” said P.K. When asked if his business tends to attract the popular image of the music snob, he said people who really listen to vinyl records usually have wide, eclectic music tastes, and snobs are characterized more by the obsession of collecting to hoard and not to listen.

The most gratifying aspect of selling used records, according to P.K., is factor of fate. One story he shared was the day he found an ultra-rare copy of “Songs of the Humpback Whale,” an eerie recording of ocean-deep whales communicating. He was shocked and excited. Not more than a few minutes after setting it out to sell that same day did a man pick it up with the eyes of someone greeting a long-lost sibling or a lover.

“I believed that record was meant for him,” said P.K. “At the end of the day, vinyl is really a quality of life issue.”

Lords of the Trident @ The Majestic Theater October 1, 2009

Submitted by MD Stevens
   

The Majestic was electrically charged with the anticipation of Power Metal. A thunderous voice breaks through the crowds cheers welcoming everyone to “the most metal night” of their lives. A few rules are laid down warning those present not to try to reclaim any severed limbs, and those who are brave enough to approach the stage will be greatly rewarded in Valhalla. And the Lords of the Trident take the stage to a floor shaking reception.
   

The Lords of the Trident are a musical experience no audience can forget. With songs called the Virgin Vault (a mythical place full of women where a warrior could lose his soul) and Robots Revenge (a song about a cleaning robot that snaps and begins a killing spree), their music is nostalgically reminiscent of the great power metal bands of the 80′s with lyrical themes focusing on fantasy and mythology. Their ballad song, Alone in Cole Hall, ‘takes it down’ for the audience as front man, Fang Vonkillenstein jumps to the floor to dance with a few ladies.
   

Of course, just looking at the Lords of the Trident, one knows they are in for a ride. The lead vocalist is a barbarian called Fang VonKillenstein who could easily take Steven Tyler’s title as the scream-demon. Not that the band needs another demon. Korgoth, the drummer, is demon enough. Asian Metal, the samurai guitarist, Killius Maximus, the gladiator guitarist and Captain Bluddbeard, the pirate bassist, work together to create evocative and bewitching riffs and rhythms that forges a sound all their own. But their sound is only a part of the whole experience. The Lords of the Trident have a stage show comparable to Alice Cooper or Rob Zombie. But the Lords replace snakes, corpses and asylum inmates with raging battles against the audience, to ensure they stay on their toes. And Fang’s barbaric metal fury keeps gives the audience a thrill when his microphone and guitar erupt in flames.

The Lords have their CD, Death or Sandwich, for sale at all their shows and have plenty of merchandise for fans to show their support. This band is intense and dedicated, headlining shows and opening for bands such as ZoSo and Beatallica. This a band to watch!

Harvest Fest  39: Madison Musicians Rally for Medical Marijuana

“Prohibition…goes beyond the bounds of reason in that it attempts to control a man’s appetite by legislation and makes a crime out of things that are not crimes. A prohibition law strikes a blow at the very principles upon which our government was founded.”  - Abraham Lincoln, December 1840

This next week marks the 39^th anniversary of the Great Midwest Marijuana Harvest Festival.   Since 1970, Harvest Fest  – as it is more commonly referred to – has been rallying the heads to get up on their soapboxes and do what we Madisonians do best: quirky and blissfully un-ironic shakedowns of the cultural status quo.   Presented by North Coast, Underwater Productions, and Madison NORML (The National Organization for the Reform of Marijuana Laws,) Harvest Fest is a multi-day event with the avowed goal of heightening public awareness of the issues surrounding  medical marijuana, industrial hemp production and marijuana prohibition.  With an estimated 4000 attendees over the course of the event in 2008 – including 1200 marching upon the Capitol – organizers hope to see an even greater turnout this year.

Marijuana has always shared a cultural connection with popular music and Harvest Fest brings a number of top-quality Madison and regional performers to the stage.   Things get started on Thursday, Oct 1^st at The Alchemy on Atwood Ave, with a free Harvest Fest kickoff party featuring Insomniac Gypsy, an eclectic bluegrass troupe from the Fox Valley.   The bluegrass gets a little greener on Friday evening with the 7th Annual IMMLY Benefit Show at the Frequency on W. Main St. from 5-8 pm, with performances by Fox Valley experimental jam-rockers Brok’n Arrow and Madison-based Mark Shanahan’s Kirby Molar All-Stars (folk rock Americana.) IMMLY (Is My Medicine Legal Yet?) is a non-profit organization dedicated to the “advance [of] public education regarding the therapeutic use of cannabis to the general public and the medical community in the U.S. Midwest.”

Harvest Fest kicks into high gear on Saturday, with multiple performances and speakers on the Library Mall during the day while Madison favorites Natty Nation deliver their signature roots rock, reggae & dub sounds at the High Noon Saloon after dark.  Joining Natty Nation on stage will be Iowa-based Blue Island Tribe and WORT’s Tropical Riddims Sound System. 

 The day’s events start at 11:30 a.m. and continue through the day. Among the keynote speakers will be perennial Senate underdog and political activist Ben Masel, speaking of his efforts to promote Wisconsin Assembly Bill 206 – a bill currently in committee in the State Legislature to authorize creation of a Blue Ribbon Panel to examine the potential agricultural benefits of promoting industrial hemp production in Wisconsin.  In addition, IMMLY?’s Gary Storck will address the state of the Jackie Rickert Medical Marijuana Act¸ a medical legalization initiative sponsored by  Rep. Mark Pocan (D- Madison) and currently awaiting final release from the drafters of the Legislative Reference Bureau.  Additional speakers include Jim Miller of CMMNJ (Coalition for Medical Marijuana – New Jersey) and  members of SAFER (Safe Alternative For Enjoyable Recreation) from Colorado.  The musical highlights of the day include performances by the always energetic Blueheels and  the jam-fusion explorations of Elf Lettuce. Also appearing are Madison acts Kronic Jones (reggae/roots rock), Adam Isaac & The People (funk/rock/soul) and the chronically exuberant Bill & Dan’s Excellent Adventure from Eau Claire.  Special guest emcee RaFury joins the festivities as well to keep the positive vibrations moving along.

Harvest Fest goes for the big finish on Sunday, Oct. 4 with more musical performances on the Library Mall followed by a mass march up State Street to the Capitol. Performer s on the Library Mall include progressive reggae-rockers Moon Boot Posse from Lacrosse and iconoclastic rocker  The Dave Band from Gays Mills. As the march culminates at the corner of State, Main & Carroll Streets, Madison politico-jam heavyweights Baghdad Scuba Review will rally the masses from the steps of the Capitol building while a variety of speakers address the crowd. Scheduled are further appearances by Ben Masel and Gary Storck, as well as Russ Bellville of NORML, Mason Tvert of SaferChoice, and Mary Powers,  a disabled veteran suffering from terminal cancer, AIDS and Hepatitis C who is the star of IMMLY?’s  weekly “Mary and Gary” show on You Tube and a strong voice for the Jackie Rickert Medical Marijuana Act effort.

It remains to be seen whether the legislators and people of Wisconsin are ready for real change on the issues of medical marijuana, industrial hemp and decriminalization.  One thing is certain, however, and that is the organizers and promoters of Harvest Fest are convinced that change can and will happen with greater education and public awareness of the issues of marijuana prohibition.    A safe weekend full of good vibes, peaceful political activism and great local music can’t help but bring them a little bit closer to their goal.

39th Great Midwest Marijuana Harvest Festival

Schedule of Events

Thursday 10/1 

 The Alchemy | 1980 Atwood Ave. | 608.204.7644

Harvest Fest Kickoff Party with Insomniac Gypsy (bluegrass)     No Cover |9:30 p.m.

Friday 10/2

The Frequency | 121 W. Main St. | 608.819.8777

7^th Annual IMMLY Benefit Concert w/

Brok’n Arrow (jam rock)

Mark Shanahan’s Kirby Molar All Stars (folk rock Americana)

 Food from Glass Nickel Pizza

$10 Suggested Donation | 5:00 – 8:00p

Saturday 10/3

Library Mall

11:30 – 12:15 Kronic Jones (reggae/roots rock)

12:45 – 1:45  Blueheels (rock/alt-country)

2:15 – 3: 15  Adam Isaac & The People (funk/rock/soul)

 3:45 – 4:45  Bill and Dan’s Excellent Adventure (rock ‘n roll from Eau Claire, WI)

5:15 – 6: 15 Elf Lettuce (psychedelic jam rock from Madison, WI)

Special guest Emcee: Ra Fury

Speakers: Ben Masel, Jim Miller, Gary Storck, SAFER group, others

High Noon Saloon | 701 E. Washington Av | 608.268.1122

Natty Nation

Blue Island Tribe

Tropical Riddims Sound System

Event time: 9:30p

Admission: $10 cover, $8 in Advance

Ages: 18+

Sunday 10/4

Library Mall

1:15 – 2:15p  The Dave Band (rock )

2:30 – 3:30p – Moon Boot Posse (rock/reggae/jam)

Parade: Library Mall to State Capitol    3:40p         

State Capitol Steps   4:20 – 6:20   

Featuring Music by:

Baghdad Scuba Review (progressive jam rock)

Speakers: Ben Masel, Jim Miller, Gary Storck, Nick Mortensen, Russ Bellville

http://www.immly.org
Jacki Rickert

 

 The Cloth Sea Surface with a Modern Take on ‘60s Pop

Written by Angus McLinn

 “In the beginning, there was a loud muffler and an epic journey to get a few miles down the road.  We were passed by a U-Haul truck with a sign displaying ‘cloth seats equipped’, except the lettering was rubbed off and it said ‘cloth sea equipped’.” Alex Roman, lead singer and rhythm guitarist in the Cloth Sea is explaining the origins of the band name. “It can be like being with a girl, or just the image of comfort…it’s like a sea, you can get lost in this…lost in something very familiar, it’s a trip though. We want people to think about the music as they’re listening to it.”  Roman is flanked by his band mate and brother, Adam Roman, who plays lead guitar and sings, and Drew Ferguson, the Cloth Sea’s other guitarist. The band also includes Michael Sherry on drums and William Schultz on bass, neither of whom are present. We’re upstairs at a mutual friend’s pool party and the trio is dripping wet and bare to the waist.

Such playful pseudo-philosophizing is commonplace for the Cloth Sea, a heavily Beatles and 1960’s pop influenced outfit from Madison. The band recently opened for fellow Madisonians and ‘60s throwback rockers Locksley at the Majestic on June 13^th, despite having only been playing in their current configuration for four months. They are currently working on a six-song EP, titled Port Starboard.

The band has its roots in a duo consisting of Sherry and Adam Roman.  The group was conceived of solely for personal enjoyment and covered songs from The Whites Stripes as well as few songs from The Black Keys.

 “It was just a fun thing that they were doing, and I suggested they incorporate me and make what they were doing more versatile as a three piece. It was February of 2008 and soon after the group decided to find a bassist, which resulted in the addition of Mike “Mikey” Groteuse, a friend of the Roman brothers.

Initially, the group looked to American folk songs for inspiration. “We were using them as springboards for doing our own writing. We would look through these old American folk songs, just the lyrics, and sort of get ideas from them,” explains Alex, “You know, no one really sings folk songs anymore like they used to, so a lot of the ones that were really popular way back when no one has even heard of now.”  

Shortly thereafter, the group met their current bassist, William Schmidt, while jamming at a neighbor’s house. Schmidt replaced Groteuse in the fall of 2008. This spring, the band became acquainted with Drew Ferguson through a mutual friend. Initially Ferguson was just going to record for them, but eventually joined the band as an additional guitarist. The addition of Ferguson resulted in Alex playing more rhythm guitar in addition to his role as lead vocalist. Ferguson also brought his own songwriting abilities to augment those of the Roman brothers.

Ferguson studied music at UW-Madison for two years and has an extensive music theory background. He approaches writing from a more visceral perspective, and brings a more untrained and musically gifted ear to the band. “I write what I experience and how I feel about experiencing it…it’s very retrospective. It’s kind of like an homage to what that moment was,” explains Ferguson. “I come into a project that seems like it’s complete but could use that little extra touch and try to find that final realization that will finish it.  I try to add my personal touch to what product is put in front of me. I just hope it’s good and hope people like it.”

The result of this process is reminiscent of the Beatles and the Kinks. Intricately woven guitar work backed with a tight rhythm section takes the listener across a soundscape that is a mix of that ‘60s pop with a hint of psychedelia. However, the music has a bit of an electric edge that belies its vocal harmonies and pop roots.

 “We play early rock and roll with modern electrical tendencies,” Alex muses. “Buddy Holly didn’t have the chance to use a loud amp, that’s why they were called The Crickets, not The Hurricanes.” Ferguson puts it much more tersely, saying simply that “The Cloth Sea can get turbulent.”

The Cloth Sea’s strong connection and identification with the music and musicians of the ‘60s is both due to the Roman brothers’ longstanding love for The Beatles and a result of the times. “I don’t think it’s [the Beatles] what we were exposed to earliest, but at least for Adam and I, it’s just what we originally latched on to…it’s what music is.” says Alex. “In a lot of ways, we’re poised to have another culture-changing period and I think we’re just starting to get into that now.” More importantly, rather than just drawing parallels between the events and atmosphere of then and now, he can identify with the music and culture on a personal level. “The people haven’t changed, you know? The same people that were doing it in the ‘60s…it’s just 40 years later. We’re still living in the same place, doing the same things every day. It’s just a mindset.”

Even the Roman brothers’ flat on the corner of Russel Walk and Gorham seems to be going through a hippie-era rock and roll revival. Their living room walls are adorned with posters from local shows as well as several pictures and posters of the Beatles. Milk crates filled with LPs line the back wall next to a record player, and the ambience is finished off with a stack of guitars and other bits of musical equipment in the corner. A few books on subjects such as human anatomy and Expressionism dot the shelves along with several empty wine bottles and what appear to be home made super hero face masks. Outside, various chalk drawings on the walls including a giant peace sign and an artistic rendition of the band’s name greet visitors to their alcove.

 “It’s the artist’s life, more or less. Broke most of the time; just playing music…modern day gypsies that have lost the will to move.” explains Alex. “Bohemian, you know? completely.” he adds with a grin.

“Neo-hippie-rocker-dude. That’s what my mom describes me as. I think that’s accurate.” explains Ferguson.

Through happy coincidence, the Cloth Sea had the opportunity to open the Locksley show at the Majestic a few weeks ago.

            “Our bassist has been dating a girl for a couple months and her best friend works at the Majestic,” says Adam, As the Locksley show was coming up, the first thing I said to her was that I really want to open for them because we obviously have similar influences. I just thought it was one of those passing drunk moments, but…on a separate occasion her boss said ‘if you know anyone who wants to open for Locksley, let me know’. We were just in the right place at the right time.”

After the show, Alex and Drew spent some time with Locksley at Genna’s Cocktail Lounge. “That was pretty awesome. They’re cool blokes you know, just like us, from Madison,” says Alex. “I always find it interesting talking with other musicians. You find yourself in the corresponding musician of other bands.  I found myself chatting primarily with the lead singer and talking to him about what it’s like being a lead singer. They seem to be just like us except they’ve been doing it for a little bit longer.”

 “They gave us their story about how they self recorded an EP just to put out there and got it professionally touched up and decided ‘Let’s go for it’ so it’s cool to hear…that it can just happen and work out if you want to,” says Ferguson. “Otherwise fun guys, good to talk to, good to drink with; everyone enjoyed their shots of Jameson.”

The Cloth Sea can be found at www.myspace.com/theclothsea and are planning on releasing their EP, Port Starboard, sometime this August.

Angus McLinn attends Macalester College in St. Paul, but Madison is his hometown. He writes for the Middleton Times Tribune, and is expanding his scope to include more of his interests, namely music and culture.

YOUNG VOICES OF MADISON – Friday, May 19, 2006 – Live from the Overture Center for the Arts

(2006   Audio for the Arts)

written by Judy Brady

Under the direction of Scott Foss, the Young Voices of Madison presented a multi-faceted and engaging choral concert, “A Quodlibet Mass,” at the Overture Center for the Arts last May. Foss, who conducted the choir and the Young Voices of Madison Orchestra, constructed a program that embraced the talents of seven regional high school choirs (Madison East, West, LaFollette, and Memorial; McFarland, Middleton and Mt. Horeb). In the liner notes, Foss explains his use of the term “quodlibet” as an overarching concept, one that reflects the reality of choosing material appropriate with the experience levels of the various choirs while pushing the creative envelope for everyone involved. Foss describes the YVM concert as a refreshing program with a “whimsical combination of familiar composers and compositional styles.” The listener, however, should not let “whimsical” suggest a lack of seriousness or professionalism—Young Voices of Madison represents a highly versatile and unswerving ensemble dedicated to creative excellence and musical vitality.

True to his word, Foss’s eclectic program weaves its way through a solid orchestral introduction from 20^th-century American composer Aaron Copland (although not “Copeland”…as the notes indicate) to Italian violin virtuoso Antonio Vivaldi to selections from the beloved Fauré Requiem, specifically the “Pie Jesu” and “Agnus Dei.” Foss chose soloists from the larger chorus to suit the particular needs of each selection, usually with satisfying results. Perhaps, however, on “Pie Jesu,” one soprano could have handled the task better than two; on this particular piece, the young women’s voices don’t mesh as well as on others (for example, the three female soloists on track 3, Vivaldi’s “Quoniam Tu Solus Sanctus,” seem especially suited to each other’s vocal timbres).

The most satisfying selections may feel the least familiar. Canadian composer/pianist Ruth Watson Henderson (b. 1932) has developed a distinct choral style clearly demonstrated in “Sing All Ye Joyful.” The full chorus displays the tantalizing combinations of modern harmonies that the human voice can exploit to the fullest, proving that simple alterations to conventional voice phrasing can create a mesmerizing textural ambience (especially noticeable three minutes into in the piece). Likewise, “Sanctus” by the prolific composer/publisher Craig Courtney is performed with full chorus and no orchestra, highlighting the complexity and overlap of melodic lines and the unfettered grace of sacred choral music.

Kudos to the Young Voices of Madison Orchestra and the recording engineers at Audio for the Arts for capturing and enhancing the nuance and atmosphere of the performances.

FLAT ATOM – Flux

(2007   Self-Release)

Flux, the latest release by Madison’s industrial metal band, Flat Atom, opens with a synthesizer intro, which has an almost classical feel to it. But don’t let that fool you. This electronic sounding collection of eleven songs, produced by The Thump at Recluse Studios in Madison, relies heavily on sound samplings, and features low-tuned buzzing guitars and a raspy, biting production.

Flat Atom refers to themselves as Nick Seward as the Presence, The Thump is the Feedbacker/Bit Biter, Pete “Spank” Pagel is the Low-end Replicator and Trever Hawley is the Propulsion. Their newest member, DJ Puzzle, provides additional samples, synthetic percussion and programming. With Flux, their first full-length release, the band stays true to their name by flattening everything in their path from start to finish.

Their most relentless track would have to be “Lies,” which sounds to me like something Rob Zombie could have come up with.  Nick’s vocals remind me of a younger, angrier Alice Cooper, especially in the song, “Hollow.” The highlight of the CD in my opinion is “Bleeds Me Dry,” which sounds a bit like Ozzy Osbourne with a heavy Led Zeppelin beat. Featuring strong vocals, “Bleeds Me Dry,” let’s the band shine through the sampling, and brings home the metal. I liked the funky feel of “Brighter,” and the simplicity of “Lidocaine.” All in all, if electronic metal is what you’re after, Flat Atom won’t let you down, although they might crush you. 

Flat Atom’s intense live show legacy includes three broken stages, nine broken sound systems, one police report and one million angry soundmen scattered across the upper Midwest. Now if they’ve really pissed off that many soundmen, I’d say they have a bright future ahead of them!

What really says it all is their hilarious band description: Flat Atom-the band that makes you shake your ass, while you beat your buddies in the pit. We’ve been described thusly: “Instead of sitting in a closet and crying while saying ‘fuck you,’ as so many modern rock bands do, Flat Atom screams ‘Fuck You!’ at the top of their lungs, then steals your car and goes to Mexico.” They also claim to put the punk back into industrial punk. I would have to say, ‘Hell yeah!’

SHOT TO HELL – Waking Up

(2006   Quadra Recordings)

Written by John Payne

LaCrosse-based alt-country band Shot to Hell’s EP, Waking Up, is the perfect soundtrack for a round of whiskey shots.  Like the early work of Uncle Tupelo, the disc’s opener and apparent theme, “The Ballad of Shot to Hell,” is a great combination of country twang and punk rock swagger.  It’s a brief story about the band playing in a bar; you can almost taste the booze when singer/guitarist Aaron Monte sings with hilarious self-deprecation, “All the people at the bar / They don’t give a damn who they are.”  That hazy feel is maintained with the twangy and trippy dual guitar leads that fill out the latter part of the song.  Monte claims his band is “playing some songs / You won’t hear on the radio.”  If there’s any justice, that won’t always be the case.

Though the five songs on this EP are based on relatively simple chord progressions, the work of Monte and guitarist Jon Nygren keeps everything interesting; they frequently toss out great ad-libbed fills and lead lines, often weaving their two parts together while the steady rhythm section of Brian Stehula and Jack Nachtman keeps the songs grounded and your head bobbing.

For the first part of the title track, the song rolls out its ambling guitar lines slowly and insistently sounding a bit like a Meat Puppets cover from Nirvana’s Unplugged in New York album (with some electric guitar thrown into the mix).  In contrast, the chorus is punchy and energetic with almost AC/DC-like power chords.  It sounds great, although it’s too repetitive to justify its six-and-a-half minute length.

The best song on this EP is probably “Things Might Improve,” a gritty-sounding, almost grunge-like rocker that recalls Crazy Horse and offers some great, dirty guitar leads.  “There’s only one motivation to keep you tryin’” sings a weary-sounding Monte.  When Nygren’s gorgeous steel guitar enters to lend the chorus some depth and texture, you realize what an awesome song you’re hearing.  It’s heavy, too, as the lyrics find Monte eavesdropping on some people who are down on their luck: “There’s always one too many drunkards / Sitting at the bar / They’re always talking about all the reasons / They’re down and out.” Both Monte and the barflies “cling desperately” to hope that things might improve.

The EP’s final song, “Hear it Again,” is a simple, major-key sing-along that manages to sound both upbeat and melancholy at the same time, showcasing more of Nygren’s beautiful slide guitar work and Monte’s excellent lyrics: “Four-thirty a.m. / The bed’s empty and you’re not home / You told me why you had to go / I wanna hear it again.”  When approaches the end, the song and album fade away with Monte repeatedly singing “I wanna hear it again.”  So will you.